It's quite beautiful and surreal so is definitely a highlight of the soundtrack. After the player gets these, Oz turns against them and they have to travel the yellow brick road to defeat him. She is this game's interpretation of Glinda the Good. Having earlier contributed the mediocre normal battle theme, Iwata succeeds in creating a decent couple of final battle themes. It is truly an inspired work. But the rest is done by the Basiscape team.
Riz-Zoawd Original Soundtrack :: Review by Chris Album Title: Record Label: Team Entertainment Catalog No. Everything in the game is constructed in magically colored 3D graphics, from the characters to the landscape. But Sakimoto doesn't limit himself there. Nonetheless, this composition excellently exposes a melody that is fleshed out in a number of other pieces elsewhere. The background music was largely created by Hitoshi Sakimoto in a light-hearted fantasy style. This is probably the greatest emotional highlight on the soundtrack and also likely the most accessible theme for mainstream fans too. But when you start talking about Oz, with Dorothy, her dog, her friends, the Wizard himself, and the Wicked Witch of the West, there's plenty of room for the bright and vibrant side of Sakimoto and Iwata's compositions.
Masaharu Iwata served as a 'ghost' composer, Kimihiro Abe made just three compositions, and Mitsuhiro Kaneda didn't create any actual music at all. He asks them to defeat four different witches. The Wizard of Oz: Beyond the Yellow Brick Road was first unveiled in the Japanese magazine in June 2008, and was later shown in more detail at the months later. So it's Wild Arms bookends, and then the rest of this Oz-inspired soundtrack sounds like Final Fantasy Tactics. Every turn, the party always has four slots to utilize and each party member uses a specific number of slots when selected to perform any action; Dorothy and Scarecrow each use one slot, Lion uses two, and Tin Man uses three.
Each time the group defeats a dragon master, they will gain spells and skills, such as the ability to heal or to lower an enemy's defense parameter. For example, Dorothy excels at dealing with ghost-types while Lion best handles beast-types. And it's not a whole pile of different guys you've never heard of. Just remember that you have to find the wizard Oz to retrieve the things you and your companions have been searching for. Moving Dorothy requires the player to use the stylus to move the green on the bottom screen. There are numerous understated and contemplative arrangements with a cinematic flavour.
Once in the castle there is only one way out, which is to defeat Oz. Dorothy is adventuring in the magical land with her friends, the lion, scarecrow and the tin man. It's the main two: Sakimoto and Iwata. While the game was plagued by terrible sales figures, its soundtrack is still a big deal for many game music fans. The Riz-Zoawd Original Soundtrack features all the music created for the game across a sleakly presented two disc set. The game was produced by Wild Arms designer Tetsuya Okubo and directed by Nobuo Nakazawa, who joined the company starting with.
The interludes add to the multifarious nature of the composition, though the section from the one minute mark disturbs the overall flow. Wild Arms composer Michiko Naruke also returned to game scoring to create the opening and ending vocal themes. The instrumentals are a pleasant blend of punchy strings influenced by the Wild Arms series and light rock electric guitar backing. Each of the witches has magical eggs that the player is supposed to collect. Combat is set up in a unique system where each of the four companions can attack based on an allotment of slots per turn. This means that Tin Man can only ever perform one action per turn and that Lion can never attack in the same round with him. However, the two elements do not come together convincingly and much of the composition seems to be a bunch of melodramatic chord changes rather than anything more intricate.
There are ten in all: three each in the spring, summer, and fall levels, and one in the winter level. Unlike other iterations of the character, Tin Man is incapable of speaking intelligibly and simply makes loud metallic grunts to communicate with others. As such, they brought on Michiko Naruke to do composition. It captures the spirit of the game with its whimsical phrasing and magical instrumentation. Very liberal but can be a bit unpredictable. The instruments, especially the evocative recorder solos and the subtle piano work, add to the rich quality.
Even the battle themes composed exclusively by Iwata are less intense than what you'd expect from the Basiscape team. In fact, only one other Basiscape member worked on the soundtrack at all, Kimihiro Abe contributed three tracks and his contributions are worthwhile, mind you. All this isn't necessarily bad, but the soundtrack won't interest those who have been disappointed by his recent emulations. But the proof of the pudding is in the eating, so to speak. She is around Dorthy's age and not so secretly hopes to be friends with her. Despite this, Sakimoto creates one of his more sentimental soundtracks of recent years and offers an especially memorable main theme. Since the party never naturally learns any spells or abilities via leveling up, it is imperative to seek out the dragon masters and challenge them.
The elemental spirits function as exploration items during dungeon excursions, similar to the Tools system from the Wild Arms series, and are generally used to open doors that lead to rare treasures and additional areas that were previously inaccessible. Sakimoto's piano-centric pieces are better than ever. The game was originally published in Japan by on December 25, 2008. Summary Overall, Riz-Zoawd features a modest yet colourful soundtrack to enhance the fantasy feel and personal nature of the game. Overall, it's a nice way to raise one's spirits at the start of the game and represents some of the youthfulness of Dorothy too. But Naruke only composed the opening and ending themes, both performed by vocalist Kaori Asoh; thus, you have Wild Arms-esque bookends on this soundtrack.
The game currently holds aggregate scores of 69% on and a 68 out of 100 on. The playful woodwind melody seems to capture the spirit of Dorothy while the dissonant brassy accompaniment portrays the antagonist. It retains the same youthful character of the original song and blends it with the rhythmical and harmonic idiosyncracies of the Opoona soundtrack. . Though intended to be a solo score, Basiscape employees Masaharu Iwata and Kimihiro Abe nonetheless ended up creating a handful of compositions to emulate their boss. While the melody isn't instantly catchy, it grows with time and includes several memorable moments.