Unlike Heavensward, where the melody of ‘Dragonsong’ was present in several other places in the score, Stormblood only features elements of ‘Revolutions’ in a few places. In my opinion, ‘Revolutions’, while good, does not quite live up to the high bar set by ‘Answers’ and ‘Dragonsong’, though it definitely has a place alongside them in quality and impact. The song takes all of those expectations and mostly succeeds in adequately fulfilling them, though the bridge of the song takes on an odd lilting melody that doesn’t quite work with the other verses. There are also a couple of stylistic nods to past Final Fantasy titles as well which make ‘Revolutions’ fit in next to Final Fantasy VII ’s ‘Aerith’s Theme’ and Final Fantasy VI ’s ‘Terra’s Theme’. In addition to providing a layer of story context, this song inherits something of a continuity of style from the previous two vocal themes, ‘Answers’ and ‘Dragonsong’. Uematsu’s contribution to this soundtrack, ‘Revolutions’, carries themes of war and the costs that are paid by both the victors and the defeated. The purpose of this track is usually to provide some overarching story concepts and to set the stage for what the listener is to expect both musically and within the story itself. Ever since the release of A Realm Reborn, it has been tradition for composer Nobuo Uematsu to contribute a theme with Susan Calloway providing the vocals. The first song I want to talk about isn’t the first song on the soundtrack itself, but instead the first one that we got to hear from the soundtrack in the promotional material leading up to Stormblood ’s release.
Stormblood soundtrack release date full#
When the full soundtrack for the expansion released, I was eager to get my hands on it and hear how successful he has been this time around and whether he is able to maintain the high bar of quality that he set in his scores for A Realm Reborn and Heavensward. Soken remains the lead composer and arranger for the game’s third expansion, Stormblood, and with new game content comes a new opportunity for Soken to demonstrate his continued ability to maintain a consistent level of quality and style in his arrangements. During this timeframe, Soken has delivered enough music to fill two full games and several incremental patches, all while alternating between maintaining internal consistency where it matters and experimenting with different styles where it makes sense to do so. The music of Final Fantasy XIV, on the other hand, has been under the creative control of Masayoshi Soken ever since the game’s re-launch in 2013. This is one of the reasons that long-running online games vary their composers over the course of several expansions. Continually creating music for a game that receives content updates every few months or so seems to me as if it would require a massive amount of creative stamina. STORMBLOOD: FINAL FANTASY XIV Original SoundtrackĬomposing and arranging a score for any piece of media is a gigantic undertaking, and that becomes more true the longer the media in question is.
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