Born into a musical family in Germany, Hamauzu was raised in Japan. He became interested in music while in kindergarten, and took piano lessons from his parents. Hamauzu was hired by Square as a trainee, and his debut as a solo composer came the following year when he scored Chocobo no Fushigina Dungeon. He has collaborated with his friend and fellow composer Junya Nakano on several games, and has worked closely with synthesizer programmer Ryo Yamazaki on most titles since SaGa Frontier 2.
After Nobuo Uematsu left Square Enix inHamauzu took over as the leading composer of the company's music team. He has also become a renowned pianist, arranging for Todesengel - Masashi Hamauzu - SaGa Frontier II Original Soundtrack (CD) other composers. His music incorporates various styles, although he mostly uses classical and ambient music in his pieces. Born in Munich, Germany, Todesengel - Masashi Hamauzu - SaGa Frontier II Original Soundtrack (CD) mother was a piano teacher and his father, Akimori Hamauzu, an opera singer.
After his brother, Hiroshi, was born, the family moved to Osaka. He enrolled in the Tokyo National University of Fine Arts and Musicwhere he joined a student ensemble as a pianist. After graduating from the university, he thought about becoming a classical musician, but he eventually found out that he wanted to work with game music instead. A fan of the Final Fantasy games,  Hamauzu decided to apply for a job at Square. The project introduced him to synthesizer programmer Ryo Yamazakiwhom he has worked with on most of his subsequent soundtracks.
InHamauzu composed the music for Unlimited Sagaa game that would be received negatively by critics due to a variety of gameplay issues. He incorporates various styles of music in his compositions, though most of the tune he uses classical and ambient tones in his pieces. Hamauzu released a solo album, Vielen Dankin after recording it in MunichGermany.
Hamauzu composes music in a wide variety of styles, often using multiple styles throughout the various pieces of a soundtrack. He mostly creates classical and ambient musicand uses the piano predominantly as an instrument. He frequently uses dissonance to provide an atmospheric effect. While attending university, he developed an appreciation for classical music, especially the compositions of Ravel and Debussy. From Wikipedia, the free encyclopedia. Masashi Hamauzu. SaGa Frontier 2 is the sequel to SaGa Frontiera game which was met with either love or hate by its players.
Kenji Ito had been the preeminent composer for SaGa games, but for one reason or another, the mantle of composer was placed upon Hamauzu's shoulders, Todesengel - Masashi Hamauzu - SaGa Frontier II Original Soundtrack (CD). Whatever the worries may have been with putting a relatively unknown composer on the project, Hamauzu undoubtedly and categorically dispelled them with his work on this album.
Here we see him taking the freedom of his impressionistic style across many borders and boundaries, seeking to relate various and far-reaching feelings and ideas through music, and to no small amount of success. Having personally played the game, my own experience with the soundtrack was through the eyes and ears of a cautious player.
The talk on the boards, magazines, and websites were not in favor of this game. Misdirected, unfocused, and utterly confusing are just a few of the words I can remember that were used to describe the gaming experience as a whole.
Always one to take a chance, and having never played the prequel, I decided to find out for myself. Sitting back after plopping the game CD into my trusty PlayStation, I sat with high hopes for another engrossing Squaresoft title. What I first saw was a sword, thrust halfway into the ground and left there, no doubt as a memorial to someone, or something. At that point, the music began. A few lilting notes, a smooth string, and then a sudden assault of perky and quick piano notes which was soon joined by a flute.
For some reason, I could not bring myself to press the start button and begin my journey, nay, continue my journey, for it had already begun. I was never in the habit of listening to the opening scene music in any game or watching the demos that are usually seen therein, for that matterbut something stopped me here. It felt important to me; as if it was something I should not miss. When the theme, aptly named "Overture," came to an end, I soldiered on only to be assaulted by "Prelude," an equally enchanting, yet much more powerful experience with piano and strings that promised me that, regardless of the game's content, the music certainly had a story to tell.
Now, then, that is enough of my personal ranting. I believe the music shall speak for itself. The excellence to be found in this game's music comes in many forms. One of the facets of the SaGa Frontier 2 soundtrack that was most enjoyable was the fashion in which Hamauzu took the same old theme and turned, twisted, and cajoled it into something completely new and enjoyable in spite of the fact that you had, in effect, heard it all before.
The first encounter with the main theme of the game actually takes place in "Prelude," although the casual listener will probably miss it the first few times one hears it. Indeed, it becomes much harder to ignore when it the motif reappears in "Theme," most of the battle themes, and other powerful tracks such as "Leader of Battle. Hamauzu holds nothing back as he retells every aspect of the story with the motif, capturing sadness, anger, joy, power, and weakness, all with immense success.
Another dimension of Hamauzu's talent on the soundtrack is in the way that the soundtrack is actually split between the game's two main characters, Gustave Finney XIII and Wil Knights. Gustave's tale is inexorably wound about the many aspects of war, power, and the search for belonging. The story of Wil revolves much more around his personal war with the artifact known as The Egg.
Hamauzu keeps this division clear, with music that is encountered in one man's scenarios being strikingly different in core feeling from the ones seen in the other's. The music of Gustave's scenarios is usually very majestic and powerful, whether in the relating of his grave misfortune, or his inordinate successes.
Themes such as "Majesty" and "Homeless" serve as proper examples of the duality of the man's existence; being all at once a noble of the highest stature and a worthless heir that is no greater than a common fool.
We visit the theme once again in "Victory," a touching rendition that leaves the player feeling truly accomplished after a long and difficult road, but also a bit remorseful for the cruel things that were necessary to achieve such victory. Wil's music also Todesengel - Masashi Hamauzu - SaGa Frontier II Original Soundtrack (CD) a wide spectrum, at times quite whimsical, and other times dramatic and mystical. No matter what the emotion behind the music, it is an explorer's soundtrack, touching on the many cultures within the game's world with varying instrumentation and rhythm, like in "Open Air Music" or "Universe.
The melody remains simple throughout, but the theme, much like the situation it is encountered in, gives the feeling that something is amiss. You know the whole story is not being told, and Hamauzu encapsulates that curiosity excellently with "Universe. Hamauzu's work with the dungeon tunes in SaGa Frontier 2 is just as varied as the rest of the album. Some dungeons feature very ambient music, "Siren" and "Depth" being two of the most notable.
What was most significant about the ambient tracks is that they still had a very defined melody, never relying on disorganized chording or crowded sound textures to make up for what is simply not present in the piece. No matter how airy or floaty the tune may seem, whistling along is always possible very important to this dungeon crawlerand a lead instrument is never difficult to point out.
On the other hand, Hamauzu by no means shied away from throwing down an attention drawing track, like "Obsession" and "Relevation. Hamauzu undoubtedly had lots of fun with these tracks, and even though they are quite different than most of what is on the album, they hardly detract. Indeed, they warrant a tip of the hat for such inventiveness. The battle music of SaGa Frontier 2 is in a league of its own.
There are four distinct variations on the game's main theme that function as battle themes for the game, and every single one is nigh perfect for the situation it is encountered in.
Always high-energy, and with a mood to fit either the characters or enemies present, none of them dissappoint. Even "Field Battle IV" with it's off-the-wall accordion and wild percussion congos, toms, you name it gets the foot tapping and the head nodding in appreciation. When someone can make an accordion solo work for a blood-pumping battle theme, you know they are accomplished composers.
There is a victory theme that accompanies every battle theme, and while they each are almost identical in melody and arrangement, every one mimics the instrumentation that is found in its relative battle theme, which I found satisfying way of keeping the mood consistent. One battle theme in particular deserves lots of attention. It starts off straight away with pounding drums and a consistent, driving bassline that makes no bones about being high octane.
It plays during the mass battles in Gustave's scenarios, and it does a splendid job of keeping the energy up throughout the entire piece. The smooth snare rolls and the brass stabs keep you in the mood for war as you oft times get your own behind handed to you by the startlingly difficult scenarios. This was one theme I had no complaints about listening to one hundred times Todesengel - Masashi Hamauzu - SaGa Frontier II Original Soundtrack (CD) as I attempted to finish the final mass battle.
Hamauzu was in top form as he displayed just how serious he could be. When a friend listened to the theme without having ever heard of the composer, the game, or VGM in general, he remarked that it made him feel as if he 'could run for miles'.
In fact, the battle themes are a very strong point on the soundtrack. The two final battle themes, "Angel of Death" and "Deformed Figure," are resounding successes. Ito is known for his skill in composing good battle music, and Hamauzu gained much recognition for his work in Unlimited SaGabut SaGa Frontier 2 is where he truly stepped onto the stage.
Both sample from the game's main theme, and serve as captivating and evocative examples of how one should present the final conflicts of an adventure. Drums soon enter the equation and set the epic mood. The piano actually takes a back seat at this point, allowing some skillfull brass to come in and lay down the main melody.
The loop is done flawlessly as the theme winds down with the same arpeggios that started the tune lead you into the powerful intro once again. It would not be unfair to say that Hamauzu used SaGa Frontier 2 to show just what a piano or two can do to make a memorable theme.
SaGa Frontier 2 was met with mostly positive reviews, with the Japanese version receiving three re-issues in JuneMarchand July respectively. Battles in SaGa Frontier 2 utilize a turn-based approach where the player must input specific commands for each character at the beginning of each combat round, with each action taking place in accordance with a character's speed rating.
In any given round, player may choose to attack an enemy with an equipped weapon, as well as use magic spells to cause harm to their opponent or aid their allies. By continually attacking an enemy with weapons, characters randomly learn special weapon skills called Arts that can deal more damage, as well as combine with other party member's attack to form combo attacks.
Combat scenarios are divided into three separate types, with are either selectable by the player or dictated automatically by the plot - Duel, which allows one-on-one combat; Team, where up to four characters may take part against an entire enemy group; or Strategic, which can contain a large number of characters in a strategy-like scenario.
Each character may equip up to two different kinds of weapons, and may become more specialized in a particular field of combat by assigning them " Roles ", which increase their proficiency with certain weapon and spell combinations as well as give them additional abilities. By winning battles, characters may increase their statistics based on their actions in combat, thus becoming more powerful.
The game takes place in the land of Sandailroughly in the years He is exiled by his father when, at the age of 7, he fails the Firebrand Ceremony due to an inability to ignite a sword through manifestation of his Anima. His request is granted. Gustave will set neither foot nor sights on Thermes, Finney, or Merchmin for another 20 years. Shortly after the death of his mother and his conquering WideGustave hears of the death of his father and heads to the Finney kingdom to take the throne.
He gives the throne to his brother Philippe. Gustave dies at the age of 49 in one of his forts. The secondary playable storyline in the game is that of Wil Knightsand his journey to learn the secrets of the soul-stealing entity known as ' The Egg '.
Wil's story spans three generations of his family, and is intertwined within the storyline of Gustave XIII. As Wil gets older his son Rich Knights continues his father's quest for the Egg.
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