Well here is part two of the countdown, and this is where the tracks start to get very depressing. I am talking to the point of mood altering so be sure to wait until you’re in a somber or depressed mood to listen, or don’t. Listening to these extensively has had some unpleasant effects so that’s why it took longer than expected to complete this countdown. If you missed it, part one is here. Also SPOILERS in the blurb because I can’t talk about the full significance of each song without mentioning context.
Ah yes, three of my most shilled games in a row for Amazing VGM. I’d normally do something from Saya no Uta since I just reviewed it but I kinda hinted at this one last week so I better follow through. Anyway I’ve been meaning to touch on this one for a while since it really is an amazing track from an amazing game.
NieR is known for its outstanding music after all, so it’s time to cover a track that was good enough they made it twice! Starting with the original. Read more
It’s been a little while since I covered a track from NieR as an amazing VGM hasn’t it? The last one I did was “Weight of the World” from NieR Automata and that was at the end of December of last year. This time, I’m going to cover one of the more underutilized and thus underrated boss tracks in the original game; “Gods Bound By Rules.” Read more
TW: Mentions of misogyny, lesbophobia, biphobia, and transphobia.
I have been meaning to touch upon the subject of objectification for a very long time. I have mentioned it in a lot of my work and I have made it known that it is a very personal subject to me, and it has often served as somewhat of a berserk button of mine. By far the most viewed article of mine was a response to then Destructoid writer Jed Whitaker’s own article about Valkyrie Drive: Bhikkuni, that claimed it was “Dynasty Warriors for pedophiles.” To say that I was not happy with it is like saying that the Holocaust was a bit of a bummer. That article of mine is perhaps the angriest piece I have ever written (and that I ever will).
What particularly enraged me was how patronizing and condescending that Jed was to his own target audience and how little respect he had, in addition to hideously homophobic and sexist implications present throughout, despite the fact that he was clearly trying to be a feminist ally. Due to not wanting to be lumped in with the gamer bro AIW crowd, I tried to make my piece sound as feministy as possible and tried to address precisely WHY Jed Whitaker’s views were as harmful as they are. It seemed to have the opposite effect as it actually became very well received among anti-feminist GamerGate supporters, enough so that it was even retweeted by Ian Miles Cheong (which is probably how it got over 1300 total views when most of my pieces don’t even break 100).
NieR is always going to have a special place in my heart. The original and its sequel Automata were the first two games to be reviewed on this site. Granted, neither of them were originally written with this site in mind and this was mainly because I had just put out the review of Automata at the time so I wanted the original up for context, but regardless, both games are special to me, if one couldn’t tell based on how often I reference them. I also consider both titles to have some of the strongest soundtracks in gaming. I decided that, while I am in the habit of re-writing old entries that I will revamp mine on “Emil’s Theme.” Yes, I know that is not the official name of the song, but the official name has a spoiler involved so that’s what I’m going to call it.
This week’s VGM is going to be quite a doozy. Shadowlord is in my top 5 for best RPG final boss themes, up there with Dancing Mad, The Battle for Everyone’s Souls, Hopes and Dreams, and… okay I don’t know what the fifth one is yet. I do hope that I have made it abundantly clear at this point that I am a huge fan of both NieR titles. Even though there were a few qualms I had with the original, it was still such a powerful experience that I would easily play it again some day. I will admit that having an amazing soundtrack always helps, and NieR has one of the best I’ve ever seen (for those wondering, my favorite game OST is Undertale, which is why there has been such a focus on it, even though it is beaten out by both NieR Automata and Earthbound in terms of favorite game overall).
The last VGM I have covered from NieR was the hauntingly beautiful and sad “Emil Spoiler in Title” and I also touched upon the end credits theme “Ashes of Dreams” in my countdown of the most Beautiful JRPG Ending Credits Themes, so this isn’t the first time I’ve covered this series music wise. However, I will need to go into some plot details to fully explain the use of this music so SPOILERS AHEAD for NieR.
Just a heads up, the reason the review is no longer up this site is because it is now up on Brash Games, and I figure they wouldn’t want their content hosted elsewhere. There was a lot that I had to say about this game seeing as how it is currently in my top 3 favorite RPGs (or games in general for that matter).
If you would like to play this game for yourself (which you should) it can be purchased here (PS4 Physical), here (PS4 Digital), and here (PC Digital).
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My experience with NieR was… really something. While it is pretty weak in the gameplay side of things, it really makes up for it with a very well crafted story, albeit one that has some pacing issues on the first playthrough. NieR was one of the last games by Cavia, a company that has been previously known for the Drakengard series. NieR also takes place after one of the first Drakengard’s ending D.
NieR is pretty much a game that is driven on its narrative, and it manages to hold its own well enough that it will still be a very impactful experience by the time you are done. Yes the gameplay is undeniably bland, but the overall artistry of the game makes it one that is definitely worth playing. Read more