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Brandish 1 Soundtrack

Updated 1 March 2023

The Brandish video game franchise, developed by Nihon Falcom, has often been overlooked compared to other successful series. Originally released for the NEC PC-9801 and FM Towns platforms, Brandish features a unique and dark soundtrack, setting it apart from its fellow franchises within Falcom's portfolio. Despite not being part of the Dragonslayer timeline, Brandish's music maintains the signature Falcom sound, with a melancholic and brooding tone.

Brandish 1 Original Soundtrack [1991]

Brandish 1 Game Soundtrack cover

Track Listing

  1. Title Logo
  2. Prolgue - Bundevia
  3. Stranger - Wandering Swordsman
  4. Prison
  5. Wood
  6. Castle Town
  7. Tower
  8. Nucleus
  9. Cave
  10. Ninja Yashiki - Spilling innocent blood
  11. Soldier's Sorrow
  12. Battle Point Version C
  13. Battle Point Version A
  14. Ice Zone - Green Zone
  15. Wharf 1
  16. Battle Point Version D
  17. Wharf 2
  18. et al.
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Game music in role-playing games, particularly Japanese ones, plays a crucial role in creating an immersive experience for the player. The music sets the tone and atmosphere of the game, enhancing the emotional impact of the story, and intensifying the overall gameplay experience. The music can also create a sense of nostalgia for players who have completed the game, as it becomes associated with the memories and emotions experienced during gameplay. Additionally, the use of recurring themes throughout a game or series can create a sense of continuity and familiarity for players, further immersing them in the game world. Game music is a vital component of the role-playing game experience, contributing to the game's overall awesomeness.

In the 1990s, soundcard technology had a significant impact on game music, as it allowed for high-quality, digital audio to be produced and played back on a PC. The introduction of soundcards like the AdLib and Sound Blaster allowed game developers to create and include more complex and dynamic music in their games. This technology made it possible for game music to sound more like traditional music, with richer instrumentation and more expressive performances. This contributed to the immersive experience of playing games, especially role-playing games, which often had epic, cinematic soundtracks. The use of soundcard technology also helped to establish game music as an important genre in its own right, with many game soundtracks being released on CD and enjoyed by fans of both games and music.

Japanese game music has been influential in shaping the pop culture landscape, both in Japan and around the world. In the 1980s and 1990s, game music composers began incorporating elements of pop, rock, and electronic music into their soundtracks, creating a unique and catchy sound that was popular among gamers.

As Japanese games gained popularity outside of Japan, their soundtracks gained a following as well. Fans began to remix and cover game music, creating a subculture of game music enthusiasts. This subculture grew into a mainstream movement in the 2000s, with concerts and events dedicated to game music becoming popular around the world.

Japanese game music has also been sampled by popular artists in their own music. For example, American rapper Lupe Fiasco sampled the theme from the popular game "Street Fighter II" in his song "The Show Goes On." The iconic theme from "Final Fantasy VII" has been covered by a variety of artists, including the London Symphony Orchestra.

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