Those Who Hope for the Dawn/Those Who Deny the Dawn

Track 6-13: Those Who Hope for the Dawn

This track is a kind of prelude to “Those Who Deny the Dawn,” playing after you defeat the final boss’s first form, signaling that the long-awaited last battle is about to begin. Incidentally, this has nothing to do with musical analysis, but was that all-hands showdown between the eight travelers and the boss’s second form exciting or what?

Note that the titles of this and the next track (“Those Who Deny the Dawn”) feature the travelers and the Vide side respectively, forming a matched pair that creates an emotional effect.

Track 6-14: Those Who Deny the Dawn

The final confrontation at last. Here I was determined to create a piece of music that would bring more fire than any other in the game.

The “First form: Symphonic rock / Second form: Symphonic metal” structure echoes the battle with Galdera in the original OCTOPATH TRAVELER, but I think the use of male vocals this time ups the intensity even further. Creating a completely over-the-top, straight-down-the-line arrangement around male vocals like this was something I’d wanted to try for a while, and I remember having a ball while writing it. Even while I was working on the music for the first form, I had a clear vision for the whole thing, which is unusual for me, but when it does happen, the compositional process is very smooth. It felt like racing to the finish line with a runner’s high.

To touch on the differences between the arrangements for the first and second form: First of all, quite simply, the tempo is higher here. For the first form, the tempo was 164 [bpm]; for the second, it’s 180 [bpm]. That alone makes for a very different impression. A slow tempo conveys weighty solidity, while a faster tempo creates urgency and tension. For performers, a tempo of 180 is quite fast, where you have to concentrate intently to hang on, as a moment’s distraction could see you left behind. That sense of being right on the edge, of walking a tightrope, creates the sense of urgency you hear in this piece.

With programmed synth tracks, you’re working with a machine, so you can push the tempo as high as you like. On the other hand, the result will lack this kind of on-edge urgency. Only human performers can express that. At a concert, the urgency could be further heightened with video imagery—I’d like to see that happen one day.

The title “Those Who Deny the Dawn” was thought up by director [Keisuke] Miyauchi, and I like it a lot. I hadn’t felt that Sunday-night dread since going freelance some time ago, but this is exactly how it feels, right? I’m sure everyone knows what it’s like to wish that the night would never end.

Translation: Matt Treyvaud