Critical Clash I

Track 3-22: Critical Clash I

Here we are at last—the boss battle music! “Critical Clash I” corresponds to “Decisive Battle I” in OCTOPATH TRAVELER I. Its title was chosen after much deliberation with director [Keisuke] Miyauchi. We eventually decided to go with something that did not overlap with any track names on OT1, and was simple into the bargain!

As I mentioned in the analysis of “Normal Battle I,” the overall approach to battle music in this game is inherited from OT1, but I believe that this piece offers something new to enjoy as well.

There are two boss battle pieces on the OT2 soundtrack. “Critical Clash I,” the first, has an orchestral feel, unlike the rock sound of the second.

The chopping strings that hit with maximum intensity right from the start and the finely dancing orchestra snare rhythms are distinctive elements. This time we were able to indulge in a great deal of live orchestra snare recording—this kind of percussion can often by its nature be programmed to an extent, so unless you have a big budget and a very particular vision, programming often ends up being the whole story—and I think it heightens the sense of velocity throughout overall sound.

Also iconic is the passionate solo violin playing the main melody. A lot of OCTOPATH TRAVELER boss music includes violin solo, with examples including “They Who Govern Reason” and “Decisive Battle III.” This is partly because I like that sound, but also because the violin is a highly convenient instrument for playing the main melody. Not only is it agile with a wide range, it also has an indefinable glamor which makes it one of the instruments most suited to carrying JRPG melodies, in my opinion. This piece is a fine showcase for the violin’s appeals.

To discuss a few technical details: the solo violin first enters at 0:35. The same phrase reappears in a new key at 1:22, followed by another modulation at 1:34, then a return to the original key at 1:51. In short, I adopted a form that involves repeating the same phrase in slightly different ways in order to make it memorable. When I write it out like this, I get the feeling you could say that it’s an indulgent reflection of my personal tastes as a composer who enjoys solo violin and modulation, haha!

I got so involved in this analysis that the post has gotten fairly long already, so I’m going to call it a day at just one piece!

Translation: Matt Treyvaud