Eggman Showdown,” a violin and electric guitar based rhythmic song, that isn’t as memorable as previous final boss melodies. The only time his new “theme” comes into play in any real substantial way is during the final boss theme, “Dr. Unfortunately, speaking of villain themes, Eggman’s identifying motif, one of the few reprising melodies throughout these games (first used in Sonic Unleashed) has been completely removed here, and is instead given a vague imposing motif, which oftentimes blends in with “The Deadly Six Theme.” Average listeners won’t notice its absence at first, and yet I found it somewhat jarring. In any case, “The Deadly Six Theme” winds up being a highlight for the soundtrack, being able to switch from a fun boss fight theme, to something more imposing. Additionally, the theme gets re-incorporated several times in cutscene music, although usually in an overbearing “cartoon bad guys with pipe organs” kind of way.
#SONIC UNLEASHED ORIGINAL SOUNDTRACK FULL#
Thankfully, unlike “Wonder World,” the theme get quite a few variations, including a full orchestra version, a version that places additional emphasis on the violin, and fast-paced “Boss Rushes,” versions that makes for compelling fight themes. Although it’s a well-produced and fun orchestral theme, it simply isn’t up to par, and is severely underused.Īnother primary motif comes in the form of “The Deadly Six Theme,” a fun, rollicking mixture of jazz and ska, which identifies the major villains in the game. One great rearrangement is “The Lost Hex,” the main map theme, but unfortunately this is truly the only arrangement that sticks out as actively arranging the theme. It also doesn’t help that the soundtrack underutilizes the theme, only regurgitating simplified versions of it for (11!) item and level clear jingles, and very rarely incorporates it in cutscene incidentals (“Cutscene – Opening,” for example) or other themes. Comparatively, “Wonder World,” lacks a certain level of development and structure that previous main themes had, making it much less dynamic in retrospect. While the theme itself fits very well given the context of the game, and has a unique mix of orchestra, jazz piano chords, Latin-based percussion, and underlying synth notes, I can’t help but feel it’s somewhat underwhelming compared to the main themes of Sonic Unleashed and Sonic Colors, which were also composed by Ohtani. Right off the bat, Sonic Lost World’s main theme, “Wonder World,” changes its orchestral style to be less adventurous and much more whimsical. In the last few years of releases and remakes, Sonic has gone from 70s inspired hard rock ( Sonic Adventure – Shadow the Hedgehog), to a dramatic and fast paced combination of rock and orchestra (2006’s Sonic the Hedgehog) to adventurous symphonies and world music ( Sonic Unleashed and Sonic Colors). I mention the lack of direction in the franchise, because, to a certain degree, this also translates to Sonic’s music. At present, Sonic Lost World is looked upon as a flawed, yet enjoyable entry in the franchise, and features orchestral music composed and produced by Tomoya Ohtani, making this his fourth time leading on a main Sonic the Hedgehog title, along with composers Takahito Eguchi and Naofumi Hataya. However, time has led to a kinder retrospective on Lost World, mostly thanks to the disastrous pair of Sonic Boom games launched in 2014. 2013’s Sonic Lost World, while in no way an awful game, was met with criticism and lower sales. While games like Sonic Colors and Sonic Generations were generally well liked thanks to their clearer focus on Sonic’s traditional speed, subsequent releases again tried and failed to shake up the formula in meaningful ways. Sega and Sonic Team have admittedly struggled to find a proper direction for the series, oftentimes resorting to poorly received concepts and gimmicks that have marred the franchise. The Sonic the Hedgehog franchise has seen its fair share of criticism over the past decade.
Sonic Lost World Original Soundtrack -Without Boundaries.
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