#When the fight started the intro and Link drawing his sword was epic

[skyloftian-nutcase]

Oh! I forgot to tell y’all, I finished TotK during my hiatus! My reactions are as follows:

AAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

[botwstoriesandsuch]

I’m gonna have to respectfully disagree with you there.

*ahem* In this essay I will prove why your opinion is wrong (jk you’re valid to that but you have given me a good excuse to rant about the soundtrack which is AMAZING)

So, open this cut to here me rant about music :P

I was once like you, someone who listened the the three piano chords that played while I was running out in the field, saying “huh, some soundtrack huh?” And yes, the Field Theme is probably the most dunked on song in Breath of the Wild, but it is actually probably one of the most intricately crafted. 

Did you know there are over 35 different variations of the Field Theme? Each of the chords, reversed notes, off keys, and hums are all dependent on the players actions. Whether it be standing still, running across the grass, or climbing over a rock, the Field Theme is made to be a subtle background that changes based whatever you are doing. Often, song’s like the Field, Riding, or Ruins themes are made to the beat of your foot steps, or your horses trot, letting the ambient sounds of the world take the forefront. These song fulfill their purpose wonderfully of letting you focus on the serenity of nature, yet at the same time letting you take in the silence of a broken world.

Then again, I get it, the song isn’t that much of a bop, is it? Fairly certain “Field Theme” is no one’s favorite song. Yet, this reason is why the rest of the soundtrack is so so good. 

See, the goal of the botw soundtrack for the most part was to allow the player to be immersed in a beautiful and ruinous world. Half of it’s over world theme centers around the feeling of melancholy. Link has lost his memory, all his old friends are dead, and the world is left at the mercy of Calamity Ganon. 

And I say half, because the other half of Hyrule is filled with life, hope, and energy. 

You cannot tell me, CANNOT tell me that the music for the town themes and battles are bad. Every song that is not centered around nature or exploration is great. Rito Village theme? Not only does it allude to Dragon Roost Island, but it expresses the comfort and warmth of a cozy town, like a mother bird with her chicks tuck away in the nest. Molduga Theme? An upbeat and CATCHY theme that actively changes during the tides of battle depending on what kind of attack you are doing. Ancient tech lab? Expresses character and contrast with a medieval kingdom. Same with the foreign nature (used with foreign/electronic instruments) of the Shrines and towers. The fun and bumpy nature of a Talus theme, which used real metal hammers for recording it’s intro. The way a Hinox stomps along with the xylophones and percussion of it’s jumpy and exotic music. The way the Champion’s themes are integrated into the Attacking Divine Beast themes. The way the music of a Diving Beast livens up as you slowly take control away from Ganon. Hyrule Castle, with the background marching of an army, and the blending of Ganon’s theme with the Hyrule Castle theme.The Calamity Ganon Fight with both Phase 1, 2 and 3 with Dark Beast Ganon, the way the music draws out as you let loose a light arrow, the epicness and energy!! *Chef’s kiss* 

The music in this game is crafted so that while you go about the day with the soft ambient noises of nature, you are attracted to the important places as their more full music and melodies. 

Hell, even the Stable Theme and Kass’ Theme are songs that can be heard from a distance, and actively lead you towards them. This game literally lures you to places with its familiar melodies. Thaaaaaat’s just well integrated game design.

It can convey safety, with the friendly nature of Hateno Village. Or instill fear, with the foreboding tone of the blood moon. Now would these fantastic themes and melodies have the same effect if they were played throughout the whole game? The answer is no. The silence and ambiance of Hyrule not only plays to its themes, but it helps to enunciate the more amazing pieces of the game. The silence enhances the effect of the songs. It shows off the quiet land of a ruined kingdom, to the energy of a bustling town getting through another day, to the mysterious nature of unexplored forests and ruins, to the tension and energy of striking the final blow that had been over 100 years in the making.

The best example of the music expressing these two halves of Hyrule is the Tarry Town Theme. Spoiler warning for one of the best side quests in the game, not even kidding.

When you meet Bolson in Akkala, he has started the construction of a small house and plans to start a town. The melody when you first arrive is cute, but small. It’s expressive and hopeful, but lacks the real life and tone of an actual populated village. This initial theme shows the half of Hyrule that is dead, left to their own devices with nature. 

So, after blowing up trees and traveling across Hyrule, you go and find people who are looking for something more in life. You find people who have dreams and regrets, aspirations and longings, and point them towards Tarry Town. When they arrive at town and find happiness, that’s when the theme starts to change, and so too does the tone and dynamic of the town change. 

The Goron, tired of mining away all day at his job, joins the town, and when he does, a new trombone accompaniment is added to the theme. A Gerudo with a passion for fashion, and will eventually form a cute relationship with Bolson, adds a sitar flourish to the piece. The Rito shopkeep, introduces wind instrument and the Zora priest gives a background marimba. And the Hylians even give extra piano and percussion. All of these people give their own music (which is derived of the town themes of their respective races) and actively liven the Tarry Town Theme with their presence. What was once a more quiet theme, now it full of life and hope and town grew to a new size full of cheerful. It brims with new energy as people bustle about, and the best of it is, the side quest ends with a wedding, a symbol for a new beginning.  

I could go on and on, about the lite motifs for each race and enemy (which use specific instruments according to their race), the seamless night and day transitions with varied tempos and dynamics, the relationship between the old Champions and the new Champions themes, the juxtaposition of the energy of fighting a Diving beast with the occasional flourish of the corresponding Champion motif, the contrast with a character’s personality to their music to convey character (*cough cough* REVALI *cough cough*), how battle themes are synchronized to the way you swing your sword or when you land a hit, the way the three variations of the Guardian theme strike unexpectedly, immediately alerting you of danger and can fill you with fear, the subtle  main Legend of Zelda melody and Zelda’s Lullaby that seems to watch over you as you traverse the land, Rito Village....just in general.

Compared to other games, the Breath of the Wild sound track is very...different. It doesn’t have the same heroines, or creepiness of other games, but that’s because the aim of it’s music and it’s themes are vastly unique.

Long story short, yes, the over world themes might not have much substance initially, but they fulfill their purpose of enhancing the world around you, and giving contrast with the more lively and active parts of the game. This soundtrack gives you both the feeling of soft melancholy of a meadow, the homeliness of a town, and the epic energy of a final battle, and focusing only on those three piano notes in one Field Theme doesn’t nearly do justice the work and care put into it’s music.

Got time? I also love these videos on sound design (gosh the best sound design is the stuff you never consciously notice), theme, atmosphere, and basically just people explaining what I said but a lot better

I love this game and it’s music and no one can take that away from me.