“Green Inferno” also has a meditative sound, but achieves this in a slightly different way by focusing on a rhythmically complex bass riff. However, probably the most atmospheric track on the soundtrack is “Organic Fortress,” which combines electronic, new age, and ethnic elements in an absolutely beautiful way. “Ruin of Silence” is the most abstract Moai stage theme to date - combining Arabian melodies, orch hits, and weird voice effects - but is nonetheless pretty entertaining. “Into the Crystal Cage” ups the pace and dazzles listeners with crystalline synth frills. It has just the right blend of rock, pop, and jazz styles and innocent emotions needed to revisit the Konami sound.įocusing on the remaining stage themes, “Requiem for Revengers” maintains jazzy tones while also motivating the listen to endure through a more challenging environment. Miura gets a motivating groove going before projecting a cheerful yet reflective melody. However, it’s with the first stage’s “Beyond the White Storm” that the old-school Gradius sound is once more recreated. The diversity increases further with the funk-influenced select piece and the short synth rock dogfight theme. Though the treble line captures the tone of a dazzling space adventure, the oppressive percussion line shamelessly recites Holst. “Prologue” takes the series in a new direction with an orchestral anthem. Norikazu Miura captures all the emotions of the old Gradius games while sounding more technologically commanded too. It blends together Gradius‘ opening and first stage themes in an ecstatic remix yet also homages the light rock style that Motoaki Furukawa developed on its sequel. Bodyįans of the old Gradius titles will bring a sigh of relief on hearing the first track on the album, actually an arrangement of the final stage theme of the game. For the most part, he succeeded and created one of the most worthy scores of the series. Miura worked hard to ensure that the score maintained the classic feel of the series while representing the diverse stages, achieving technological advancements, and adding new interactivity to the gameplay. Nonetheless, the game was wonderfully received by fans and offered many firsts for the series, including 3D graphics. Given it was created for the PlayStation rather than Arcade in a time when Gradius releases were common, the title was labelled as a ‘side story’. When it dies, it explodes, but as he explodes, Zelos brievly could be seen, hinting that Nobil was just junk pulled together into a core by Zelos.Norikazu Miura made his Konami debut in 1997 with the score for Gradius Gaiden. Its only barrier has a medium amount of health, and its core has a slightly larger amount. By now, it should be almost dead, so the player should show no mercy. By this time, it'll start grabbing trash again, but it also tries to punch the player when its tentacles have a hint of red electricity. After it's done armoring himself, it charges a six way white and pink laser (2 lasers in front 1 laser top-right one laser at the top one laser down-right one laser down) top and ejects all the trash on it.Īfter the six-way laser, the player should have blown its only barrier off. The trash can be destroyed with minimal effort, but Nobil likes to grab A LOT of trash. Nobil starts off using its four tentacles to grab trash and seal itself with it. It is a small core warship that seems to be possessed by Zelos. It is fought by taking the lower path of the stage. Nobil is the easiest of Gradius Gaiden's Stage 2 bosses.
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