Drakengard follows the story of a kingdomless prince named Caim who fights for the Union against the Empire. Under the Union's protection are the Hierarchs and the Goddess, currently Caim's sister Furiae, who is a human manifestation of one of the four seals that protect the world from being broken. As the game begins, Cain is fatally wounded in a battle with the Empire. Encountering a captured Red Dragon who is also near death, Caim makes a fateful choice. In exchange for both their lives, the Red Dragon and Caim will enter a pact. This pact will forever chain their lives to one another and link their souls, at the cost of something irreplaceable. Recharged with the fires of a Dragon, Caim's vengeance burns over the enemy... The player controls Caim on his quest. The game is separated into three distinct modes: Aerial combat, Ground combat and Event Combat. In Aerial Combat, Caim rides dragonback against a variety of airborne foes breathing fireballs (strong single shots and weaker multiple lock-on shots). The Dragon is agile and is able to evade incoming threats, turning around completely in a moment. In Ground combat, the game is shown in 3rd person though usually large, open areas. Controlling Caim, his primary ability is the use of a variety of weapons found on the battlefield, each with their own magic powers. These are leveled up through continued usage, and specifically through the killing of individual enemies. In ground combat, Caim may also call forth his Dragon to ride and strafe enemies from the air. Event combat is similar to Ground combat, but shown isometrically, restricted to a single weapon and without the aid of a dragon. It is used mainly to tell story sequences.
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"My, my, my", you say as you take a sip from your 300$ cup of Dom Pérignon, "what a misstep from a professional violinist that is..."
Little did you know that only a couple of minutes later you will get blown off orbit by Alfred Schnittke, inevitably staining your way-too-expansive-for-the-average-joe-huh costume.
For a (broad) genre that is so commonly associated with elitism and bourgeoisie, using atonality in classical music has always been a hell of a thing as it directly challenges orthodox forms of Western music but also goes against the conservatism way of seeing everything under the veil of """beauty""".
Most of the droning conversations surrounding Drakengard are about its janky (to say the least) gameplay and whether or not this was Yoko Taro's intent (as if meaning slipping away from the artist's hands would undermine all artistic value).
There's little to no room for discussion about these ear-scorching violins, making a soundtrack exclusively out of unapologetically aggressive sound collages in a world of grand melodramatic orchestras and nice subtle ambient tracks is a hell of a feast from Nobuyoshi Sano and Takayuki Aihara.
Heck, I'd even argue that it doesn't even serve as a mere companion piece for Drakengard, this is as much of an incredible exploration of the cycle of violence as the whole design use of detachment from death games usually provide, and both the soundtrack and the core game are much more effective at doing so than most works wearing their "so subversive" title up their sleeves I've experienced yet.
I want more abrasive and nightmarish soundscapes to drown in, this is pure hell through and through, I am crying, I am curled up in a ball, I feel like shit, I am gasping for air, I need more.