Overview

The Super Nintendo's Breath of Fire II continued Capcom's dragon saga in 1994 to largely impressive results. Of all the scores in the series, Breath of Fire II's has the most noticeable continuity with its predecessor. Among the similarities include the focus on orchestral elements, the use of RPG staples, and the employment of similar synth samples. However, the ensemble team who scored the original Breath of Fire were replaced by a single composer, Yuko Takehara. While a talented composer, not all her contributions to this score are a clear progression from the predecessor. The initial soundtrack release for the game was incomplete, featuring one disc of music, though Capcom eventually resolved this by releasing a complete box set. The original version nevertheless features most of the major compositions and is of potentially some merit...

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As evidenced from the opening themes, Breath of Fire II continues the epic orchestral focus of the series. Yet whereas Breath of Fire featured elaborate gothic-tinged orchestrations, the treatment of the orchestra is often plain and straightforward here, if still effective. With its relentless chords and thunderous percussion, "The Destined Child", for instance, makes a massive impact despite its brevity and unoriginality. Other tracks such as "Coliseum", "Century of the Patriarch", and even the staff roll "Thank You, Everyone" also feature loud top-heavy orchestration that is highly striking in the game, but are a little obnoxious outside it. In general, Takehara's approach sometimes feels a little lazy and unartistic compared with that offered by Yamaguchi on the previous score. However, it's not an absolute regression, since the music works almost flawlessly within the game.

That said, Yuko Takehara had an above-average command of orchestration for a game music composer back in the day and some of her works are especially reflective of this. "Kingdom", for instance, is a classically-oriented town theme with period phrasing and chamber orchestration. The most remarkable feature of this composition is the way it develops from a frivolous A section towards a much deeper B section, culminating in some striking fanfare figures at the 0:31 mark. "Clumsy Dance" is also far more intricate than the context demanded and could have sufficed perfectly fine as a short bouncy ditty; the fact that Takehara took the time to score a wistful development section makes the track worthwhile out of context, though. Other tracks that go way beyond the call of duty include "We're Ranger" with its delightful flute trills, "Let Me Sleep..." with its dreamy harp work, and "Left Unspoken" with its electric piano contemplations.

The most disappointing aspect of the entire Breath of Fire II score are its action themes. Given the rest of the soundtrack is dominated by traditional orchestral music, the rock stylings of these thankfully few themes provides quite an awkward contrast. "Cross Counter" packs a lot into its short playtime, entering a number of contrasting sections; however, none of these sections are strong enough for a normal battle theme and some of the treble synth sounds quite gimmicky. "I'll Do It" is one of the better implemented rock tracks on the Super Nintendo and has a real thrust, but unfortunately is let down by its fairly repetitive riff-based composition. "Lethal Dose" is a better fit for the score with its orchestral stylings, but is surprisingly low-key for a final battle theme, transitioning between slow-building brooding section and more urgent ones, without ever really sounding climactic.

Finally, it should be noted that there are occasionally moments in the score that reference the themes and styles of the original Breath of Fire. "God of Decadence" is the closest the soundtrack comes to emulating the gothic style Yamaguchi built up on the previous score. This is an invention featuring interweaving choral and pipe organ writing. The composition is among the more authentic-sounding Baroque imitations on the Super Nintendo and the synthesis of both elements is also highly impressive. Following the gorgeous "The Closing of the Dragon's Eye at the End of the Tale", there is also a delightful arrangement of "Starting the Journey" in the penultimate track "Breath of Fire", featuring more intricate countermelodies and enhanced synth. It would have been a worthy main theme for the series had it not been dropped in subsequent scores.

Summary

Breath of Fire II does often resemble a vanilla orchestral RPG score, especially when sandwiched between its gothic predecessor and jazzy successor. However, it's extremely evident during the course of the soundtrack that Takehara is capable of producing ambitious and elaborate compositions too. It's just a pity that a lot of the remaining material is quite superficial and lazy — albeit sufficient in context — perhaps due to demanding schedules. However, there is enough gold offered here to make the soundtrack still worth purchasing, especially after playing the game. The one disc release, while incomplete, features most of the important pieces from the game and less of the filler. However, completists may prefer to purchase the box set version instead, where the full two disc soundtrack is featured alongside four other great scores.

Overview

When looking back, I must admit that I have only fond memories of playing Breath of Fire II on the SNES; the captivating story with its mythological duality, the diverse cast of anthropomorphic protagonists, and the straightforward, classic RPG feel were all essential contributions to one of the most wondrous tales that emerged from that era. Such parts of a whole determined how a game would turn out: all the pieces must be there, each with there own unique shape and quality, each designed in preparation to fit into the greater picture. And thus, integral too was the musical score, beautifully complimenting all of the aforementioned aspects in a way that heartily strengthened the structural foundation of the game and paved the way for the enthralling presentation of one of the video game world's most memorable adventures.

While the first Breath of Fire game was scored by four members of the former Capcom Sound Team Alph Lyla, the second iteration of the series was handled by Ms. Yuko Takehara. While the two share similar characteristics for consistency's sake (and even the brief appearance of a theme from the original game), Breath of Fire II still maintains an overall different feel from its predecessor.

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From the driving ferocity of the title music, "The Destined Child", the player is immediately aware that his or her journey will be one of epic proportions, one that tests the minds and bodies of the heroes to their limits — and often beyond. Everything here is golden for the most part; the charming, delicate village theme "My Home Sweet Home", the highly catchy and baroque-inspired "Fly Pudding", "Kingdom" with its classical orchestral feel, the dark organ and choral fugue "God of Decadence", and the solemn and mysteriously tragic dragon theme "Daybreak" all come to mind. Rather off-kilter sounds (for RPG music, anyway) are detectable at times as well, such as "Century of the Patriarch" which mixes some nice string colors emplying open fifths and minor third modulations, while the mystical "Let Me Sleep So I May Dream" plays flute and oboe in a harmonious duet over quiet strings and lovely harp glissandos. The three Overworld themes all do their jobs too, especially the title piece "Breath of Fire" with its striking main theme and the grandiosely dramatic "Our Journey". Throw in some excellent and rocking battle themes like "Cross Counter", "I'll Do It!", and "Dying Corpse", and you've pretty much sealed the deal for a great RPG album.

While all of the other tracks weave there way into the game fitting scene and emotion well and precisely, there's one in particular that was presented in such an attractive fashion that it deserves a little extra consideration. So, let's take "Memories" and its corresponding scene: as the player advances through the first village into the grasslands behind, black and white tones hushing the modest 16-bit graphics, a soft, innocent music box melody begins. The player makes their way to the edge of the tall grasses, the melody continues. And then, upon reaching the edge of the field, a blossoming suspended cymbal leads out of the echo of the music box and into the heart of a warm, rich, and simplistic orchestral passage as the color scheme takes full bloom; it's at that point that the game comes alive, the drama of the brilliant direction inspiring genuine awe.

Realistically speaking, there is very little content here that can be considered musically novel or inventive by any means. However, it would be essential for me to point out that, while there is indeed nothing compositionally groundbreaking, the model archetype of the stereotypical SNES role-playing game soundtrack is one that cannot be entirely superimposed onto the score of Breath of Fire II. The reason for this is simple, but elusive: the music just has something more. While this could be any number of things, I am positive of the existence of something unseen, something that boils silently beneath the surface to keep the music alive and meaningful. Maybe it is the psychological tie with the experience of the game. Or, perhaps, it's that graceful cymbal flourish here, that carefully written grace note there, the sensitive chord progression in this piece, the perfectly timed resolution in that piece... you get the picture. It's in that nameless detail that I fervently believe in this soundtrack's effectiveness (just as I do of the first Breath of Fire soundtrack), and where I draw the means from which to recommend it as an RPG music classic.

The single negative issue I have with this album revolves around Capcom's rather irritating and perplexing decision to not include all the music from the game (a mistake unfortunately repeated for the next installment's soundtrack release). What makes even less sense is that the disc as a whole only clocks in at around 50 minutes — they could've easily fit a handful of additional tracks in, and that would've easily been enough to make it a complete soundtrack. Fortunately the tracks that made it represent most of the good portion from the score. While the presentation might diminish the value of the album, you're already going to be paying a large sum of money for this out-of-print gem. It may therefore be better to head for the Breath of Fire Original Soundtrack Special Box for a complete version of the score.

Summary

As previously described, upon listening to this album you will be witnessing a legend being born from beginning to end, only without the visuals. But a story delivered entirely with sound has its own value, one that I've come to know over time through the musical narratives of countless games, this one included. If you've played the game, you're experience of this album is certain to be enriched; and if not, perhaps it's not a worthy listen for you. Ultimately, however, I won't deny the value of Breath of Fire II's soundtrack: dark and yet light, energetic yet elegant, simple but epic. And thus, a classic is born.