Overview

After the two moderately successful Metal Gear Ac!d titles, Hideo Kojima embarked on another PSP-based Metal Gear titles while this time preserving the characteristic gameplay of the Metal Gear Solid. This brought 2006's Metal Gear Solid Portable Ops, a prequel set in South America that was accomplished technically and graphically. Its score featured six composers in total. It reunited most of the Ac!d series' musicians, brought back Norihiko Hibino after his successful scores to Sons of Liberty and Snake Eater, and introduced a few newcomers. Rather than be a stylistically diverse score, however, it was directed to retain the familiar style Hibino had developed for the series. This results in a fluid score, but does it sustain interest during its length?

Body

The soundtrack opens with the ending vocal theme "Calling to the Night", composed by Akihiro Honda, directed and arranged by Norihiko Hibino, and sung by Natasha Farrow. It's an evocative theme with semi-operatic qualities, somewhat reminiscent of the haunting compositions of Phantom of the Opera. The melody is stong despite a few contrived moments while Farrow's performance adds to the passion of the theme. However, the instrumental arrangement is its most impressive aspect. The orchestration is well done while the prominent saxophone work in the introduction is delicious. The theme peaks around 1:14 with the addition of piano, drums, and backing vocals in a spectacular moment. Unfortunately, its melody isn't too flexible for integration in instrumental themes. Honda references it again on an ethnic string instrument in "Nukes" arrangement on an ethnic string instrument feels unconvincing

"Imprisonment" encompasses numerous abstract sounding sections, but the core elements are actually very superficial — whether prepared piano chords, reverberating ambient noise, or a digging electronic motif — and do not actually come together.

Summary

Overall, the official soundtrack to Metal Gear Solid 2 Sons of Liberty feels a little empty. Its focus on Gregson-Williams' compositions makes a definitive statement of 'games can do Hollywood too', reflects favourably on how well the music fits some of the game's cinematic sequences, and seems representative of the dark futuristic feel of the game. Nevertheless, the sheer majority of Gregson-Williams' compositions use derivative cinematic underscoring techniques through mixing electronica, ambience, and mostly strings or brass. This makes the soundtrack unfulfilling from a musician's perspective and, from a layman's perspective, rather colourless. Every piece has some merit, but the collective effort isn't especially good. As a consequence, it's left to the clear highlights of the score — chiefly the main theme, vocal theme, "Opening Infiltration", "Here Comes the Big Boss!", and Hibino's contributions — to redeem it from mediocrity. With Hibino's 'The Other Side', the work of a far more creative, colourful, and individual musician is reflected, but the highlights are subtle rather than obvious. I'd thus be inclined to recommend 'The Other Side' above this, but still think the official soundtrack is a decent purpose for someone who wants the highlights and doesn't mind generic cinematic music.