Arlecchino Demo Music Analysis
DISCLAIMER: I am no musical expert in any way, just a massive fan of the Genshin soundtrack and learned music theory as a hobby.
One of my favorite things about Genshin is its music. It is not just that it sounds amazing, but each element, style, and motif has meaning and purpose- while being orchestrated and mixed to create a truly magnificent and unique musical experience. It is no exaggeration that this soundtrack is one of a kind.
Arlecchino's Character Demo has just been released, so I want to make a musical breakdown of it because I think it is a stellar example of how Genshin uses music to signify its themes and present its story. Before we get into that, there are ideas that I must detail for you to get the full picture, so I hope you enjoy!
Genshin uses musical elements to signify certain ideas (places, characters, elements, etc.). For example, Chinese and Japanese instrumentation signify Liyue and Fontaine respectively, but it goes beyond this.
"Travelers' Reverie" — Behind the Scenes of the Music of Sumeru | Genshin Impact
You may have noticed that a majority of Genshin's environmental music consists of real world instruments. There are even videos showcasing the orchestras and instruments of each nation (Mondstadt, Liyue, Inazuma, Sumeru, Fontaine), and using orchestral/live instruments even applies to other regions such as Enkanomiya, The Chasm, Golden Apple Archipelago, and etc. This gives each region a distinct musical identity, but all together it establishes them as places that are grounded and real.
During the final act of Fontaine's archon quest, we have been introduced to a new musical identity. This is Genshin's dubstep, and it has been used to signify otherworldly power. This genre not made by a real orchestra or real instruments, but through sampling (using existing sounds/music) and technology.
This is the identity in its most blatant form: (Shadow phase of the All Devouring Narwal boss fight)
This entire track symbolizes this. No other track within Genshin's world sounds remotely like it, symbolizing its otherworldly nature. It does not belong here- not with the live orchestras and melodic symphonies of Genshin's world.
Simply put, hardcore dubstep = otherworldly
Note: I am aware that many character demos and other tracks also use dubstep/EDM, but for the purposes of this post I think it should be left separate. Only if someone openly disputes this conclusion then I would happily oblige in presenting more evidence to this thru a reply or rb. Essentially, dubstep IS used in other tracks, but only in Silhouette of Catastrophe and Arlecchino's demo is the dubstep used as a"main idea", while also accompanied by heavy bass and "smaller intricate" sounds. This specific form of dubstep is what signifies being otherworldly.
Another musical element is children's singing!
In terms of the in-game ost, children's singing is used most prominently in Dragonspine's soundtrack in Genshin's world- and I will admit that I am not sure why that is. Perhaps Dragonspine has themes relating to innocence? Childhood? Tranquility? Whatever it is, I am not sure of. (If you have an idea, I would love to know!)
Instead, we can look at a certain character demo:
Nahida's! The beatdrop of her demo begins with children's singing. I believe this represents her innocent nature, status as a young archon, and the children of the forest that surround her- the Aranara.
Not only that, but the only other people in her demo are all children. Suffice to say, Genshin pays very close attention to using their music to reflect the themes and attributes of their characters in their demos (I could make more posts about this- breaking down more demo music...I think that'd be fun)
It's fairly straightforward, but essentially children's singing = children, innocence, and childhood
Now let's (finally) look at Arlecchino's demo
Let's first review each of the main musical elements and what they represent:
Dubstep and distortion: Otherworldly power. For Arlecchino: her curse, power, and dominance. "A spark cannot shatter all shadows until it sets all ablaze"
Children's voices and music box: Children. For Arlecchino: a lullaby; possibly protectiveness/care or tainted innocence (depending on how you interpret how she sees her children)
The music begins with a solo piano- lonely, melancholic, and mysterious. This is how she is after the death of Clervie and the rest of the children of the HotH.
Afterwards, the piano gets distorted- then replaced with harsh artificial beats and musical turmoil. This may be reflected on how she defeated her "mother" using her otherworldly power- her curse.
Following this is the anticipated beatdrop. Fascinatingly, it is not actually lead by dubstep, but by a distorted music box with a creeping melody. Not only that, but it is accompanied by a children's choir and a drum beat together.
The dubstep then ramps up- completely overtaking the track. But one it has reached its height, it is interrupted by the music box and singing children.
One can interpret this as her children holding her back from unleashing her true power. When she is most ruthless and violent, she is reminded of their playfulness and innocence.
The choir ends abruptly- but afterwards, the children's voices and music box lead the melody, while the dubstep and distortions accompany it harmoniously to create one whole piece.
This is who Arlecchino is. A Father and Harbringer defined by "caring" for her children and her otherworldly power. A love that nurtures and neglects- a power that frees and destroys. A wolf in sheep's clothing, or a sheep in wolf's clothing?
However the demo doesn't end there- the solo piano returns once again.
"Its flame is no longer needed, for you have the strength to defend yourselves"
This is going into speculative territory, but perhaps after she passes on her title as "king", she is once again lonely, left without a family. After all, she may no longer be needed or wanted at all- not after all that she has done, not after all that she has failed to do.
Conclusion
I love Genshin's music from the bottom of my heart. One reason why is the attention, detail, and beauty put into each track. Each piece is not only an experience, but also a story, an idea, a character, a place, whatever the artists wish to portray.
Arlecchino's Character Demo is one but many pieces that showcase this. In this track, we are able to discern Arlecchino's two core ideas, her relationship with her children and otherworldly power, through an incredible combination of singing, a music box, and dubstep. One can even theorize the course of her story through its visuals and music, in the end creating a beautiful and encompassing display of "Arlecchino".
23 notes
·
View notes
I want to rant for a bit here about some of the gameplay elements of Stray Gods that advance so much of the story and character choices that make this story so amazing. Others have probably noticed these things and put them in better words than I, but I've been listening and relistening to various versions of the soundtrack and have an obsession to feed, so here we are.
Much has already been made of the madly impressive fact that the songs are a complex and winding series of choices, where distinct instruments and styles are made to flow neatly from one choice to the next, and each choice you make can drastically change ones you get down the line. And for good reason, that is crazy and amazing and I love it. But what I want to talk about is the way the choices you have, and how they aren't as simple as you might first think, builds characters and relations throughout the game and enhances the story.
To start with, we all know you generally have three options, or flavors, to choose from: Red/Blue/Green. At the start of the game you choose on of these colors to be the sort of core personality of your version of Grace. Green is charismatic, friendly and well meaning, Red is tough and willing to be brash and bold, and Blue is clever and cunning. The nature of this matching of colors to personality is reinforced with several early choices in your interactions with Caliope, Hermes, and the Chorus.
But as the game continues, it quickly becomes apparent that these options get a lot more meat on their bones and that they are not as cut and dry as it might seem on first glance. Yes, Green tends to be more about being friendly while Red is more about a fighty Grace. But the key thing I think, and what really fascinates me, is that it goes deeper on each of these options in relation to who or what Grace is interacting with. Red choices are often confrontational and direct, but that doesn't mean antagonistic. There are several points throughout the game where Red options are definitely cutting through the bullshit or trying to start a fight, but there are also a lot of times where it's a direct and measured response from Grace to try and cut to the heart of an issue.
Blue meanwhile often presents plainly as the clever, thinky option. Again often very true, but I think it also represents the restrained and strategic option. Several blue options are about weighing what is going on, or Grace stepping back to take in her different paths. Green meanwhile has a lot to do with empathy. In my first playthrough I often found myself leaning towards Green options solely because they were instinctive, gut reactions on how to handle people going through something difficult, or to try and mellow out a situation.
All of this is to say, it is utterly fascinating how these choices interact in different scenes in ways that immediately lean into both the character you are choosing for Grace to be, and those she is interacting with. Take Medusa for example. The pure Red track of that fight is all but an actual fight. Grace is taking this in a very hero vs. monster direction and throughout is almost eager to get to actual blows, meanwhile Green leans much more into the angle of Medusa as a victim, a tool being poorly used by the woman who first wronged her anyway. And Blue is manipulative. It sees the paths before Grace and says "I don't need to fight this person, I can use her hurting to get what I want."
We see this even more clearly in Aphrodite's song, and in your first meeting with Persephone, but in different forms. In those songs, while Red is still extremely antagonistic, it takes on much different contexts. With Persephone, Grace is still spoiling for a fight, but a lot of it comes off as less heated. Yeah she is trying to rev up Persephone and cut her down, but it feels a lot more like a poetry slam or rap battle than lines preceding an all out brawl. Meanwhile with Aphrodite it's Grace trying to cut through flowery words and get to the heart of what she sees as the problem with this whole situation.
And to top all of this off, and not go on forever since this is already more than long enough, the way the latter half of the game has you choose another personality trait for Grace, the story not just telling you she has changed and grown but actively making it an element of the game by expanding your special option choices, is brilliant. It naturally, on a first playthrough, leads you into picking a secondary option that is most in line with the way you have been taking Grace as things unfold. If you started the game eager to fight but have since seen the story unfold and feel a calmer, more empathetic approach is warranted, you'll naturally pick that option because it feels appropriate, and same for any other combination. It not only opens up more gameplay, but entwines gameplay with story, and allows you as the player to feel the journey Grace has been on. As yet another link to classical epic poetry it is a slam dunk, and as a gameplay mechanic that reinforces your connection to the character, it's a double slam dunk.
27 notes
·
View notes