Instead, you just solve one puzzle in one basic location and move on to the next one. No taking a trolley from one island to another over and over again just to pull a single level. The environments are still lush and interesting, but this time a bit more contained. This was always one of my favorite installments in the Myst franchise because it really simplified things after the often-agonizing Riven. Exile takes the best of both those worlds and mends incredible puzzles with an engaging environment. It's sequel Riven took things to a new level by creating an incredible interconnected set of islands with puzzles weaved through them all. In addition, the chord structure can occasionally be very dependent on the half-note anticipation, but again, it is always fitting and never seems overbearing.The original Myst created a genre all its own. The final pieces “The Tide Has Turned”, “All is Well My Friend” and “Going Home” are all superbly done and really my only complaint is how short they are.Īll in all, this is a fantastic soundtrack, my only complaints is that, similar to Nobuo Uematsu in Final Fantasy VII, Jack Wall seemed to take a particular liking to a saxophone sound and incorporates the soulful sound in many pieces, blurring the distinction between exclusive tracks. Considering the game’s ambiguous and puzzle-based nature, it is a formidable task to compose an entire soundtrack without using the same “tricks” while maintaining the key atmosphere. “Voltaic” is reminiscent of Holst’s “Neptune.” You realized you just listened to a good piece of music, but no aspect of the melody or harmony stays with you, and the composer knows enough about the trade to differentiate between random chords or pushing the symphonic elements to the limit in good taste.Īs the soundtrack continues, the composer Jack Wall continues to show off his considerable versatility and talent. Of additional note are “Theme from Amateria” and “Theme from Voltaic.” The Amateria Theme is striking, initially containing some dissonance between oboe and English horn over light percussion, then like a blurry picture suddenly coming into focus, the melody comes through, overlaid by a well placed choir that defines the piece, rather than interfering with it. The soundtrack continues with its inspired sounds: “Atlus’ Study” is a little vaguer, with a lot of high pitched woodwinds and bells, and the “Saavedro” pieces (theme, lair, entrance) are dark and menacing without sounding too contrived or obvious. The instrumentation is solid, upbeat and light with woodwinds and strings complementing each other through harmonies and melodies, with both loud group choral and single voice choral throughout. The “Main Theme” is a fantastic beginning it is enticing, mesmerizing the listener with its renderings of what is sure to be a strange and fascinating journey. This soundtrack astonished me with its grounded and believable orchestration. At this time, the old adage “don’t judge a book by a cover” was quite relevant.
MYST3 EXILE PC
Having only played the original Myst on PC years ago, I entered the aural realm of Myst III with preconceptions of vague etherealness and expectations of a more Avant Garde approach.
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