Are we allowed to specifically ask for everything that's left? *shot* Eh, seriously though... I'd really like to hear an analysis of Reincarnation... And you can't forget Complete Darkness or Dimensional Dream under alternate themes either 
I'd also LOVE an analysis of Sariel and Konngara's themes from HRtP... And Rika and Meira from SoEW... Okay, maybe not, if you really don't wanna do too many more chiptunes, I guess you could skip those two. I just happen to think that ZUN was actually pretty freaking good at using chiptunes. I personally think that a lot of PC-98 tracks are better than a lot of Windows tracks.
Also, could you at least finish up LLS by doing the themes for the Extra bosses? Not that I much care, just the OCD in me that seems to be applying even to what other people are doing that doesn't wanna leave a game in progress unfinished :V *shot*
Aw, all right, will do Mima, Sariel and Konngara. Also Mugetsu and Gengetsu. Also I agree, ZUN is
really good with chiptunes. Still don't like 'em very much though. :V
Onto Yuka - I was asked this question previously, but for those of you wondering why I?m doing this analysis when I already have a profile of Yuka: much for the same reason as Alice ? PC-98 is a different continuity, so this Yuka is approximately a different character, no matter how similar she may seem to her Windows incarnation.
Yuka Kazami ?
Faint Dream ~ Inanimate DreamThe structure and pacing of this piece make for a relatively difficult analysis, as the different parts flow in and out of each other, never allowing a break, confusing and unbalancing. This, I believe, is the key to understanding this Yuka?s personality ? she is extremely unpredictable, in the worst ways imaginable. It is not possible how she?ll react to a given situation, and, considering the possibilities range from ?doing nothing? to ?out-and-out violence,? Yuka begins to come across as a dangerously unstable Youkai. This, ultimately, is why I believe she?s so feared and shunned. There are also certain similarities to her incarnation in PoFV, and I?ll bring those up as they come along.
The introduction carries a very characteristic growl in its accompaniment, a menacing sound that presents an unambiguous impression that there?s an almost animalistic rage and a great power bubbling just beneath Yuka?s surface. Much like with the other Youkai who have exhibited exceptional power, e.g. Yukari or Yuyuko, that power is tangible, coming off Yuka in waves, sometimes seeming to spark with the higher-pitched ornaments before grounding in the deeper registers. Yuka has clear control over her power, but demonstratably does not control it very much, leaving the listener to tiptoe around her, hoping not to aggravate her too much lest she explode. I believe Yuka adopts such an attitude with others due to a complex of some sort, a need to establish herself as the dominant one in a situation - her aggressive stance dares others to slight her, and simultaneously mocks them for not having the guts to do so. It?s a simplification to call her passive-aggressive, but it?s a start in the right direction of describing her mental state.
Suddenly the aggression disappears and the melodic first part starts up. The sound of the muted trumpet adds a certain heaviness to the melody that is, due to a quick pace and tendency to hop large intervals, rather flighty. Furthermore, the major key and lack of commitment to a coherent harmonic line make this an unexpectedly light-hearted motif, coloured, of course, by Yuka?s heavy presence. This motif quickly flows from the introduction, which makes me think that this is a smooth character transition, not two separate situations simply shown one after the other. Such a character transition is unsettling, as there is no rhyme or reason as to why it occurred; there were no logical chord progressions or other indications of the sudden metamorphosis. It is not possible to say at the moment what Yuka herself thinks of these changes, whether they?re conscious or not, but they are an obvious continuation of the theme of instability.
The pacing changes again when the characteristic third theme comes in, repeat upon repeat of a short motif made intense by the tendency to culminate at high notes after a buildup from a lower pitch. The piece moves back into aggression by the shrill sounds of the main ?instrument? and the persistent minor key, giving the impression that this part is a harsh cry for attention, repeated over and over to inspire a feeling of mania behind it. At this point it seems that Yuka, for no discernible reason, is losing control ? at the culmination of the little motifs we get a scattered burst as if sparks shooting off every which way due to an uncontrolled burst of energy, as if Yuka is just raving, completely oblivious to potential harm to others, just as long as
she gets what she wants. This is where certain similarities can be drawn to PoFV, where a major aspect of Yuka was her obsessive narcissism, which is somewhat similar the selfish demand for attention and self-empowerment that is present here.
I probably do not need to explain how what happens next just adds to Yuka?s image of instability ? in a few short moments the piece moves from rant-and-rave to hostile-but-in-control,
and then back again. It is as if Yuka
enjoys dancing on the brink of madness, and mostly likely is naturally thus ? no sane person can do what she does that convincingly.
This is why I feel Yuka is an exceptionally dangerous Youkai due to the combination of her personality and access to a vast amount of power. She cannot be controlled or predicted, so she is like a bomb with a glitchy trigger mechanism ? you never know what could set her off,
and it?s likely to not be the same thing every time. One just has to keep their distance and hope she?s not feeling confrontational.
