That feeling is absent in the Okamiden soundtrack. Although it helped that everyone involved stuck to the same basic compositional palette of Japanese instruments, there was still a noticeable lack of cohesion between the composers' contributions. There were too many short pieces that felt underdeveloped, and long stretches of its five disc running time were underwhelming. While the Okami soundtrack was an excellent accompaniment to the original game, it suffered from a few problems when divorced from that context. So the sho, the shakuhachi, the shinobue, and the hichiriki all sound like the actual instruments (well, samples, anyway), and not like poor imitations. Of course, since the soundtrack is for the DS, there were more constraints than before, but the most problematic aspects are avoided here on the soundtrack, which consists of the pre-conversion demo tracks instead of the versions from the DS sound chip. The soundtrack was created entirely by Rei Kondoh, one of the four composers who worked on the original game, although it includes several arrangements of pieces and themes from its predecessor. Although the music is traditional in effect, it is primarily western in construction, partially because Japanese traditional methods are very rigid, and partially to add tonal harmony, which is largely absent from traditional music.īoth game and soundtrack were well received, and the decision was made to make a sequel for the DS in order to make use of its touch screen capabilities. 2006's Okami combined the action/adventure gameplay of Zelda with a uniquely Japanese twist the story was based in traditional mythology, the graphics were inspired by sumi-e (ink and wash painting), and the music used Japanese instruments throughout, focusing especially on the shakuhachi and shinobue.
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