Ending 1 - Johnny and Robert, finally realizing that they have more potential in them than they thought, succeed in defeating the villian and ending his trouble making schemes. However, before dying, he sends them a a cryptic message, claiming that 'he will resurrect within one year'. And with that, he departs. Johnny and Robert wonder what he meant, but the Master sends them another message through their minds. He says that the person that the bad guy was referring to was the REAL enemy. Who they fought was nothing more than a pawn and a decoy to set in motion the events that are to come.
Ending - Feeling that they are doomed, they begin to doubt again, but the Master vows to guide them to their destiny. Their adventure is far from over, and they must travel to the limits of the world, and gain the knowledge and experience they come across to continue. Only then, will they seek who they must. Only then, will they find the Master. And only then, will they gain the true power.
Credits - Just Johnny and Robert running off in the sunset (and eventually the moon) to their next destination as a montage of cutscenes of the game plays. It ends with "To Be Concluded", setting up the sequel.
Yeah, that's pretty much what I was hoping for, Javel.
Action-platform is my favorite genre of gaming, and most of my music ARE NG influenced. I just love how that series told a story through cutscenes and music. And the gameplay was addictive.
If I could make the Kid Power series, I would make it that way, too, although with a lot more humor and emphasis on adventure and friendship.
Sorry for the long bump, I had very little internet access when you finished this.
LV5 frame 09 is bitchin Also, the DPCM pattern 00 could use a Z40 since the samples seem to end on the middle position, which makes the noise quieter by...uhhh...Z40. So that way, there won't be a drop in volume of the noise drums from frame 00 to 01 since the Z40 lowers the volume from the start.
LV7 is nice too. Maybe a P82 when the SQ2 doubles the SQ1
LV8a is pretty good. Especially the SQ2 echoing the Tri at frame 04
Yeah, using DPCM at all will affect the volume of both the Tri and noise. So if you want no change, then you have to use Tilt on the DPCM editor to gradually change the Zposition to 0 (which is at the top) so that when the sample is done playing your Z effect is essentially at 0 and not affecting the other two channels.
And conversely, as I already suggested, if you WANT the quieter channels, then just look at DPCM form in the editor and guesstimate what position the sample ends on. Your kicks looked like halfway. So half of Z7F is Z40.
XERO.....
Just gotta tell you again how much I've enjoyed this project. Bumped. This is still very relevant to our interests, my fellow trackers. All my praise again, sir.
Right when I wanna make something similar to this, I lurk and find out it's been done before... multiple times.
Not that I'm not going to do this, I'm totally going to do this, I just wanna ask what your process was for making the songs all fit with each other. Most of my songs don't really seem to be like they'd be in the same game.
It's not really much of a process. I just go with what I feel and what I can come up with.
Just adapt to what style you have, and you should be fine. If anything, just make sure you have similar percussion and not different snares and kicks when it comes to the DPCM. Try to use the same ones for the whole soundtrack.
Also, the DPCM pattern 00 could use a Z40 since the samples seem to end on the middle position, which makes the noise quieter by...uhhh...Z40. So that way, there won't be a drop in volume of the noise drums from frame 00 to 01 since the Z40 lowers the volume from the start.
