Final Music

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Postby Guy Nacks » Tue Dec 30, 2014 6:51 pm

View Original PostClover wrote:The music from Until You Come to Me was pretty good, minus the steel drums which just remind me of The Little Mermaid. I want more subdued music like that for Final, and less POUNDING EPIC VOCAL ARRRRRGGHH music.



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Postby Nuclear Lunchbox » Tue Dec 30, 2014 9:11 pm

I could easily go for subdued music, but often times in Eva, the score is as much a part of it as the dialogue and the animation. I'd love to see another grand Sagisu score in Shin.

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Postby FreakyFilmFan4ever » Tue Dec 30, 2014 9:23 pm

Eva Q kind of set Eva Shin to be a tad more subdued. Thinking back, every NTE film ended on even more subdued music than the last. After all of the 6th Angel craziness of Eva Jo, we mad a quite piano tune lead us to the cut of the moon. Eva Ha ended with the slightly more up-beat “Give Me Wings” music, and Eva Q ended with the double-whammy “Kindred Spirits” and “Sakura Nagashi.” (I usually don’t count end-credit scores, but, unlike “Beautiful World”, “Sakura Nagashi” was cued before the cut to black.)

That being said, the subdued nature of EoE that I feel like we might be wanting for Eva Shin came from a sense of hopelessness, or a succumbing to inevitability. If Eva Shin isn’t going to explore those same feelings EoE did, then maybe something as subdued as Bach’s Air playing during a battle scene isn’t quite the best choice for this particular film.

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Postby ElMariachi » Wed Dec 31, 2014 9:24 am

View Original PostFreakyFilmFan4ever wrote:That being said, the subdued nature of EoE that I feel like we might be wanting for Eva Shin came from a sense of hopelessness, or a succumbing to inevitability. If Eva Shin isn’t going to explore those same feelings EoE did, then maybe something as subdued as Bach’s Air playing during a battle scene isn’t quite the best choice for this particular film.

I think that it won't be like EoE: as you noted EoE's subdued music was to convey the hopelessness and grim inevitability of the events to come, of how what Misato and Asuka did was too little too late to have any influence beyond merely slightly delaying the bad guys plans, of how there was too many players wanting to 3I to happen for their own plans to come to fruition (SEELE, Gendo, then Rei as it was revealed at the last minute when she betrayed Gendo) for it to be prevented.

But Shin Eva is advertised in a completely inverse way: this time the good guys are numerous, equipped and the last battle is presented as an epic that will determine the fate of the world, not as a last almost spiteful spasm of resistance from the good guys in front of the upcoming and inevitable apocalypse.
So I think that we'll get our fair share of bombastic music from Sagisu, although that doesn't prevent more subdued song to be present, in the moments of calm before or between the big fights, when the characters talk to each other as their were denied that possibility in Q for example.
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Postby Nuclear Lunchbox » Wed Dec 31, 2014 2:14 pm

Let's not forget that EoE gave us some powerful scores during the attack on Nerv, and when Shinji began rejecting instrumentality, though. My point is that every form of Eva that we've seen has its loud, over-the-top scores, and its quieter, more restrained ones.


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