A look back at: Might and Magic Book One: The Secret of the Inner Sanctum

 

Here we go! I dive into yet another CRPG series that is super old and takes well after the classic Dungeons & Dragons formula. And yet, despite all this, the game really is a lot like Wizardry, or at least the first few Wizardry games! Lots of getting lost with dungeon crawling, annoying enemies with nasty attacks, a few sidequests to provide degrees of nonlinearity, it's all here, in this multi-ported Might and Magic game. A whole lot of this stuff seems completely inspired by Wizardry, which really wore the pants better in my opinion. At least so far, since this is only the first Might and Magic game I've played and I'll get to the others later. Better options for classes and races. Better usage of magic (this one with the numbers take some to get used to, if we're being honest).

Naturally, the diverse element of customizing your party right at the beginning probably is not just the biggest hassle, but the biggest strength for this game overall. Beats grinding like crazy at least. What would I do without a buttload of customization? Even though you can grind up your stats and all many enemies can really kick your ass, or in some cases, eradicate your characters. Like deader than dead, like failing to revive an Ashen character in Wizardry, well, not really, in this game you CAN bring back eradicated characters. But that's one thing that can take you by surprise, if the old school difficulty doesn't already prove that.

Not too much in this game's plot overall, since this is all divided into "books" each plot ends up different for each segment. Thankfully that makes some of these games short, assuming you cut all the grinding out of it. Find the secret of the inner sanctum? Sure, an almost typical adventure plot. I definitely will plan to play more in the Might and Magic series, even going as far as to playing the tactical Heroes of Might and Magic when I get to them somewhere along the line. And then when I finish with this stuff I'll move on to Ultima, hopefully rounding out all of the old school CRPGs that got directly inspired by D&D then!

Doom Musings: Soundtrack rankings: Icarus: Alien Vanguard

Icarus had always had one of the weirder soundtracks in the Doom community wad database, but you gotta give TeamTNT credit for crafting a completely original soundtrack for the many players of Icarus. A neat way to even remember Icarus, especially specific themes that would be remixed a few more times down the road. Once again, 35 tracks to rank, personal opinion, but I try to be objective sometimes too.

35. Title track

An unnamed title track by David Shaw incorporating the main Icarus theme, which, well, title track. It's relatively slowgoing for a title track, okay composure, but still, title track.

34. Icarus Theme (text music)

Okay, apparently the text screen music IS the Icarus Theme through and through. Which means yes, this theme gets remixed several times throughout Icarus' levels. And they all do it better. Still, this is the benchmark, even though it is only used for the text screen, and speaking of, Icarus didn't really have a custom text screen, so most players will just skip right away not hearing this original theme all that much.

33. Untitled intermission theme

This one intrigues me. It's a fairly simplistic and alright intermission, driven entirely by drums and cute little piano notes. But who authored it? Even Jeremy Doyle, who revealed the complete credits for the soundtrack, doesn't know. Was it Jonathan El-Bizri? Was it Brian Kidby? It is a mystery.

32. The Art of Fugue (MAP22)

For the record, that is a Johann Sebastian Bach classical piece, midi-sequenced by El-Bizri. There's...not much to really say about it. It fits the level it's on, with its medieval graveyard and setting, but other than that, it's a lot of meh honestly.

31. Untitled MAP19 theme

None of Jonathan El-Bizri's tracks seem to have known titles. He just sort of composed them and put them into the levels and they more or less fit. Here we have ominous organs fit for a chapel section, but again, very meh when compared to the rest of the soundtrack.

30. Untitled MAP06 theme

This track is strangely long for the rather short map it's in. Freaky bells, a few xylophone notes, some weird guitar notes come in too. It's really a strange track and doesn't get a whole lot of mileage overall.

29. SUPER Slow Evil (MAP27)

Incredibly ominous and rather fitting for the ominous Starhenge level. But wow, I am surprised that this track lasts less than a minute. And that's for a non-intermission midi, title midi, or text midi.

28. Untitled MAP18 theme

Tambourine chimes, it sounds like to me. It's a track that basically builds up and feels incredibly suspenseful the more it drones. But I don't like the way it fades back down, could have been better. Peculiar little track in any case though.

27. Untitled MAP25 theme

One of the notable things about simulation levels is how wacky they are. Both in their gameplay gimmicks and also their soundtrack. Well? This isn't on a simulation level, but a planet level. If you ask me, MAP25 feels like it should have some sort of Heretic-sounding music track. Here, we get an overdose of drums and some weird music doots, plus a weird guitar solo. Geez, Jonathan.

26. Ripsnort (MAP21)

Rock out with this weirdly-titled music track in yet another case of a music track that would befit a nasty simulation level rather than...a rather tame ship level. Yeah, Engine Core wasn't really all that tough, very quick to go through. This track definitely is fun though.

25. Face of Evil (MAP30)

Every time I see a track used in an Icon of Sin map, I sort of wonder, which really is better? Is it an action-packed track that befits the nature of having to fight lots of spawned monsters as you attempt to get rid of the brain? Or something ambient, Opening to Hell-esque in other words? Face of Evil isn't a failure of a track, but like most in the Icarus soundtrack, rather strange.

24. Hell (MAP14)

Take note, there are two tracks named Hell. The other one is the MAP03 track by Jeremy Doyle. This is by Tom Mustaine. It's definitely got the Evilution feel, suspiciously sounding like Infinite which is Tom's own track of course. But Infinite is better.

23. Gresta (MAP31)

I could be wrong, but this one sounds a lot like a classical piece I remember from orchestra class called Moonlight Sonata. Maybe I don't remember much about the actual classical piece (heck I don't even remember the author) but in any case, Tom's instrumentation certainly remixes whatever classical piece I'm thinking of quite well.

22. Untitled MAP09 track

Charles Li made two music tracks for two simulation levels and given the wacky nature of the simulation levels, they certainly fit quite well. That being said, for this one, was Li a fan of disco? Certainly seems like it. Makes you want to dance the night away.

21. Slow Evil (MAP10)

The weird thing about Slow Evil to me has to be how the other "Evil" tracks were constructed. Classic Evil has an easily recognizable melody, reused in Slow Evil II, and sort of used in SUPER Slow Evil (hey, read the titles of these tracks dammit). Slow Evil though sounds a bit more unique, but the melody is a bit easier to forget in my opinion.

20. FastTrack (MAP28)

FastTrack is almost typical Tom Mustaine quality instrumentation, featuring low tuned guitars and rhythmic drums to keep the player pressured. Easily fits the level it's on. That being said, it's a lot shorter than I expected.

19. Creep Jazz (MAP32)

Here will be yet another remix of the Icarus theme. Befitting for...old timey bar music? Very awkward and interesting. Although the simulation level it's on isn't really the kind of setting, the jazziness just sort of eggs you on while you battle a bunch of cacodemons throughout. Real neat.

18. Untitled MAP26 theme

Sounds like a generally good techbase theme...WHOA WHAT'S THIS GUITAR SOLO?! Comes out of nowhere and is super fast, before it gets some of that Icarus theme near the end of its runtime. Jonathan sure knows how to surprise his listeners.

17. Slow Evil II (MAP17)

A track which has drum beats reminiscent of a better Evilution song, Horizon. But it definitely tells you you'll be dealing with evilness, and is perhaps one of the more ominous tracks overall. I enjoy, just like I enjoy anything in the Icarus soundtrack.

16. Melting (MAP04)

Here we have a jazz/disco fusion of the Icarus theme that fits its level nicely even as awkward as it sounds. You'll know when the guitar work kicks in that it's the Icarus theme, but of course, this track will still make you get down to business without a fuss.

15. Fast (MAP16)

Here's a rocking track fitting the level called Bootcamp, a simulation level rife with hitscanners and monsters all around as you loop the level for keys and such. It fits, no question about it, full of action through its music to befit the mood of the whole map.

14. Mad (MAP05)

The first track used for a simulation level, making you go mad because the whole place is flipped upside down. This has some unique instrumentation and a completely wacky melody with lots of instruments used at many intervals. Props!

13. Stomp (MAP11)

Now we're really rocking out. Pretty easy riffs to learn on your guitar at the start and in the middle, but good luck with the rest of the track which just sort of solos all over the place at times. Even I'm not sure if it fits the demonic restaurant theme that the level is in. But who really cares? Blood gets pumped in various ways with this track.

12. Brutality (MAP29)

Yep, we're keeping the blood pumping. Although this isn't actually a super rocking track, it's got perhaps the perfect instrumentation, you get the feeling a jet wooshed by at the beginning, the melody is super quirky but fits with the quirkiness of the level in general, and it just never lets up! Perfect for a penultimate level which shares its name.

11. Untitled MAP20 theme

Falling just shy of the top 10 is Charles Li's other contribution to the Icarus soundtrack. The keyword is urgency, it's an awesome techno-driven midi that just gets better and better, and of course fits the topsy-turvy gameplay of the map it's in. Charles Li certainly should have made more midis!

10. Untitled MAP13 theme

You know what? Asylum, MAP13 of Icarus, is one of the most underrated levels of all time. I swear on it. It's pretty much all gray in color, the orthogonal halls which just scream 90's design, and the generally weird-ass gameplay you deal with whenever you're not going through all those corridors. It all just makes sense. You're in an insane asylum for god's sake! And to top it off, you have this music track. Sadly not titled, but it's a track that makes you lose your thinking. You just know it will.

9. Untitled MAP23 theme

But I think this track is the most underrated, and actually the best, of the El-Bizri midis. Bass-driven, but with a surprisingly fun melody of chimes and a neat synth solo. I feel like out of all the midis, this is the one that outright deserves to be used more. Especially for brooding techbase levels, and that's saying even though it was originally used for a planet level instead. But it's great!

8. Classic Evil (MAP08)

One of Tom's best tracks, of course will get remixed into the other "Evil" tracks, but this one seems to give the biggest impression. That's partly cause of the level it's in and that one key puzzle that takes a long while to perfect, but at least the track is pretty fun to listen to while you bang your head around it. Ominous, and almost wouldn't be out of place in the Eternal Doom soundtrack if it was put there.

7. Star 2 (MAP12)

Get ready for several remixes of the Icarus theme to show up. But they are all good, that's obviously why. Star 2 definitely fits the militaristic ship setting that is MAP12, then incorporating the creepiness that wouldn't be out of place in basically any Doom midi. Fascinating work.

6. Star Theme v3 (MAP07)

And it's immediately followed up by yet another Icarus theme variation. The third time's the charm for Jeremy's variations of the Icarus theme here, as this one even sounds even more militaristic and wonderous for a ship setting. Atmospheric can easily describe it, but you can't really hate this track at all.

5. The Search (MAP02)

And another one! Of course, David Shaw carries the absolute greatest music tracks overall on the soundtrack, but whenever I think of the Icarus theme, this really is the first that comes to mind. The melody in this one is easily the most recognizable, and gives you a nice, pedestrian stroll through the level it's in, giving players the chance to really appreciate a theme they'll be hearing, and humming, for levels to come. Well done.

4. Ghost in the Machine (MAP24)

Appropriate for a level entitled "The Haunting" and does a DAMN fine job for a haunted ship where you have to deal with ghost monsters. The very urging-sounding synth really drives the point home, with some powerful guitar chords of the right volume to keep you feeling on your toes. I really have to admit, I underestimate David Shaw's Icarus tracks, he didn't make so many, but they are all bangers.

3. Hell (MAP03)

So yeah, here we have the other track named Hell. The sad thing is, this track is on a relatively short level, but you gotta listen to it, it's actually great. Ambient at first, but gets better as you go along. Then there's this one riff, "dana-naNA-naNAnananaNA-na" which actually is a fantastic melody to use. This melody would reappear in a remix of the track on THT: Threnody, but did you know this melody was also used in Hell Revealed II as well? Check out the MAP03 track Old Bones. The bass of that track has this melody. Talk about inspirational.

2. Recapture (MAP01)

David surely made MAP01 of Icarus memorable with this track. It's adventurous with a neat melody that just screams "let's explore the shuttlecraft!" with the proper instrumentation that makes it sound like it would fit Stargate/Star Trek/Star Wars/any other space-themed movie soundtrack you could think of! Feels energetic, slows down nearly perfectly, picks up the pace once again. But to keep to Doom roots, we see that the track does get a bit into the Doom territory and incorporates the memorable melody of The Demon's Dead. Fantastic stuff all around.

1. Heart of the Hive (MAP15)

While I'm not a fan of the level it is on, Heart of the Hive is the best music track in Icarus, and maybe in all of David Shaw's midis. No, really. It is yet another example of a perfect atmospheric track, and would fit like a glove in any particularly atmosperic level. Heck, Waste Processing already does fit the bill, being a ship level where you go through the bloody sewers. You just hear the driving guitars, the ominous-sounding chants, and those memorable, memorable trickles. I have nothing but praise for this one.

A look back at: Spectrobes

 

Ah, Spectrobes. I have no idea how the heck I got you for a Christmas present, moreso the fact I got your so-called Collector's Edition. But who am I kidding, you were an interesting Pokemon clone. Or more accurately, Phantasy Star meets Pokemon. Revisiting you was a hidden gem in a number of ways.

But I gotta say, no one really talks about the original Spectrobes anymore. Any time I search anything Spectrobes-related it's always about Beyond the Portals or Origins. There were even commercials for both airing on TV. But NEVER for the first game. That's honestly a bit sad. I think that every first game in a franchise basically sets the bars for the better sequels, and are usually the ones to look at for the roots of what made those sequels good. It's why I like certain first games better in certain RPG franchises like Suikoden or Lunar.

There was a lot to get used to when I played this the first time. Battles were surprisingly complicated, using L and R buttons for Spectrobe attacks, while trying to keep Rallen safe. It's funny that the glove weapon, which almost always does 1 damage, is actually better to use than the sword or blaster, but only because it knocks Krawl away from the weak Rallen. Blaster and sword don't even do much damage in general, you pretty much must rely on your own Spectrobes to get through the battles. Having only one slot for a healing item was another thing I remember, giving more challenge to the game. You don't switch out Spectrobes like Pokemon in-battle either, since these happen in real time and you really just wanna finish up battling these Krawl before they kill you, basically.

Perhaps a big weakness in Spectrobes is its plot, as all you do plot-wise is to stop the Krawl invasion on your home star system and visit planets to help them out. A HUGE chunk of the game was spent on excavating and incubation, and I gotta admit, it does get addicting to doing that stuff. While battling is great for experience, incubating Spectrobes is the way to go more or less. It's also funny how the card input system in this game breaks it too. Thanks, collector's edition, although I at least tried to play it without too much game breaking. I didn't even bother collecting the geos for Ultimate Spectrobes, excepting that one you get in the story of course. It remains one of the more interesting games in my library to this day.

A look back at: Pokemon Adventure Yellow Chapter

Welp, that was fast! I wasn't expecting to be done so soon with a ROM hack, but that's what happens when I play a beta of a demo. I was really hoping there would be much more than this, considering this is the first time I play one of the manga adventure ROM hacks. Though I did touch Red Chapter first, I saw that it was still continuously being worked on, so I left it at that until I know for sure when it's done. And maybe when it does finish all the way they could consider working on Blue, Green, Yellow, and Gold chapters. Well, not really, since the creators are planning to turn these into PC fangames.

So Yellow chapter. It's only got like one volume of the game installed, with Gen-4 sprites that are okay I guess. But the sprite work is awkward at times, the trainer card looks super glitchy, and when you can finally run in the hack, you look like you're spinning like in the Sound of Music. So yeah, Yellow Chapter is quite unpolished, and it ends after the event with Lorelei in the Viridian Forest. It's nice to meet familiar characters at many points, including Red at the beginning, both a young and an old Prof. Oak, and also helping out Bill, not to mention that the Elite Four are made as villains. I'm not really familiar with the manga at all, so I read some summaries which helped in playing this particular ROM hack.

And because there's not much, there's also not much in gameplay. Most areas are easy, the highest level opponents will have their mons at Lv8, and there are a few interesting moments where you find wild Pokemon that are fought as trainer battles. Namely the Pinsirs and Beedrills during the chase away from Lorelei, as well as the one Seadra battle where Yellow manages to catch the Seadra. For a challenge, there are two places to grind. First, you get the Super Rod, but can't use it at the ponds. You can, however, fish in Pallet Town's ocean, as well as Route 21, for some of the high-level mons to battle such as Horsea or Gyarados. With Pikachu's Light Ball, these encounters aren't actually as tough. The grass at Route 21 has Lv20+ Tangela, also real tough but worth a challenge to grind. That said, the game becomes impossible to lose just by grinding here, but eh, I felt like it. Made the experience a bit more interesting.

Still, wasn't expecting to be done so soon with a beta like this. There's not much of a walkthrough here, but oh well, I did everything I could.

A look back at: Pokemon Vega

Yep, I really, really do like it when there's a well-made wiki about a ROM hack with enough information to help with creating a walkthrough, especially with regards to encounters and/or movesets. This time, my walkthrough for Vega didn't include locations for Pokemon or the overall dex, since the wiki has got that covered. The only thing I struggled with walkthrough-writing here was getting some custom movesets, so I left a few out and the rest are of course drawn straight from the wiki itself. But enough about that.

So for Vega, I found it quite interesting that it gets a lot of infamy due to its difficulty. Which I really don't think is the case, at least before the postgame. The postgame of course is where things open up and you can fight newer trainers with newer Pokemon and rematch gym leaders, and you can do most places in whichever order is necessary. But the new movesets and stronger Pokemon make this game's difficulty more or less. It is in fact the movesets with coverage for all sorts of super-effective counters, as well as the held items, that make the gym leaders, Elite Four, enemy team leaders, and all other uber trainers that much more difficult to deal with. Gotta hate those Leftovers and Brightpowders and such ruining what would normally be just challenging battles. You gotta think with some of these trainers. The gym puzzles, particularly Lapizula's gym, are quite nasty, thankfully the wiki provided me with some ways to solve each gym.

Plot-wise, Vega is a direct sequel to Altair/Sirius, and you basically start out by going back to your real home. For some reason, Mosmero follows you and chases a random team grunt, the professor of the region is actually your dad, and your named rival is some newbie Pokemon Ranger. Plus there's references to at least three Pokemon movies in location or by character. Getting to Distant Island and by extension the Sphere Ruins involves challenging ALL gym leaders, as well as former rivals from the last game, doing a sidequest to reacquire Aldina, and another random sidequest involving Porygon, which is surprisingly a lot. But there's more, this is probably the first time I've seen one last quest upon completing the Pokedex. And I actually did it, legitimately I may add, without gamesharking the Pokedex to be complete already or something like that. The end result? The big bad guy you defeated long ago using Mewtwo's old clone lab from the first movie to have an incredibly nasty uber team. You gotta see his team, moveset, and abilities to believe it. Vega sure proves memorable in so many ways.

Doom Musings: Soundtrack rankings: Plutonia MIDI Pack

As usual, I got damn near nothing worthwhile to muse about with Doom. Actually, I haven't really bothered playing any new Doom WADs lately anyways, as I'm focused on my career at the very moment. Oh well, I do got time to rank Plutonia's soundtrack. Or so it seems. Obviously, Plutonia's soundtrack just uses the Doom I and II music, which means that I already ranked them. So this time, I'll take a look at Plutonia's MIDI Pack, which I often played in place of the original soundtrack and in other Plutonia-like levelsets. Yep, 35 tracks will be ranked this time! But I won't actually rank any of the unused music, so sorry if you wanted to see what I say about every single track.

35. A Path Beyond (title music)

And as always, the title music is the one at the last owing to its short length and not being as memorable as everything else in the pack. The instrumentation is good and spooky but of course it doesn't go further than that.

34. Endless Suffer (text screen music)

It sounds aquatic, or that it would probably fit in Descent or something. Very interesting instrumentation, but little mileage due to it being the text screen music. Not much to really say.

33. Plunge Saw (MAP32)

I've actually already been familiar with several Nobody Told Me About Id remixes, so this one doesn't really get me all that much. Though it does at least try to spice things up with a few guitar licks that try to remind you of other tracks, like the Doom II intermission riff as well as They're Going to Get You. As a reminder, none of these tracks are bad, I just like the other tracks much better!

32. HOSILFU (MAP26)

This track is a huge outlier to almost everything else on this pack. It's got a groovy beat that does befit its intended level (Bunker), but frankly it's more goofier than it should be. And in a pack with more Doomish-sounding tracks, it's basically the Between Levels of the whole pack.

31. Plug Ugly (MAP23)

Yet another track that feels like an outlier, but at least has the rocking guitars that remind me of Doom I's soundtrack. That and it's inspired by a Genesis tune, which even further proves that it's that much of an outlier. The only real issue is that I don't think it works well for its intended level Tombstone. I feel as though this level warranted a much more exploratory-sounding track due to the level's overall size. 

30. Infimum (MAP27)

Ribbiks only contributed one track, and it does okay. But nowhere near as quirky awesome as Ribbiks' other music elsewhere. Creepy-sounding works well with Anti-Christ better than I Sawed the Demons, but did it have to have the melody from They're Going to Get You in it too?

29. Intersection (intermission)

It does good in a number of ways. It's forboding, it's foreshadowing, it's wonderfully eerie. Of course, it's intermission music, but it feels like it works anywhere.

28. Claustrophobia (MAP04)

A rather gritty track for the rather gritty Caged level, fitting for the underground-esque metal scenery. The title even fits too. But I kinda got bored of this one quicker than expected.

27. Plugged In (MAP14)

Peculiar, which I guess fits in with the map it's intended for. A simple melody with the drums guiding everything along. Catchy and does what it needs to, just as simple as that.

26. Plusfort (MAP06)

A song that's a bit all over the place and probably not really well-done for its mapslot. Heavy on the rock sound for a hub level with specific scenarios, it definitely sounds right when up against the cyberdemon on the map, but probably not as good elsewhere. Still, get your groove on.

25. Massacre Machine (MAP17)

Yet another track that sounds all over the place, heavy on the rock for a level that in hindsight isn't as action-oriented as it should (the one Plutonia map without revenants). Certainly fun for a slaughter level though, I mean just look at the title of this track!

24. Plutocrat (MAP09)

Damn, talk about a funky beat for this track. Very disco-y and seems out of place especially given the organ makes it sound like I'm getting rick-rolled (no, seriously). But it's still a fun one. I feel like Massacre Machine and this track should have swapped level slots though.

23. Contemplate (MAP25)

Creepy, and appropriate as a continuation from Pluvious (which is from the previous level). The opera-sounding parts of this MIDI and others are heavily used in this MIDI pack, and I appreciate their usage. But I sort of find this one forgettable.

22. Sepulchral (MAP05)

This track got its inspiration straight from Sepultura, going by the name. Specifically the song Ratamahatta. What's odd is that I can see a connection between this song and the main melody David Shaw's Interphaze, which was coincidentally used in the Memento Mori II level called Ratamahatta. Maybe I just look into things too much. In any case, this is an intense and urgent track befitting of the first spiderdemon encounter in Plutonia.

21. Death Mask (MAP01)

Very humble way to start off Plutonia with the MIDI pack, feels quite peaceful. Oddly enough, other peaceful-sounding tracks outrank it though. Still, being the first track means it will be memorable.

20. Always Watching (MAP11)

Which do you prefer? Sweet Little Dead Bunny? With it's peaceful-turning-creepy sound for when you run around in the arch-vile maze level? Or this one? Which is already starting out creepy but gives the synth knowing the urgency of when to expect an arch-vile around that next corner? Man, this one rocks.

19. Ascension of Satan (MAP21)

An orchestra-driven way to start off Slayer, which already was interesting enough with Doom II's text screen music doing sort of that same thing there. It just builds up more and more, but what's most interesting is that it actually does have an ending to it. Of course, that means looping the song is a bit weirder.

18. Seasons of Insanity (MAP07)

Inspired by the Russell Allen track of the same name, this one is made for the action-packed MAP07 here. The instrumentation does make me wanna play Scythe or Scythe 2's levels that have Symphony X music in them too. I love how it slows down at times though.

17. Plurry (MAP30)

Creepy chimes, fitting for the final level just like Opening to Hell provided the creepy ambient sounds to showcase the Icon of Sin there. It sort of loses out to Opening to Hell though, but that might be cause the level has a few more monsters to tackle in comparison to Icon of Sin.

16. Blood Rush (MAP12)

The ultimate of all over the place music for the MIDI pack, just flat out rushes in with the crazy solo before going on to the main melody. And it's on a level called Speed too, so it works! This track would later be used for a slaughterfest level in 50 Shades of Gray. I also detect a bit of Quad Machine in one part of the melody as well. Fitting for slaughter/boss levels.

15. Plummeting (MAP15)

The cousin of Blood Rush, in my opinion, heavily action-packed, almost as if it would fit the Symphony X midis in the Scythes or even JRPG boss battle music. And it does things even better than Blood Rush did! Maybe it's the orchestra bits that Blood Rush lacked. Maybe it's just my opinion, man.

14. Trigger (MAP02)

Simple melody using the guitar instrumentation from Into Sandy's City, then going into a newer, more atmospheric mood. It does its job well, a track befitting of Plutonia in any regard.

13. The Scarlet Citadel (MAP29)

Let the adrenaline rush you through as you journey through the city known as Odyssey of Noises. This track feels like a proper victory lap, and appropriately so. Works well when exploring the city, works well when battling the cyberdemon on the rock. Works just about anywhere in the map. Definitely got the Doom feel all over it.

12. Death's Toll (MAP20)

THOSE BELLS MAN. No seriously, this track definitely shines cause of the bells. Interesting that this gets used in Resurgence MAP26 too. At the early moments it can get a bit boring, but you'll love the track when the bells come in. stewboy knows how to impress people with his tracks.

11. Tower of Fire (MAP08)

Very well done track for the appropriate dungeon-crawling feel of the level known as Realm (though, ironically, the level has no fire, but a ton of water). It's somber, gentle, humble, but so is the level itself in a way, and it all fits so well. It works better as Resurgence MAP01's track, which actually started in a Hellish area though.

10. Untitled (MAP13)

Damn you Mr. Freeze, put a title on it! In any case, this has a unique riff compared to all the other tracks and feels like a Doom-sounding slow-rock song, and it got me sold! Plenty of variation of the main riff, as if Freeze got a bit more inspiration from Tom Mustaine, perhaps. Meh, I'm speculating there.

9. Pluvious (MAP24)

Remember that I mentioned the opera-sounding bits earlier? This song is almost entirely this, but the melody does it lots of justice. Then the organ comes in and makes it sound much, much better. It's neat and fits the level its on. A befitting MIDI for this entire pack.

8. Denied (MAP10)

Doomkid's only contribution is the grittiest and grungiest track of the whole pack. Foreboding drum licks, creepy instrumentation creeping it before backing off. Then the grungy riffs start up. It's bloody delicious, making for one of the most memorable tracks in the whole set.

7. Dead Plumber's Song (MAP28)

This is perhaps the one track that fits its intended level to a tee. For a track on the level called The Sewers, it's going to be wet-sounding in a lot of places, and the claustrophobic nature of The Sewers is complemented well in the overall instrumentation. The track feels like a Descent track, but who cares? The Sewers felt like a Descent level! Oh, now I'm talking Descent on a Doom Musing, look at me.

6. Jade Empire (MAP03)

stewboy's first track in the MIDI pack is the better of his two. It feels wonderful, with proper piano accompaniment, and then the flute picks up. It feels great on a beach, but who says it wouldn't fit in a Plutonia level? Especially since it definitely sounds like it works for a level called Aztec, which supposedly is supposed to represent an Aztec-sort-of setting?

5. Run 'Em, Gun 'Em, Kill 'Em (MAP16)

Badass riff. Just, badass riff. Sure, it's inspired by yet another actual band song, but it does what it does well, give a good riff with a few variations, and making it sound like it would a true Doom song. Heck, this wouldn't be out of place at all if you put it in the original Doom. I love. Definitely had to put this in the Top 5.

4. Cry of Desperation (MAP31)

A super peaceful-sounding track here. It's up to you if it fits Cyberden. To me it does. There's not too much action in Cyberden, so it works well here. But it definitely would also work well for levels that aren't filled to the brim with encounters, owing to absolutely excellent instrumentation that befits aspects of atmospheric levels. 

3. Fire Hive (MAP18)

The chime-sounding opening followed by the synth, plus the ever-present drums, make this one of Plutonia MIDI pack's most formidable tracks. I feel like it could work in every level in Plutonia. The melody avoids conventions to sound unique, which is of course a high mark. And that's considering it takes inspiration from a Knife Party song of the same name.

2. Lost In Place (MAP19)

Holy...wow. This is truly an atmospheric track. The melody and the bass beats are what completely make this track worth listening to. It feels like several Doom track titles were considered for making the SOUND of this track worth it. It just oozes of atmosphere. NME isn't the most atmospheric level, but again, who cares. Lippeth hit it out of the park with this one.

1. Stealth Mode (MAP22)

But Jimmy takes gold medal here, with the proper opening riff, lead-in to the main melody, all to keep the Doom sound going. Giving in well to all sorts of multiple things to sense, mystery, misery, action, atmosphere, it all fits so well. This track also got mileage in the ever-timeless Valiant, and perhaps at least one other set which name escapes me. But bravo Stealth Mode, a fantastic track that befits all the great aspects. Funnily enough, it got inspiration from AimShootKill, and you can sort of hear it, but Jimmy of course goes beyond that.