>>56498552>How so (instrumentation)Imagine, if you will, that your entire soundtrack is composed on a Korg 01/W and a cheap ole'
drumkit you found off the street. It is all cohesive, with all of the instrumentation sounding the same, because they were using the same instruments.
Now imagine that you introduce a track from the National Symphony Orchestra. No synthesizer, no samples, all brass, strings, and some real high quality percussion.
This song is going to stand out like a sore thumb, because it doesn't share the instrumentation of the rest of the songs.
>How so (tone)This is more "placement of the song" than anything. If you have a happy go lucky game for kids, then a dead rabbit on a bloodied spike is the complete wrong tone.
There's not a whole lot of places for Megalovania to fit in thematically with Pokemon Diamond and Pearl, as it turns out. Maaaybe you could argue it could work for Cyrus' theme, but ultimately, if you're transplanting Megalovania into the game, it's probably not going to be Cyrus' theme.
This was exceedingly obvious shit I thought I didn't need to explain, but here I fucking am apparently. While we're at it, something else I missed is style. Just like how artists can have different styles, musicians can have different styles, for a Flanderized example: an emphasis on leitmotifs, or maybe solos breaking out in the middle of every song. It takes an incredible amount of effort to keep in line with the others, since you effectively have to learn how to replicate someone else's style. This is especially difficult with music.
The biggest critique you can give to Toby Fox's involvement to Pokemon, without getting into personal things like "neh it's just bad!" is that he sticks to his style of general chaos and focus on microtones instead of trying to bring it in line with the other composers. This is likely WHY Area Zero had to be arranged by Go Ichinose and Minako Adachi(though it's strange it got arranged by two other people.)
