IMPOSTOR FACTORY REVIEWS SERIES

Pealeaf’s actual vocal number for this game, “Great Wide Unknown,” is included with the soundtrack as a bonus track, cited as unused in the game itself. Technically, the end-credits song for Impostor Factory is the non-lyrical vocal tune “Lullaby from a Star,” featuring the lesser-known vocalist Pealeaf. … but … I might have a new favorite song. I think that, even as outstanding as Kan Gao’s games are, their staying power wouldn’t be nearly as strong without the powerful vocal works alongside them. Shigihara’s work as a composer, arranger, and vocalist her work on these games and her seminal work on her own game Rakuen have brought life and light to many fans, myself included. To the Moon has the iconic song “Everything’s Alright,” and Finding Paradise has the tear-inducing “Wish My Life Away.” Before I write another word, I want to emphasize that I love Ms.

IMPOSTOR FACTORY REVIEWS SERIES

Other entries in this series have an original vocal track written and performed by Laura Shigihara. The same can be said of the conceptually linked “Decision For Two” and “Decision Of Two.” While Gao’s musical range can allow for humorous and quirky tunes like “Make Yourself at Manor” and “Double O Six Point Five,” the evocative power of the 38-45 segment is definitely the part of the OST I find myself returning to repeatedly. The many versions of “Heartbeat” are not only perfect in the context of the game, but make for an incredible context-free listening experience. Here, Gao has a suite of powerful melodies that get altered in a variety of ways. I think, among the 60+ tracks that make up this nearly two-hour score, the most representative sample can be pulled from tracks 38 through 45. You can also expect a gut-wrenching vocal track, though there is a significant difference there that we will address shortly. You can expect solid use of motif, “variations on a theme,” and the like. You can expect piano to take center stage in most compositions, with plenty of solo and ensemble strings filling out the sound. And that’s fine! The tonality and especially the instrumentation maintain the quality set by previous soundtracks in the series. So what, then? Does that mean the music for Impostor Factory is just more of the same? In some ways, yes. I’ve also had to be careful not to simply repeat what I’ve said about Gao’s work in my previous soundtrack reviews (this particular struggle I had already noted in my review for the Finding Paradise OST). For starters, I’ve rewritten it half a dozen times trying to speak to the quality of the music without spoiling the content of the game. Whatever your reason for reading, I would like to say that I have my reasons for keeping this review short. Maybe your opinion is already formed and you just want to get someone else’s perspective. Perhaps you’re wondering if Impostor Factory‘s soundtrack stands up to previous entries in this esoteric series or if there are notable differences in the soundscapes.

You’ll thank me later … and you’ll eventually work your way up to Impostor Factory.įor the rest of you, I suspect you already know how powerful Kan Gao’s work is. If you’ve stumbled upon this soundtrack review without prior knowledge of Kan Gao, his studio Freebird Games, or the previous games in this series ( To the Moon, A Bird Story, Finding Paradise), put down whatever you’re playing and start on To the Moon. 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 Pealeaf)Ħ1 – Great Wide Unknown (Bonus Song by Pealeaf) 19 – Twenty Six Past Three (Void Version)Ĥ9 – Make Yourself at Manor (Void Version)ĥ0 – Single-Threaded Firewall ĥ6 – The Mirror Lied Ħ0 – Lullaby from a Star (Credit Theme feat.

Impostor factory reviews