===============================================================================
 1.01 | Table of Contents
===============================================================================
 1.01 - Table of Contents
 1.02 - Introduction
 1.03 - Why Wild Arms 2?
 1.04 - Origins of this FAQ
 1.05 - Updates
 1.06 - Possible Future Projects
 
 2.01 - Get to know the Wild Arms 2nd Ignition Original Soundtrack
 2.02 - The Wild Arms 2nd Ignition Original Soundtrack: The Bad News
 2.03 - Composer Michiko Naruke
 2.04 - Explanation of Track Types
 2.05 - Usage Chart Layouts
 2.06 - Long Hand Usage Chart
        Disc 1
        ~ Ashley’s (a young man ready for action) introductory adventure
	~ Brad’s (a former hero now war criminal) introductory adventure
	~ Lilka’s (a sorceress just getting started) introductory adventure
        ~ Future Hope Found Through Terror
        ~ The Rebirth of ARMS
        ~ ARMS Meets Reform Party Odessa
        ~ Mission of Diplomacy
	~ The Power to Bring about the Future
	~ Protecting the Pillar
	~ Turning the Tide against Tyranny
	~ Marching Forward Despite Loss
	~ Taking Out Odessa
        Disc 2
	~ The Search for Ashley
	~ The Strain Paradigm
	~ Reminants from Old Foes
	~ Seeking the Power of Filgaia
        ~ Setting the Trap
	~ A Sin to Save the World
	~ Sidequests
 2.07 - Track-by-track Reviews and Usage Chart
 2.08 - Peculiar Track Q & A

 3.01 - In a perfect world...
 3.02 - ...this would be the Wild Arms 2nd Ignition Original Soundtrack

 4.01 - The Current Translation
 4.02 - The Old Translation vs the New
 4.03 - Most Recent Updates

 5.01 - Acknowledgements
 5.02 - People/places who/that displease me
 5.03 - The Fate of Wild Arms
 5.04 - Contact information
 5.05 - Copyright Information

===============================================================================
 1.02 | Introduction
===============================================================================
Welcome to the Wild Arms 2 Music FAQ. The aim of this document is to provide
comprehensive coverage on the Wild Arms 2nd Ignition Original Soundtrack and
music contained within it and the game.

As for personal introductions, my name is John and I live in a small town where
nothing of interest happens. As such, I distract myself with video games, food
and sugar. Not exactly the healthiest combo per say but it's probably better
than going out and causing all sorts of mischief like some of these kids these
days. Anyways, my interest in games eventually expanded into video game music
and video game soundtracks, hence why this FAQ focuses on music and not the
entire game. I was once involved in all types of activities with the VGM
community - I used to write for several websites - but I unceremoniously burned
several bridges the more disillusioned I became with the scene. Quite honestly,
it's amazing how quickly one's ego (including my own) could grow in such a
setting, well-intentioned people turning into know-it-all zealots with little
patience when their precious clout was threatened.

Ill-fated as continued participation was, sometimes you just have to move on
even if you're not entirely innocent yourself. Anyways, hopefully someone will
find something within the following pages useful or interesting. If so, that
will be enough to make me happy.

===============================================================================
 1.03 | Why Wild Arms 2?
===============================================================================
As if it's any surprise, I'm a HUGE fan of Wild Arms 2. The game is as good as
the original (possibly better) but in general it's so close it's essentially a
toss up. At the same time however, I can't say these games are perfect. They
certainly do the best with the resources they got; at least as far as the PS1
entries are concerned. Unfortunately, IMO the series started to go downhill
when it shifted to the PS2 and I have a hard time even playing and not mocking
any of the games past 2nd Ignition. Sorry Media Vision, I can't lie to myself
anymore!

Sorry as the series' fate ended up being, why focus on the music of Wild Arms
2? Well, it's rather simple. Unlike the score for the original game, which
received and continues to receive accolades years after its release, Wild Arms
2's music is the target of much criticism. I'll admit a good portion of it is
justified, but I felt the need to dissect the album and defend certain parts of
it. After all the exploration of what this score/album has to offer I can say
that Michiko Naruke's music on the Wild Arms 2nd Ignition Soundtrack is more
than interesting and deserves an in-depth look of this caliber.

Additionally, being a fan of the game I wanted to do something special for it
since it's given me so much. Others have written such wonderful FAQs for the
game that the music is really the only part of the game that hasn't been
covered. That changes now.

===============================================================================
 1.04 | Origins of this FAQ
===============================================================================
In what's a rather simple story, this FAQ is the combination of three separate
documents that have taken up residence on my hard drive as far back as 2007. As
simple as it would seem to combine them, this isn't the first time this has
been attempted. Still, with them being related it's only natural they end up
together. No other soundtrack I've heard or owned has received this kind of
attention. And just as a disclaimer, I can't see any other soundtrack getting
this level of treatment in the future either even if they are more deserving.
The track-by-track review portion of this document has been puplished on other
websites (SquareEnixMusic) but has been updated since then with corrections. 

===============================================================================
 1.05 | Updates
===============================================================================
For the most part, this FAQ will remain unchanged until I play through the game
again and re-check my work. I can't say when that will be, but I usually play
longer games like this every two years or so. I can't remember the last time I
played the game (it's been over a year I know that for sure) so it will be
sooner rather than later. I don't say this to be lazy, but I even though I love
video games I have a hard time getting "into" games, even ones I love and have
previously played. I've found if I "force" myself into playing something the
less likely I am to stick with it and finish it. There are certainly parts of
this document that need some work (like scene descriptions!) but all I can say
is I hope to get around to it at some point.

=============================================================================== 
 1.06 | Possible Future Projects
===============================================================================
There are several games I have the soundtrack release for but the possibility
of creating a Music FAQ for these varies depending on which one we're talking
about. Some are obviously more attractive than others; here's a list of what
may come and what may not come to be:

 ~ Akumajo Dracula Best 2 (KICA-7902~3)
 ~ Akumajo Dracula Yami no Juin Original Soundtrack (GFCA-34~5)
 ~ Akumajo Dracula ~Gekka no Nocturne~ Original Game Soundtrack (KICA-7760)
 ~ Biohazard 2 Original Soundtrack (CPCA-1001)
 ~ Brave Fencer "Musashiden" Original Soundtrack (SSCX-10022)
   - Had the groundwork done on this one but lost the data
 ~ Breath of Fire II -Shimei no Ko- (SRCL-3119)
   - Had the groundwork done on this one but lost the data
 ~ Breath of Fire Original Soundtrack Special Box (CPCA-10146~56)
   - Had the groundwork done for Breath of Fire I & II but lost the data
 ~ Capcom Music Generation Famicom Ongaku Zenshuu Rockman 1~6 (CPCA-1064~6)
 ~ Capcom Music Generation Rockman X1~6 (CPCA-1076~80)
 ~ Capcom Special Selection: Rockman Dash 2 (CPDA-10061)
 ~ Castlevania: Lament of Innocence Limited Edition Music Sampler (N/A)
 ~ Climax Landers Original Soundtrack (MJCA-00053)
 ~ Famicom 20th Anniversary Original Sound Tracks Vol.1 (SCDC-00317)
 ~ Final Fantasy VI Original Sound Version (PSCN-5001~3)
 ~ Final Fantasy VII Original Sound Track (SQEX-10001~4)
 ~ Killer Cuts (1550-Winter96)
 ~ Lost Child Original Sound Track from S.S.H The Final Side-Z (N/A)
 ~ Lunar: Silver Star Story Complete Music Soundtrack (SLUS-00628/00899)
 ~ Panzer Dragoon II Zwei Original Soundtrack (POCX-1026)
 ~ Parasite Eve Original Soundtrack (SQEX-10222~3)
 ~ Rockman 7: Shukumei no Taiketsu! Original Soundtrack (KDSD-00171)
 ~ Rockman 8: Metal Heroes Original Soundtrack (KDSD-00172)
 ~ Rockman DASH Original Sound Track CPCA-1003
 ~ Rockman X Command Mission Original Soundtrack (CPCA-1095)
 ~ Rockman X7 Original Soundtrack (CPCA-1074)
 ~ Rockman X8 Original Soundtrack (CPCA-10115)
 ~ SaGa Frontier Original Sound Track (SQEX-10058~60)
 ~ The Legend of Dragoon Original Soundtrack (SVWC-7054)
 ~ Wild Arms Alter code:F Original Score (KICA-1317~20)
 ~ Wild Arms Complete Tracks (KICA-1389~90)
 ~ Wild Arms Original Soundtrack (SVWC-7040)

I don't expect myself to do all of these, but it gives one an idea of which
games/soundtrack I may do later. Some of them (like the Legend of Dragoon and
the two Rockman DASH releases) aren't likely since they don't contain all of
the music from their respective games while others (Lost Child) are unlikely
for other reasons. Others (like the other Mega Man titles) would be rather
simple to do. Still, out of all of these the one I'd really like to do beyond
the work here for Wild Arms 2 would be the Rockman X Command Mission Original
Soundtrack (CPCA-1095) which is odd considering I'm not the biggest fan of
Shinya "LoveShop" Okada.

===============================================================================
 2.01 - Get to know the Wild Arms 2nd Ignition Original Soundtrack
===============================================================================
The Wild Arms 2nd Ignition Original Soundtrack was released on October 1st,
1999 in Japan by SPE Visual Works under the catalog number SVWC-7041~2. The set
contains 106 tracks spread across two compact discs, all composed by Michiko
Naruke. The set debuted at 3059 Yen and remains in print. Below is the track
listing and translation that will be used throughout the guide:

 Note: Track times are taken directly from the soundtrack booklet. Track times
       for the parts of multipart tracks (like the two ending suites and
       medley) are not and are added for clarification purposes. These are
       marked with a "*"

 Note: Some track names have been slightly tweaked to fit in-game spellings. If
       you wish to see Ongakusei's tracklist translation without these changes
       visit http://chudahs-corner.com/soundtracks/index.php?catalog=SVWC-7041
       on the net. While it's not exactly necessary to note, this tracklisting
       is used with permission.

 Note: The credits for the album and vocal numbers can be found here:
       http://vgmdb.net/album/1066
       The lyrics for the vocal numbers can be found here:
       http://chudahs-corner.com/lyrics/index.php?title=Wild+Arms+2nd+Ignition
       
       These items are not posted individually in this FAQ in order to respect
       copyright.

==================
 Disc One (68:34) 
==================
 1-01) Main Title.........................................................0:29
 1-02) WILD ARMS 2nd IGNITION ~ You'll Never Be Alone (Disc 1 Opening) ...1:33
 1-03) Going Out..........................................................0:50
 1-04) Dungeon: Ruins Type 1..............................................1:09
 1-05) Serious Struggling.................................................0:50
 1-06) Chase..............................................................0:55
 1-07) The Crisis At Hand.................................................0:35
 1-08) A Dramatic Escape..................................................1:08
 1-09) Scene of Reminiscence..............................................0:41
 1-10) Dungeon: Natural Type 2............................................0:56
 1-11) A Momentary Respite................................................1:30
 1-12) From Anxiety to Impatience.........................................0:58
 1-13) The Young Witch Appears............................................1:04
 1-14) Separation.........................................................0:54
 1-15) Monsters Appear....................................................0:49
 1-16) Victory!...........................................................0:44
 1-17) A Journey..........................................................1:25
 1-18) Quiet Night........................................................0:56
 1-19) Formal Ceremony....................................................0:58
 1-20) 1st IGNITION.......................................................2:12
 1-21) Field: Roaming.....................................................1:07
 1-22) Field: Distorted Sky...............................................0:48
 1-23) Field: Last IGNITION...............................................0:59
 1-24) Town Where the West Wind Blows.....................................1:13
 1-25) Western Village....................................................0:51
 1-26) Hidden Village.....................................................0:59
 1-27) Inn................................................................0:11
 1-28) Heading Far from the Sea...........................................0:56
 1-29) The Stronghold Surfaces!...........................................0:51
 1-30) Harbinger of the Hurricane.........................................1:08
 1-31) Dungeon: Natural Type 1............................................0:58
 1-32) Dungeon: Ruins Type 2..............................................0:56
 1-33) Dungeon: Ruins Type 3..............................................0:54
 1-34) Dungeon: Pinch Type 1..............................................0:30
 1-35) Dungeon: Pinch Type 2..............................................0:49
 1-36) Dungeon: Horror....................................................0:58
 1-37) Dungeon: Urgent Situations.........................................0:44
 1-38) Dungeon: Battle Preparations.......................................0:51
 1-39) Dungeon: Mystery...................................................0:58
 1-40) Dungeon: Odessa's Hideout..........................................0:50
 1-41) Dungeon: Pillar of Hell............................................0:47
 1-42) Dungeon: Heimdal Gazzo.............................................0:42
 1-43) Dungeon: Anastasia's World.........................................0:50
 1-44) Dungeon: Spiral Tower..............................................0:52
 1-45) Dungeon: Center of Filgaia.........................................0:37
 1-46) Castle.............................................................1:03
 1-47) Guildgrad..........................................................0:56
 1-48) Valeria Chateau....................................................0:50
 1-49) Live Reflector.....................................................1:12
 1-50) Guardian...........................................................0:32
 1-51) Tim and Colette....................................................1:10
 1-52) Operation ARMS' Theme..............................................0:52
 1-53) Odessa's Theme.....................................................0:57
 1-54) Battle Force.......................................................1:30
 1-55) Battle: Knight Blazer..............................................0:52
 1-56) Battle vs Mid Boss.................................................0:54
 1-57) Battle vs Kanon....................................................0:48
 1-58) Battle vs Cocytus..................................................1:04
 1-59) End of the Banquet.................................................0:49
 1-60) Battle vs Vinsfeld.................................................0:51
 1-61) Battle vs Liz and Ard..............................................0:59
 1-62) Battle vs Root of the Kuiper Belt..................................0:59
 1-63) Battle vs Edgeworth=Kuiper Belt....................................0:46
 1-64) You're Not Alone...|...............................................0:34
 1-65) Battle vs Lord Blazer..............................................2:04
 1-66) Battle vs Ragu O' Ragula...........................................0:43
 1-67) CONDITION GREEN!...................................................0:22
 1-68) A Tinge of Regret..................................................0:42
 1-69) Before Victory.....................................................0:36
 1-70) It's Clear.|.......................................................0:24
 1-71) Crime and Sacrifice................................................0:39
 1-72) A New Sunset.......................................................0:48
 1-73) WIN!!!.............................................................0:22
 1-74) Game Over..........................................................0:34
 1-75) Atomic ARMS (Disc 1 Ending)........................................1:47

==================
 Disc Two (74:02)
================== 
 2-01) Resistance Line - Full Chorus Version (Disc 2 Opening).............4:04
 2-02) Liz and Ard........................................................0:32
 2-03) Launch!............................................................0:27
 2-04) Boss Demo..........................................................0:14
 2-05) Soaked in Terror...................................................0:37
 2-06) Anastasia's Guidance...............................................0:49
 2-07) Used by a User.....................................................0:40
 2-08) High Pressure......................................................0:51
 2-09) Fate...............................................................0:32
 2-10) Agony..............................................................0:42
 2-11) Battle Robot Jack..................................................5:43
 2-12) Wish Upon A Star ~ Broken Promise..................................1:44
 2-13) Filgaia Summit.....................................................0:33
 2-14) An Old Tale........................................................0:41
 2-15) A Great Comeback...................................................1:07
 2-16) From Beyond........................................................0:59
 2-17) Suite: I'm Back....................................................2:59
 2-18) 2 Lovers Split Apart...............................................1:12
 2-19) Marina's Miracle...................................................0:51
 2-20) The Wall Around My Heart...........................................1:11
 2-21) Eve of the Last Battle.............................................1:37
 2-22) The Center of Filgaia..............................................0:32
 2-23) Humanity's Fight...................................................1:16
 2-24) Bitter Return......................................................0:59
 2-25) Apocalyptic Threat.................................................0:52
 2-26) (8 Tracks Nonstop)................................................16:00
       - Admiring the Spiral Tower...|...................(0:00 ~ 0:20) 0:20*
       - Nostalgic Reunion...............................(0:20 ~ 2:24) 2:04*
       - Valeria Sibling's Reminiscence..................(2:24 ~ 4:56) 2:32*
       - With One Heart..................................(4:56 ~ 7:43) 2:47*
       - Renewing Filgaia...............................(7:43 ~ 10:01) 2:18*
       - To Each Their Own Road........................(10:01 ~ 11:59) 1:58*
       - Friends Forever...............................(11:59 ~ 14:11) 2:12*
       - Last Scene....................................(14:11 ~ 16:00) 1:49*
 2-27) Zephyrs's (Disc 2 Ending)..........................................3:52
 2-28) Final Chapter 1-4 (4 Tracks Nonstop)...............................7:13
       - Track One.......................................(0:00 ~ 0:43) 0:43*
       - Track Two.......................................(0:43 ~ 2:13) 1:30*
       - Track Three.....................................(2:13 ~ 3:38) 1:25*
       - Track Four......................................(3:38 ~ 7:13) 3:35*
 2-29) The Night Sky......................................................0:49
 2-30) Miracle............................................................0:55
 2-31) Wild Arms 2 Medley................................................13:29
       - Opening ~ Preparation for Departure............(0:00 ~ 2:16) 2:16*
       - Battle Force ~ Reminiscence....................(2:16 ~ 3:57) 1:41*
       - Battle vs Mid-boss.............................(3:57 ~ 4:35) 0:38*
       - Field: Roaming.................................(4:35 ~ 7:10) 2:35*
       - A Momentary Respite............................(7:10 ~ 8:36) 1:26*
       - Town Where the West Wind Blows.................(8:36 ~ 9:57) 1:21*
       - Formal Ceremony ~ 1st IGNITION................(9:57 ~ 13:29) 3:32*

===============================================================================
 2.02 | The Wild Arms 2nd Ignition Original Soundtrack: The Bad News
===============================================================================
If you take a quick look at the tracklisting above, you may start to notice a
few things that don't make sense or paint an ugly picture. What am I talking
about? Take a look at the tracks present on disc one... you may be asking how
they fit seventy five tracks on a single disc. I know what you’re thinking, and
well, it's true. Tracks on the Wild Arms 2nd Ignition Soundtrack play through
ONCE before fading away. There are a few tracks that loop twice (like "Battle
Force" and some smaller pieces like "Liz and Ard") but the majority of tracks
do not. Quite honestly, I would like nothing more than to lynch the idiot who
was unwilling to make this set properly and expend an additional CD so the
tracks could loop and breathe. I would have even paid more for the soundtrack
if this was done but no, SPE Visual Works continued their trend of half-assed
releases. What else have they screwed up? Let's see... the Wild Arms Original
Game Soundtrack (which only had half the game's music), the Legend of Dragoon
Soundtrack (again, only half the game's music) and Legend of Legaia (again,
only half the game's music.) What's really irritating is SPE Visual Works cut
this crap out when the soundtrack for Wild Arms 3 came out (giving it a full,
four disc set) but Wild Arms 3 ironically turned out to be Naruke's weakest
effort. As angry as this whole situation makes me, I still think the soundtrack
is worth the purchase if you’re into it, but it's definitely a big strike
against it as a product. Still, don't punish Naruke for the sins of a
cheapskate company.

===============================================================================
 2.03 | Composer Michiko Naruke
===============================================================================
First of all, in order to clear up any confusion, Michiko Naruke is female. I
don't say this poke fun at anyone, it's just for anyone unfamiliar with names
outside of their own country it can be hard to differentiate between male and
female names. Naruke did the music for a few arcade games before scoring Wild
Arms and the first few sequels - WA2 and WA3. Naruke would revisit her breakout
work with Wild Arms Alter Code:F in 2004 before attempting to score Wild Arms
4. During her work on the music for the series fourth installment, Naruke fell
ill (as to what her illness was, I don't know: don't e-mail me) thus composing
only about 1/4 of its music. Naruke would never return to the composing chair
on a full-time basis for any game but she had a hand in some writing some vocal
themes for other Media Vision products. I'm not sure if she still has ties with
Media Vision but it doesn't really matter, Media Vision is no longer the
company it once was and Wild Arms series gone to the great cloud keeper in the
sky when console RPG's quit being the in-thing.

As for my opinion on Naruke and her works, Naruke has succeeded and struggled
to varying degrees. The original Wild Arms is perhaps her best and most revered
work but the soundtracks that followed where kind of a mixed bag. It turns out
"mixed bag" is an excellent description of music presented in Wild Arms 2 and
the games that followed. What makes this important is for years I fooled myself
into thinking I had to like all of Naruke's music just because I liked Naruke.
A few years later I realized how inane this was and came to terms with the fact
I just don't like some of her work - like 80 percent of the tunes on the Wild
Arms Advanced 3rd Original Soundtrack.

===============================================================================
 2.04 | Explanation of Track Types
===============================================================================
To most, track type is probably known better as track usage. There are three
categories tracks fall under when one considers how they are employed in-game:

Field: Tracks utilized in the Field are standard/default background tracks one
       hears when raiding dungeons, solving puzzles and moving from area to
       area on the world map. Basically, the field is any place where the
       player has control of their character beyond scrolling text. While it
       may seem pretty cut and dry what constitutes a field track it's
       important to note that a track used in this manner supercedes its use
       during a scene. Confused? In order to explain things better here's an
       example:


         Scene | Irving talks to Ashley in the Valeria Chateau
        -------+-----------------------------------------------
          1-48 | “Valeria Chateau”


       Here we have a scene where Ashley is talking to Irving inside the
       Valeria Chateau with track 1-48 “Valeria Chateau” playing in the
       background. However, because “Valeria Chateau” is the default track
       played within the Chateau, this scene would not get its own entry, thus
       it would be omitted from the layout chart to eliminate redundancy. So in
       a nutshell, "“Valeria Chateau” and other Field tracks may play during
       scenes but since this is not its main purpose the only entries one would
       see for it would be in the field. It should be noted that some Field
       tracks (like world map themes and world map vehicle themes) only get one
       entry as to avoid swamping the list with duplicate entries. You don't
       need to know every time I use the hovercraft, right?

Scene: In general, these tracks are specific to parts of the game where the
       only control the player has is scrolling the text while story based
       events unfold. Unlike most field themes, there are some gray areas when
       it comes to scene themes, 2-04 "Boss Demo" being a good example. "Boss
       Demo" is considered a scene if the fight it introduces doesn't
       immediately follow it, but if the fight follows it up it falls into the
       "Fight" category. Another area where one can split hairs on this subject
       are battle theme fanfares since there is often dialog during the special
       ones, but the fact one is still technically in the game's battle engine
       when they play constitutes them a fight theme as well.

Fight: Beyond the exceptions listed above in the scene section, fight themes
       are tracks you hear in battle or immediately hear prior to a battle like
       2-04) "Boss Demo". Fanfares that top off battle themes are included in
       category. It should be noted that the game's standard battle theme 1-54)
       "Battle Force" is only mentioned a few times in the beginning of the
       usage guide and is omitted later on since you'll be hearing it a million
       times throughout the game.

===============================================================================
 2.05 | Usage Chart Layouts
===============================================================================

------------------------------
 Long Hand Usage Chart Layout
------------------------------
The Long Hand Usage Chart is a blow-by blow list of when and where tracks are
used in the game. This is probably the more useful chart of the two as if one
knows the storyline and the order that events unfold in it should be somewhat
easy to track down what you’re looking for. As was explained in section 2.04
(Explanation of Track Types) not every change in music is noted due to field
themes superceding scenes. Below is a guide for deciphering entries in the Long
Hand Usage Chart:

========
 Disc 1   <--- Disc and/or chapter divisions
========

        Track Type  -->  Scene | Title Screen  <--  Place track is used
                        -------+--------------
       Track Number -->   1-01 | “Main Title”  <--  Track Title/Translation
       on Soundtrack

-----------------------------------------------
 Track-by-track Reviews and Usage Chart Layout
-----------------------------------------------
The Track-by-track Reviews and Usage Chart is quick-reference list of where
each track is used plus my opinion of the track. Needless to say, until you
know the name of a given composition from the Long Hand Usage Chart this list
will be of little use to you. Once you have something to go on you can use
these lists in tandem with one another to get the full scoop on each and every
track. It should be noted when it comes to scenes, you may need to use the
search function on your browser (Ctrl + F) to find it on the other list to get
all the information as the scene descriptions aren't entirely forthcoming with
there descriptions. Sorry for any inconvenience this may cause; I'll try and
make things smoother when I update the document. As for deciphering entries in
the Track-by-track Reviews and Usage Chart:

 
  ------------------------------
   1-15) Monsters Appear (0:49)   <--- Track Number on Soundtrack, Title/
  ------------------------------            Translation and Duration
 
 Crap. After the last track it would have been
 nice if the soundtrack could have surrendered
 a few more of its higher end tunes but it
 continues to horde.  Oh well, what can you do
 short of putting them in a better order in a
 playlist? There isn't much to say about
 "Monsters Appear," the horn's declaration of
 dread is pretty standard, but it's the curious,
 almost devilish little notes that follow that    <--- Review and Rating
 make the track feel almost... cute? This makes          (out of 10)
 one wonder if this was a conscious effort by
 Naruke to link this back to "The Young Witch
 Appears" due to the fact both appear in Lilka's
 introductory adventure. What ever the case may
 be, the elements that make up this piece are
 interesting yet not really worth investigating
 outside of its zone of safety. (6/10)

  =-Usage-=                                  <--- Beginning of Usage Chart

  Disc1 | Used
 -------+--------------------------------------------
  Scene | The villager’s flee as the monsters return
  Scene | Discovering Blastodon in the catapult room   <--- Scenes, Fights
  Scene | Alarm is triggered, data tablets stolen            and Locations
  Scene | ARMS meets Caina for the first time             the track is used

===============================================================================
 2.06 | Long Hand Usage Chart
===============================================================================

========
 Disc 1
========

  Scene | Title Screen
 -------+--------------
   1-01 | “Main Title”

  Scene | Disc One Opening FMV (NSTC-J)
 -------+--------------------------------------------------------------------
   1-02 | “WILD ARMS 2nd IGNITION ~ You’ll Never Be Alone (Disc One Opening)

  Scene | Disc One Opening FMV (NSTC-U/C)
 -------+-------------------------------------------------------------
   x-xx | Not on soundtrack (alternate, instrumental version of 1-02)

----------------------------------------------------------------- 
 Ashley’s (a young man ready for action) introductory adventure: 
-----------------------------------------------------------------

  Scene | On route to The Withered Ruins; Musketeer Brigade members briefed
 -------+-------------------------------------------------------------------
   1-03 | “Going Out”

  Field | The Withered Ruins
 -------+--------------------
   1-04 | “Dungeon: Ruins Type 1”

  Fight | Random Battle
 -------+---------------
   1-54 | “Battle Force” and fanfare 
   1-67 | “CONDITION GREEN!”

  Scene | Sealed monster accidentally released during kidnapper distraction
 -------+-------------------------------------------------------------------
   1-05 | “Serious Struggling”
	
  Scene | Kalivos (Sealed Monster Weapon) introduction
 -------+----------------------------------------------
   2-04 | “Boss Demo”

  Scene | In escape attempt from Kalivos Ashley runs interference
 -------+---------------------------------------------------------
   1-06 | “Chase”

  Fight | Kalivos (Sealed Monster Weapon)
 -------+----------------------------------
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Escape from the ruins following explosion; Ashley’s inner monologue
 -------+---------------------------------------------------------------------
   1-08 | “A Dramatic Escape”

-----------------------------------------------------------------
 Brad’s (a former hero now war criminal) introductory adventure:
-----------------------------------------------------------------

  Scene | Flashback of previous events in Greenhell
 -------+-------------------------------------------
   1-09 | “Scene of Reminiscence”

  Field | Greenhell
 -------+---------------------------
   1-10 | “Dungeon: Natural Type 2”

  Fight | Random Battle
 -------+----------------------------
   1-54 | “Battle Force” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Gremalkin (Parasite Colony Monster)
 -------+-------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”
	
  Scene | Brad limps away as the posse wonders why he saved them
 -------+--------------------------------------------------------
   1-07 | “The Crisis at Hand”

  Scene | Merrill cares for a wounded Brad in a stable
 -------+----------------------------------------------
   1-11 | “A Momentary Respite”
	
  Scene | Brad surrenders to avoid harm to the townspeople; inner monologue
 -------+-------------------------------------------------------------------
   1-12 | “From Anxiety to Impatience”

-------------------------------------------------------------------- 
 Lilka’s (a sorceress just getting started) introductory adventure:
--------------------------------------------------------------------

  Scene | Lilka accidentally teleports into the middle of town meeting
 -------+--------------------------------------------------------------
   1-13 | “The Young Witch Appears”

  Scene | Lilka attempts to solve the Millennium Puzzle with her sister
 -------+---------------------------------------------------------------
   1-14 | “Separation”

  Field | Millennium Puzzle
 -------+-------------------
   1-36 | "Dungeon: Horror”

  Fight | Random Battle
 -------+----------------------------
   1-54 | “Battle Force” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Upon opening the gate Lilka leaves the Puzzle and her sister
 -------+--------------------------------------------------------------
   1-14 | “Separation”

  Field | Palace Village
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Scene | The villager’s flee as the monsters return
 -------+--------------------------------------------
   1-15 | “Monsters Appear”

  Fight | Olivier (Boundless Glutton Monster)
 -------+-------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | With the monsters defeated Lilka and the villagers rejoice
 -------+------------------------------------------------------------
   1-16 | “Victory!”

  Scene | Villagers bid Lilka farewell; inner monologue and ill omen
 -------+------------------------------------------------------------
   1-17 | “A Journey”

-----------------------------------
 Future Hope Found Through Terror:
-----------------------------------

  Scene | Marivel watching the night sky as a comet disrupts the heavens
 -------+----------------------------------------------------------------
   1-18 | “Quiet Night”

  Field | Town of Meria
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Scene | Ashley reflects on new assignment; Marina’s negative reaction
 -------+---------------------------------------------------------------
   1-18 | “Quiet Night”

  Field | World Map (Disc 1)
 -------+--------------------
   1-21 | “Field: Roaming”

  (NOTE: This entry will be omitted until the theme used changes on Disc 2.)

  Fight | Random Battle
 -------+----------------------------
   1-54 | “Battle Force” and fanfare
   1-67 | “CONDITION GREEN!” 

  (NOTE: This entry will be omitted from this point on.)
	
  Scene | ARMS commencement ceremony at the Sword Cathedral
 -------+---------------------------------------------------
   1-19 | “Formal Ceremony”

  Scene | Legend of the Sword Magess; credit reel
 -------+-----------------------------------------
   1-20 | “1st IGNITION”

  Scene | The demon summoning
 -------+------------------------------
   1-12 | “From Anxiety to Impatience”

  Scene | Remaining ARMS members attempt to escape from the Sword Cathedral
 -------+-------------------------------------------------------------------
   1-34 | “Dungeon: Pinch Type 1”

  Scene | Ashley’s dialog with his “other self”
 -------+---------------------------------------
   2-05 | “Soaked in Terror”

  Scene | Ashley discusses his promise with Anastasia upon drawing Argetlahm
 -------+--------------------------------------------------------------------
   2-06 | “Anastasia's Guidance”

  Scene | Irving appears and extends his hand in assistance as Ashley faints
 -------+--------------------------------------------------------------------
   2-09 | “Fate”

  Scene | Overlooking the Cathedral, Vinsfeld and Caina discuss their goals
 -------+-------------------------------------------------------------------
   2-07 | “Used by a User”

----------------------
 The Rebirth of ARMS:
----------------------

  Scene | Ashley struggles with the power and presence within him
 -------+---------------------------------------------------------
   2-05 | “Soaked in Terror”

  Field | Town of Meria
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Scene | Inside bakery after Lilka stumbles to the ground due to hunger
 -------+----------------------------------------------------------------
   1-13 | “The Young Witch Appears”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Scene | Irving "frames” Ashley and orders Lilka to escort him to Illsveil
 -------+-------------------------------------------------------------------
   1-12 | “From Anxiety to Impatience”
	
  Field | Illsveil Prison
 -------+-------------------------
   1-35 | “Dungeon: Pinch Type 2”

  Scene | Confrontation with the warden about leaving his “paradise”
 -------+------------------------------------------------------------
   1-07 | “The Crisis at Hand”

  Fight | GAONIM (Escapee Capture Robot)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | "Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Brad leads party to docks; Ashley’s displeasure with Irving
 -------+-------------------------------------------------------------
   2-09 | “Fate”

  Scene | Judecca’s questions ARMS motives; Ptoloema’s new fighting force
 -------+-----------------------------------------------------------------
   2-07 | “Used by a User”

---------------------------------
 ARMS Meets Reform Party Odessa:
---------------------------------

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | Under Traffic
 -------+--------------------------
   1-10 | Dungeon: Natural Type 2”

  Field | Damzen City
 -------+-------------------
   1-25 | “Western Village”

  Field | Odd Headquarters (Black Market)
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Field | Telepath Tower
 -------+-------------------------
   1-04 | “Dungeon: Ruins Type 1”

  Scene | Odessa’s declaration of world unification; discarding boundaries
 -------+------------------------------------------------------------------
   2-11 | “Battle Robot Jack”

  Scene | Monster appears to destroy signal amplifier
 -------+---------------------------------------------
   1-07 | “The Crisis at Hand”

  Fight | Vagesta (Mysterious Phantom Being)
 -------+------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Field | Damzen City
 -------+-------------------
   1-25 | “Western Village”

  Field | Mt. Chug-Chug (left path from entrance)
 -------+-----------------------------------------
   1-10 | “Dungeon: Natural Type 2”

  Scene | ARMS meets Ptolomea
 -------+---------------------
   1-53 | “Odessa's Theme”

  Fight | Ptolomea (Special Cocytus Squad Member) Mt. Chug-Chug
 -------+-------------------------------------------------------
   2-04 | “Boss Demo”
   1-58 | “Battle VS Cocytus” and fanfare
   1-68 | “A Tinge of Regret”

  Scene | Odessa’s special squad Cocytus introduces themselves and escape
 -------+-----------------------------------------------------------------
   1-53 | “Odessa's Theme”

-----------------------
 Mission of Diplomacy:
-----------------------

  Field | Valeria Chateau
 -------+-------------------
   1-48 | "Valeria Chateau”

  Field | Town of Meria
 -------+---------------
   1-24 | “Town Where the West Wind Blows”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | Live Reflector
 -------+------------------
   1-49 | “Live Reflector”

  Scene | Elebart (Thunderbolt Battle Monster) introduction
 -------+---------------------------------------------------
   2-04 | “Boss Demo”

  Scene | Dialog to Tim and firends prior to fighting Elebart
 -------+-----------------------------------------------------
   2-03 | “Launch!”

  Fight | Elebart (Thunderbolt Battle Monster)
 -------+--------------------------------------
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Teleporting via Live Reflector
 -------+--------------------------------
   2-03 | “Launch!”

  Scene | Cocytus reports to Vinsfeld; Judecca sent to deal with ARMS
 -------+-------------------------------------------------------------
   1-53 | “Odessa's Theme”

  Field | Live Reflector
 -------+-----------------
   1-49 | “Live Reflector”

  Field | Sylvaland Castle
 -------+------------------
   1-46 | “Castle”

  Scene | Solider relays news of Odessa’s attack on Hamletz during audience
 -------+-------------------------------------------------------------------
   1-07 | “The Crisis at Hand”

  Fight | Trask (Poisonous Armored Dragonoid)
 -------+-------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” (No fanfare)

  Scene | ARMS captured; Judecca wonders about force that destroyed Trask
 -------+-----------------------------------------------------------------
   1-12 | “From Anxiety to Impatience”

  Scene | Party wakes up in a cell in Golgotha Prison
 -------+---------------------------------------------
   2-07 | “Used by a User”

  Field | Golgotha Prison
 -------+-------------------------
   1-35 | “Dungeon: Pinch Type 2”

  Scene | Execution site, Ashley unleashes his inner power against Trask
 -------+----------------------------------------------------------------
   2-08 | “High Pressure”

  Fight | Trask (Poisonous Armored Dragonoid) Golgotha Prison
 -------+-----------------------------------------------------
   1-55 | “Battle: KnightBlazer” and fanfare 
   1-67 | “CONDITION GREEN!”

  Scene | Ashley reverts to normal; onlookers question what they just saw 
 -------+-----------------------------------------------------------------
   2-07 | “Used by a User”

--------------------------------------
 The Power to Bring about the Future:
--------------------------------------

  Field | Sylvaland Castle
 -------+------------------
   1-46 | “Castle”

  Scene | Antenora reports Judecca’s failure; enacts “Operation Guardian”
 -------+-----------------------------------------------------------------
   2-07 | “Used by a User”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Scene | Ashley reflects on Marina’s reaction to him being called a hero
 -------+-----------------------------------------------------------------
   1-18 | “Quiet Night”

  Field | Live Reflector
 -------+------------------
   1-49 | “Live Reflector”

  Scene | Teleporting via Live Reflector
 -------+--------------------------------
   2-03 | “Launch!”

  Field | Raline Observatory
 -------+-------------------------
   1-04 | “Dungeon: Ruins Type 1”

  Scene | Undines (Elemental Spirit) introduction
 -------+-----------------------------------------
   2-04 | “Boss Demo”

  Field | Raline Observatory
 -------+--------------------
   2-02 | “Liz and Ard”

  Fight | Undines (Elemental Spirit)
 -------+----------------------------------
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Liz and Ard (Raline Observatory)
 -------+--------------------------------------
   2-04 | “Boss Demo”
   1-61 | “Battle VS Liz and Ard” (No fanfare)

  Field | Live Reflector
 -------+------------------
   1-49 | “Live Reflector”

  Scene | Teleporting via Live Reflector
 -------+--------------------------------
   2-03 | “Launch!”

  Field | Holst
 -------+-------------------
   1-25 | “Western Village”

  Field | Aguel Mine Shaft
 -------+---------------------------
   1-31 | “Dungeon: Natural Type 1”

  Field | Valeria Chateau
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

------------------------
 Protecting the Pillar:
------------------------

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau"

  Scene | Tim, Tony and Scott being perused in the Town of Meria
 -------+--------------------------------------------------------
   2-05 | “Soaked in Terror”
 
  Scene | The Varukisas appears above Meria and releases monsters below
 -------+---------------------------------------------------------------
   1-53 | “Odessa's Theme”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Scene | The Chateau breaks away from the cliff and intercepts the Varukisas
 -------+---------------------------------------------------------------------
   1-52 | “Operation ARMS Theme”

  Fight | Alphael (Propagator Bird with Wings of Light)
 -------+-----------------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Field | Town of Meria
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | World Map: Flying Chateau 
 -------+----------------------------
   1-29 | “The Stronghold Surfaces!”

  (NOTE: This entry will be omitted from this point on.)

  Field | Wind Tiger’s Den
 -------+---------------------------
   1-10 | “Dungeon: Natural Type 2”

  Scene | Awakening and receiving the Fengalon Medium
 -------+---------------------------------------------
   1-50 | “Guardian”

  Field | Baskar (Disc 1)
 -------+------------------
   1-26 | “Hidden Village”

  Scene | Tim meets Colette
 -------+-----------------------
   1-11 | “A Momentary Respite”

  Scene | Inn
 -------+-------
   1-27 | “Inn”
	
  Field | Hidden Trail Arena
 -------+--------------------
   1-39 | “Dungeon: Mystery”

  Fight | Reguleus (Compound Plant Monster)
 -------+-----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Gehenna Neros (Transforming Ninja)
 -------+------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Tim with Colette in the field of flowers
 -------+------------------------------------------
   1-51 | “Tim and Colette”

  Scene | Tim overhears the chief talk about his true purpose as Pillar
 -------+---------------------------------------------------------------
   2-05 | “Soaked in Terror”

  Scene | Baskar village chief and ARMS talk about the fate of the Pillar
 -------+-----------------------------------------------------------------
   1-12 | “From Anxiety to Impatience”
	
  Scene | Odessa attacks the Valeria Chateau
 -------+------------------------------------
   1-37 | “Dungeon: Urgent Situations”

  Fight | Antenora (Special Cocytus Squad Member) Valeria Chateau
 -------+---------------------------------------------------------
   2-04 | “Boss Demo”
   1-58 | “Battle VS Cocytus” and fanfare
   1-68 | “A Tinge of Regret”

  Fight | Judecca (Special Cocytus Squad Member) Valeria Chateau
 -------+--------------------------------------------------------
   2-04 | “Boss Demo”
   1-58 | “Battle VS Cocytus” and fanfare
   1-67 | “CONDITION GREEN!

  Scene | Blastodon (Explosive Red Thunder Toad) introduction
 -------+-----------------------------------------------------
   2-04 | “Boss Demo”

  Scene | Discovering Blastodon in the catapult room
 -------+--------------------------------------------
   1-15 | “Monsters Appear”

  Fight | Blastodon (Explosive Red Thunder Toad)
 -------+----------------------------------------
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Attempting to capture Blastodon on catapult
 -------+---------------------------------------------
   1-52 | “Operation ARMS Theme”

  Scene | Capture attempt fails; Ashley uses his power to shield explosion
 -------+------------------------------------------------------------------
   1-06 | “Chase”

  Scene | On a beach, Irving carries an exhausted Ashley on his shoulder
 -------+----------------------------------------------------------------
   1-08 | “A Dramatic Escape”

  Scene | Baskar village chief and ARMS discuss Tim becoming part of ARMS
 -------+-----------------------------------------------------------------
   1-09 | “Scene of Reminiscence”

-----------------------------------
 Turning the Tide against Tyranny:
-----------------------------------

  Scene | Audience with King of Meria Boule; planning the Filgaia Summit
 -------+----------------------------------------------------------------
   1-46 | “Castle”

  Scene | 71st Filgaia Summit
 -------+---------------------
   2-13 | “Filgaia Summit”

  Scene | Odessa’s incoming attack detected
 -------+-----------------------------------
   1-06 | “Chase”

  Scene | Launching the assault anchor
 -------+------------------------------
   1-52 | “Operation ARMS Theme”

  Field | Warwing Varukisas
 -------+-------------------
   1-40 | “Dungeon: Odessa's Hideout”

  Fight | Ptolomea (Special Cocytus Squad Member) Warwing Varukisas
 -------+-----------------------------------------------------------
   2-04 | “Boss Demo”
   1-58 | “Battle VS Cocytus” and fanfare
   1-68 | “A Tinge of Regret”

  Scene | Ptolomea escapes, crash landing the Varukisas
 -------+-----------------------------------------------
   1-06 | “Chase”

  Scene | Waiting to be picked up on the half submerged Varukisas
 -------+---------------------------------------------------------
   1-08 | “A Dramatic Escape”

  Scene | Audience with King of Meria Boule
 -------+-----------------------------------
   1-46 | “Castle”

  Field | Town of Meria
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Field | World Map: Hovercraft
 -------+----------------------------
   1-28 | “Heading Far from the Sea”
  
  (NOTE: This entry will be omitted from this point on.)

  Field | Dungeon: Thunder Lion Cage
 -------+----------------------------
   1-32 | “Dungeon: Ruins Type 2”

  Scene | Awakening and receiving the Noua Shax Medium
 -------+----------------------------------------------
   1-50 | “Guardian”

  Field | Town of Meria
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Scene | Audience with King of Meria Boule; discussing the data tablets
 -------+---------------------------------------------------------------- 
   1-46 | “Castle”

  Field | Damzen City
 -------+-------------------
   1-25 | “Western Village”

  Field | Mt. Chug-Chug (entrance)
 -------+---------------------------
   1-10 | “Dungeon: Natural Type 2”

  Field | Mt. Chug-Chug (right path from entrance)
 -------+------------------------------------------
   1-31 | “Dungeon: Natural Type 1”

  Scene | Lilka returns home only to be scalded by Terry for running away
 -------+-----------------------------------------------------------------
   1-13 | “The Young Witch Appears”

  Field | Sielje Region
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Scene | Ashley and Lilka talk with one another at the museum
 -------+------------------------------------------------------
   1-18 | “Quiet Night”

  Scene | Alarm is triggered, data tablets stolen
 -------+-----------------------------------------
   1-15 | “Monsters Appear”

  Field | Gate Bridge
 -------+-------------------------
   1-04 | “Dungeon: Ruins Type 1”

  Scene | Liz and Ard mess with the Gate Bridge controls
 -------+------------------------------------------------
   2-02 | “Liz and Ard”

  Field | Gate Bridge (race to other side)
 -------+----------------------------------
   1-37 | “Dungeon: Urgent Situations”

  Fight | Liz and Ard (Gate Bridge)
 -------+--------------------------------------
   1-61 | “Battle VS Liz and Ard” (No Fanfare)
	
  Fight | Trask 2.0 (Biogenic Dragonoid)
 -------+-----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” (No Fanfare)

  Field | Greenhell
 -------+---------------------------
   1-10 | “Dungeon: Natural Type 2”

  Field | T’Bok Village
 -------+------------------
   1-26 | “Hidden Village”

  Field | Island Outpost
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Field | Quartly
 -------+-------------------
   1-25 | “Western Village”

  Scene | Ashley questions Brad’s allegiance when he talks to a shady figure
 -------+--------------------------------------------------------------------
   1-12 | “From Anxiety to Impatience”

  Field | Slayheim Castle
 -------+-------------------
   1-36 | “Dungeon: Horror”
 
  Scene | Brad’s flashback of raiding Slayheim Castle during the war
 -------+------------------------------------------------------------
   1-09 | “Scene of Reminiscence”

  Fight | Kanon (Slayheim Castle)
 -------+---------------------------------------	
   1-57 | “Battle VS Solid (Kanon)” and fanfare
   1-68 | “A Tinge of Regret”

  Scene | Reporting back to the Valeria Chateau
 -------+---------------------------------------
   1-12 | “From Anxiety to Impatience”

  Field | Quartly
 -------+-------------------
   1-25 | “Western Village”

  Scene | Vinsfeld reveals to Antenora he knows her personal agenda
 -------+-----------------------------------------------------------
   2-07 | “Used by a User”

  Field | Alchemic Plant
 -------+-----------------------------
   1-40 | “Dungeon: Odessa's Hideout”

  Fight | Antenora (Special Cocytus Squad Member) Alchemic Plant
 -------+--------------------------------------------------------
   1-58 | “Battle VS Cocytus” and fanfare
   1-68 | “A Tinge of Regret”

  Scene | Antenora reveals ARMS intelligence leak, Brad's sacrifice
 -------+-----------------------------------------------------------
   1-06 | “Chase”

  Scene | Alchemic Plant explodes
 -------+-------------------------
   1-14 | “Separation”

--------------------------------
 Marching Forward Despite Loss:
--------------------------------

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | Urartu Station
 -------+-------------------
   1-25 | “Western Village”

  Scene | On the Dianbai Guang, Noel/conductor note the tunnel is too long
 -------+------------------------------------------------------------------
   1-07 | “The Crisis at Hand”

  Field | Emulator Zone
 -------+-------------------
   1-36 | “Dungeon: Horror”

  Scene | ARMS meets Caina for the first time
 -------+-------------------------------------
   1-15 | “Monsters Appear”

  Fight | Caina (Special Cocytus Squad Member) Emulator Zone
 -------+----------------------------------------------------
   2-04 | “Boss Demo”
   1-58 | “Battle VS Cocytus” and fanfare
   1-68 | “A Tinge of Regret”

  Fight | Kanon (Emulator Zone)
 -------+---------------------------------------
   1-57 | “Battle VS Solid (Kanon)” and fanfare
   1-68 | “A Tinge of Regret”

  Scene | Back on the Dianbai Guang outrunning collapse of Emulator Zone
 -------+----------------------------------------------------------------
   1-06 | “Chase”

  Field | Urartu Station
 -------+-------------------
   1-25 | “Western Village”

  Field | Guild Galad
 -------+---------------
   1-47 | “Guild Galad”
 
  Scene | Noel discovers his father's intentions to acquire a super weapon
 -------+------------------------------------------------------------------	
   2-13 | “Filgaia Summit”
 
  Scene | Odessa revels in their newly acquired nuclear capabilities
 -------+------------------------------------------------------------
   2-07 | “Used by a User”

  Field | Shinning Garden
 -------+-------------------------
   1-32 | “Dungeon: Ruins Type 2”

  Scene | Awakening and receiving the Stare Roe Medium
 -------+----------------------------------------------
   1-50 | “Guardian”

  Field | Abandoned Icebox
 -------+------------------
   1-10 | “Dungeon: Natural Type 2”
 
  Scene | Awakening and receiving the Aru Sulato medium
 -------+-----------------------------------------------
   1-50 | “Guardian”

  Field | Dark Reason
 -------+-------------------------
   1-32 | “Dungeon: Ruins Type 2”

  Scene | Awakening and receiving the Leitea Salk medium
 -------+------------------------------------------------
   1-50 | “Guardian”

  Field | Holst
 -------+----------------
   1-25 | “Western Town”

  Field | Closed Mine Shaft
 -------+---------------------------
   1-10 | “Dungeon: Natural Type 2”

  Fight | Kanon (Closed Mine Shaft)
 -------+---------------------------------------
   1-57 | “Battle VS Solid (Kanon)” and fanfare
   1-68 | “A Tinge of Regret”

  Scene | Judecca attempts to trap the party in the mine with a cave-in
 -------+---------------------------------------------------------------
   1-06 | “Chase”

  Field | Holst
 -------+----------------
   1-25 | “Western Town”

  Scene | Judecca attacks Holst
 -------+-------------------------
   1-34 | “Dungeon: Pinch Type 1”

  Fight | Judecca (Special Cocytus Squad Member) Holst
 -------+----------------------------------------------
   1-58 | “Battle VS Cocytus” and fanfare
   1-68 | “A Tinge of Regret”

  Field | Town: Valeria Chateau
 -------+-----------------------
   1-48 | “Valeria Chateau”

  Field | Coffin of 100 Eyes
 -------+-----------------------------
   1-40 | “Dungeon: Odessa's Hideout”

  Scene | Liz and Ard up to no good again
 -------+---------------------------------
   2-02 | “Liz and Ard”

  Fight | Liz and Ard (Coffin of 100 Eyes)
 -------+--------------------------------------
   1-61 | “Battle VS Liz and Ard” (No Fanfare)

  Fight | Arms Killer (Robotic Monster Assassin)
 -------+----------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Call from the Valeria Chateau about the Heimdal Gazzo
 -------+-------------------------------------------------------
   1-06 | “Chase”

  Scene | Heimdal Gazzo preparing to fire on ruins with the Soul Deleter
 -------+----------------------------------------------------------------
   2-07 | “Used by a User”
 
  Scene | Brad’s return, destruction of the Alchemic Plant, Odessa’s retreat
 -------+--------------------------------------------------------------------
   2-15 | “A Great Comeback”

  Fight | FakeBrad
 -------+----------------------------------
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Brad reunites with his comrades
 -------+---------------------------------
   1-08 | “A Dramatic Escape”

--------------------
 Taking Out Odessa:
--------------------

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Scene | Ashley and Marina talk about the strength they another possess
 -------+----------------------------------------------------------------
   1-18 | “Quiet Night”

  Scene | Send off at Valeria Chateau
 -------+-----------------------------
   1-52 | “Operation ARMS Theme”

  Field | Diablo Pillar (Ptolomea)
 -------+---------------------------
   1-41 | “Dungeon: Pillar of Hell”

  Fight | Belleclaire (Explosive Emperor Monster)
 -------+-----------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Plotomea (Special Cocytus Squad Member) Diablo Pillar
 -------+-------------------------------------------------------
   1-58 | “Battle VS Cocytus” and fanfare
   1-67 | “CONDITION GREEN!”

  Field | Diablo Pillar (Caina)
 -------+---------------------------
   1-41 | “Dungeon: Pillar of Hell”

  Fight | Drawdo (Shapeless Slime Monster)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Caina (Special Cocytus Squad Member) Diablo Pillar
 -------+----------------------------------------------------
   1-58 | “Battle VS Cocytus” and fanfare
   1-68 | “A Tinge of Regret”

  Field | Diablo Pillar (Antenora)
 -------+---------------------------
   1-41 | “Dungeon: Pillar of Hell”

  Fight | Prisnum (Humanoid Mirage)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Antenora (Special Cocytus Squad Member) Diablo Pillar
 -------+-------------------------------------------------------
   1-58 | “Battle VS Cocytus” and fanfare
   1-67 | “CONDITION GREEN!”

  Field | Lost City Archheim
 -------+-------------------------
   1-34 | “Dungeon: Pinch Type 1”

  Scene | Awakening and receiving the Ge Ramtos medium
 -------+----------------------------------------------
   1-50 | “Guardian”

  Fight | Jasoul (Aggressive Poltergeist)
 -------+---------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Field | Live Reflector
 -------+------------------
   1-49 | “Live Reflector”

  Scene | Teleporting via Live Reflector
 -------+--------------------------------
   2-03 | “Launch!”

  Field | Live Reflector
 -------+------------------
   1-49 | “Live Reflector”

  Field | Diablo Pillar (Judecca)
 -------+-------------------------
   1-41 | “Dungeon: Pillar of Hell”

  Fight | Magamalizer (Red-Hot Lava Monster)
 -------+------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Judecca (Special Cocytus Squad Member) Diablo Pillar
 -------+------------------------------------------------------
   1-58 | “Battle VS Cocytus” and fanfare
   1-67 | “CONDITION GREEN!”

  Field | Heimdal Gazzo
 -------+--------------------------
   1-42 | “Dungeon: Heimdal Gazzo”

  Scene | Confronting Vinsfield
 -------+-----------------------
   1-07 | “The Crisis at Hand”

  Fight | Vinsfield (Leader of Odessa)
 -------+------------------------------
   2-04 | “Boss Demo”
   1-60 | “Battle VS Vinsfield” and fanfare
   1-69 | “Before Victory”

  Scene | Vinsfield talks of “other threat” to Filgaia, escape
 -------+------------------------------------------------------
   1-06 | “Chase”

  Scene | Vinsfield reappears and mocks Ashley’s ideals
 -------+-----------------------------------------------
   1-59 | “End of the Banquet”

  Fight | Vinsfeld (Leader of Odessa) Ashley
 -------+------------------------------------
   1-60 | “Battle VS Vinsfield” and fanfare
   1-69 | “Before Victory”

  Scene | Marina and Marivel watch shooting starts on the rooftops in Meria
 -------+-------------------------------------------------------------------
   2-12 | “Wish Upon A Star ~ Broken Promise”

  Scene | The Heimdal Gazzo falls to Filgaia, Ashley floating in subspace
 -------+-----------------------------------------------------------------
   1-75 | “Atomic ARMS (Disc 1 Ending)”

========
 Disc 2
========

  Scene | Title Screen
 -------+--------------
   1-01 | “Main Title”

  Scene | Disc Two Opening FMV (NSTC-J)
 -------+----------------------------------------------------------------
   x-xx | Not on soundtrack [edit of 2-01: Resistance Line - Full Chorus
        | Version (Disc 2 Opening)]

  Scene | Disc Two Opening FMV (NSTC-U/C)
 -------+---------------------------------------------------------------------
   x-xx | Not on soundtrack [instumrntal edit of 2-01: Resistance Line - Full
        | Chorus Version (Disc 2 Opening)]

------------------------
 The Search for Ashley:
------------------------

  Scene | Marina talks with Altaecia outside the Valeria Chateau
 -------+--------------------------------------------------------
   1-48 | “Valeria Chateau”

  Scene | Ashley ponders why he’s still alive; Anastasia appears
 -------+--------------------------------------------------------
   2-06 | “Anastasia's Guidance”

  Scene | Ashley and Anastasia walk along path to the Memory Maze
 -------+---------------------------------------------------------
   1-14 | “Separation”

  Field | Memory Maze
 -------+------------------------------
   1-43 | “Dungeon: Anastasia's World”

  Scene | Anastasia recalls fighting Lord Blazer and the power he possesses
 -------+-------------------------------------------------------------------
   2-14 | “An Old Tale”

  Scene | Anastasia explains why she was able to wield the Argetlahm
 -------+------------------------------------------------------------ 
   2-14 | “An Old Tale”

  Scene | Irving fails at the drawing Argetlahm; the resulting injury
 -------+------------------------------------------------------------- 
   2-10 | “Agony”

  Scene | Anastasia's ability to confront Lord Blazer; the power of desire
 -------+------------------------------------------------------------------
   2-14 | “An Old Tale”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Scene | Activating the Millennium Puzzle at the Sword Cathedral
 -------+---------------------------------------------------------
   1-14 | “Separation”

  Field | Millennium Puzzle
 -------+-------------------
   1-36 | “Dungeon: Horror”

  Scene | Lilka fails to open the gate; party escapes from the puzzle
 -------+-------------------------------------------------------------
   1-14 | “Separation”

  Scene | Anastasia leads Ashley to Filgaia, end the suffering of the Valeria
 -------+---------------------------------------------------------------------
   2-16 | “From Beyond”

  Field | Town of Meria
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”
 
  Scene | Ashley reappears at the Sword Cathedral
 -------+-----------------------------------------
   2-06 | “Anastasia's Guidance”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Scene | Ashley’s return; Lilka’s loneliness
 -------+-------------------------------------
   2-17 | “Suite: I'm Back”

----------------------
 The Strain Paradigm: 
----------------------

  Scene | Discussing the newest threat to Filgaia at the Valeria Chateau
 -------+----------------------------------------------------------------
   2-08 | “High Pressure”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | World Map (Disc 2)
 -------+------------------------
   1-22 | “Field: Distorted Sky”

  (NOTE: This entry will be omitted from this point on; theme used changes
         later on during Disc 2.)

  Field | Baskar
 -------+-------------------------
   1-09 | "Scene of Reminiscence”

  Field | Sacrificial Altar
 -------+--------------------
   1-39 | “Dungeon: Mystery”

  Scene | Talking with “Gaia,” the collective consciousness of the guardians
 -------+--------------------------------------------------------------------
   2-14 | “An Old Tale”

  Field | Grotto of Lourdes
 -------+-------------------------
   1-32 | “Dungeon: Ruins Type 2”

  Scene | Kanon recalls her childhood feelings of abandonment
 -------+-----------------------------------------------------
   2-14 | “An Old Tale”

  Scene | Kanon reflects on her mothers claims of nobility through blood
 -------+----------------------------------------------------------------
   2-14 | “An Old Tale”

  Scene | Kanon remembers her decision to live by the blood within her
 -------+--------------------------------------------------------------
   2-14 | “An Old Tale”

  Scene | Kanon awakes why Anastasia couldn’t completely destroy Lord Blazer
 -------+--------------------------------------------------------------------
   2-14 | “An Old Tale”

--------------------------
 Reminants from Old Foes:
--------------------------

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | Lost Garden
 -------+-------------------------
   1-35 | “Dungeon: Pinch Type 2”

  Scene | Meeting up with Caina, Irving examines the threat Ashley presents
 -------+------------------------------------------------------------------- 
   1-38 | “Dungeon: Battle Preparations”

  Fight | Caina (Special Cocytus Squad Member) Lost Garden
 -------+--------------------------------------
   1-55 | “Battle: KnightBlazer” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Ashley apologizes for what he has become; Marina’s monologue
 -------+--------------------------------------------------------------
   2-18 | “2 Lovers Split Apart”

  Scene | Still frame graphic of Grauswein heading towards Filgaia
 -------+----------------------------------------------------------
   2-08 | “High Pressure”

  Scene | Leaders gather in Guild Galad to discuss how to counter Grauswein
 -------+-------------------------------------------------------------------
   2-13 | “Filgaia Summit”

  Scene | Irving briefs ARMS on Grauswein, Ashley ordered to sit out
 -------+------------------------------------------------------------
   2-08 | “High Pressure”

  Fight | Grauswein (Nuclear Dragon)
 -------+----------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” (No Fanfare)

  Field | Valeria Chateau
 -------+-----------------
   1-48 | “Valeria Chateau”

  Fight | Grauswein (Nuclear Dragon) Ashley
 -------+-----------------------------------
   1-55 | "Battle: KnightBlazer” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Ashley begins to lose control over Lord Blazer after the battle
 -------+-----------------------------------------------------------------
   2-18 | “2 Lovers Split Apart”

  Scene | Marina’s words bring Ashley back from the brink
 -------+-------------------------------------------------
   2-19 | “Marina's Miracle”

------------------------------
 Seeking the Power of Filgaia
------------------------------

  Scene | Leaders gather in Guild Galad, legend of the last dragon
 -------+----------------------------------------------------------
   2-13 | “Filgaia Summit”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | Live Reflector
 -------+------------------
   1-49 | “Live Reflector”

  Scene | Teleporting via Live Reflector
 -------+--------------------------------
   2-03 | “Launch!”
 
  Field | Live Reflector
 -------+------------------
   1-49 | “Live Reflector”

  Field | Sleeping Volcano
 -------+---------------------------
   1-10 | “Dungeon: Natural Type 2”

  Fight | Lombardia (Dragon Caliber)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Post fight dialog with Lombardia; volcanic eruption imminent
 -------+--------------------------------------------------------------
   1-06 | “Chase”

  Scene | Escape from volcano, planning the attack against the Kuiper Belt
 -------+------------------------------------------------------------------
   2-15 | “A Great Comeback”

  Field | World Map: Lombardia
 -------+------------------------------
   1-30 | “Harbinger of the Hurricane”
  
  (NOTE: This entry will be omitted from this point on.)

  Field | Good Luck Zone
 -------+-------------------------
   1-04 | “Dungeon: Ruins Type 1”

  Scene | Awakening and receiving the Chapapanga Medium
 -------+-----------------------------------------------
   1-50 | “Guardian”

  Field | Meteorite Crater
 -------+---------------------------
   1-10 | “Dungeon: Natural Type 2”

  Scene | Awakening and receiving the Rigdobrite Medium
 -------+-----------------------------------------------
   1-50 | “Guardian”

  Field | Werewolf’s Den
 -------+--------------------
   1-39 | “Dungeon: Mystery”

  Scene | Ashley talks one-on-one with Lucied
 -------+-------------------------------------
   2-16 | “From Beyond”

  Field | Crimson Castle
 -------+-------------------
   1-36 | “Dungeon: Horror”

-------------------
 Setting the Trap:
-------------------

  Field | Palace Village
 -------+----------------------------------
   1-24 | “Town Where the West Wind Blows”

  Field | Raypoint Flam
 -------+---------------
   1-33 | “Dungeon: Ruins Type 3”

  Fight | Flam Knight (Spriggian)
 -------+-------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Lilka comes to realize she has her own special brand of magic
 -------+---------------------------------------------------------------
   2-14 | “An Old Tale”

  Scene | Lilka liberates the Raypoint
 -------+------------------------------
   1-50 | “Guardian”

  Field | Raypoint Geo
 -------+-------------------------
   1-33 | “Dungeon: Ruins Type 3”

  Fight | Geo Knight (Spriggian)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Brad dispels the shadows in his heart; what a hero should be
 -------+--------------------------------------------------------------
   2-14 | “An Old Tale”

  Scene | Brad announces the truth about who he is
 -------+------------------------------------------
   2-20 | “The Wall Around My Heart”

  Scene | Brad liberates the Raypoint
 -------+-----------------------------
   1-50 | “Guardian”

  Field | Raypoint Wing
 -------+-------------------------
   1-33 | “Dungeon: Ruins Type 3”

  Fight | Wing Knight (Spriggian)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Tim contemplates why he continues to fight against fate
 -------+---------------------------------------------------------
   2-14 | “An Old Tale”

  Scene | Tim realizes he fights for a world where no one has to be sacrificed
 -------+----------------------------------------------------------------------
   2-20 | “The Wall Around My Heart”

  Scene | Tim liberates the Raypoint
 -------+-----------------------------
   1-50 | “Guardian”

  Field | Raypoint Muse
 -------+-------------------------
   1-33 | “Dungeon: Ruins Type 3”

  Fight | Muse Knight (Spriggian)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Kanon ends her confusion by questioning her desire to be a hero
 -------+-----------------------------------------------------------------
   2-14 | “An Old Tale”

  Scene | Kanon accepts the bonds she’s forged with those around her
 -------+------------------------------------------------------------
   2-20 | “The Wall Around My Heart”

  Scene | Kanon liberates the Raypoint
 -------+------------------------------
   1-50 | “Guardian”

  Scene | ARMS engages the Live Reflectors to trap the Kuiper Belt
 -------+----------------------------------------------------------
   1-52 | “Operation ARMS Theme”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | Trapezohedron
 -------+------------------------------
   1-37 | “Dungeon: Urgent Situations”

  Scene | Encountering the tip (Larva) of the Kuiper Belt
 -------+-------------------------------------------------
   1-07 | “The Crisis at Hand”

  Fight | Larva (Encroaching Parallel Universe)
 -------+-------------------------------------------------
   2-04 | “Boss Demo”
   1-62 | “Battle VS Root of the Kuiper Belt” and fanfare
   1-67 | “CONDITION GREEN!”

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | Promised Catacombs
 -------+--------------------
   1-36 | “Dungeon: Horror”

  Scene | Awakening and receiving the Dan Dairum Medium
 -------+-----------------------------------------------
   1-50 | “Guardian”

  Scene | Marivel reflects on those lost and how humans come and go
 -------+-----------------------------------------------------------
   1-14 | “Separation”

  Scene | Marivel accepts her friendship with her current friends
 -------+---------------------------------------------------------
   2-20 | “The Wall Around My Heart”

  Scene | Ashley and Marina’s hope revives Zephyr from the Stone Dragon
 -------+---------------------------------------------------------------
   2-18 | “2 Lovers Split Apart”
   2-20 | “The Wall Around My Heart”

  Scene | Brad and Billy’s courage revives Justine from the Stone Lion
 -------+--------------------------------------------------------------
   1-11 | “A Momentary Respite”

  Scene | Tim and Colette’s love revives Raftina from the Stone Goddess
 -------+---------------------------------------------------------------
   1-51 | “Tim and Colette”
   2-20 | “The Wall Around My Heart”

-------------------------
 A Sin to Save the World
-------------------------

  Field | Fiery Wreckage
 -------+-----------------------------
   1-40 | “Dungeon: Odessa's Hideout”

  Fight | Ghost (Remaining Poltergeist)
 -------+-------------------------------
   2-04 | “Boss Demo”
   1-60 | “Battle VS Vinsfield” and fanfare
   1-69 | “Before Victory”

  Scene | Learning of Irving’s involvement in funding Odessa
 -------+----------------------------------------------------
   1-09 | “Scene of Reminiscence”

  Scene | Irving’s letter to the members of ARMS
 -------+----------------------------------------
   1-40 | “Dungeon: Odessa's Hideout”

  Scene | ARMS meets up with there beloved ones before the final battle
 -------+---------------------------------------------------------------
   2-21 | “Eve of the Last Battle” (technically plays twice)

  Field | Valeria Chateau
 -------+-------------------
   1-48 | “Valeria Chateau”

  Field | World Map (Disc 2)
 -------+--------------------
   1-23 | “Field: Last IGNITION”

 (NOTE: This entry will be omitted from this point on.)
  
  Field | Spiral Tower
 -------+-------------------------
   1-44 | “Dungeon: Spiral Tower”

  Fight | Grodine (Saucer Organism)
 -------+---------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Entering the portal room at the bottom of Sprial Tower
 -------+--------------------------------------------------------
   1-15 | “Monsters Appear”
 
  Fight | Manufestu (Terrible Guardian Monster)
 -------+---------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Teleporting down/into to Glaive Le Gable
 -------+------------------------------------------
   2-22 | “The Center of Filgaia”

  Field | Glaive Le Gable
 -------+------------------------------
   1-45 | “Dungeon: Center of Filgaia”

  Fight | First Root (Encroaching Parallel Universe)
 -------+-------------------------------------------------
   2-04 | “Boss Demo”
   1-62 | “Battle VS Root of the Kuiper Belt” and fanfare
   1-70 | “It’s Clear.”

  Fight | Second Root (Encroaching Parallel Universe)
 -------+-------------------------------------------------
   2-04 | “Boss Demo"
   1-62 | “Battle VS Root of the Kuiper Belt” and fanfare
   1-70 | “It’s Clear.”

  Fight | Third Root (Encroaching Parallel Universe)
 -------+-------------------------------------------------
   2-04 | “Boss Demo"
   1-62 | “Battle VS Root of the Kuiper Belt” and fanfare
   1-70 | “It’s Clear.”

  Scene | Onlookers gaze on at Spiral Tower as the battle disrupts the heavens
 -------+----------------------------------------------------------------------
   2-23 | “Humanity's Fight”

  Scene | Irving explains his actions, Altaecia prepares to be the vessel
 -------+-----------------------------------------------------------------
   2-05 | “Soaked in Terror”

  Scene | Irving turns his sister Altaercia into the Madonna of Destruction
 -------+-------------------------------------------------------------------  
   1-12 | “From Anxiety to Impatience”

  Fight | Kuiper Core (Encroaching Parallel Universe)
 -------+-------------------------------------------------
   2-04 | “Boss Demo”
   1-63 | “Battle VS Edgeworth = Kuiper Belt” and fanfare
   1-71 | “Crime and Sacrifice”

  Scene | Party reunites; ponder their victory and the fate of Filgaia
 -------+--------------------------------------------------------------
   2-24 | “Bitter Return”

  Scene | The bonds that hold Lord Blazer within are finally broken
 -------+-----------------------------------------------------------
   2-25 | “Apocalyptic Threat”

  Scene | Teleported to the surface of the moon with Agretlahm and Lord Blazer
 -------+----------------------------------------------------------------------
   2-08 | “High Pressure”

  Fight | Lord Blazer (Blaze of Disaster)
 -------+-------------------------------------
   2-04 | “Boss Demo”
   1-65 | “Battle VS Lord Blazer” and fanfare
   1-72 | “A New Sunset”

  Scene | Returning from Glaive Le Gable to the bottom of Spiral Tower
 -------+--------------------------------------------------------------
   2-06 | “Anastasia's Guidance”

  Scene | Ending
 -------+----------------------
   2-26 | “(8 Tracks Nonstop)”

  Scene | Ending Credits
 -------+-----------------------------
   2-27 | “Zephyrs's (Disc 2 Ending)”

  Scene | Reunion
 -------+----------------------------------------
   2-28 | “Final Chapter 1-4 (4 Tracks Nonstop)"

  Field | File Viewer
 -------+-------------------
   x-xx | Not on soundtrack

------------
 Sidequests
------------

  Field | Pirate’s Warren
 -------+-------------------------
   1-04 | “Dungeon: Ruins Type 1”

  Fight | Gatlorg (Monster Battleship)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Titanius (Steel Dragon from the Bowls of the Earth)
 -------+-----------------------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Kobold King (Bodyguard Monster)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | "CONDITION GREEN!”

  Field | Fab Science Lab
 -------+-----------------
   2-02 | “Liz and Ard”

  Fight | Bulkogidon (Rampaging Monster Robot)
 -------+--------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Scene | Liz and Ard before they prepare to take off in their spaceship
 -------+----------------------------------------------------------------
   1-03 | “Going Out”

  Scene | Liz and Ard rudely crash back to the ground
 -------+---------------------------------------------
   1-05 | “Serious Struggling”

  Fight | Zolinge (Limb-from-Limb Ripping Monster)
 -------+------------------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Xenon (Giant Monster of Light)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Zyclus & Zetrim (Vortex Monster Brothers)
 -------+-------------------------------------------
   2-04 | “Boss Demo"
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Zavorg (Giant Armored Bug)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

  Fight | Ragu O’ Ragula (Master of the Beginning and the End)
 -------+------------------------------------------------------
   2-04 | “Boss Demo”
   1-66 | “Battle VS Ragu O' Ragula” and fanfare
   1-73 | “WIN!!!”

  Fight | Angolmois (Demon King)
 -------+----------------------------------
   2-04 | “Boss Demo”
   1-56 | “Battle VS Mid Boss” and fanfare
   1-67 | “CONDITION GREEN!”

===============================================================================
 2.07 / Track-by-track Reviews and Usage Chart
===============================================================================

-------------------------------------------------------------------------
 Indtroduction: Wild Arms 2nd Ignition Original Soundtrack (SVWC 7041~2)
-------------------------------------------------------------------------

When it comes to the world of video games and video game music it goes without
saying that with any kind of discovery comes disappointment. Not every apple is
fresh or will be to your liking, but when you find the right one it makes all
that searching worth while. Yet this is only one take on the disappointment
that comes along with discovery, as one can be disappointed at the lack of
success and acclaim something receives. This is a road that Wild Arms 2nd
Ignition has come to know all too well, having had to complete with a much less
forgiving market than its predecessor, its flaws and shortcomings documented
for all to see. In regards to the soundtrack, there are many things that turn
what is a light sprinkle into an unrelenting downpour, like SPE Visual Works'
typical, half hearted presentation of the music (e.g. minimal looping) and the
composer's ambitions and creations being at odds with one another, but is there
sunshine beyond the horizon? Read on to find out.

-------------------------------------------------------------------------------
 1-01) Main Title ..................................................... (0:29)
-------------------------------------------------------------------------------
For a game that's one of my favorites, I honestly wish there was something more
to say about the title theme — an important piece of music for any game. While
the methodical nature of the acoustic guitar and the patented Wild Arms whistle
undoubtedly convey the fact that Filgaia has never fully recovered from the
crimson flames that scarred its surface long ago, it fails to embody the
engaging adventure that is to follow. This isn't to say a title theme has to be
an orthodox, by-the-numbers affair that always highlights the lighter aspects
of a game, but it should feel a lot more viable and memorable than this, not
like a missed opportunity. (6/10)

  =-Usage-=

  Disc1 | Used
 -------+--------------
  Scene | Title Screen

  Disc2 | Used
 -------+--------------
  Scene | Title Screen

-------------------------------------------------------------------------------
 1-02) You'll Never Be Alone .......................................... (1:33)
-------------------------------------------------------------------------------
"You'll Never Be Alone" emits a sense of magic that is similar to "The End of
the Wilderness" but doesn't build upon itself in the same way. Granted, the
feeling that the game's characters are longing for something that is just
beyond the horizon is there but as the instruments and composition go through
the motions, it feels more fluid and homogeneous from an emotional standpoint.
If you've played the North American version of the game and heard the alternate
instrumental version (which opens with a horn rather than strings) there is a
lot more to consider. As strong as Kaori Asou's vocals and Naruke lyrics are
they don't support or further enhance what the music has to offer; they almost
feel like a needless obstacle. Despite the fact I would rate this alternate,
instrumental version higher if it was present on the soundtrack, both versions
succeed in portraying their intended message to the listener quite well. (8/10)

  =-Usage-=

  Disc1 | Used
 -------+-------------------------------
  Scene | Disc One Opening FMV (NSTC-J)

  The (NSTC-U/C) version of the game opens with an alternate version of "You'll
  Never Be Alone" that opens with a horn rather than strings. It's not included
  on the soundtrack.

-------------------------------------------------------------------------------
 1-03) Going Out ...................................................... (0:50)
-------------------------------------------------------------------------------
To anyone familiar with video game music, its common knowledge that most scores
(RPGs especially) have their own little collections of pieces that only see
action once or twice within the span of a playthrough. With one hundred plus
tracks spread out over two discs its safe to say that many of these tracks call
Wild Arms 2nd Ignition home. "Going Out" is such a piece and while it's neither
terrible nor musically unsound it ends up on the negative side of the spectrum
regardless of its befitting, in-game context. First played during Ashley's
introductory adventure as the musketeer brigade of Meria Boule makes their way
to the Withered Ruins (and then, as expected, the only reprise taking place 25,
30 hours later) the subdued, almost leisurely militaristic feel is undermined
by the slightest sense of silliness that foreshadows how quickly things unravel
once they reach their destination. All in all, "Going Out" is a classic example
of a decent track that is incapable of making a class change. (6/10)

  =-Usage-=

  Disc1 | Used
 -------+-------------------------------------------------------------------
  Scene | On route to The Withered Ruins; Musketeer Brigade members briefed

  Disc2 | Used
 -------+----------------------------------------------------------------
  Scene | Liz and Ard before they prepare to take off in their spaceship

-------------------------------------------------------------------------------
 1-04) Dungeon: Ruins Type 1 .......................................... (1:09)
-------------------------------------------------------------------------------
If one were to say dungeon themes weren't an important element in the tapestry
of an RPG it would be a lot like a person stating they're above breathing
oxygen; it's a notion so ludicrous it's bound to induce laughter to all within
an earshot of the speaker. All joking aside, to underestimate Naruke's work in
this area would be borderline criminal even though there are some that fail to
impress. The most notable entries — like those in the three part "Ruins Type"
series — are among the list of reasons why this soundtrack should be considered
by everyone. That's a lot of hype, but does "Ruins Type 1" live up to it? Yes
and no. It isn't hard to forge a valid argument that this is the weakest of the
three arrangements by far; still, the playful sense of discovery created from
the interplay of the instruments is extremely welcome in the game's dungeons
and is a nice change of pace from the first game where these pieces mostly
adhered to a moody and cryptic palette. In the end, just try and take in this
fun track as Naruke intended: resist the urge to over analyze it and accept it
at face value. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+--------------------
  Field | The Withered Ruins
  Field | Telepath Tower
  Field | Raline Observatory
  Field | Gate Bridge

  Disc2 | Used
 -------+------------------
  Field | Good Luck Zone
  Field | Pirate’s Warren

-------------------------------------------------------------------------------
 1-05) Serious Struggling ............................................. (0:50)
-------------------------------------------------------------------------------
"Serious Struggling" is an interesting track for all the wrong reasons. None of
these reasons have much to do with the quality of the composition (which more
or less shares its fate with "Going Out") but whether or not the title
coincides with it and its in-game context. Case in point: if I was going to
describe this track to someone the first thing I'd ask them to do would be to
forget any and all preconceived notions about seriousness and strife being
presented in a musical fashion. With that out of the way, I would then present
them with the previous iteration of the title "Confusion in the Front" and,
unlike above, allow them to read into it — particularly the word confusion.
Hopefully associated ideas such as aimlessness, awkwardness, silliness
and goofiness would be the result and give them a better grasp on what this
track offers. As far as a title goes, is "Serious Struggling" so far off that
there is no justification for its use? It's a real stretch, but one could
contend that this seemingly wayward title is an extension of the humorous,
slapstick nature of the piece and is meant to be ironic since it is anything
but. In the end none of this, even its clever, covert musical connection with
"Going Out" can serve to bolster this track's meek identity. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-------------------------------------------------------------------
  Scene | Sealed monster accidentally released during kidnapper distraction

  Disc2 | Used
 -------+---------------------------------------------
  Scene | Liz and Ard rudely crash back to the ground

-------------------------------------------------------------------------------
 1-06) Chase .......................................................... (0:55)
-------------------------------------------------------------------------------
It's ironic that after chronicling why the title for the previous number
doesn't fit (and how it barely might) along comes a track where I can seriously
imagine someone struggling. Here we have the main danger theme of Wild Arms 2nd
Ignition — it's repetitive, somewhat annoying (the end of the game's first disc
proving that quite nicely) and does little to change one's view on such tracks.
As damming as this is, "Chase" really does deserve more credit than it may
initially receive due to the architecture employed: a multi-layered composition
that gains a small amount of intensity in each section. This approach may seem
standard — hell, Junya Nakano practically built his score for Dew Prism around
this very concept — but it feels like a step up from the first game where
Naruke repeated the same bars over and over in "Collapse." Regardless, it's
nothing to get excited about; the track working when the situation calls for it
and being digestible enough outside the game. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+------------------------------------------------------------------
  Scene | In escape attempt from Kalivos Ashley runs interference
  Scene | Capture attempt fails; Ashley uses his power to shield explosion
  Scene | Odessa’s incoming attack detected
  Scene | Ptolomea escapes, crash landing the Varukisas
  Scene | Antenora reveals ARMS intelligence leak, Brad's sacrifice
  Scene | Back on the Dianbai Guang outrunning collapse of Emulator Zone
  Scene | Judecca attempts to trap the party in the mine with a cave-in
  Scene | Call from the Valeria Chateau about the Heimdal Gazzo
  Scene | Vinsfield talks of “other threat” to Filgaia, escape

  Disc2 | Used
 -------+--------------------------------------------------------------
  Scene | Post fight dialog with Lombardia; volcanic eruption imminent

-------------------------------------------------------------------------------
 1-07) The Crisis at Hand ............................................. (0:35)
-------------------------------------------------------------------------------
When there are a large amount of pieces on a soundtrack, the chances that there
will be tracks that try to invoke comparable thoughts and emotions within the
listener in a similar way increases. While it's entirely possible for someone
with an open mind to enjoy or appreciate everything that comes to bat, there
are cases where the stronger creations devour the others beyond conscious
thought. This is the crisis that "The Crisis at Hand" faces: the dissonant feel
that seems to radiate with the malice and cunning of scheming adversaries is
right on, yet the same could really be said of "From Anxiety to Impatience"
that comes along a little later. An inferiority complex like this may have to
do with the fact the latter appears to be a bit more tangible than the former,
but this is of little consolation for a track that is truly a victim of
circumstance. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-------------------------------------------------------------------
  Scene | Brad limps away as the posse wonders why he saved them
  Scene | Confrontation with the warden about leaving his “paradise”
  Scene | Monster appears to destroy signal amplifier
  Scene | Solider relays news of Odessa’s attack on Hamletz during audience
  Scene | On the Dianbai Guang, Noel/conductor note the tunnel is too long
  Scene | Confronting Vinsfield

  Disc2 | Used
 -------+---------------------------------------------------
  Scene | Encountering the tip (Larva) of the Kuiper Belt

-------------------------------------------------------------------------------
 1-08) A Dramatic Escape ............................................... (1:08)
-------------------------------------------------------------------------------
As a forbearer of bad news, it's unfortunate that "A Dramatic Escape" reveals
the utter predictability some of Naruke's work falls prey to so early. The
title really says it all here: you get a triumphant — dare I say dramatic —
horn opening up the track before it settles back into its default posture of
relief. Even though this piece falls hard out of context (where it actually
seems more at home) it does stand as a great point of contrast for when Naruke
does succeed in making the predictable attractive though the airs of
familiarity. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------------------------------------------------------------
  Scene | Escape from the ruins following explosion; Ashley’s inner monologue 
  Scene | On a beach, Irving carries an exhausted Ashley on his shoulder
  Scene | Waiting to be picked up on the half submerged Varukisas
  Scene | Brad reunites with his comrades

-------------------------------------------------------------------------------
 1-09) Scene of Reminiscence .......................................... (0:41)
-------------------------------------------------------------------------------
Alongside books and movies, RPG's usually incorporate flashbacks to flesh out
their characters and the world around them. Not one to be left out of the crowd
when it comes to storyline essentials and clichés, Wild Arms 2nd Ignition
spends ample time detailing Brad's involvement with the Slayheim Liberation
Army years before the opening of the game. "Scene of Reminiscence" caters to
these scenes with a semi-ambient hum-like backdrop that acts like a canvas for
the chilling notes of the accompanying acoustic guitar as they cry out with a
resounding echo. Chances are that some will be completely at odds with the
sparse instrumentation and minimal development, but the piece has another
application up its sleeve. Replacing "Hidden Village" in the second half of the
game when a terrible omen befalls Filgaia, "Scene of Reminiscence" doubles as a
town theme. The contrast created from the fact that it's the only morose theme
employed as such is invaluable and gives this sleeper track the slight edge it
needs to be (eventually) noticed. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------------------------------------------------------
  Scene | Flashback of previous events in Greenhell
  Scene | Baskar village chief and ARMS discuss Tim becoming part of ARMS
  Scene | Brad’s flashback of raiding Slayheim Castle during the war

  Disc2 | Used
 -------+----------------
  Field | Baskar (Disc 2)
  Scene | Learning of Irving’s involvement in funding Odessa

-------------------------------------------------------------------------------
 1-10) Dungeon: Natural Type 2 ........................................ (0:56)
-------------------------------------------------------------------------------
Truth be told, "Dungeon: Natural Type 2" doesn't offer any kind of
revolutionary twist on the quintessential forest dungeon theme that crops up in
almost every RPG. In a forward yet indirect manner, Naruke molds the triumphant
Wild Arms sound to a piece dripping with a deep, hollow earthen vibe. This is
hardly a bad thing; in fact it's one of the most enjoyable dungeon themes
outside the "Ruins Type" series. It's hard to explain why it's so easy to take
in but I can't help think it has something to do with similar themes in Legend
of Legaia. Confused? When it comes to pieces crafted especially for a
natural/forest environment they usually play out deep and earthen or light and
mystical. In Legaia, where nature was an integral part of the storyline, these
tracks were cheapened by their hollow feel due to the countless number of
composers that had treaded the same path beforehand. Of course, the same could
be said of the other path that's explored here, but all things considered
Naruke made the right choice on this one. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------------------------------
  Field | Greenhell
  Field | Under Traffic
  Field | Mt. Chug-Chug (entrance)
  Field | Mt. Chug-Chug (left path from entrance)
  Field | Wind Tiger’s Den
  Field | Abandoned Icebox
  Field | Closed Mine Shaft

  Disc2 | Used
 -------+---------------
  Field | Sleeping Volcano
  Field | Meteorite Crater

-------------------------------------------------------------------------------
 1-11) A Momentary Respite ............................................ (1:30)
-------------------------------------------------------------------------------
Unlike many of Naruke's earlier event pieces, "A Momentary Respite" isn't left
in neutral when it is taken out of context: a goal any composer should strive
for. Unfortunately, such a feat is only compounded when these pieces receive
minimal in-game play. This piece is no exception, really walking the line when
it comes to how the listener is pulled in — the played-out side of familiarity
almost eclipsing that which is tasteful. The acoustic flavor found here is
rather similar to "Scene of Reminiscence" although the more continuous
instrumentation and the emotional aspect is about as opposite as you can get.
However, like the aforementioned track, "A Momentary Respite" draws some
additional strength from an unlikely source: the next track "From Anxiety to
Impatience." The synergy created by the contrast of these tracks is really
shown in Brad's introductory quest when they are played in quick succession of
one another. This quick turning of the tide (which the order of the tracks
thankfully preserves) is enough to keep its head above the water of its almost
negative familiarity. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+----------------------------------------------
  Scene | Merrill cares for a wounded Brad in a stable
  Scene | Tim meets Colette

  Disc2 | Used
 -------+--------------------------------------------------------------
  Scene | Brad and Billy’s courage revives Justine from the Stone Lion

-------------------------------------------------------------------------------
 1-12) From Anxiety to Impatience ..................................... (0:58)
-------------------------------------------------------------------------------
The story of "From Anxiety to Impatience" is that of a title which has been
seen on almost every Wild Arms release since the first OGS in 1996. Connected
by mood rather than composition (it's a completely different entity each time
around) the story represents one of the more clever musical conventions in the
series' universe. Then again, some may find the worry these numbers are
predetermined to represent not so clever although the 2nd Ignition incarnation
feels like one of the better ones — if not the best. Gone is the painful,
mournful cry that opened the original, leaving the deep guitar work and march
like background to paint a picture of an ill-fated confrontation — a scenario
that "The Trouble Brewing Along" tackles in a more indirect manner. While the
original is enjoyable in its own right, neither Naruke nor any of her
successors have written anything more appealing under this title that what
you'll find here. Couple this with the symbiotic relationship it shares with "A
Momentary Respite" and the above becomes obvious. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+----------------------------------------------------------------------
  Scene | Brad surrenders to avoid harm to the townspeople; inner monologue
  Scene | The demon summoning
  Scene | Irving "frames” Ashley and orders Lilka to escort him to Illsveil
  Scene | ARMS captured; Judecca wonders about force that destroyed Trask
  Scene | Baskar village chief and ARMS talk about the fate of the Pillar
  Scene | Ashley questions "Brad’s" allegiance when he talks to a shady figure
  Scene | Reporting back to the Valeria Chateau

  Disc2 | Used
 -------+-------------------------------------------------------------------
  Scene | Irving turns his sister Altaercia into the Madonna of Destruction

-------------------------------------------------------------------------------
 1-13) The Young Witch Appears ........................................ (1:04)
-------------------------------------------------------------------------------
Being the first of a few pieces dedicated solely to Lilka, crest sorceress and
little sis of the famous Eleniak witch-girl of Sielje, "The Young Witch
Appears" is a hole-in-one when it comes to representing the bumbling nature of
the game's main source of comic relief. The nutty, kooky percussion, the "woo!"
vocal sample that peeks out every once in a while and the questioning subtext
paints the perfect picture of youthful inexperience and childlike wonder. The
only thing is it's not perfect. It's... too easy. Looking at the vast ocean of
classic character themes that have graced games over the years this one misses
mark; it neither makes me melt in my seat nor do I really think of the
challenges the character will eventually overcome — something "Separation"
totally nails. Because of this, it's hard to have patience towards the track,
especially when one is waiting for a crisp battle or dungeon theme. Even if it
works from a standard point of view, it is unsuccessful at accurately hinting
at what drives Lilka forward. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+----------------------------------------------------------------
  Scene | Lilka accidentally teleports into the middle of town meeting
  Scene | Inside bakery after Lilka stumbles to the ground due to hunger
  Scene | Lilka returns home only to be scalded by Terry for running away

-------------------------------------------------------------------------------
 1-14) Separation ..................................................... (0:54)
-------------------------------------------------------------------------------
While it may not seem like it (um, let's see... what's the highest grade
received by a track so far — an 8?) the Wild Arms 2nd Ignition Soundtrack is
home to some wonderful tracks. I know, I know, when are we going to hear them
and see some 9's and 10's. Rest assured they are coming, but in the meantime
there are some delightful tracks like "Separation" that share their own brand
of magic along a way. Used to portray the physical and emotional distance
between characters at various points in the game, the fact that this piece is
not a character specific has always dumbfounded me. Why the odd statement? This
track is just hook, line and sinker Lilka to me. The hollow passages of the
flute and wavering effect of the remaining instruments just (silently) scream
her name, giving the void within shape. So no, it's not really a character
theme, but damn, it sure is in my book. The simple structure of the composition
and spot on flute samples bringing it home. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------------------------------------------------------
  Scene | Lilka attempts to solve the Millennium Puzzle with her sister
  Scene | Upon opening the gate Lilka leaves the Puzzle and her sister
  Scene | Alchemic Plant explodes

  Disc2 | Used
 -------+-------------------------------------------------------------
  Scene | Ashley and Anastasia walk along path to the Memory Maze
  Scene | Activating the Millennium Puzzle at the Sword Cathedral
  Scene | Lilka fails to open the gate; party escapes from the puzzle
  Scene | Marivel reflects on those lost and how humans come and go

-------------------------------------------------------------------------------
 1-15) Monsters Appear ................................................ (0:49)
-------------------------------------------------------------------------------
Crap. After the last track it would have been nice if the soundtrack could have
surrendered a few more of its higher end tunes but it continues to horde. Oh
well, what can you do short of putting them in a better order in a playlist?
There isn't much to say about "Monsters Appear," the horn's declaration of
dread is pretty standard, but it's the curious, almost devilish little notes
that follow that make the track feel almost... cute? This makes one wonder if
this was a conscious effort by Naruke to link this back to "The Young Witch
Appears" due to the fact both appear in Lilka's introductory adventure. What
ever the case may be, the elements that make up this piece are interesting yet
not really worth investigating outside of its zone of safety. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+--------------------------------------------
  Scene | The villager’s flee as the monsters return
  Scene | Discovering Blastodon in the catapult room
  Scene | Alarm is triggered, data tablets stolen
  Scene | ARMS meets Caina for the first time

  Disc2 | Used
 -------+--------------------------------------------------------
  Scene | Entering the portal room at the bottom of Sprial Tower  

-------------------------------------------------------------------------------
 1-16) Victory! ....................................................... (0:44)
-------------------------------------------------------------------------------
On the heels of the not so hot "Monsters Appear" is the fanfare crafted to
balance its mood by association. Regardless of its intended purpose, "Victory"
is yet another instance where the title leaves absolutely nothing to the
imagination as the expression of triumph is even more generic than the previous
track's take on despair. Sure, that Wild Arms vibe is there but it only
reinforces how painful it feels when playing that card fails to turn an average
item into something special. It's worth noting that even though this piece is
not employed as a battle fanfare, it could very well lend itself to such an
application given the right situation, and it does give some foresight into
Naruke's work in that area. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+------------------------------------------------------------
  Scene | With the monsters defeated Lilka and the villagers rejoice

-------------------------------------------------------------------------------
 1-17) A Journey ...................................................... (1:25)
-------------------------------------------------------------------------------
To talk about "A Journey" without reflecting back on "The Young Witch Appears"
and "Victory!" is rather impossible because while this track doesn't flat-out
railroad the others into submission, it is successful in achieving similar
goals. Neither bound by the "dissect the core of the character" directive of a
character theme nor the product of over watering a basic idea with Wild Arms
Miracle Grow, "A Journey" has the ability to sidestep these problems. The
reason why isn't very apparent on a one-on-one basis with the soundtrack itself
but it's usage in the game that allows it to do this. One of the better one
-shot tracks, this is the highlight of the Lilka specific numbers ("Separation"
not counting *frown*) that cements the fact that the interplay between the last
few tracks should be commended even if a lot gets lost in translation along the
way. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+------------------------------------------------------------
  Scene | Villagers bid Lilka farewell; inner monologue and ill omen

-------------------------------------------------------------------------------
 1-18) Quiet Night .................................................... (0:56)
-------------------------------------------------------------------------------
There is so much to rag on here it isn't even funny, though none of it has to
do with Naruke but rather Yasunori Mitsuda. If you're wondering what he could
possibly have to do with a Wild Arms track here's a hint: music box. As hard as
I try to banish thoughts of similar tracks in Chrono Trigger and Xenogears they
always find their way back when listening to "Quiet Night." Simply put,
Mitsuda's ability to wrap a melody around the frontal lobe of a listener with
this *instrument* is so razor sharp it's downright sadistic. Naruke's excursion
into this realm is a bit more layered but has too few weapons to battle the
mental contamination (the good kind mind you!) from Mr. Music Box above. Still,
there is nothing to be gained from blasting this piece into orbit. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+----------------------------------------------------------------
  Scene | Marivel watching the night sky as a comet disrupts the heavens
  Scene | Ashley reflects on new assignment; Marina’s negative reaction
  Scene | Ashley reflects on Marina’s reaction to him being called a hero
  Scene | Ashley and Lilka talk with one another at the museum
  Scene | Ashley and Marina talk about the strength they another possess

-------------------------------------------------------------------------------
 1-19) Formal Ceremony ................................................ (0:58)
-------------------------------------------------------------------------------
A stifling and wretchedly stereotypical piece, "Formal Ceremony" is a track
that is devoid of life or soul outside it's one and only appearance during the
ARMS (Agile Remote Mission Squad [NA]/Awkward Rush & Mission Savers [Japan])
commencement ceremony. Yeah, for something like this to play during such an
event is hard to imagine. The upbeat percussion and proud horns go on in all
their glory but you've heard it all before. Okay, so it's not as bad all this
sarcasm is making it out to be. It's listenable, yet Naruke did herself and the
soundtrack a great disservice by not tinkering around with this idealistic
sound any further. Furthermore, had this piece had been crafted in a manner
that made it more accessible, it may have been able to accommodate more scenes.
This is the track's complete undoing because "Castle," a later track similar in
style and substance, could replace "Formal Ceremony" despite lacking a
significant amount of superiority. It's never a good thing when you can prove a
track to be unnecessary. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------------------------------------------
  Scene | ARMS commencement ceremony at the Sword Cathedral

-------------------------------------------------------------------------------
 1-20) 1st IGNITION ................................................... (2:12)
-------------------------------------------------------------------------------
While a curious metaphor, "1st IGNITION" is a lot like that person you knew in
high school that had to play in every sport and be a member of every club. You
scratch your head wondering how they accomplish so much but though observation
you begin to realize they don't have it so great; their assets being stretched
so thin they never have time to have unscheduled fun let alone breathe. This is
the story of "1st IGNITION," a musical storybook of Filgaia's salvation crammed
into a single, two minute segment. Normally this wouldn't be an issue, yet the
precedent Naruke set with "Funeral March" in the first game fights this
premise. Here we have a wide variety of emotions being expressed during the
post-introduction credit roll as opposed to one. Naruke does a good job at
stringing the emotional fragments together and incorporating some of the later
themes, but it's not until the very end that we know what we should take away
from the experience. The piece feels lopsided as a result even though the
emphasis at the end is right on. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------------------------------
  Scene | Legend of the Sword Magess; credit reel

-------------------------------------------------------------------------------
 1-21) Field: Roaming ................................................. (1:07)
-------------------------------------------------------------------------------
At first, this seemingly standard take on the main theme "You'll Never Be
Alone" may appear to be nothing to get excited about, yet this track marks a
real turning point for the soundtrack. Could this be the result of the aura of
freedom presented by map themes in general ("roaming" being a killer adjective
here) or the sense of promise the whistling instills in the listener? Whatever
it is, "Field: Roaming" does feel a bit limited when compared to future field
themes, mostly due to the warm, almost earthen embrace of the instruments that
reminds one of the travel restrictions placed on the player in the early stages
of an RPG. Perhaps the best thing about this track (besides being the basis for
some of the more endearing love pieces) is how it manages to capture the
importance of the character's journey without being a monstrous epic or
completely giving into the playfulness sprinkled throughout. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+--------------------
  Field | World Map (Disc 1)

-------------------------------------------------------------------------------
 1-22) Field: Distorted Sky ........................................... (0:48)
-------------------------------------------------------------------------------
For some reason, I can't help but think of Doppler radar whenever "Field:
Distorted Sky" comes across my speakers; its waves emitting from a central
point, fanning out in search of dark and dreary clouds like the alternating
bass and double bass percussion waiting for something from beyond to respond.
The eerie whistle taunts and teases the listener with thoughts of the heavens
being devoured by chaos. By the time the acoustic guitar jumps in at the end
with its frightful cold notes of worry, you know something big is happening in
Filgaia. Really, while I haven't said a whole lot about this track I can't say
enough — Naruke blends her western sound with the paranormal so well it's
scary. What's even scarier is she sacrifices nothing to do it: no bizarre or
out of place samples, no compromises. This is the kind of stuff that brings me
back to the Wild Arms 2nd Ignition Original Soundtrack time and time again.
(9/10)

  =-Usage-=
  
  Disc1 | Used
 -------+--------------------
  Field | World Map (Disc 2)

-------------------------------------------------------------------------------
 1-23) Field: Last IGNITION ........................................... (0:59)
-------------------------------------------------------------------------------
Forgoing a lot of the conventions expected of it by relation, "Field: Last
IGNITION" drops the whistle motif present in the previous field themes and
offers a straightforward experience unlike "1st IGNITION" on which it is based.
The absence of the former is merely a façade however, as the lead synth takes
center stage as the track progresses much like a whistle would have. There are
a myriad of emotions captured as well: the simultaneous gearing up and winding
down of an adventure nearing its finale gives into the uncanny sadness of an
uncertain future. None of this is groundbreaking and it is still no match for
"Field: Roaming" or "Field: Distorted Sky," but it taps the right resources
well enough. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+--------------------
  Field | World Map (Disc 2)

-------------------------------------------------------------------------------
 1-24) Town Where the West Wind Blows ................................. (1:13)
-------------------------------------------------------------------------------
Town themes have always been an interesting subdivision of Wild Arms music with
Naruke at the helm. I don't mean interesting in a "nice try, but..." sort of
way but interesting in that they are never tackled in the same exact way in
each game. The original Wild Arms had pieces that felt like social commentary
on how the nature surrounding each town influenced it in some way, while a
similar approach in Wild Arms Advanced 3rd took on a more gritty and personal
touch. In contrast, Wild Arms 2nd Ignition makes a real departure by
concentrating on the excitement to be had in towns, whether it be haggling with
weapon store owners or cleaning out people's houses due to your rampant
kleptomania. "Town Where the West Wind Blows" does just this, the flute lying
down that typical town vibe as the xylophone-like notes create a childlike
sense of freedom one would expect to hear as they crank the handle of a jack
-in-the-box. Those looking for a deeper expression of emotion will find this
and most of the other town themes hollow, but there are times where things are
fun because they are hollow. This is one of those times. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------------------------
  Scene | Palace Village; town meeting
  Field | Palace Village
  Field | Town of Meria
  Field | Odd Headquarters (Black Market)
  Field | Sielje Region
  Field | Island Outpost

-------------------------------------------------------------------------------
 1-25) Western Village ................................................ (0:51)
-------------------------------------------------------------------------------
Most of what applies to "Town Where the West Wind Blows" above also applies to
"Western Village." As it is, the experience here is so iconic of the Old West
it is shameful; images of cowboys crewing on long pieces of wheat, lazily
leaning against the front post of a saloon as they target a spittoon are all
too clear. It is as shameful as it is its brilliant, brilliant because it
simply embraces what it is without remorse, turning negative connotations
associated with the cliché on its ear. Let go of your ego and see just how easy
it is to get lost in this piece, how easy it is to forget the complete lack of
originality as the two acoustic guitars intermingle. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+----------------
  Field | Damzen City
  Field | Holst
  Field | Quartly
  Field | Urartu Station

-------------------------------------------------------------------------------
 1-26) Hidden Village ................................................. (0:59)
-------------------------------------------------------------------------------
Fans of Naruke's town themes in the first Wild Arms will most likely find that
"Hidden Village" has the deepest and greatest meaning out of all her efforts
here. They're absolutely right, though there are a few obstacles that may
hinder one from fully connecting with it out of context. The first is while
some of the instruments (e.g. the hollow percussion) convey that general
village atmosphere the main melody feels a lot more personal than normal for a
town theme. This is no mistake as the innocence that flows forth from this
track is geared more towards the depiction of a young, beautiful soul than a
town. The second thing that halts the complete comprehension of the track is
the hidden subtext the game places on it at one point. As peculiar as it
sounds, "Hidden Village" is meant to lead you into a false sense of security in
one particular case and the bold sense of Baskar pride does just that. All of
this and the contrast it shares with it's disc two replacement "Scene of
Reminiscence" serves to show this track has a lot more going for it than a mere
listen would suggest. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------
  Field | Baskar (Disc 1)
  Field | T’Bok Village

-------------------------------------------------------------------------------
 1-27) Inn ............................................................ (0:11)
-------------------------------------------------------------------------------
The sleep/inn jingle is always an awkward part of a track-by-track review that
usually goes as follows: passing judgment on a five to ten second "piece" of
music, stating it's too short to give it a grade and then half expecting the
author to break into some kind of deep inner monologue. Even though I can't
deliver on that last one, hopefully I can keep it interesting by presenting
some odd facts about inns in Wild Arms 2nd Ignition. Contrary to other RPG
franchises the inn theme of Wild Arms has been carried over throughout the
games, realigned for each appearance. This time around that dreamy, bed head
feel is toned down even though we still have the guitar and whistle present.
The bad news is the more you hear this during the game the more unlucky you may
feel. Sleeping too much (being a sloth) in Wild Arms 2 decreases your
character's awareness (which is controlled by the luck statistic) and leaves
them more open to surprise attacks and diminishes their chances of learning
new abilities. As clever as it seems to implement such a system, it fails to
take into account that once you acquire a certain character you'll rarely need
the services of an inn again. (N/A)

  =-Usage-=
  
  Disc1 | Used
 -------+------
  Scene | Inn

  Disc2 | Used
 -------+------
  Scene | Inn

-------------------------------------------------------------------------------
 1-28) Heading Far from the Sea ....................................... (0:56)
-------------------------------------------------------------------------------
Like the waves of an angry sea sinking the sturdiest ship or testing the
hardiest sailor, the hands of time can dull the sharpest points and fade even
the most vibrant of colors. Cruel as that may seem, there are occasions where
time is the greatest of allies, allowing us to see things we couldn't see
before. This is the bane of the lullaby-like percussion and ferryman whistle of
"Heading Far from the Sea" as it attempts and fails to live off of its
simplicity. How the moon steals its shine from the sun is reminiscent of how
this track steals its perceived shine from similar tracks like "Live
Reflector." The only problem is no one is going to mistake the sun for the moon
and the same could be said about the vast difference in quality between these
two tracks. For this listener, this piece's days of latching on to
uncomplicated tracks that actually add something to the soundtrack are far
over. (5/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------------
  Field | World Map: Hovercraft

-------------------------------------------------------------------------------
 1-29) The Stronghold Surfaces! ....................................... (0:51)
-------------------------------------------------------------------------------
For a theme reflecting on an incredible piece of aviation technology, "The
Stronghold Surfaces!" sure goes nowhere fast. The strong and bold opening plays
into the title very well — that exclamation point is not just there for show —
even though it does feels a bit phoned in. Any and all praise is short-lived
however, as the track loses focus as it putters around looking for a purpose
much like the enormous albeit limited vehicle it represents. Actually, I take
back what I said about the beginning — with its expansive, nature encompassing
aura, the WHOLE thing feels phoned in. As laughable as the idea of a head-to-
head comparison is, it's really hard to say which — this, or "Heading Far from
the Sea" — deserves the dishonor of being labeled the worst transportation-
based theme. To its credit, at least "The Stronghold Surfaces!" doesn't try to
be something it isn't. It is as thin as paper and as enjoyable as sugar free
gum from the get go. (5/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------------------
  Field | World Map: Flying Chateau

  Disc2 | Used
 -------+---------------------------
  Field | World Map: Flying Chateau 

-------------------------------------------------------------------------------
 1-30) Harbinger of the Hurricane ..................................... (1:08)
-------------------------------------------------------------------------------
With two flaccid vehicle themes down for the count, it's not hard to imagine
the skepticism surrounding the third and final entry. Neither the final nail in 
the coffin or a magical cure-all for this taxed section of the score,
"Harbinger of the Hurricane" will likely disappoint those looking for
anoffering as grand and sweeping as "Bird in the Sky (Emma's Theme)" from the
first game. However, such a comparison seems unfair for a variety of reasons,
among them pitting a track with a solitary message against one with a
dualmessage. One could argue this composition, fueled by the finale and
paranormal motifs heard earlier and the lead avoiding the temptation to go
whistle on the listener does give it multiple dimensions. The track really
fights this premise though, which given it shared characteristics with "Field:
Last IGNITION" is completely appropriate. Short of stellar and beyond mediocre,
the dose of adrenaline "Harbinger of the Hurricane" adds to this formula is
worth your time. (7/10)
  
  =-Usage-=
  
  Disc2 | Used
 -------+----------------------
  Field | World Map: Lombardia

-------------------------------------------------------------------------------
 1-31) Dungeon: Natural Type 1 ........................................ (0:58)
-------------------------------------------------------------------------------
The two tracks that make up the "Natural Type" dungeon series are a mini-
history lesson about Naruke's ability to make a compositional scheme work one
minute and then have it backfire a track or two later. With a ruse that
should be more than recognizable by this point, "Dungeon: Natural Type 1"
attempts to grab the listener by providing a sound that is both familiar and
befitting of its environment. While "Natural Type 2" manages to make something
of itself despite this, "Natural Type 1" does not. The happy-go-lucky mine/mine
cart ride subtext is so generic and deep seeded it smothers the better (yet not
necessarily good) aspects of the track like the harmonica. The nicest thing I
can say is even though it truly adds nothing to the score (outside of
reinforcing how every positive becomes a negative at some point and vice versa)
it's not a real burden here or in the game, though it doesn't have much life
beyond the latter. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+------------------------------------------
  Field | Aguel Mine Shaft
  Field | Mt. Chug-Chug (right path from entrance)

-------------------------------------------------------------------------------
 1-32) Dungeon: Ruins Type 2 .......................................... (0:56)
-------------------------------------------------------------------------------
While "Ruins Type 1" helps support the rough terrain at the beginning of the
soundtrack, it isn't until "Ruins Type 2" that the series validates itself as
some of the "must hear" music in Wild Arms 2nd Ignition. If the lust of
adventure is one of your guilty pleasures look no further: guitars, horns
and harmonics are ablaze here, all out to capture unwary ears. This is hardly
an accurate description on what's really going on here, the instruments not
being as forceful as they seem — especially those in the background. It is from
here that the underlying sorrow takes form and when it melds with the
slight hesitation of the other instruments and creates that perfect sense of
covert loneliness. As much as I enjoy "Dungeon: Ruins Type 2," I have to admit
that Atsushi Tomita's techno/rock remix from the Wild Arms -Music the Best-
rocking heart arrange album gives Naruke's original a real run for its money,
though both are definitely worth a stop on their respective albums. (9/10)

  =-Usage-=
  
  Disc1 | Used
 -------+----------------------------
  Field | Dungeon: Thunder Lion Cage
  Field | Shinning Garden
  Field | Dark Reason

  Disc2 | Used
 -------+-------------------
  Field | Grotto of Lourdes

-------------------------------------------------------------------------------
 1-33) Dungeon: Ruins Type 3 .......................................... (0:54)
-------------------------------------------------------------------------------
Game show! Game show! Game show! Okay, so you're not on a game show per say,
but you'll feel like you've hit the jackpot as you collect the multitude of
treasures inside the four elemental dungeons this piece calls home. As big of a
smile "Ruins Type 2" puts on my face, "Ruins Type 3" makes it even wider. The
beat of the percussion personifies descending flight after flight of stairs as
your characters search for a way to combat menace devouring Filgaia. Still,
the percussion would be nothing without the horns and their ability to switch
emotional frequencies at a moment's notice. One second the fact that the
world's future is in your hands is related via a reaper-like call and the
next the playful, jazzy sound gives you permission to find fun within the
above. In the end, this is what this series of tracks is about: do yourself a 
favor and accept Naruke's infectious invitation. (10/10)

  =-Usage-=
  
  Disc2 | Used
 -------+---------------
  Field | Raypoint Flam
  Field | Raypoint Geo
  Field | Raypoint Wing
  Field | Raypoint Muse

-------------------------------------------------------------------------------
 1-34) Dungeon: Pinch Type 1 .......................................... (0:30)
-------------------------------------------------------------------------------
A scathing blow after some of the soundtrack's highest highs, the "Pinch Type"
series takes the stage with some of the score's lowest lows. Used primarily for
desolate and deserted towns, the idea here is to create uneasiness though
disharmony. Naruke does just that, but the result feels so bloated and
unattractive it makes it hard to swallow. This is a shame because there are a
few elements — like the hard-nosed piano work at the beginning — that do stand
out due to their steady aim but lack the ability to really gel with one
another. Regardless, it's these small glimmers of light that keep "Dungeon:
Pinch Type 1" from being a complete let down, though most will find it as
unforgiving as the wastelands of Slayheim itself. (5/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-------------------------------------------------------------------
  Scene | Remaining ARMS members attempt to escape from the Sword Cathedral
  Scene | Judecca attacks Holst
  Field | Lost City Archheim

-------------------------------------------------------------------------------
 1-35) Dungeon: Pinch Type 2 .......................................... (0:49)
-------------------------------------------------------------------------------
Given that "Pinch Type 2" does little to mend the shortcomings of its
predecessor, it should come as no surprise that its effort to burrow into the
mind of the listener ends up short even with its few additional perks. The main
melody is more concrete here, but that static sense of oppression that Naruke
runs into the ground throughout the score challenges it with its unyielding
drive. Ironically, the aspect that garners the most attention is once again the
piano, the stone cold performance before the repeat paying homage to the first
track in the series and easing the pain of all the droll musical climaxes that
come before it. The most unfortunate thing about the sound and direction of
these pieces is it doesn't end here, making for some mind numbing experiences
ahead. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------
  Field | Illsveil Prison
  Field | Golgotha Prison

  Disc2 | Used
 -------+-------------
  Field | Lost Garden

-------------------------------------------------------------------------------
 1-36) Dungeon: Horror ................................................ (0:58)
-------------------------------------------------------------------------------
Regardless of how blunt it may sound "Dungeon: Horror" is an annoying track.
It's not annoying in an "I can't believe they thought this sounded good" kind
of way but a "thanks for reminding me of all the antagonizing dungeons in the
game" way. That being said, those that have never heard this piece in context
probably have an advantage over those that have (unlike every other track
presented) though they don't miss out on that in-game experience entirely. What
initially seems to be a piece full of wonder quickly sheds it skin, revealing
what is a rather sarcastic performance by the lead instruments. They pull at
you and tease your senses like the intersection of a maze as the pompous beats
rack your brain with endless decisions. It's a lot like the entrance of a
labyrinth itself: the thrills and excitement in "Dungeon: Horror" seem
devilishly alluring, yet once you pass the same structures inside again and
again you begin to feel how unwelcome you really are. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-------------------
  Field | Millennium Puzzle
  Field | Slayheim Castle
  Field | Emulator Zone

  Disc2 | Used
 -------+-------------------
  Field | Millennium Puzzle
  Field | Crimson Castle
  Field | Promised Catacombs

-------------------------------------------------------------------------------
 1-37) Dungeon: Urgent Situations ..................................... (0:44)
-------------------------------------------------------------------------------
More of a danger/crisis theme than a full-fledged dungeon theme, "Urgent
Situation" reiterates the idea that these types of tracks are neither a
particular strength nor a glaring weakness of Naruke's. However, to understand
how this piece becomes stronger because of this, one needs to acknowledge that
there is strength to be found in perceived faults. For a danger theme, "Urgent
Situation" doesn't really bring the power pound for pound, instead opting to
work with a subdued palette through all three tiers of intensity. It's too
relaxed to be truly engaging, but then we don't really need another "Chase." My
favorite part is when the percussion shows up and breaks things down at the end
right before the loop, essentially resetting the piece. Those looking for a
little more meat to such tracks will likely pass even though it's wired pretty
much the same. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+------------------------------------
  Scene | Odessa attacks the Valeria Chateau
  Field | Gate Bridge (race to other side)

  Disc2 | Used
 -------+---------------
  Field | Trapezohedron

-------------------------------------------------------------------------------
 1-38) Dungeon: Battle Preparations ................................... (0:51)
-------------------------------------------------------------------------------
Contrary to other dungeon themes, "Battle Preparations" is not used throughout
the exploration of a location but rather when one encounters an enemy with whom
they share a witty retort. What's odd about the track is it doesn't give into
that thick, stereotypical drama you'd expect but the other way around; the
reserved build up of tension sounds like something played during a raffle of
some kind. What's even odder is how fitting the above description really is,
the scene accompanying it in the game showing the main character making a huge
gamble with the emotions of another. Musically, the way Naruke manipulates the
emotion of the instruments — going from serious to almost comical — by
implementing moments of slight hesitation is clever even though its far from
seamless and a bit to wishy-washy to listen to out of context. (6/10)

  =-Usage-=
  
  Disc2 | Used
 -------+-------------------------------------------------------------------
  Scene | Meeting up with Caina, Irving examines the threat Ashley presents

-------------------------------------------------------------------------------
 1-39) Dungeon: Mystery ............................................... (0:58)
-------------------------------------------------------------------------------
For the musical backdrop for dungeons that are guardian related but not
guardian specific (if that makes any sense at all), there is a lot more going
on in "Dungeon: Mystery" than its tranquil mood would suggest. For example,
whip out a pair of headphones and check out that killer low level that tucked
away in the back. Awesome. Still, what makes this piece significant is the
banjo and how unorthodox its inclusion in such a serene piece seems until you
hear how compatible it is with the flute. Working in tandem, there is never an
instance where one instrument tries to shove the other aside in an abrasive
manner to grab the spotlight. Even the wily whistle that steps in and out
adheres to this concept as it harkens back "Hidden Village," hinting that what
we have here is more than just a dungeon theme. "Dungeon: Mystery" may lack the
impulse of "Ruins Type 2" and "Ruins Type 3" but it doesn't need to, presenting
its own nonchalant charms. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+--------------------
  Field | Hidden Trail Arena

  Disc2 | Used
 -------+--------------------
  Field | Sacrificial Altar
  Field | Werewolf’s Den

-------------------------------------------------------------------------------
 1-40) Dungeon: Odessa's Hideout ...................................... (0:50)
-------------------------------------------------------------------------------
You knew it was coming, that the doom and gloom of the "Pinch Type" series
would rise again. The only thing you didn't know was how soon that specter
would reappear. Pretty much everything I would say here I've said elsewhere:
the track undoubtedly drives home the idea of oppression — a good match for an
aggressive, terrorist organization — but do we have to hear this expressed in
the same fashion each time? If I was a member of Odessa and had to listen to
this all day in the compound I was guarding I'd defect to ARMS quicker than you
could say "Valeria Chateau" so I could hear something less depressing. There's
a bit of a mechanical motif here too, a reference to Odessa's use of ancient
technology to push people around. Whatever excuse you want to use to try and
put a positive spin on what's here, it isn't very enjoyable or engrossing.
(6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-------------------
  Field | Warwing Varukisas
  Field | Alchemic Plant
  Field | Coffin of 100 Eyes

  Disc2 | Used
 -------+-------------------
  Field | Fiery Wreckage
  Scene | Irving’s letter to the members of ARMS

-------------------------------------------------------------------------------
 1-41) Dungeon: Pillar of Hell ........................................ (0:47)
-------------------------------------------------------------------------------
Ooh! I love the title here. "Pillar of Hell" sounds so arduous and crunchy.
Personally, I've always wondered if the title could be interpreted as "Diablo
Pillar" considering that is what these hellish pillars go by in the game but no
— it's cool the way it is. When it comes to the track itself its hard not to
get sucked into the dark, empty void that looms in one's imagination as the
dark notes paint a cautionary tale of trial and error. Still, what's here
mainly works because of similar tracks attempting near-identical stunts — like
bombastic climaxes — and bungling them or trying to present a complex buffet
only to choke on the appetizer. The bombastic climax in "Pillar of Hell" is
appropriate to the point where it enhances what comes before it instead of
trying to justify it, while the conservative composition remembers to chew
before swallowing, leaving the plate (er, slate) clean for the next serving.
(7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+--------------------------
  Field | Diablo Pillar (Ptolomea)
  Field | Diablo Pillar (Caina)
  Field | Diablo Pillar (Antenora)
  Field | Diablo Pillar (Judecca)

-------------------------------------------------------------------------------
 1-42) Dungeon: Heimdal Gazzo ......................................... (0:42)
-------------------------------------------------------------------------------
Rife with struggle, "Heimdal Gazzo" hits the listener with a piece suggesting
that conflict and conclusion will be the order of the day. Everything is peachy
in that respect except the words rife, hits, struggle and conflict may lead one
astray in thinking this track goes all-out like "Ruins Type 2" when it doesn't.
The sense of progression provided by the guitar and horns is restricted from
flowing too fast and free, this constraint tightening its grip in the last half
when the guitar retreats, allowing the horns to relay that while the day will
be won, it won't be won without sacrifice. However, at its core the success
enjoyed here really belongs to "Ruins Type 2" that grew this brand (of
composition) in the first place, "Heimdal Gazzo" merely being another flavor of
said brand. Even though one is more likely to discover this as they listen,
this piece is able to dodge the negativity associated with rehashes due to its
lovely subtext. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------
  Field | Heimdal Gazzo

-------------------------------------------------------------------------------
 1-43) Dungeon: Anastasia's World ..................................... (0:50)
-------------------------------------------------------------------------------
Just about every instrument in "Anastasia's World" feels symbolic of the
character reflected in the title in one way or another. The interesting thing
about this is how the performance that carries the composition somewhat changes
between the soundtrack and the game itself; on the soundtrack the heartbeat
like bass line propels the track forward as it characterizes Anastasia's love
and longing for Filgaia. This is really up for grabs in the game (and mono
televisions) as the angelic female harmonies and sobering piano work on much
more even footing with the aforementioned bass. As such, it may seem ideal to
pick an instrument to follow as the piece progresses but this is the last thing
you're meant to do, the hollow feel created by their cooperation being the main
draw. It's true that "hollow" sound is nothing new to the score by this point,
but its how Naruke accomplishes it despite the deep bass and lack of flute that
make it worth note. Alongside "Dungeon: Mystery," "Anastasia's World" fulfills
its dual purpose very well, more than any of the other Anastasia related
tracks. (8/10)

  =-Usage-=
  
  Disc2 | Used
 -------+-------------
  Field | Memory Maze

-------------------------------------------------------------------------------
 1-44) Dungeon: Spiral Tower .......................................... (0:52)
-------------------------------------------------------------------------------
A composition that aspires to sound as busy as the hum of electricity, "Spiral
Tower" is not afraid to let it all hang out. It should be with that
antagonistic atmosphere heard in "Dungeon: Horror" making its return. The main
difference between this track and the form of energy that best represents it is
while electricity is bound and focused in its effort to energize something, the
elements that make up this piece are not, failing to govern one another. To put
it another way, "Spiral Tower" wants it all and ends up with very little,
hopelessly juggling everything including the kitchen sink. The other area where
the track fails is the climax, where the same four note motif is repeated
multiple times in an effort to prove this track's worth. Naruke's attempt is in
vain, the track only being memorable for its overgrown sound. (5/10)

  =-Usage-=
  
  Disc2 | Used
 -------+--------------
  Field | Spiral Tower

-------------------------------------------------------------------------------
 1-45) Dungeon: Center of Filgaia ..................................... (0:37)
-------------------------------------------------------------------------------
Not to be confused with track 2-22 "Center of Filgaia," "Dungeon: Center of
Filgaia" finds Naruke revisiting the style that made "Pillar of Hell" come
alive a few tracks earlier. "Heimdal Gazzo" pulled this same stunt with "Ruins
Type 2" not too long ago, but this time the difference is not a change in
subtext but rather an increase of intensity in the current subtext. The bad
news is it comes at somewhat of a price: the climax. As mellow as this serious
piece is, going from this to such a bold segment in the fraction of a second
feels forced even if the hair trigger sense of despair does embody the peril of
Filgaia to a tee. I can appreciate what was trying to be accomplished here
(hence the high score), but a bit more build up could have been applied without
diminishing the message; in fact, if implemented in a clever enough manner it
could have pushed the drama beyond where it stands now. (7/10)

  =-Usage-=
  
  Disc2 | Used
 -------+-----------------
  Field | Glaive Le Gable

-------------------------------------------------------------------------------
 1-46) Castle ......................................................... (1:03)
-------------------------------------------------------------------------------
Considering what was said about this track was back in the "Formal Ceremony"
section of the review, it's understandable how one would expect "Castle" to be
an unremarkable piece of music. Well, nothing has changed since then, this
track being so typecast by the environment it plays in there are simply no
surprises. This isn't a good thing, especially if a composer wants to keep
listeners on their toes, but in the vein of "Natural Type 2" it avoids the
bigger, less attractive stereotype associated with its surroundings; namely
that overbearing regal sounding stuff. It's true that "Castle" does come forth
with this tone but it is diverted from consuming the track due to the peaceful
interlude of the flute, a reminder that while kings and queens are important a
kingdom is nothing without its people. Regardless of how much a difference this
small deviation from the formula used in "Formal Ceremony" makes, it won't be
at the top of any of your playlists. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+------------------
  Field | Sylvaland Castle
  Scene | Audience with King of Meria Boule; planning the Filgaia Summit
  Scene | Audience with King of Meria Boule
  Scene | Audience with King of Meria Boule; discussing the data tablets

-------------------------------------------------------------------------------
 1-47) Guild Galad .................................................... (0:56)
-------------------------------------------------------------------------------
"Guild Galad" marks the return of the flute that has allowed numerous to define
their sense of being. However, to say this alone is what makes this track so
alluring as opposed to a piece like "Separation" is unconscionable because the
spirit captured here is the result of a strong, homogeneous mixture rather than
one instrument carrying the bulk of the load. You have the nutty and kooky
sound effects commenting on how life in Guild Galad (and the world) has been
made easier by the technology developed here. This is all done without giving
into that brainless theory that a technologically advanced location has to have
a techno/electronica based theme, or is it? As rustic as "Guild Galad" is there
this mysterious sensation that the aforementioned styles (present in the sound
effects) are right in your face, yet are so engraved in the composition that
they are almost translucent. A great experimental track that barely feels
experimental, the only hitch here is the calming nature can get monotonous if
heard for a prolonged period of time. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-------------
  Field | Guild Galad

-------------------------------------------------------------------------------
 1-48) Valeria Chateau ................................................ (0:50)
-------------------------------------------------------------------------------
If I was to choose one word to describe the music that is "Valeria Chateau" it
would be reprieve. This isn't without reason, the Valeria Chateau being the
base of operations for ARMS and where your characters rest after missions. The
thickness of the acoustic guitar drives home several ideas that are expressed
and tested in the game like friendship, trust, courage and perhaps most
important of all, unity. The quirky interjections throughout may seem to clash
with the seriousness of the above at first, though it acts more as a
counterbalance to the pain these ideals cause the characters at times and how
they will be confronted with strength and resolve. As significant as these
concepts are to the game's storyline, they musically disallow the forceful,
regal flavor found in "Castle" and "Formal Ceremony" which is a blessing here —
a pompous "home base" theme would have made for a terrible piece of elevator
music. (8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------
  Field | Valeria Chateau

  Disc2 | Used
 -------+--------------------------------------------------------
  Scene | Marina talks with Altaecia outside the Valeria Chateau
  Field | Valeria Chateau

-------------------------------------------------------------------------------
 1-49) Live Reflector ................................................. (1:12)
-------------------------------------------------------------------------------
Without a doubt, "Live Reflector" is one of my favorite tunes on the Wild Arms
2nd Ignition Original Soundtrack. One reason is it simply thrives despite its
simplistic nature, leaving previous pretenders like "Heading far From the Sea"
in the dust. However, that's a pretty superficial reason to enjoy something.
Digging deeper for a real reason I'd have to say what really attracts me to
this hybrid of hope and sorrow is how each emotion is tied to a single
instrument: the solitary flute filling the air with a concave sense of sadness
as the harp chimes in sporting a touching yet cautious sigh of hope. Neither
instrument bullies the other, almost as if they've come to some sort of mutual
musical agreement and it just makes me melt when I hear it. Reading about it
does is no justice but it is powerful stuff, even if with the track only
playing once before the fade. Do yourself a favor and check it out. (10/10)

  =-Usage-=
  
  Disc1 | Used
 -------+----------------
  Field | Live Reflector

  Disc2 | Used
 -------+----------------
  Field | Live Reflector

-------------------------------------------------------------------------------
 1-50) Guardian ....................................................... (0:32)
-------------------------------------------------------------------------------
Warm and soft, "Guardian" contains that majestic feeling one would associate
with a higher power granting your request for assistance, whether its imparting
a fraction of their wisdom upon you or maybe even something a bit more tangible
like aid in battle. Despite my fears of how ill-fated such a composition would
turn out earlier, Naruke is able to present the ying (light and mystical) to
"Natural Type 2's" yang (deep and earthen) without it seeming too textbook. It
does its job confidently enough but lacks that extra something that other,
similar half a minute tracks seem to have. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+------------------------------------------------
  Scene | Awakening and receiving the Fengalon Medium
  Scene | Awakening and receiving the Noua Shax Medium
  Scene | Awakening and receiving the Stare Roe Medium
  Scene | Awakening and receiving the Aru Sulato medium
  Scene | Awakening and receiving the Leitea Salk medium
  Scene | Awakening and receiving the Ge Ramtos medium

  Disc2 | Used
 -------+-----------------------------------------------
  Scene | Awakening and receiving the Chapapanga Medium
  Scene | Awakening and receiving the Rigdobrite Medium
  Scene | Lilka liberates the Raypoint
  Scene | Brad liberates the Raypoint
  Scene | Tim liberates the Raypoint
  Scene | Kanon liberates the Raypoint
  Scene | Awakening and receiving the Dan Dairum Medium

-------------------------------------------------------------------------------
 1-51) Tim and Colette ................................................ (1:10)
-------------------------------------------------------------------------------
More of a musical extension of "Hidden Village" than its own separate entity,
the opening of "Tim and Colette" is ridiculously predictable for a love theme.
This isn't to say the rest of the song escapes such a label either, utilizing
the instruments found in other Tim related numbers, but it does garner a little
more respect. Probably the most attractive aspect of this piece is what Naruke
doesn't do, that being using a variation of "You're Not Alone" to depict this
couple's love. Maintaining this distance is crucial for several reasons, among
them to avoid encroaching on the pivotal role of Ashley and Marina's
relationship within the storyline with one that is interesting but not as deep
and complicated. Additionally, the last thing we need is another rendition of
"You're Not Alone" to add to the already extensive catalog of reprises,
something that will become an issue in just a short while. I'll give it to
Naruke for knowing when enough is enough, but I still tend to view this track
as mediocre. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+------------------------------------------
  Scene | Tim with Colette in the field of flowers

  Disc2 | Used
 -------+---------------------------------------------------------------
  Scene | Tim and Colette’s love revives Raftina from the Stone Goddess

-------------------------------------------------------------------------------
 1-52) Operation ARMS' Theme .......................................... (0:52)
-------------------------------------------------------------------------------
Blah! Why couldn't "Operation ARMS' Theme" fall after "Odessa's Theme" in the
tracklisting? Now I have to talk about the latter (spoiling what's ahead)
before I can dissect the former. Anyhow, as much as I will scold "Odessa's
Theme" for its lack of internal contrast, the close proximity and usage of
these tracks proves there is a reason for this, being the contrast is meant to
come from the opposing track rather than within. This plan works on the
simplest level imaginable yet there are issues that challenge its
effectiveness. As impossible as it is to mistake the icy chill associated with
Odessa for the elements and emotions revisited here from "Valeria Chateau,"
even when taking the switch from the acoustic guitar to the bass guitar into
account, the comparable tempo fleeces them of some of their individuality.
"Operation ARMS' Theme" does have a few weapons that gives it a bit more pop
than its counterpart, be it the rumbling earth sound effects at the beginning
(personifying ARMS' progress as the world's progress) or the climax that's
similar in style to that in "Spiral Tower" without seeming like a desperate cry
for attention. All in all, it's a track with a sufficient amount of processing
power. (7/10)

  =-Usage-=

  Disc1 | Used
 -------+---------------------------------------------------------------------
  Scene | The Chateau breaks away from the cliff and intercepts the Varukisas
  Scene | Attempting to capture Blastodon on catapult
  Scene | Launching the assault anchor
  Scene | Send off at Valeria Chateau

  Disc2 | Used
 -------+----------------------------------------------------------
  Scene | ARMS engages the Live Reflectors to trap the Kuiper Belt

-------------------------------------------------------------------------------
 1-53) Odessa's Theme ................................................. (0:57)
-------------------------------------------------------------------------------
As pointless as such a comparison seems I often think of Nobuo Uematsu's
"ShinRa Company" from Final Fantasy VII when confronted with Odessa's Theme.
Beyond some of the obvious differences — an upbeat number versus a moody, drawn
out one — that oppressive reign of tyranny runs rampant in both. However, when
it comes to their one-dimensional quality working for them instead of against
them, "Odessa's Theme" runs into a snag due to the presentation of the villains
in the game. Many of the higher ups in the ShinRa were as soulless when they
met their unapologetic ends as they were in the beginning of the game, if not
more so. On the other hand, while the members of Odessa's Cocytus appeared to
be as hopelessly sick and twisted as their acts of terrorism, they became more
human with each defeat, the veil surrounding the noble ideals gone awry slowly
withdrawing. It's this "sadness of insanity" that Naruke fails to explore and
the track feels stunted because of it. Again, this has a lot to do with
maintaining contrast with "Operation ARMS' Theme" but it's my opinion that
Naruke missed the bigger prize; a subdued refrain like those found in "Battle
Robot Jack" near the end that could have reflected the above and given this
track so much more life. While there is no excuse for the actions of these
characters, the continuous, unbridled sense of insanity is inappropriate on the
whole. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------------------------------------------------------
  Scene | ARMS meets Ptolomea
  Scene | Odessa’s special squad Cocytus introduces themselves and escape
  Scene | Cocytus reports to Vinsfeld; Judecca sent to deal with ARMS
  Scene | The Varukisas appears above Meria and releases monsters below

-------------------------------------------------------------------------------
 1-54) Battle Force ................................................... (1:30)
-------------------------------------------------------------------------------
Due to the piss poor attempt at arranging Wild Arms 2nd Ignition's music in any
kind of logical order on this soundtrack (let's see... let's start by putting
them in the order they appear in the game [somewhat] and once we get past the
three introductory quests we'll just start chucking them together based on
their usage! Yeah, that's a killer idea to keep people on their toes) the
listener won't hear a single battle theme until track fifty-four. Track fifty-
four? I wish I was kidding, but no — it's a reality. If all of the deficiencies
that have been outlined up to this point weren't enough, "Battle Force" is
actually one of the soundtrack's best battle themes despite its repetitious
nature and lack of anything resembling complexity. This doesn't speak well on
what's yet to come; still, forging an ill-opinion of this track in an effort to
drive it into the ground is so easy it's like creating a bad joke that revolves
around a pun. Fun as that may be, those that can turn off their creative
complexity detectors will have a blast with this track as they did with
"Critical Hit!" from the first game. If that's not your thing, the fact it's
one of the few tracks that manages to loop twice won't be much of a consolation
prize. (7/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------
  Fight | Random Battle

  Disc2 | Used
 -------+---------------
  Fight | Random Battle 

-------------------------------------------------------------------------------
 1-55) Battle: Knight Blazer .......................................... (0:52)
-------------------------------------------------------------------------------
My speech above about the lackluster battle themes ahead was apparently a bit
pre-emptive. "Battle: Knight Blazer" is a godsend in the game, able to mask
particular abominations when you summon "the Blaze of Disaster" into battle.
While the power of this grotesque creature teeters on the edge of absurd, there
certainly isn't anything absurd about this piece. Things start out with a
revenge-like call crying out into the night, the percussion and sci-fi elements
sneaking in ever so slightly as the composition switches gears from the opening
passage of reckless abandon to one illustrating controlled tenacity. The shifts
in momentum employed by Naruke here are well executed, keeping the piece
exciting though words like "epic" are far from appropriate. Perhaps what makes
"Battle: Knight Blazer" stand out is how it musically defines an idea seen
throughout the games in the series; that power itself is neither good nor evil.
Of course, those responsible for writing the games' scenario never heard Masato
Kouda's terrible remix of this track on the second volume of the Wild Arms Vth
Vanguard Original Soundtrack so there are certain exceptions to this belief.
(8/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------------------------------------------------------
  Fight | Trask (Poisonous Armored Dragonoid) Golgotha Prison
  Fight | Any battle in which Ashley employs the "Access" Force ability  

  Disc2 | Used
 -------+---------------------------------------------------------------
  Fight | Any battle in which Ashley employs the "Access" Force ability 
  Fight | Caina (Special Cocytus Squad Member) Lost Garden
  Fight | Grauswein (Nuclear Dragon) Ashley

-------------------------------------------------------------------------------
 1-56) Battle VS Mid Boss ............................................. (0:54)
-------------------------------------------------------------------------------
There is a lot to be said about this track; unfortunately, none of it is good.
"Battle VS Mid Boss" is a piece so musically bankrupt it makes a so-so boss
theme — like that from the original game — look like a masterpiece. As
expected, the feeling of doom is nigh as the blaring instruments go at it,
stumbling over one another in their bid for attention. It's not even the sound
programming that's at fault here. This is one of the worst — if not the worst —
compositions Naruke has ever penned; the brain-dead path it follows comparable
to something one would expect the inexperienced to come up with as they feel
their way through a new piece of software. It's somewhat more tolerable in-game
when you're forced to listen to it until you cancel it out with the much more
enjoyable "Battle: Knight Blazer," but this recycle bin fodder is inexcusable
otherwise. (2/10)

  =-Usage-=

  Disc1 | Used
 -------+-----------------------------------------------
  Fight | Kalivos (Sealed Monster Weapon)
  Fight | Gremalkin (Parasite Colony Monster)
  Fight | Olivier (Boundless Glutton Monster)
  Fight | GAONIM (Escapee Capture Robot)
  Fight | Vagesta (Mysterious Phantom Being)
  Fight | Elebart (Thunderbolt Battle Monster)
  Fight | Trask (Poisonous Armored Dragonoid) Hamletz
  Fight | Undines (Elemental Spirit)
  Fight | Alphael (Propagator Bird with Wings of Light)
  Fight | Reguleus (Compound Plant Monster)
  Fight | Gehenna Neros (Transforming Ninja)
  Fight | Blastodon (Explosive Red Thunder Toad)
  Fight | Trask 2.0 (Biogenic Dragonoid)
  Fight | Arms Killer (Robotic Monster Assassin)
  Fight | FakeBrad
  Fight | Belleclaire (Explosive Emperor Monster)
  Fight | Drawdo (Shapeless Slime Monster)
  Fight | Prisnum (Humanoid Mirage)
  Fight | Jasoul (Aggressive Poltergeist)
  Fight | Magamalizer (Red-Hot Lava Monster)

  Disc2 | Used
 -------+-----------------------------------------------
  Fight | Grauswein (Nuclear Dragon)
  Fight | Lombardia (Dragon Caliber)
  Fight | Flam Knight (Spriggian)
  Fight | Geo Knight (Spriggian)
  Fight | Wing Knight (Spriggian)
  Fight | Muse Knight (Spriggian)
  Fight | Grodine (Saucer Organism)
  Fight | Manufestu (Terrible Guardian Monster)
 -------+----------------------------------------------------
  Fight | Gatlorg (Monster Battleship)
  Fight | Titanius (Steel Dragon from the Bowls of the Earth)
  Fight | Kobold King (Bodyguard Monster)
  Fight | Bulkogidon (Rampaging Monster Robot)
  Fight | Zolinge (Limb-from-Limb Ripping Monster)
  Fight | Xenon (Giant Monster of Light)
  Fight | Zyclus & Zetrim (Vortex Monster Brothers)
  Fight | Zavorg (Giant Armored Bug)
  Fight | Angolmois (Demon King)

-------------------------------------------------------------------------------
 1-57) Battle VS Kanon ................................................ (0:48)
-------------------------------------------------------------------------------
Analyzing what "Battle VS Kanon" brings to the table without reflecting on "W-
W-What? (Zed's Theme)" from the first game is difficult because in essence this
is what this track tries so hard to be — a variation or port of a previously
successful track. As simple as it would seem to adjust the emotional frequency
towards another character, the mixed result proves its not. Listening to Zed's
theme it's crystal clear what you're suppose to feel: a goofy, overly dramatic
adversary that isn't as important or powerful as he thinks he is confronts you
and dispatching of this "comic relief" is meant to be fun. When it comes to
"Battle VS Solid" the message is scrambled; the fear and threat that the ethnic
instruments bring is unmistakable, but is there really a sense of sadness
buried in here like I want to believe? If so, am I confusing the worry attached
to the fear factor as that tragic sadness? It's terribly baffling when you know
Kanon’s backstory. It's like playing connect the dots without the dots being
numbered but still knowing what the object is. What compounds this even further
is how the fanfare associated with this track feels like the missing piece, but
is it the missing piece or an additional piece? After playing the game a
million times I can't imagine anything else playing as Kanon devilishly
assaults your weakest character (usually Tim) with Pike Kicks and Drive Cuts in
her pursuit of her blind and obstinate goals. Still, Naruke could have come up
with something more concrete (and original) for the female mercenary. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+---------------------------
  Fight | Kanon (Slayheim Castle)
  Fight | Kanon (Emulator Zone)
  Fight | Kanon (Closed Mine Shaft)

-------------------------------------------------------------------------------
 1-58) Battle VS Cocytus .............................................. (1:04)
-------------------------------------------------------------------------------
Even as a Naruke and Wild Arms fan, it's somewhat hard to discern what makes
some of these battle themes good and bad. "Battle VS Cocytus" is no different,
the pluses and minuses more or less equaling out to what is best described as a
fair piece of music. Naruke again makes use of the thick, oppressive texture
that's by now become the calling card of Odessa based themes but this time
there's a bit more ruggedness to it. It's not really what you'd call a "western
ruggedness," yet it adds a dash of flavor to a predictable formula. Also
accounting for some of the hidden allure is the weariness of the brass section
that almost sounds as if it's mired in quicksand, providing a reprieve from the
sharp melodrama that desperately tries (and fails) to recapture the magic found
in Wild Arms' "Power Fighter." Still, there is only so much these elements can
do to support a track that is otherwise boring and leaves little to interpret.
The corresponding fanfare however... (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------------------------------------------------
  Fight | Ptolomea (Special Cocytus Squad Member) Mt. Chug-Chug
  Fight | Antenora (Special Cocytus Squad Member) Valeria Chateau
  Fight | Judecca (Special Cocytus Squad Member) Valeria Chateau
  Fight | Ptolomea (Special Cocytus Squad Member) Warwing Varukisas
  Fight | Antenora (Special Cocytus Squad Member) Alchemic Plant
  Fight | Caina (Special Cocytus Squad Member) Emulator Zone
  Fight | Judecca (Special Cocytus Squad Member) Holst
  Fight | Plotomea (Special Cocytus Squad Member) Diablo Pillar
  Fight | Caina (Special Cocytus Squad Member) Diablo Pillar
  Fight | Antenora (Special Cocytus Squad Member) Diablo Pillar
  Fight | Judecca (Special Cocytus Squad Member) Diablo Pillar

-------------------------------------------------------------------------------
 1-59) End of Banquet ................................................. (0:49)
-------------------------------------------------------------------------------
Naruke (almost) goes completely acoustic here, the cold and lonely notes giving
birth to an ill omen on top of a remorseful harmony. The gothic flair does lend
itself quite well to the scene in which it appears, though it's hard to give it
any kind of technical nod outside the crisp clarity of the instruments. It's
not a bad, great, catchy or memorable track, but it could have turned out messy
or even more pompous than it already is. In the end, it's just there. (6/10)

  =-Usage-=
  
  Disc1 | Used
 -------+-----------------------------------------------
  Scene | Vinsfield reappears and mocks Ashley’s ideals

-------------------------------------------------------------------------------
 1-60) Battle VS Vinsfield ............................................ (0:51)
-------------------------------------------------------------------------------
In another instance where I can say "copy and paste what I said there here,"
the sharp, jagged and overly dramatic instrumentation of "Battle VS Vinsfield"
walks the thin line between tastefulness and tastelessness as the theme holds
nothing back and goes for broke. Unattractive as the bombastic peaks are this
isn't a too bad of a track, easily surpassing the aforementioned "Battle VS Mid
Boss." It cannot compete, however, with a composition that can build tension
without feeling as fragmented and pointed — the previously mentioned (and far
superior) "Power Fighter" coming to mind. As befitting and maddening as the
percussion is in presenting one of the most dangerous and charismatic minds in
Filgaia, it is regrettable that Naruke took such a one-dimensional route with
this one considering how it's the concluding Odessa piece in the game. Can't
win them all I suppose. (5/10)

  =-Usage-=

  Disc1 | Used
 -------+-------------------------------------
  Fight | Vinsfield (Leader of Odessa)
  Fight | Vinsfield (Leader of Odessa) Ashley

  Disc2 | Used
 -------+-------------------------------
  Fight | Ghost (Remaining Poltergeist)

-------------------------------------------------------------------------------
 1-61) Battle VS Liz and Ard .......................................... (0:59)
-------------------------------------------------------------------------------
Highlighting the ill-fated battle exploits of the infamous, self-styled "master
of disaster" Liz and his faithful assistant Ard ("lizard," get it?), "Battle VS
Liz and Ard" is another battle theme that is highly dependant on that thick,
ethnic flair Naruke cultivated in the original game with "W-W-What? (Zed's
Theme)." The problem is as hard as this track tries, it is unable to escape the
shadow of this composition much like "Battle VS Kanon." The difference between
the two lies in the fact that the stigma associated with this connection is
even greater this time around thanks in part to the overall tempo, theme and
direction being so close to the "original." Eliminating any and all doubt about
the message behind the piece is a positive step; the wacky banjo portraying the
questionable combat tactics of these two creatures of unknown origin to a tee.
Outside the warmth and comfort of its in-game context, the track doesn't have
much to go on until you compare it to the "interesting" rocking heart
rendition. (6/10)

  =-Usage-=

  Disc1 | Used
 -------+-------------------------------------
  Fight | Liz and Ard (Raline Observatory)
  Fight | Liz and Ard (Gate Bridge)
  Fight | Liz and Ard (Coffin of 100 Eyes)

-------------------------------------------------------------------------------
 1-62) Battle VS Root of Kuiper Belt .................................. (0:59)
-------------------------------------------------------------------------------
To those that have played a Wild Arms game, the concept of a rustic western
world that is reliant on the fragments of a bygone, technologically advanced
society is not unfamiliar. As rewarding as it is to reap the rewards after
scoring some of the world's coolest "toys" it is perhaps what lies beyond that
is the most interesting — the unworldly. While most games in the series at
least relate to this concept, it is the second installment that really runs
with it. This also applies to the music; Naruke doesn't go too crazy with the
notion, but once again the results are mixed. The result here is pretty damn
good though; the sense of worry is a lot thicker here and is followed with a
side order of dread — putting somewhat of a cap on the fun and thrill of
discovery heard in "Field: Distorted Sky." Light jazz elements come into play
late as the horns tease the listener, offering what will initially appear to be
a lengthy reprieve from the doom and gloom before the moodiness shoots it down
in a rude blaze of glory. Even though it falls short of stellar, "Battle VS
Root of Kuiper Belt" creates an unfamiliar aura of oppression and makes what is
a brief experience anything but brisk. Unfortunately, Naruke's success here...
(7/10)

  =-Usage-=

  Disc2 | Used
 -------+---------------------------------------
  Fight | Larva (Encroaching Parallel Universe)
  Fight | First Root (Encroaching Parallel Universe)
  Fight | Second Root (Encroaching Parallel Universe)
  Fight | Third Root (Encroaching Parallel Universe)

-------------------------------------------------------------------------------
1-63) Battle vs Edgeworth=Kuiper Belt ................................. (0:46)
-------------------------------------------------------------------------------
...only magnifies her failure here, proving it only takes a moment for
something that worked well enough to crash and burn next time out. "Battle VS
Edgeworth = Kuiper Belt" is one hell of an example of this phenomena; none of
the previous praise is applicable despite the return of the sci-
fi/extraterrestrial motif. Simply put, this is just a really unattractive
piece. The pushy, force-fed instruments aren't pushy in a good way, the climax
is incapable of sealing the deal, and the entire thing misses the bigger, more
emotional picture. While the oppressive beats musically depict the awkward
jerking motion of this boss enemy's wing-like appendages the entire experience
feels so soulless. What's ironic (rather problematic) about this is when one
considers the sins committed to bring this abomination to life there shouldn't
be anything "soulless" about. The remainder of the track — like the alien-like
flute — only serves to add a layer of phoniness to what is already a misfired
arrow; an arrow I wish was more in line with a heart-wrenching piece like "Last
Battle" from Xenosaga. It's these unexplored possibilities that hurt this piece
so much. (5/10)

  =-Usage-=

  Disc2 | Used
 -------+---------------------------------------------
  Fight | Kuiper Core (Encroaching Parallel Universe)

-------------------------------------------------------------------------------
 1-64) You're Not Alone...|............................................ (0:34)
-------------------------------------------------------------------------------
"You're Not Alone..." is a peculiar track for a variety of reasons. The most
confounding aspect is while it appears on the soundtrack, it is nowhere to be
found in the game or in the stream/sequenced music data on either disc of the
North American game. Exclusive use in the Japanese original also seems doubtful
because while it contains vocals (the opening lines of "You Are Not Alone" —
shocking given the title) those would have been removed during localization
like the opening/ending themes. Most likely an extra thrown in for the sake of
it, the explosion (?) at the end makes one reflect on the various blasts that
rip though certain locals on the first disc alone. Regardless, it is a rather
pointless addition to an already bloated soundtrack. Unfortunately, it won't be
the last. (N/A)

  =-Usage-=

  "You're Not Alone..." is never used in-game, its application is a mystery

-------------------------------------------------------------------------------
 1-65) Battle VS Lord Blazer .......................................... (2:04)
-------------------------------------------------------------------------------
If a single track expressed what Wild Arms 2nd Ignition meant to me, this would
be it. No disrespect to other great tracks like "Dungeon: Ruins Type 3" or
"Live Reflector" but I can't help reflect on every superfluous NPC I've run
across in the course of my adventure when I hear this all encompassing tune.
That's a pretty tall order for any piece of music to fill, especially when it's
a reprise of the main theme minus the full-blown production seen in the opening
video. This accounts for a large portion of the charm found within "Battle VS
Lord Blazer;" it's not the most complex arrangement of the theme, but is the
one that is the most poignant and fun. I'll admit the previous statement is
somewhat skewed having taken part in the battle itself — which rocks — but the
strength of the brass section and Naruke's foresight of knowing when to charge
ahead and when to scale it back should not be underestimated. Wholeheartedly
recommended, though those looking for a little more variety when it comes to
the instrumentation may prefer the version that appears on the rocking heart
arrange. (10/10)

  =-Usage-=

  Disc2 | Used
 -------+---------------------------------
  Fight | Lord Blazer (Blaze of Disaster)

-------------------------------------------------------------------------------
 1-66) Battle VS Ragu O' Ragula ....................................... (0:43)
-------------------------------------------------------------------------------
Uh-oh, you're in for it now! You've stumbled upon the doorstep of the series'
most powerful and grumpy adversary. If this overbearing battle theme is any
indication, this optional, reoccurring nightmare of a beast is out for blood
and is not satisfied with just assaulting your party physically — that wouldn't
be cruel enough. To Naruke's credit there has never been a theme specific to
Ragu O' Ragula that has been noteworthy — "Catching a Glimpse of Hell (from
Alter code:F) and "Manifestation from Hell" (from The 4th Detonator which was
composed by Ryuta Suzuki) being just as unimpressive in their own way — but
beyond the fact that such unattractive and unflattering compositions will
receive next to no accolades for all eternity, the "no tomorrow, no future"
subtext of these tracks does manage to work as it pries at one in a devilish,
subconscious manner. "Battle VS Ragu O' Ragula" does this in many ways,
containing a mood and texture comparable to the slightly superior "Battle VS
Cocytus," not to mention revisiting the reaper-like call and engaging
percussion of "Battle: Knight Blazer." These elements give the piece enough
ammo to seem fair enough in-game or during a straight forward listen through
the soundtrack, but on a one-on-one comparison the track is easily exposed for
the ugly entity it is. (5/10)

  =-Usage-=

  Disc2 | Used
 -------+------------------------------------------------------
  Fight | Ragu O’ Ragula (Master of the Beginning and the End)

-------------------------------------------------------------------------------
 1-67) CONDITION GREEN! ............................................... (0:22)
-------------------------------------------------------------------------------
There should be a law (or at least some kind of unwritten rule) that prohibits
segregating battle themes from their respective fanfares. This isn't a call to
combine them into a single, seamless track (which actually worked quite well on
The Legend of Dragoon Original Soundtrack) but rather to have them follow one
another (in the tracklisting) to maintain these musical connections outside of
the game. Of course, considering what soundtrack we're talking about here,
ranting about how far a little more common sense would have gone isn't going to
solve anything. Still, if "CONDITION GREEN!" were to follow "Battle VS Mid
Boss" or better yet "Battle Force" this would reinforce its position as the
game's go-to fanfare. However, when it comes to how this reinforcement is
achieved musically, Naruke takes the easy way out, the punchy emphasis at the
end being ever so similar to how the standard fanfare in the original game
began. Effective as it is, the track doesn't get away with it completely, the
emotional apex never reaching the heights of the aforementioned "WIN!" or the
level of beauty found in Wild Arms Advanced 3rd's own "CONDITION GREEN!" While
it expresses victory adequately enough, this piece seems to gain that extra
"something" in the game when there is some post fight dialog/mudslinging going
on. (7/10)

  =-Usage-=

  Disc1 | Used
 -------+-----------------------------------------------
  Fight | Random Battle
  Fight | Kalivos (Sealed Monster Weapon)
  Fight | Gremalkin (Parasite Colony Monster)
  Fight | Olivier (Boundless Glutton Monster)
  Fight | GAONIM (Escapee Capture Robot)
  Fight | Vagesta (Mysterious Phantom Being)
  Fight | Elebart (Thunderbolt Battle Monster)
  Fight | Trask (Poisonous Armored Dragonoid) Golgotha Prison
  Fight | Undines (Elemental Spirit)
  Fight | Alphael (Propagator Bird with Wings of Light)
  Fight | Reguleus (Compound Plant Monster)
  Fight | Gehenna Neros (Transforming Ninja)
  Fight | Judecca (Special Cocytus Squad Member) Valeria Chateau
  Fight | Blastodon (Explosive Red Thunder Toad)
  Fight | Arms Killer (Robotic Monster Assassin)
  Fight | FakeBrad
  Fight | Belleclaire (Explosive Emperor Monster)
  Fight | Plotomea (Special Cocytus Squad Member) Diablo Pillar
  Fight | Drawdo (Shapeless Slime Monster)
  Fight | Prisnum (Humanoid Mirage)
  Fight | Antenora (Special Cocytus Squad Member) Diablo Pillar
  Fight | Jasoul (Aggressive Poltergeist)
  Fight | Magamalizer (Red-Hot Lava Monster)
  Fight | Judecca (Special Cocytus Squad Member) Diablo Pillar

  Disc2 | Used
 -------+-----------------------------------------------
  Fight | Caina (Special Cocytus Squad Member) Lost Garden
  Fight | Grauswein (Nuclear Dragon) Ashley
  Fight | Lombardia (Dragon Caliber)
  Fight | Flam Knight (Spriggian)
  Fight | Geo Knight (Spriggian)
  Fight | Wing Knight (Spriggian)
  Fight | Muse Knight (Spriggian)
  Fight | Larva (Encroaching Parallel Universe)
  Fight | Grodine (Saucer Organism)
  Fight | Manufestu (Terrible Guardian Monster)
 -------+----------------------------------------------------
  Fight | Gatlorg (Monster Battleship)
  Fight | Titanius (Steel Dragon from the Bowls of the Earth)
  Fight | Kobold King (Bodyguard Monster)
  Fight | Bulkogidon (Rampaging Monster Robot)
  Fight | Zolinge (Limb-from-Limb Ripping Monster)
  Fight | Xenon (Giant Monster of Light)
  Fight | Zyclus & Zetrim (Vortex Monster Brothers)
  Fight | Zavorg (Giant Armored Bug)
  Fight | Angolmois (Demon King)

-------------------------------------------------------------------------------
 1-68) A Tinge of Regret .............................................. (0:42)
-------------------------------------------------------------------------------
As bold and reckless as the following statement may seem, "A Tinge of Regret"
is a magnificent piece of music. Without delving too deep into the mythos
surrounding the adversaries this track reflects upon, (Solid from "Battle VS
Kanon" to the members of Odessa's Cocytus in "Battle VS Cocytus") Naruke nails
that brief moment when the defeated are physically and emotionally vulnerable.
With the harmonica wailing in sorrow and the downtrodden guitar mumbling,
cursing the idea of losing, a sense of humbleness that is absent in the
preceding battle themes is brought about. The ability of the composer to
capture the mind and heart with such an abstract composition speaks volumes,
especially when it makes me feel pity towards those that are unworthy of such
mercy. Still, while I could swoon over this piece all day, this is really
another instance where the success achieved is the result of a previous
endeavor — the Metal Demon/Quarter Knight fanfare "Retreat" from the first
game. If the final score is any indication, however, this does little to dilute
its impact. (10/10)

  =-Usage-=

  Disc1 | Used
 -------+-----------------------------------------------------------
  Fight | Ptolomea (Special Cocytus Squad Member) Mt. Chug-Chug
  Fight | Antenora (Special Cocytus Squad Member) Valeria Chateau
  Fight | Ptolomea (Special Cocytus Squad Member) Warwing Varukisas
  Fight | Kanon (Slayheim Castle)
  Fight | Antenora (Special Cocytus Squad Member) Alchemic Plant
  Fight | Caina (Special Cocytus Squad Member) Emulator Zone
  Fight | Kanon (Emulator Zone)
  Fight | Kanon (Closed Mine Shaft)
  Fight | Judecca (Special Cocytus Squad Member) Holst
  Fight | Caina (Special Cocytus Squad Member) Diablo Pillar

-------------------------------------------------------------------------------
 1-69) Before Victory ................................................. (0:36)
-------------------------------------------------------------------------------
Continuing her work with introspective fanfares, Naruke attempts to make the
listener look beyond the black and white idea of winning and losing. At first
glance, this proud and boastful number accomplishes this quite well, with the
power and majesty hitting hard before it fades into a hesitant, anti-climactic
follow through of relief. It isn't this switchover that's interesting
(actually, it's pretty boring), but rather when the beginning and ending meet
one another on the repeat; the stark difference resembles something as it
suddenly springs back to life. This is good and all, but "Before Victory" has a
dirty secret that is buried due to the tracklisting, one that's a lot like that
cousin in your family you deny being related to when asked. That secret? That
such a smooth and clean (well, a smoother and cleaner) sounding composition is
the concluding half of the crooked and obtuse "Battle VS Vinsfield." Unfair as
it seems to brand a fanfare for the shortcomings of another track, it's
unlikely that blissful ignorance you had prior to this knowledge can save it.
Even with the title and the subtext giving it a running start, its connections
and slight dependence on its context stop it from really becoming something.
(6/10)

  =-Usage-=

  Disc1 | Used
 -------+-------------------------------------
  Fight | Vinsfield (Leader of Odessa)
  Fight | Vinsfield (Leader of Odessa) Ashley

  Disc2 | Used
 -------+-------------------------------
  Fight | Ghost (Remaining Poltergeist)

-------------------------------------------------------------------------------
 1-70) It's Clear. | .................................................. (0:24)
-------------------------------------------------------------------------------
When it comes to "It's Clear.," the one thing that's unclear is my opinion. At
face value, I could leave the cracker-jack sense of victory that's presented to
its own devices, but it's hardly that simple — something inexplicitly draws me
in. The possible reasons for this are innumerable: could it be the fact that it
tops off "Battle VS Root of Kuiper Belt," one of the game's more respectable
battle themes, or how it looks in comparison to the one bottom-of-the-barrel
offering that follows? Perhaps, but the most important reflection one can make
is that while the track enjoys its borderline techno/electronica style
immensely, it comes off as way too happy. What makes this so bizarre is how
Naruke avoids shooting herself (directly) in the foot with this plan, the
exuberant amount of cheerfulness sounding creepy in an unearthly, sarcastic
manner — all of this relating back to battle theme and adversary. In the end,
Naruke more or less grazes herself with this concept, the ruse working on
surprising level but not well enough to give an otherwise cheap and lean
composition a real sense of solidarity. (6/10)

  =-Usage-=

  Disc2 | Used
 -------+---------------------------------------------
  Fight | First Root (Encroaching Parallel Universe)
  Fight | Second Root (Encroaching Parallel Universe)
  Fight | Third Root (Encroaching Parallel Universe)

-------------------------------------------------------------------------------
 1-71) Crime and Sacrifice ............................................ (0:39)
-------------------------------------------------------------------------------
While compositional infractions are nothing new to the Wild Arms 2nd Ignition
Original Soundtrack, there are more than a few tracks that are dealt dismal
fates through no real fault of their own. Trivial as it may seem to defend such
a minute piece of music like a fanfare, "Crime and Sacrifice" deserves a second
look. The main point in such a line of reasoning is simple: despite the fact
that its counterpart "Battle VS Edgeworth = Kuiper Belt" appears to do it no
favors, it actually does, the misdirection of the battle theme being the
fanfare's gain. While the eerie, spaceless melody makes one ponder what is
beyond the physical, it can only dig the track out of the hole so far, even
with the subtext being self-sufficient (the lone exception being the
appropriateness of the title which was hinted at in the section on "Battle VS
Edgeworth = Kuiper Belt.") Destined to become a cellar-dweller regardless of
what spin is placed on it, at least give it some consideration before
abandoning it from your listening rotation. (6/10)

  =-Usage-=

  Disc2 | Used
 -------+---------------------------------------------
  Fight | Kuiper Core (Encroaching Parallel Universe)

-------------------------------------------------------------------------------
 1-72) A New Sunset ................................................... (0:48)
-------------------------------------------------------------------------------
Much like "It's Clear." that came before it, "A New Sunset" is a track that has
always been at the center of a personal debate. The source of this conflict is
based more on the relationship it holds with another track rather than the
craftsmanship of the piece itself. The hang up is even though the track is fair
enough, the semi-electronic waves melding with the angelic choir and tolling
bells, it doesn't feel like it has the same kind of energy as "Battle VS Lord
Blazer." This nagging suspicion that it is cut from a different mould radiates
from the pointed yet tasteful brass section of the battle theme and how it is
at odds with the experience outlined above; it's no stake through the heart by
any stretch of the imagination but after such an intense and epic battle
something a bit more punchy — like "CONDITION GREEN!" only a million times
better — would have just been the icing on the cake. (6/10)

  =-Usage-=

  Disc2 | Used
 -------+---------------------------------
  Fight | Lord Blazer (Blaze of Disaster)

-------------------------------------------------------------------------------
 1-73) WIN!!! ......................................................... (0:22)
-------------------------------------------------------------------------------
Are all those exclamation points necessary??? Talk about overkill, even the
original Wild Arms knew that one was more than enough. Okay, so you've just
defeated the most difficult foe the game could throw at you yet there is little
reason to celebrate. Why? Because "WIN!!!" is completely and utterly worthless;
the sarcastic level of cheer literally choking one to death, sounding like
something you'd hear after winning a mini-game rather than surviving the
crudely depicted onslaught presented in "Battle VS Ragu O' Ragula." This track
mocks the player more than anything, reminding them that the usefulness of the
game's most powerful accessory (that they've just won) is only a mere fraction
of what it would be had it been acquirable before this battle. That's just what
everybody needs, a crummy piece of music to commemorate the cold and bitter
fact that the New Game + option wasn't implemented until the next game in the
series. Not that I'm bitter or anything. Who said I was bitter!? (4/10)

  =-Usage-=

  Disc2 | Used
 -------+-----------------------------------------------------
  Fight | Ragu O’ Ragula (Master of the Beginning and the End)

-------------------------------------------------------------------------------
 1-74) Game Over ...................................................... (0:34)
-------------------------------------------------------------------------------
<Desperately rummages through pockets looking for a Gimel Coin... NOT!>

In most games, a well-balanced continue system extends a helping hand while
keeping other factors like overall challenge in check. It's no fun getting that
pink slip of death without being able to exact revenge on the person, place or
thing that wronged you. What stops this from working in Wild Arms 2nd Ignition
(and subsequently Wild Arms Advanced 3rd) is the lack of said challenge, which
severely decreases the chances of anyone with a moderate level of RPG
experience from hearing this piece. While no one wants to hear the game over
music of any game on any kind of consistent basis, a good one makes biting the
big one a little less annoying than usual. Along the lines of "Main Title,"
which opened the album, the trademark whistle of "Game Over" carries the main
melody as the clunky notes of the piano complements the aura of exhaustion.
Nothing to write home about, but at least it avoids being one of those in-your
-face bastard-child game over themes that makes you want to scream. (7/10)

  =-Usage-=

  Disc1 | Used
 -------+----------------------------------------
  Fight | Any battle when the entire party falls

  Disc2 | Used
 -------+----------------------------------------
  Fight | Any battle when the entire party falls

-------------------------------------------------------------------------------
 1-75) Atomic ARMS (Disc 1 Ending) .................................... (1:47)
-------------------------------------------------------------------------------
Naruke is able to make up some serious points with the closing track "Atomic
ARMS." Perhaps the most important thing that can be said about this track is
that while this is technically a vocal theme, to classify it as such would
ultimately be misleading. It has lyrics, no doubt, but uses a combination of
"oh," "ooh" and "whoa" in place of actual words in an effort to transcend
imposed limitations (e.g. language barriers.) Both this and The Gospelers (the
vocal congregation given credit for the performance in the endgame credits)
succeed beautifully; the stillness giving into a relaxed beat that reminds one
that even those with the most passionate of convictions grow weary. This is an
excellent track that is worthy of anyone's ears. (10/10)

  =-Usage-=

  Disc1 | Used
 -------+-----------------------------------------------------------------
  Scene | The Heimdal Gazzo falls to Filgaia, Ashley floating in subspace

-------------------------------------------------------------------------------
 2-01) Resistance Line — Full Chorus Version (Disc 2 Opening) ......... (4:04)
-------------------------------------------------------------------------------
Out of all the words in the English language, "consistency" is a term commonly
associated with Michiko Naruke and her work on the Wild Arms scores. While I
personally believe that Naruke's consistency began to border on the edge of
monotony in Advanced 3rd and beyond, this is hardly the case with 2nd Ignition
— unless one is referring to consistent inconsistency. The opening of disc two
does nothing to fight such a perception, opting to use the "Full Chorus
Version" of "Resistance Line" (which would also be included on the Wild Arms
Vocal Collection -alone the world- album in 2002) rather than the game edit.
With the in-game tracks being as short as they are due to the absence of
looping, why drop this four minute whopper here when it seems to prattle on in
comparison? This is only compounded by the fact that I've grown to hate some of
the instrumentation within this piece; that blaring horn in the beginning
growing more and more distasteful as time goes on. However, such distain does
little to ruin the other brass in the sorrowful solo and the climax.
"Resistance Line" doesn't reach the lofty heights of "You Are Not Alone" or
"Atomic ARMS" but (the game edit) is still worth your time, the final grade
reflecting its brisker presentation. (7/10)

  =-Usage-=

  The "Full Chorus Version" of "Resistance Line" is not used in either the
  NSTC-J or NSTC-U/C versions of Wild Arms 2. In it's place is a game edit
  version that doesn't appear on the soundtrack. Vocals are removed in the
  NSTC-U/C edition of the game.

-------------------------------------------------------------------------------
 2-02) Liz and Ard .................................................... (0:32)
-------------------------------------------------------------------------------
Liz and Ard are back! In this quirky, inquisitive character/dungeon theme, the
ethnic style of the duo's battle theme is retired in an attempt to create a
composition that wants to be taken seriously yet is anything but. It's this
intentional, transparent guise that gives "Liz and Ard" it subdued, slap-stick
sense of comic relief, the short duration and dependence on repetition being
part of the blueprint. Thankfully, because of its length the soundtrack lets it
repeat a few times, giving one a good — albeit limited — idea of how it works
in the game. It goes without saying that having first-hand knowledge of the
characters the track reflects can only enhance it, though it stands as a solid
introduction to this particular compositional "build" that will offer some
surprising results later. (7/10)

  =-Usage-=

  Disc1 | Used
 -------+------------------------------------------------
  Field | Raline Observatory
  Scene | Liz and Ard mess with the Gate Bridge controls
  Scene | Liz and Ard up to no good again
  Field | Fab Science Lab

-------------------------------------------------------------------------------
 2-03) Launch! ........................................................ (0:27)
-------------------------------------------------------------------------------
Comical as such an observation may seem, "Launch!" has that generic "Action 5
News Weather Team Update" schmaltz written all over it. What's odd (scary
rather) about this is how well it works in its given situation in the game.
Like most elements discussed so far, Naruke's/2nd Ignition's relationship with
"cheese" is split right down the middle — working on a surprising level when it
succeeds and left to wither and die when it doesn't. Cut and dry as the
consequences for success and failure have been thus far, there is something, an
unknown quality that makes Naruke's failures in this particular area a lot less
detrimental than they should be. If this sounds confusing and a bit convoluted,
it may help you to know that "Launch!" is a failure, an observation stemming
from its comparison with its forbearer "Ancient Shrine" from the first game. As
much as it hurts when a composer outclasses themselves with a previous piece,
Naruke is able to get away cleanly enough — somehow.... (6/10)

  =-Usage-=

  Disc1 | Used
 -------+-----------------------------------------------------
  Scene | Dialog to Tim and firends prior to fighting Elebart
  Scene | Teleporting via Live Reflector

  Disc2 | Used
 -------+--------------------------------
  Scene | Teleporting via Live Reflector

-------------------------------------------------------------------------------
2-04) Boss Demo ....................................................... (0:14)
-------------------------------------------------------------------------------
The best way to describe the scene "Boss Demo" accompanies is to think about
how bosses in Mega Man games are introduced after being selected from the stage
select screen. With this image firmly in place, turn your adversary into a
pitch black silhouette of itself (a la Hitchcock) with the obligatory piercing
white eyes staring out from the darkness and place it all on a blood red
background. Give the "fiend" an interesting title to go along with its name
like "Boundless Glutton Monster," "Master of the Beginning and the End" or, my
favorite "Limb-from-Limb Ripping Monster" for good measure. Finally, end this
assortment of clichés with the grand daddy — make the image on the screen
shatter like glass. It's so bad it's great. Why go through all the trouble of
describing the boss demo screen in Wild Arms 2nd Ignition? As insignificant as
this musical cue may appear to be on the soundtrack, the shuttering, scratching
effect, sparse percussion, electronic bleeps/bloops and overly dramatic climax
pulls the above together, capturing the idea of a boss enemy stalking the
player's party with malicious intent. (7/10)

  =-Usage-=

  Disc1 | Used
 -------+-----------------------------------------------
  Scene | Kalivos (Sealed Monster Weapon) introduction
  Fight | Gremalkin (Parasite Colony Monster)
  Fight | Olivier (Boundless Glutton Monster)
  Fight | GAONIM (Escapee Capture Robot)
  Fight | Vagesta (Mysterious Phantom Being)
  Fight | Ptolomea (Special Cocytus Squad Member) Mt. Chug-Chug
  Scene | Elebart (Thunderbolt Battle Monster) introduction
  Fight | Trask (Poisonous Armored Dragonoid) Hamletz
  Scene | Undines (Elemental Spirit) introduction
  Fight | Liz and Ard (Raline Observatory)
  Fight | Alphael (Propagator Bird with Wings of Light)
  Fight | Reguleus (Compound Plant Monster)
  Fight | Gehenna Neros (Transforming Ninja)
  Fight | Antenora (Special Cocytus Squad Member) Valeria Chateau
  Fight | Judecca (Special Cocytus Squad Member) Valeria Chateau
  Scene | Blastodon (Explosive Red Thunder Toad) introduction
  Fight | Ptolomea (Special Cocytus Squad Member) Warwing Varukisas
  Fight | Trask 2.0 (Biogenic Dragonoid)
  Fight | Caina (Special Cocytus Squad Member) Emulator Zone
  Fight | Arms Killer (Robotic Monster Assassin)
  Fight | Belleclaire (Explosive Emperor Monster)
  Fight | Drawdo (Shapeless Slime Monster)
  Fight | Prisnum (Humanoid Mirage)
  Fight | Jasoul (Aggressive Poltergeist)
  Fight | Magamalizer (Red-Hot Lava Monster)
  Fight | Vinsfield (Leader of Odessa)

  Disc2 | Used
 -------+-----------------------------------------------
  Fight | Grauswein (Nuclear Dragon)
  Fight | Lombardia (Dragon Caliber)
  Fight | Flam Knight (Spriggian)
  Fight | Geo Knight (Spriggian)
  Fight | Wing Knight (Spriggian)
  Fight | Muse Knight (Spriggian)
  Fight | Larva (Encroaching Parallel Universe)
  Fight | Ghost (Remaining Poltergeist)
  Fight | Grodine (Saucer Organism)
  Fight | Manufestu (Terrible Guardian Monster)
  Fight | First Root (Encroaching Parallel Universe)
  Fight | Second Root (Encroaching Parallel Universe)
  Fight | Third Root (Encroaching Parallel Universe)
  Fight | Kuiper Core (Encroaching Parallel Universe)
  Fight | Lord Blazer (Blaze of Disaster)
 -------+----------------------------------------------------
  Fight | Gatlorg (Monster Battleship)
  Fight | Titanius (Steel Dragon from the Bowls of the Earth)
  Fight | Kobold King (Bodyguard Monster)
  Fight | Bulkogidon (Rampaging Monster Robot)
  Fight | Zolinge (Limb-from-Limb Ripping Monster)
  Fight | Xenon (Giant Monster of Light)
  Fight | Zyclus & Zetrim (Vortex Monster Brothers)
  Fight | Zavorg (Giant Armored Bug)
  Fight | Ragu O’ Ragula (Master of the Beginning and the End)
  Fight | Angolmois (Demon King)

-------------------------------------------------------------------------------
 2-05) Soaked in Terror ............................................... (0:37)
-------------------------------------------------------------------------------
"Soaked in Terror" marks the return of an arduous section of the Wild Arms 2nd
Ignition Original Soundtrack: event/scene themes. Compared to the other games
in the series and those that appeared near the beginning of disc one, Naruke
takes more of an ambient route with these numbers, though to say they're
completely ambient would only serve to misconstrue the definition of such
music. In crafting compositions with a reserved amount of notes in the
forefront and hum/hymn-like backdrops (think "Scene of Reminiscence" from
earlier) a hybrid of sorts is created — something between an ambient piece of
music and the norm. Unfortunately, trouble isn't far behind, tracks such as
these leaving one clamoring for some context to chew on. "Soaked in Terror" is
ahead of the game in this respect however, the dark, drip-like percussion and
dissipating electronic airs penetrating the depths of the silence quite nicely.
(7/10)

  =-Usage-=

  Disc1 | Used
 -------+---------------------------------------------------------------
  Scene | Ashley’s dialog with his “other self”
  Scene | Ashley struggles with the power and presence within him
  Scene | Tim, Tony and Scott being perused in the Town of Meria
  Scene | Tim overhears the chief talk about his true purpose as Pillar

  Disc2 | Used
 -------+-----------------------------------------------------------------
  Scene | Irving explains his actions, Altaecia prepares to be the vessel

-------------------------------------------------------------------------------
 2-06) Anastasia's Guidance ........................................... (0:49)
-------------------------------------------------------------------------------
While it may seem rather inconsequential given the poor track layout, the fact
that "Anastasia's Guidance" lies right next to "Soaked in Terror" is a
blessing; their connection to one another all the more accessible because of
it. Still, before taking in all this pomp, is there anything these tracks gain
from it? Barely. Well, no... more like nothing. It's no surprise these tracks
are similar from an architectural standpoint considering how like things are
grouped together on the tracklist, but it's the "elemental alignment" (light
vs. dark) that drains away a lot of the initial promise once you realize the
concept has already been done to death. This isn't the only thing keeping the
positive benefits from this relationship out of reach. "Anastasia's Guidance"
has a lot of extra baggage that "Soaked in Terror" doesn't in its inevitable
comparison to "Dungeon: Anastasia's World," which most will likely consider the
penultimate Anastasia based theme. (6/10)

  =-Usage-=

  Disc1 | Used
 -------+--------------------------------------------------------------------
  Scene | Ashley discusses his promise with Anastasia upon drawing Argetlahm

  Disc2 | Used
 -------+--------------------------------------------------------------
  Scene | Ashley ponders why he’s still alive; Anastasia appears
  Scene | Ashley reappears at the Sword Cathedral
  Scene | Returning from Glaive Le Gable to the bottom of Spiral Tower

-------------------------------------------------------------------------------
 2-07) Used by a User ................................................. (0:40)
-------------------------------------------------------------------------------
There are so many possibilities for bad word play with a title this fine, yet
in the interest of staying on topic I'll refrain from succumbing to such dark
desires. Consider that a bullet dodged. Anyway, despite my fondness for the
title and how it perfectly coincides with a handful of scenes in the game, it's
the music we're here to discuss. This is bad news for "Used by a User" because
as harsh as it sounds the title is the one and only thing the track has going
for it; the music seeing fit to borrow bits and pieces from previous songs.
That low-end semi-ambient hum? Check. Sparse instrumentation? Check. Notes in
the forefront suspended and delayed to make it sound moody and creepy? Check.
The combination of these elements hardly makes for an inventive composition by
this point, presenting the more pressing question "does it contain any
individual merit?" With the answer being painfully obvious, this is where the
track loses it grip, even though it manages to eek out enough of a living for
itself in context. (6/10)

  =-Usage-=

  Disc1 | Used
 -------+--------------------------------------------------------------------
  Scene | Overlooking the Cathedral, Vinsfeld and Caina discuss their goals
  Scene | Judecca’s questions ARMS motives; Ptoloema’s new fighting force
  Scene | Party wakes up in a cell in Golgotha Prison
  Scene | Ashley reverts to normal; onlookers question what they just saw
  Scene | Antenora reports Judecca’s failure; enacts “Operation Guardian”
  Scene | Vinsfeld reveals to Antenora he knows her personal agenda
  Scene | Odessa revels in their newly acquired nuclear capabilities
  Scene | Heimdal Gazzo preparing to fire on ruins with the Soul Deleter

-------------------------------------------------------------------------------
 2-08) High Pressure .................................................. (0:51)
-------------------------------------------------------------------------------
Listening to "High Pressure," it's not hard to get the impression that delicate
bonds could break loose at any minute. While the title may fool you into
believing the unthinkable has already occurred, a stressful situation calling
for a full-blown piece of danger/crisis music, nothing could be further from
the truth. Naruke instead focuses on the tension preceding hell breaking loose
and does it with such a reserved amount of emphasis that the worry developed
throughout is more perplexing than fear mongering. Although this does change
when the climax comes around, it avoids that "be all, end all" point of no
return found in dramatic cut scenes. All of this allows the track to loop back
to its default position where the beats can once again weave in and out in
search of the climax without appearing segmented. Perhaps what is most striking
about "High Pressure" is how far away it is from special, yet it feels so
regardless, embodying a great cross-section of what Wild Arms 2nd Ignition is
all about. (9/10)

  =-Usage-=

  Disc1 | Used
 -------+----------------------------------------------------------------
  Scene | Execution site, Ashley unleashes his inner power against Trask


  Disc2 | Used
 -------+----------------------------------------------------------------------
  Scene | Discussing the newest threat to Filgaia at the Valeria Chateau
  Scene | Still frame graphic of Grauswein heading towards Filgaia
  Scene | Irving briefs ARMS on Grauswein, Ashley ordered to sit out
  Scene | Teleported to the surface of the moon with Agretlahm and Lord Blazer

-------------------------------------------------------------------------------
 2-09) Fate ........................................................... (0:32)
-------------------------------------------------------------------------------
As expected of a track that sees little action during gameplay, "Fate" can do
little to avoid the guff that is typically thrown in the direction of filler
tracks. Undeniable as this is, Naruke steers clear of some of the bigger, more
loathsome stereotypes like that dark and overly dramatic "you're gonna die"
stuff by focusing on some of the more mysterious aspects of destiny. Even so,
there is no shortage of seriousness here, the only asides from it being when
the horn challenges the unforeseen and the wind chime-like keys comment on its
mystical nature before the piano comes crashing down. Aside from the short life
expectancy, "Fate" offers a little more than a uniform, straight-shot
composition, even though it's about as cheap and hollow as one. (6/10)

  =-Usage-=

  Disc1 | Used
 -------+--------------------------------------------------------------------
  Scene | Irving appears and extends his hand in assistance as Ashley faints
  Scene | Brad leads party to docks; Ashley’s displeasure with Irving

-------------------------------------------------------------------------------
 2-10) Agony .......................................................... (0:42)
-------------------------------------------------------------------------------
Rest assured, if you've played through Wild Arms 2nd Ignition and can't recall
hearing "Agony" you are neither alone nor crazy. What's crazy is how subversive
this track is when it does appear — one of several things that lead me to
replay the game prior to writing any of this. Why does it fly so far under the
radar? The lack of a true climax is perhaps the most obvious reason, something
that allows it to meander on as long as it sees fit. Couple this with a
peculiar sense of softness that dulls even the deepest notes of the acoustic
guitar and you have a level a passiveness that exceeds that of "Separation" and
its steady, dreamy rhythm. Finally, there's the partnership it has with "An Old
Tale" and "The Wall Around My Heart," the latter being much more symbiotic than
the former. That said, the ability of "An Old Tale" to outgun "Agony" by
encompassing a wide range of emotions severely compromises its impact and is
proved by their interchangeability in the game. As dismal as the track becomes,
its in good company with the similar, uninspired pieces peppered throughout
2004's Alter code:F score. (5/10)

  =-Usage-=

  Disc2 | Used
 -------+-------------------------------------------------------------
  Scene | Irving fails at the drawing Argetlahm; the resulting injury

-------------------------------------------------------------------------------
 2-11) Battle Robot Jack .............................................. (5:43)
-------------------------------------------------------------------------------
With a lengthy duration and title that will most likely raise a few eyebrows,
"Battle Robot Jack" is the kingpin of questions and queries when it comes to
the music of Wild Arms 2nd Ignition. The reason for the track's length is
justifiable — being a custom-sized piece for a non-FMV scene that proceeds
without input from the player. With "Battle" in the title the door is left wide
open for misinterpretation as a battle theme — while this is a scenario that
could work under the right conditions, "Jack" seems to come out of left field
even if it's a reference to the character from the first game. Thankfully, the
word "Robot" may refers to how the villains behind this "declaration of doom"
want the inhabitants of Filgaia to act under their rule — strong and unified
yet mindless and obedient. Unlike the majority of Odessa based themes thus far,
"Battle Robot Jack" feels much less mindless because even though that regal,
belittling sense of tyranny is present, the somber sections that follow the
various climaxes (which unfortunately suffer from an ill-fated, high-pitched
twangy sound that emulates a clock striking an hour) disallows it from droning
on and proves the track can go where others won't. Welcome as it is to see the
other side of the coin that is insanity (sadness) for once, its restricted
usage in a track so large can only account for so much and amplifies its
absence elsewhere. (7/10)

  =-Usage-=

  Disc1 | Used
 -------+------------------------------------------------------------------
  Scene | Odessa’s declaration of world unification; discarding boundaries

-------------------------------------------------------------------------------
 2-12) Wish Upon a Star ~ Broken Promise .............................. (1:44)
-------------------------------------------------------------------------------
Another track that is difficult to describe, "Wish Upon a Star ~ Broken
Promise" is a piece that attempts to use "perceived silence" as a weapon. This
is important because even though there aren't many moments of dead silence in
the entire piece (the low-level hum employed throughout making sure of that),
this doesn't register in your mind until the echoing notes of the piano and
whistle flirt with it. This playing hard to get also applies to how far apart
each performance is even though the instruments do overlap later in the game.
Clever as all this is, there is a level of poignancy that this composition is
incapable of achieving, even when it incorporates the main theme. This is only
reinforced by how easy it would be for "Quiet Night" to take its place. (6/10)

  =-Usage-=

  Disc1 | Used
 -------+-------------------------------------------------------------------
  Scene | Marina and Marivel watch shooting starts on the rooftops in Meria

-------------------------------------------------------------------------------
 2-13) Filgaia Summit ................................................. (0:33)
-------------------------------------------------------------------------------
There are two scenarios that fill my head when listening to "Filgaia Summit."
The first, a product of its action news-like quality, is a handful of
television news journalists scurrying around in their effort to find enough
stories to fill a twenty-four hour cycle. The other, as seen in the game, is
where kings, queens and um... guild masters pound out policy in the name of
diplomacy and national security. Questioning the vividness of such imagery and
direction is the sound it shares with "Launch!" which asks if something so
derivative can really offer a noteworthy experience given its short length and
reliance on repetition. While some will undoubtedly say no without batting an
eyelash, those that immerse themselves will find the hidden x-factor — be it
the consistent beat of progress or the alternating weariness and hopefulness
that goes along with it — that will make them realize that this is one summit
that's not to be missed. (9/10)

  =-Usage-=

  Disc1 | Used
 -------+------------------------------------------------------------------
  Scene | 71st Filgaia Summit
  Scene | Noel discovers his father's intentions to acquire a super weapon

  Disc2 | Used
 -------+------------------------------------------------------------------
  Scene | Leaders gather in Guild Galad to discuss how to counter Grauswein
  Scene | Leaders gather in Guild Galad, legend of the last dragon

-------------------------------------------------------------------------------
 2-14) An Old Tale .................................................... (0:41)
-------------------------------------------------------------------------------
"An Old Tale" delivers another composition that is a dead ringer for the title
attached to it. It's common knowledge by now that these type of tracks neither
sink nor swim but end up somewhere in the middle, treading water in the shallow
end of musical expression. Even though Naruke doesn't quite discover the riches
of the deep, she is able to narrow the gap with this comforting yet haunting
piece that can feel familiar to those unfamiliar with it. This however begs the
question — is it worth sacrificing any kind of "real" individuality in sticking
with a standard and avoiding the risk of disappointment that may be come with a
more original composition? This is the gamble "An Old Tale" takes and wins,
though the ideology behind it is as crude and ugly as they come. (7/10)

  =-Usage-=

  Disc2 | Used
 -------+--------------------------------------------------------------------
  Scene | Anastasia recalls fighting Lord Blazer and the power he possesses
  Scene | Anastasia explains why she was able to wield the Argetlahm
  Scene | Anastasia's ability to confront Lord Blazer; the power of desire
  Scene | Talking with “Gaia,” the collective consciousness of the guardians
  Scene | Kanon recalls her childhood feelings of abandonment
  Scene | Kanon reflects on her mothers claims of nobility through blood
  Scene | Kanon remembers her decision to live by the blood within her
  Scene | Kanon awakes why Anastasia couldn’t completely destroy Lord Blazer
  Scene | Lilka comes to realize she has her own special brand of magic
  Scene | Brad dispels the shadows in his heart; what a hero should be
  Scene | Tim contemplates why he continues to fight against fate
  Scene | Kanon ends her confusion by questioning her desire to be a hero

-------------------------------------------------------------------------------
 2-15) A Great Comeback ............................................... (1:07)
-------------------------------------------------------------------------------
A companion piece to the brave resolve in "Operation ARMS' Theme," "A Great
Comeback" proves a track can have connections while talking on a dimension all
its own, namely being geared more towards the actions of a single individual
than a collective group. Though their usage in the game goes a long way in
forging such an opinion, it's the ticking clock motif — usually the providence
of hurry/danger themes — that guides this composition with its reserved
prominence. It's a refreshing take on a tired and true formula, even if the
remaining instruments stick to their idealistic, heroic guns. Crazy as it may
seem considering the forum in which is being discussed, Naruke's ability to
differentiate two similar tracks by their subtext is beyond analytical and is
commendable even if no mountains are moved in the process. (7/10)

  =-Usage-=

  Disc1 | Used
 -------+--------------------------------------------------------------------
  Scene | Brad’s return, destruction of the Alchemic Plant, Odessa’s retreat

  Disc2 | Used
 -------+--------------------------------------------------------------------
  Scene | Escape from volcano, planning the attack against the Kuiper Belt

-------------------------------------------------------------------------------
 2-16) From Beyond .................................................... (0:59)
-------------------------------------------------------------------------------
A series that became a pair in Naruke's absence, "From Beyond," made it to its
second incarnation (in Wild Arms Advanced 3rd) before being discontinued by her
predecessors. When one considers the various nuances associated with the
"Impatience to Anxiety" series, this may have been for the best. Still, this
isn't saying much, as this is one interesting pair. Both pieces start small and
end big, creating a sense of unity, but it's how they bridge the gap between
these extremes that makes them different. The 2nd Ignition make goes from
curious lament to selfless sacrifice in quick fashion, almost as if divine
inspiration has struck the composer. Advanced 3rd's rendition is anything but
quick, its use of repetition and build-up so meticulous nothing can deter it
from its step-by-step evolution. Despite my general distaste towards the music
from the third installment, I enjoy it's "From Beyond" more, but if you find
yourself listening to one be sure to check out the other. (7/10)

  =-Usage-=

  Disc2 | Used
 -------+---------------------------------------------------------------------
  Scene | Anastasia leads Ashley to Filgaia, end the suffering of the Valeria
  Scene | Ashley talks one-on-one with Lucied

-------------------------------------------------------------------------------
 2-17) Suite: I'm Back ................................................ (2:59)
-------------------------------------------------------------------------------
The star witness in the case composer vs. overused main theme, "Suite: I'm
Back" evokes gasps from the courthouse patrons even when the defendant has
already been tried and convicted in the court of public opinion. The charges?
They include shouldering a pivotal scene with an uninspired reprise
(littering), attempting to pass a rather basic piano arrangement off as
something special by dressing it up with a few meager perks (forgery) and
pushing "You Are Not Alone" on the listener almost to the point of no return
(battery). This appears to make for an open and shut case, but like any trial
you've seen aired on "Dateline," someone has a card to play in a last ditch
effort to keep their head above the water or to bury the accused in a stone
sarcophagus. Surprisingly, it's Naruke that throws that card, keeping herself
out of jail with the next track. (6/10)

  =-Usage-=

  Disc2 | Used
 -------+-------------------------------------
  Scene | Ashley’s return; Lilka’s loneliness

-------------------------------------------------------------------------------
 2-18) 2 Lovers Split Apart ........................................... (1:12)
-------------------------------------------------------------------------------
Even though it's the hero that saves "You Are Not Alone" from the dark depths
of disdain this late in the soundtrack, "2 Lovers Split Apart" can do nothing
to ease the inner turmoil of "Suite: I'm Back" above; if anything, it only
exacerbates it. This conflict grows out of the fact that while expressing
opposing emotional extremes (hurt and happiness) there is a real similarity
between the two. The deal breaker is that the acoustic guitar at the core of "2
Lovers Split Apart" gets more assistance from it's accompanying instrument —
the Wild Arms whistle — than "Suite: I'm Back" could ever hope to receive from
its segregated interlude. Really, it's uncanny how much the whistle distances
the track's association with the original by first making the listener reflect
on the "Field: Roaming" arrangement before tracking the theme to its source.
Combine this with the agonizing, gut-wrenching sense of hurt that penetrates
the soul and you know you got a winner. (8/10)

  =-Usage-=

  Disc2 | Used
 -------+-----------------------------------------------------------------
  Scene | Ashley apologizes for what he has become; Marina’s monologue
  Scene | Ashley begins to lose control over Lord Blazer after the battle
  Scene | Ashley and Marina’s hope revives Zephyr from the Stone Dragon

-------------------------------------------------------------------------------
 2-19) Marina's Miracle ............................................... (0:51)
-------------------------------------------------------------------------------
Presenting a sound that's been used but not (really) abused, "Marina's Miracle"
is a track that is nearly impossible to take in without reservation if you've
heard "Into the Star Ocean" from the first game. While not exactly two peas in
a pod, there is something that creates a sense of unity between the two even
though the type of warmth expressed by each is characteristically different.
Even its inferiority complex with its emotional counterpart "2 Lovers Split
Apart" wasn't enough to sink it in 1999/2000 but this all changed when Naruke
revisited "Into the Star Ocean" with 2004's Alter code:F. In giving that piece
the overhaul she did — the key change being the inclusion of the harp — the
buffer that separated these tracks was narrowed, diluting the identity of
"Marina's Miracle" even further. What is left is a seemingly poignant yet thin
composition that feels like its overstayed its welcome when it really hasn't.
(6/10)

  =-Usage-=

  Disc2 | Used
 -------+-------------------------------------------------
  Scene | Marina’s words bring Ashley back from the brink

-------------------------------------------------------------------------------
 2-20) The Wall Around My Heart ....................................... (1:11)
-------------------------------------------------------------------------------
Like a rickety table that's supported by two shoddy legs and one good one, "The
Wall Around My Heart" is sturdier than a casual, passing glance would suggest.
It's only upon closer inspection that one can see how the track's connection to
"Agony" and "An Old Tale" as a follow-up (like a fanfare is to a battle theme)
prevents it from buckling and rudely crashing to the earth. Without this
knowledge, the table might as well lay on the ground in a formless mass; the
music box-like notes that harken back to "Quiet Night" and the melody that
pokes at the main theme without ever reciting it are rather incapable of
supporting it alone. As much as it tries to reinvent itself as trustworthy
after its core strength is discovered, your best bet is to not to place
anything of great value upon its surprising level of resiliency since it may
eventually let you down. Giving it a listen after "An Old Tale" to recreate the
continuity from the game is highly suggested however. (7/10)

  =-Usage-=

  Disc2 | Used
 -------+----------------------------------------------------------------------
  Scene | Brad announces the truth about who he is
  Scene | Tim realizes he fights for a world where no one has to be sacrificed
  Scene | Kanon accepts the bonds she’s forged with those around her
  Scene | Marivel accepts her friendship with her current friends
  Scene | Ashley and Marina’s hope revives Zephyr from the Stone Dragon
  Scene | Tim and Colette’s love revives Raftina from the Stone Goddess

-------------------------------------------------------------------------------
 2-21) Eve of the Last Battle ......................................... (1:37)
-------------------------------------------------------------------------------
Contrary to previous compositions like "High Pressure" and "Used by a User"
that receive a small boost through their given titles, "Eve of the Last Battle"
is a piece that encounters the opposite scenario; the preconceptions that come
along with it spoil what's inside. While the interpretation of any context
clues will undoubtedly vary from person to person, there is something (perhaps
the usage of the word "eve" instead of "before") that gives away or at least
hints at this being an acoustic number prior to listening. Regrettably, once
you hear it and your suspicions have been proven true, it's hard to get past
the fact it fell along the lines expected. The late introduction of the whistle
does little to fight the feeling that these cards are played out when they're
anything but, though the pleasant and surprising appearance of the maracas (or
comparable instrument) counteracts it as much as it helps it out. A good track
that can only become better if one is blissfully unaware of superior material
or chooses to be completely indifferent towards its deficiencies "Eve of the
Last Battle" faces a tough, uphill battle. (7/10)

  =-Usage-=

  Disc2 | Used
 -------+---------------------------------------------------------------
  Scene | ARMS meets up with there beloved ones before the final battle

-------------------------------------------------------------------------------
 2-22) The Center of Filgaia .......................................... (0:32)
-------------------------------------------------------------------------------
The winner of the prestigious "most useless track on the soundtrack" award,
"The Center of Filgaia" is more of a continuously repeating sound effect than a
song. Used at the end of the game between the second to last and final
dungeons, it's basically here for the sake of completeness, yet that idea was
thrown out the window the minute they decided to omit or totally forgot about
"File Viewer." If the title didn't clue you in, the "bowels of the earth" vibe
emitted here is certainly no accident. (N/A)

  =-Usage-=

  Disc2 | Used
 -------+------------------------------------------
  Scene | Teleporting down/into to Glaive Le Gable

-------------------------------------------------------------------------------
 2-23) Humanity's Fight ............................................... (1:16)
-------------------------------------------------------------------------------
The second of the "big four," a group of one-shot scene themes that are
reserved for the final stretch of the game, "Humanity's Fight" is the one
particular entry whose limited appearance is regrettable. It doesn't trounce
the others by any means, but what makes it so intriguing is that its strengths
happen to be the weaknesses of its brethren. When it comes to employing the
Wild Arms sound, there is a lot less friction here than there was in "Eve of
the Last Battle." In addition, its ability to present a serious piece of music
that is simultaneously fun is something the abstract, strict and devout
"Apocalyptic Threat" cannot accomplish. Finally, the sense of unity here
exceeds that found in "Bitter Return," although in its defense there's a reason
behind that. It's rather comical that such a robust feeling of togetherness is
contained in a track that uses a singular possessive form of a noun in it's
title. On second thought, it's about as funny as the vague Rockman Zero title
reference in the first sentence of this paragraph that most definitely flew
under the radar. Anyway, as hopelessly off base as we are now, give "Humanity's
Fight" a chance — it might surprise you. (7/10)

  =-Usage-=

  Disc2 | Used
 -------+----------------------------------------------------------------------
  Scene | Onlookers gaze on at Spiral Tower as the battle disrupts the heavens

-------------------------------------------------------------------------------
 2-24) Bitter Return .................................................. (0:59)
-------------------------------------------------------------------------------
Don't allow yourself to be lead astray by the title. "Bitter Return" is a track
that invests in a lot of things — a touch of lament and the relief that comes
along with the end of a long journey — but doesn't deliver with anything that
resembles true bitterness. In what has by now become an unflattering cliché,
the answer lies with the game, yet to dismiss how the thick, opening passage of
reprieve retreats and allows the warm feeling that personified "Anastasia's
Guidance" to prevail in its place shouldn't be passed over so easily. Though
the comparison above isn't the greatest complement one could give the piece,
"Bitter Return" is able to succeed where "Anastasia's Guidance" doesn't,
avoiding ill-terms with companion tracks like "Apocalyptic Threat" despite
their contrast. Unfortunately, the relationship between the two is severely
compromised in the game through no real fault of the composer. (7/10)

  =-Usage-=

  Disc2 | Used
 -------+--------------------------------------------------------------
  Scene | Party reunites; ponder their victory and the fate of Filgaia

-------------------------------------------------------------------------------
2-25) Apocalyptic Threat .............................................. (0:52)
-------------------------------------------------------------------------------
Not "Apocalyptic Treat" as it's been hilariously miswritten elsewhere;
"Apocalyptic Threat" is akin to "Battle Robot Jack" in that it's bound to raise
a handful of questions. Unlike every other track thus far or yet to come (save
for "You're Not Alone" and "Wild Arms 2 Medley") it is impossible to hear the
entire piece within the confines of the game itself. Whether this was due to a
miscommunication between Naruke and the scenario/event planner(s) or the result
of a last minute change, it's regrettable because of it's connective contrast
with "Bitter Return" and the glimpse that it gives at the more abstract style
that would later be adopted for Wild Arms Advanced 3rd (think "The Lance of
PALERIDER.") If you've found yourself at odds with the route the series' music
took at that point (*me*) this will by no means change your opinion, but it
does stand as an important footnote in Naruke's evolution as a composer. (6/10)

  =-Usage-=

  Disc2 | Used
 -------+-----------------------------------------------------------
  Scene | The bonds that hold Lord Blazer within are finally broken

-------------------------------------------------------------------------------
 2-26) (8 Tracks Nonstop) ............................................ (16:00)
-------------------------------------------------------------------------------
Love that title. Really, I don't think they could have picked a more
workmanlike name ("The Prologue Begins From Here" from Wild Arms Complete
Tracks/Alter code:F is almost as bad but manages to pull ahead due to the
comedic flair attached to it) that utterly fails to convey this is the game's
ending suite. Beyond the first and final entries, the remaining pieces reflect
on the six playable characters and how they've grown during the journey:

> Track 1 of 8: Admiring the Spiral Tower... (0:00 ~ 0:20) 0:20
This short, twenty second opening doesn't account for much of what this hulking
behemoth brings to the table, yet like most of the pieces that follow there
does seem to be a conscious effort to reflect on previous material, even though
some may laugh at the suggestion of "The Center of Filgaia" being actual
material worth reprising. Still, "Admiring the Spiral Tower" is not built
around its three/four second appearance (which is much more tasteful and
discrete this time around) but rather gearing up for the following section
where things kick into motion.

> Track 2 of 8: Nostalgic Reunion (0:20 ~ 2:24) 2:04
The first character based section of this medley concentrates on Tim, so a
reprise of "Tim and Colette" from the first disc brings everything into focus.
Taking the music box motif from "Quiet Night" and hacking off the needless,
tacky intro from the original, Naruke finally does the theme some justice as it
just feels right. Again, a lot of this has to do with the two "loves stories"
in the game's narrative and how the respective tunes representing each fail to
encroach on one another, a necessary boarder that "Nostalgic Reunion" proves is
upheld until the very end.

> Track 3 of 8: Valeria Sibling's Reminiscence (2:24 ~ 4:56) 2:32
Although the title of this section points towards the Valeria siblings (very
important and central characters despite their NPC status), this chapter
musically tackles Kanon's views on the aftermath of the adventure. The music
box feel that helped redefine "Tim and Colette" above continues here, adding a
melancholy edge to "Field: Last Ignition" which already flirts with the idea of
sorrow. As a standard rendition of a central theme there is nothing to swoon
over here, but the emotional peaks are well choreographed to the action on
screen as it manages to present contrasting sentiments, which is quite contrary
to the majority of pieces incorporated in this medley.

> Track 4 of 8: With One Heart (4:56 ~ 7:43) 2:47
The one major hiccup in the ending, "With One Heart" isn't undone by anything
Naruke does herself, but falters due to the fact the game's hidden character is
incapable of extending anything resembling emotional warmth towards another
person. Oh, the script/scenario writers try, but by the time you delve into the
tragedy that made her so cold via flashback, there is little this piece (which
seems to be original and not a reprise) can do to change your mind. It's a nice
warm piece, but when the character is standing there, questioning the limits of
humankind in an egocentric manner while bossing others around it feels like a
mismatch.

> Track 5 of 8: Renewing Filgaia (7:43 ~ 10:01) 2:18
Another entry that appears to be original, the soft yet rugged "Renewing
Filgaia" feels very familiar as it comes awfully close to emulating various
pieces yet never completely takes the bait. The streamlined combo of the guitar
and horn doesn't ask much here, and like many tracks throughout Wild Arms 2nd
Ignition things are kept simple as the composer attempts and succeeds at
conveying that the big bruiser Brad is really a softy at heart.

> Track 6 of 8: To Each Their Own Road (10:01 ~ 11:59) 1:58
Figuring out which theme was used as the base here is somewhat difficult, with
key portions indirectly resembling "Castle" and "Quiet Night." However, given
that "To Each Their Own Road" centers on Lilka, the field of choices narrows
and the core of the arrangement becomes clear. Wisely avoiding "Separation" for
reasons that can be observed in the ending and the weak-kneed "Magical Girl
Entrance" Naruke uses "A Journey," arguably the strongest theme used in
conjunction with the character as its base. Although it's not quite a 180 in
terms of broadcasting the same message with an alternate texture (the solace
and humbleness found here versus the happy-go-lucky feel of the original), it
is comfortable and welcome take that surprisingly doesn't go with the music box
default when it appears it might.

> Track 7 of 8: Friends Forever (11:59 ~ 14:11) 2:12
Finishing off the body of individual character selections, Ashley's piece is a
righteous reprise of the main theme that was coined in "Field: Roaming." There
isn't too much else to say; it doesn't greatly deviate from that which it is
based though it has two distinct phases which adds to its marketability.
"Friends Forever" also flows into the next (final) segment much like how the
introduction "Admiring the Spiral Tower..." coincided with "Nostalgic Reunion."

> Track 8 of 8: Last Scene (14:11 ~ 16:00) 1:49
Being the music extension of "Friends Forever," it's ironic that this, the
final piece of this obtuse opus is not the music for the game's final scene.
"(8 Tracks Nonstop)" is more of the ending were the events that take place
occur right after the final battle, whereas "Final Chapter 1-4 (4 Tracks
Nonstop) is more like the epilogue that shows the characters at a later point
in time. It's confusing, which is why they really should have made the titles
for these respective tracks much clearer. "Last Scene" carries on the use of
the "Field: Roaming" version of the main theme with a calming flute passage
that gently lays this beast to rest.

> Summary:
In all honesty, "(8 Tracks Nonstop)" is a track I don't find myself visiting as
often as I should. Fickle as it may seem, the sixteen minute playtime is off-
putting though with the aid of a music editing program one can cut the track
apart (for the most part there are sizable gaps of dead air between most of the
sections) and listen to them at their leisure on a one-on-one basis where
things start to click and seem more attractive. Acknowledging and accepting the
various reprises also plays a big part, though some will understandably cringe
upon hearing themes like "You Are Not Alone" and "1st/Last Ignition" for the
umpteenth time. One of the more obscure relations that hurts "(8 Tracks
Nonstop)" is it's similarity to the first half of Final Fantasy VI's "Ending
Theme" that also gives each character their own individual musical tribute,
though you don't really need to look at the work of another composer to
discredit Naruke's work. Although it may be (ok... is) another unfair
comparison, this ending suite has next to nothing on the one in the original
game despite how personal each selection is to each character. It also stands a
little taller because there was some foresight to separate the pieces into
separate tracks (Alter code:F did away with this and created a eleven minute
monster). Regardless, if you find yourself having trouble digesting this eight
-in-one, try cutting it up as described above and listening to each individual
part side by side with the originals. You might end up surprising yourself in
the end. (7/10)

  =-Usage-=

  Disc2 | Used
 -------+--------
  Scene | Ending

-------------------------------------------------------------------------------
 2-27) Zephyrs's (Disc 2 Ending) ...................................... (3:52)
-------------------------------------------------------------------------------
A piece that overflows with an amazing amount of craftsmanship and detail,
"Zephyrs's" took a real hit when SCEA decided to discard Kaori Asou's vocals
from it's presentation at the end of the game outside it's port of origin. This
isn't to say the instrumental aspect of the track is weak — far from it — but
when taking the full-featured experience into account — how the vocals cross
fade into the whistle at the end — it really feels like something is missing
once you know they're meant to be there by design. The impact the "handoff"
above has in the vast scheme of things is simply astounding despite it basic
nature, and only serves to reinforce how this theme fits the game like a glove.
However, when one considers that "Zephyrs's" predecessor "Promise to a Blue
Sky" was completely restricted to its homeland and was replaced by the
excellent medley that failed to make it onto 2006's Complete Tracks, the fact
that this is the series' first universal ending theme is nothing short of
appropriate. (8/10)

  =-Usage-=

  Disc2 | Used
 -------+----------------
  Scene | Ending Credits

  Vocals are removed in the NSTC-U/C edition of the game.

-------------------------------------------------------------------------------
 2-28) Final Chapter 1-4 (4 Tracks Nonstop) ........................... (7:13)
-------------------------------------------------------------------------------
It's rather surprising given the similar layout to "8 Tracks Nonstop" that the
sections of "Final Chapter 1-4 (4 Tracks Nonstop)" lack titles. Then again,
these sections are no longer character specific and focus on the same scene, so
the need for individuality is drastically reduced. Looking at each part, this
is something that becomes even clearer as the picture below takes shape.

> Track 1 of 4: (0:00 ~ 0:43) 0:43
The first section of the epilogue suite is similar to the coordinating piece in
"8 Tracks Nonstop" in that it pokes at previous compositions rather than fully
embracing the ideas within them. There's a small jab at "The Center of Filgaia"
a few seconds in that is more inconspicuous than before, while some of the more
sullen moments from "1st IGNITION" are revisited prior to the track's next
phase.

> Track 2 of 4: (0:43 ~ 2:13) 1:30
Upon the conclusion of a slight pause, the lead acoustic guitar and wily
whistle lead the listener into a lovely reprise of "Castle." This brings up
what is perhaps the most crucial aspect of this particular suite: given the
importance of the Valeria siblings in this scene, why choose "Castle" over
"Valeria Chateau," a piece that is specifically geared to their place of
residence and general demeanor? A lot of this has to do with the regal sound
contained within "Castle" and how it coincides with the reprieve that is, in
this case, borrowed from "Valeria Chateau" instead of the other way around.
This respect for her own creation speaks volumes and is another instance where
not doing something pays off huge dividends.

> Track 3 of 4: (2:13 ~ 3:38) 1:25
Naruke's use of "Castle" continues in this third movement. The opening seems to
emulate a half a dozen previous pieces, but never quite reiterates anything
that came before it like the core does. Regardless, things are switched up when
it comes to the reprise; despite the similar run times with the last part it is
much shorter this time around and is more forthcoming with its regal flavor.
Even with the small gap of dead air between parts two and three and the
introduction of the latter, the dynamic created by the reprise of a reprise is
surprising effective. If anything, it serves to emphasize the power found in
the concluding segment.

> Track 4 of 4: (3:38 ~ 7:13) 3:35
Naruke comes bearing some goldmine-like surprises with the music for the game's
final scene. The opening after the mandatory pause once again feels like it
could originate from a handful of different tunes. Still, as this is not the
main attraction, it is of little consequence to what this track becomes: a non
-FMV version of "Zephyrs's." Like other prominent themes and their additional
takes, the change from a full-blown production to in-game synth has little
impact on the piece itself even with the absence of lyrics. With such a solid
rendition of this theme appearing this late in the game most would expect
Naruke to call it a day, but she presses on. Going out on what many will
consider a limb, the tail end of "Zephyrs's" breaks into the resurrected
"Marina's Miracle," which doesn't turn out to be the dead end one would
imagine. The synergy between these two compositions brings this misunderstood
track new life, life that was strangled out of it by the shallow musical
aspirations its previous usage placed on it. As bold of a statement as
"Marina's Miracle" makes at this juncture, it still doesn't mark the end track,
something that is left to a small improvisation of "Ist IGNITION/Last
IGNITION."

> Summary
Much like "(8 Tracks Nonstop)" it's somewhat hard to take in "Final Chapter 1-4
(4 Tracks Nonstop)" in all at once — at least initially. Breaking it down,
recognizing and acknowledging the reprises/phases goes a long way towards being
able to enjoy it. However, not long after you realize that some of the parts
play off one another (especially parts two and three) you'll most likely find
the track needs to be put back together if anything. Despite the best attempts
of the quirky interludes to tear it apart, the wind chime-like notes throughout
point out the unity that draws this piece together. Bottom line: listen, pull
apart, identify, reassemble and then enjoy. (8/10)

  =-Usage-=

  Disc2 | Used
 -------+---------
  Scene | Reunion

-------------------------------------------------------------------------------
 2-29) The Night Sky .................................................. (0:49)
-------------------------------------------------------------------------------
One of two themes that accompany the game's bonus FMVs, "The Night Sky" is
dominated by the acoustic guitar and backed with light percussion. The track's
light hearted yet stern, introspective quality is another attempt by the
composer to tackle and dissect the emotional conflict that swells within Lilka
throughout most of the game and does so applicably with or without lyrics. Both
tracks run under a minute and made a repeat appearance on 2002's Wild Arms
alone the world Vocal Collection, where they are undoubtedly more at home even
though they face more but not exactly superior competition than they do here.
(7/10)

  =-Usage-=

  Disc2 | Used
 -------+---------
  Scene | Movie ?

  Vocals are removed in the NSTC-U/C edition of the game.


-------------------------------------------------------------------------------
 2-30) Miracle ........................................................ (0:55)
-------------------------------------------------------------------------------
The second bonus vocal theme, "Miracle," relies solely on the piano as it
explores the relationship between Anastasia and Lucied, the guardian of desire.
Again, the presence/absence of the vocals is of little consequence to the
message on display, but one has to wonder if these themes and videos they play
in were/are an adequate reward for beating the game, let alone a constructive
use of the capital that was available for the game's production. With certain
elements of the game out of date when it debuted and the lack of an option like
EX game to extend replay value, these bonuses feel like an ill-fated investment
even though they try to add something special to the experience. (7/10)

  =-Usage-=

  Disc2 | Used
 -------+---------
  Scene | Movie ?

  Vocals are removed in the NSTC-U/C edition of the game.


-------------------------------------------------------------------------------
 2-31) Wild Arms 2 Medley ............................................ (13:29)
-------------------------------------------------------------------------------
As the final track on the Wild Arms 2nd Ignition Original Soundtrack, the "Wild
Arms 2 Medley" raises questions similar to those that surrounded "The Night
Sky" and "Miracle" but are focused more on the presentation of the soundtrack
than anything else. I'm not going to go into my usual "if this track wasn't
here they could have looped the actual in-game tracks" rant because given the
length of the two ending suites such an argument doesn't hold water. However,
if they had the time and resources to create this additional piece it would
have been better spent expending a third disc to do this soundtrack right.
Since going back in time and scolding some big wigs about giving Naruke's music
the respect it deserves isn't going to happen, let's see what some
orchestration can do to this cross section of 2nd Ignition tunes:

> Track 1 of 7: Opening ~ Preparation for Departure (0:00 ~ 2:16) 2:16
Opening the "Wild Arms 2 Medley" is "Opening," better known as "Main Title."
Definitely more suited to kick off this medley than the album itself, this
change of scenery does the piece a lot of good. Still, its newfound resiliency
is mostly due to "Preparation for Departure" adopting it as a musical prefix. A
gutsy choice considering it's not at the forefront of the vast body of event
themes; this version of "Going Out" maintains that which the original was built
despite the sound upgrade. There is nothing silly to foreshadow this time
around, but the reasoning behind its selection becomes apparent soon enough.

> Track 2 of 7: Battle Force ~ Reminiscence (2:16 ~ 3:57) 1:41
The handoff from "Preparation for Departure" to "Battle Force" illustrates the
main practice that propels this medley forward, namely alternating between
calm, relaxing numbers and big, dramatic ones. This simple premise is bolstered
by the fact it's the only place on the soundtrack where an event/area theme is
followed by a battle theme. The hitch is when you orchestrate a big and bulky
number like "Battle Force" it only becomes bigger and bulkier and comes off
stiff. The performance gets a pass however, mainly due to an approaching
blemish and transquillo's unimpressive remix of the piece on the -rocking
heart- arrange. Things cool down quickly when "(Scene of) Reminiscence" arrives
on the scene, though it's hard to ignore the volume problem from the first part
that still persists here. Being one of the tracks where Naruke employed a low
level, hum-like back drop, this particular element of the piece is almost
nonexistent here. The piece still works as intended despite the illusion of
dead air between the guitar's notes, but with it representing the medley's
lowest lows and "Battle Force" demonstrating some of the highest highs when it
comes to overall volume its not hard to believe a little more balance would
have been very beneficial to the overall experience.

> Track 3 of 7: Battle vs Mid-boss (3:57 ~ 4:35) 0:38
Back to the loud and bombastic, it's nice to see another battle theme get some
airtime in this monster of a medley. Unfortunately, it just had to be "Battle
VS Mid-Boss." The orchestration is able to accommodate the piece better than
the in-game synth was, but this isn't saying much. It's still a very
unimpressive piece that undoubtedly makes one yearn for something like "Blood,
Tears, and the Dried-up Wasteland" from Advanced 3rd where Naruke was finally
able to concoct a normal boss theme of note. Last but not least, the
repetitious peaks in instrumentation at the end try a pull a "Spiral Tower" in
their attempt to but their stamp of quality on the track; a ploy that is once
again dead on arrival. The plus side? It's only thirty-eight seconds long.

> Track 4 of 7: Field: Roaming (4:35 ~ 7:10) 2:35
Dwarfing most of the other tracks within this medley in size, there's little
doubt that "Field: Roaming" deserves its place, snuggly secured amongst all the
action seen here. The orchestration changes the identity of the piece slightly,
being much more insightful and reflective than the original when it comes to
the aura of warmth. The hollow, wamba-like percussion tries its best to remind
the listener of the fun to be had with this tune, but since the brass section
doesn't strangle the life out of the piece to begin with its assistance isn't
as crucial as it would prefer until the very end. Regardless, a befitting
centerpiece, "Field: Roaming" arguably gains more from its additional flairs
here than anything that comes before or after it.

> Track 5 of 7: A Momentary Respite (7:10 ~ 8:36) 1:26
Even though it breaks up the soft/heavy/soft/heavy pattern that has kept the
medley on its toes thus far, "A Momentary Respite" helps form the mellow nugget
within the center of this beast. As risky as it may seem to ditch one strategy
to adopt another, rest assured the initial one is far from abandoned. Perhaps
what is most the important aspect is the continued re-exploration of
event/scene themes, ones that flew under the radar in the original sound
section. It's true that none of the faults of "Going Out," "Scene of
Reminiscence" or the current selection are resolved with a different sound
source under their belt but such problems ultimately feel a little less
detrimental due to the bond they share. As far as perks go for this track
individually, the quaint deviation from the original where the acoustic guitar
drops back near the end allows for an even more subdued entrance into the
segment.

> Track 6 of 7: Town Where the West Wind Blows (8:36 ~ 9:57) 1:21
“Town Where the West Wind Blows" is another instance where the texture of the
original is not necessarily lost but altered to the point that it warrants
special attention. With the charming, toy-box-like nature of the initial synth
toned down, it's not hard to imagine how many ways such a reworking could go
awry. Thankfully, it's handled with enough grace and tact that the majestic
feel still comes off as fun. It also calls out how much of a connection there
is between it, the aforementioned "Field: Roaming," and the piano-biased -
feeling wind- rendition "The One I Want to See Most."

> Track 7 of 7: Formal Ceremony ~ 1st IGNITION (9:57 ~ 13:29) 3:32
Like waking a sleeping beast, the bombastic side of the medley returns with a
vengeance. One has to wonder how much bite "Formal Ceremony" can possibly
muster when the piece was more or less built for this sound to begin with.
Nothing here changes the fact the cheap, clichéd feel from before retains its
hold on the piece, and the bold improvisation before the transition into "1st
IGNITION" hardly disproves such a view. Yet, as tired as the following
statement has become, there is a plan (connection) at work here, one that "1st
IGNITION" puts the finishing touches on. Unfortunately, as much power as the
orchestration has provided some of the other compositions, the same cannot be
said with the closing movement. The lack of forward drive becomes obvious when
the acoustic guitar, a vital element in the in-game original, is cast aside
before it even gets a chance to shine. Combine this with the once proud and
pivotal conclusion coming off much weaker than before and it's clear while the
medley is a worthy addition to the soundtrack, it doesn't exactly finish it off
on the strongest note, even when it highlights one of the score's boldest
moments.

> Summary
A pleasant addition to the Wild Arms 2nd Ignition Soundtrack, the "Wild Arms 2
Medley" is all about connections: connections in usage, connections formed by
patterns, even connections found through differences and deficiencies.
Intriguing as they may be, what about connection between these tracks that's
been alluded to but not yet divulged? A musical scheme that may have been more
noticeable had the tracks been placed in the order they appear in the game when
it comes to the tracklisting, all the pieces that form this tribute appear
within the first few hours of the game. The fact that "Main Title" kicks things
off and "Formal Ceremony/1st IGNITION" brings things to a close is the farthest
thing from a coincidence. However, another interesting aspect is the decision
of the arranger to pass on the multitude of Lilka related tracks that call this
particular stretch of the game home. Such omissions are probably an attempt to
maintain a wide scope of focus and avoid concentrating on individual
characters. Taking in the obvious effort and detail that went into this bonus
material, the various pitfalls and vices found throughout only stand to
reiterate this is no magical band-aid for all the shortcuts the publisher took
with the soundtrack's feature presentation. (7/10)

  =-Usage-=

  Not used in-game; soundtrack exclusive material.

-------------------------------------------------------------------------------
 Conclusion: Wild Arms 2nd Ignition Original Soundtrack (SVWC 7041~2)
-------------------------------------------------------------------------------
Perhaps more than any other soundtrack that comes to mind, the quality of the
material within the Wild Arms 2nd Ignition Original Soundtrack is divided upon
itself. This is something that becomes even more apparent when one starts
looking at each type of track individually. Lumping all the dungeon, battle,
etc. themes together promotes this damaging train of thought even further. Town
themes take the gold for being as far away from the 50/50 standard as possible.
Dungeon themes manage to achieve a favorable 60/40 split with some extremely
strong pieces drowning out some of the more mundane byproducts created out of
Naruke's various vices. Battle themes face the opposite scenario, a small
fraction being able to escape the rusty chains, but overall are unable to
rescue that particular section of music completely. Walking the most precarious
line are the event themes, bogging down the start of the first disc and making
the concluding disc extremely dry despite the overall consistency the scores
above reflect.

Oddly enough, it's this lack of consistency that may make 2nd Ignition more
attractive than its predecessor. While many are bound to disagree, Advanced
3rd's consistency comes at a price, offering few tracks that are clear-cut
winners and leaving a substantial amount material to sort through and judge. On
the other hand, it's easier to tell the good from the bad and the ugly when it
comes to 2nd Ignition. As a result, those that can be pleased with individual
tracks rather than the entire body of work crafted for a game will have little
problem taking the good, acknowledging the bad and the impact it has on that
which is attractive and leave it at that. Listeners who take their soundtrack
in as a single living entity will most likely find the terrain too unforgiving
and leave this particular chapter of Wild Arms music to the ages. There is
little to no science behind such a statement but there is little doubt that
these scores are aimed at accomplishing different feats even though their
intentions are the same.

In the end, the Wild Arms 2nd Ignition Original Soundtrack is a score that
gives according to how much the listener is willing to give in return. Still
widely available from several reliable retailers years after its release, don't
skip out on what it has to offer based solely on the glitz and glam it's
predecessors and successors hold — or appear to hold — over it for a good, in
depth listen may yield quite a few diamonds.

===============================================================================
 2.08 | Peculiar Track Q & A
===============================================================================
This section deals with tracks which listeners and those viewing this document
may have questions about. While some of these have been explained elsewhere,
like the track-by-track reviews, I believe they deserve their own section.
Anyway, here are some common questions and their not-so-obvious answers.

-------------------------------------------------------------------------------
 1-02) WILD ARMS 2nd IGNITION ~ You'll Never Be Alone (Disc 1 Opening)
-------------------------------------------------------------------------------
Q: Why does the version of "You'll Never Be Alone" that plays during the
   opening video of disc one of the NSTC-U/C edition of the game sound
   different (outside the absence of vocals) than the one on the soundtrack?

A: Good ears. A different version of "You'll Never Be Alone" does indeed open
   the first disc of the NSTC-U/C version of the game. The difference is the
   track opens with a horn rather than strings but other than that and the
   absence of vocals the track is the same. As to why this change was made I
   can't say, but I like the version that opens with the horns. Unfortunately,
   this version isn't available on any licensed CD that I'm aware of but with
   the aid of the right programs, a computer and a copy of the game it is
   possible to separate it from the video and turn it into a music file. In
   keeping in bounds of GameFAQs policies, please do not e-mail and ask me
   which programs you need to use, where to find them or for the song itself.
   All I will say is it's not that hard.

-------------------------------------------------------------------------------
 1-05) Serious Struggling
-------------------------------------------------------------------------------
Q: Why in the hell is this track called "Serious Struggling"? There's nothing
   "serious" about it.

A: This contradiction is the result of translation. As much I will stick by
   Ongakusei and Chudah's Corner's work, this one does need some work. The
   track's name has changed three times over the years, here they are:

       Original Translation: "Confusion in the Front"
    Ongakusei's Translation: "Serious Struggling"
         Newest Translation: "Serious Slapstick"

   Of these translations, the third one is the most fitting, but there is a
   reason it remains unchanged in this guide. For the lowdown on why such
   translations remain the way they are please read section 4.01 (The Current
   Translation).

-------------------------------------------------------------------------------
 1-41) Dungeon: Pillar of Hell
-------------------------------------------------------------------------------
Q: Why is this track not called "Dungeon: Diablo Pillar"?

A: Again, this is another translation issue. While I personally can't confirm
   it, the original text probably could be interpreted as "Diablo Pillar."
   Still, I kind of like how "Pillar of Hell" sounds but you can change it if
   you want; I'm not lord of Wild Arms track titles even though I wish I could
   be.

-------------------------------------------------------------------------------
 1-63) Battle vs Edgeworth-Kuiper Belt
-------------------------------------------------------------------------------
Q: What the Heck is an Edgeworth/Edgeworth-Kuiper Belt?

A: "Edgeworth-Kuiper Belt" is just another name for the "Kuiper Belt" itself.
    To avoid copyright infringement, if your interested in the Kuiper Belt
    (which is a real thing, not just some made-up in-game nonsense) just go to
    Wikipedia and type these terms into the search field for more information.

-------------------------------------------------------------------------------
 1-64) You're Not Alone...
-------------------------------------------------------------------------------
Q: Where does "You're Not Alone..." play in-game?

A: The answer to that is simple: it doesn't. In fact, the track isn't even
   included in the sequenced music data on either disc of the game. The reason
   for it's existence and inclusion on the soundtrack is a mystery. If anyone
   has any concrete theories behind the track's purpose I'd love to hear it.

-------------------------------------------------------------------------------
 2-01) Resistance Line - Full Chorus Version (Disc 2 Opening)
-------------------------------------------------------------------------------
Q: Why does the soundtrack include the "Full Chorus Version" of "Resistance
   Line instead of the game edit.

A: I'd like to the reasoning behind that as well. It's a pretty pointless
   addition to the soundtrack considering it also appears on -alone the world-
   WILD ARMS Vocal Collection (SVWC-7138). This also means the game edit isn't
   avaliable on any licensed CD either. Brilliant, another thing SPE Visual
   Works manages to screw up.

-------------------------------------------------------------------------------
 2-11) Battle Robot Jack
-------------------------------------------------------------------------------
Q: What's the deal with this title?

A: Ok, ok, yeah... "Battle Robot Jack" makes no sense what so ever. Still, the
   most recent translation - while more befitting - is rather wordy. So what's
   the other title? "Clandestine Broadcast of the Rising to Action
   Announcement." I told you it was a mouthful. 

-------------------------------------------------------------------------------
 2-22) The Center of Filgaia vs. 1-45) Dungeon: Center of Filgaia
-------------------------------------------------------------------------------
Q: What's the difference?

A: These titles so similar it's easy to mistake them for one another. So, to
   clear things up:

1-45) Dungeon: Center of Filgaia is the dungeon theme for Glaive Le Gable
2-22) The Center of Filgaia is the sound effect heard when teleporting down
      into Glaive Le Gable from the bottom of Spiral Tower

-------------------------------------------------------------------------------
 2-25) Apocalyptic Threat
-------------------------------------------------------------------------------
Q: Is it possible hear "Apocalyptic Threat" in it's entirety within the
   confines of the game?

A: No. "Apocalyptic Threat" plays shortly after the defeat of the Kuiper Core
   when the players are walking out of Glaive Le Gable and Lord Blazer breaks
   free of his confines. The first few seconds of this track plays before the
   screen turns while and the scene shifts to the surface of the moon where
   Ashley confronts Lord Blazer. As to why this track is cut off is unknown,
   but it is slightly unfortunate for reasons outlined in the track-by-track
   review section.

-------------------------------------------------------------------------------
 x.xx) File Viewer
-------------------------------------------------------------------------------
Q. The music used in the game's file viewer is not on the soundtrack?

A: Nope, sorry. They missed that track somehow. I love how we remember a
   pointless track like "The Center of Filgaia" which is more of a sound effect
   but we forget an actual piece of music. Still, there are soundtracks out
   there that are much worse, some of them being SPE Visual Works releases.

===============================================================================
 3.01 | In a perfect world...
===============================================================================
Sometimes one can't help but visualize what could have been. In the case of the
Wild Arms 2nd Ignition Original Soundtrack there is a lot that could have been
done better. A lot better. So, not as if this is going to change anything, but
here's what Wild Arms 2 Soundtrack be like if I were in charge of it's layout:

 Note: Track times accurately depict how long tracks would be if they were
       looped. These are not estimates. How did I figure this out? Magic!

=============================================================================== 
 3.02 | ...this would be the Wild Arms 2nd Ignition Original Soundtrack
===============================================================================

==================
 Disc One: Ashley
==================

  1-01) Main Title (0:27)
  1-02) Wild Arms 2nd Ignition ~You’ll Never Be Alone~ (Disc 1 Opening) (1:33)
  1-03) Going Out (1:33)
  1-04) Dungeon: Ruins Type 1 (2:11)
  1-05) Serious Struggling (1:31)
  1-06) Chase (1:39)
  1-07) A Dramatic Escape (1:54)
  1-08) Scene of Reminiscence (1:15)
  1-09) Dungeon: Natural Type 2 (1:43)
  1-10) The Crisis at Hand (1:03)
  1-11) A Momentary Respite (2:28)
  1-12) From Anxiety to Impatience (1:50)
  1-13)	The Young Witch Appears (1:58)
  1-14)	Separation (1:36)
  1-15)	Dungeon: Horror (1:44)
  1-16)	Monsters Appear (1:18)
  1-17)	Victory! (1:17)
  1-18)	A Journey (2:05)
  1-19)	Quiet Night (0:59)
  1-20)	Town Where the West Wind Blows (2:20)
  1-21)	Field: Roaming (2:10)
  1-22)	Battle Force (1:27)
  1-23)	Condition Green! (0:35)
  1-24)	Formal Ceremony (1:47)
  1-25)	1st Ignition (2:10)
  1-26)	Dungeon: Pinch Type 1 (0:56)
  1-27)	Soaked in Terror (1:03)
  1-28)	Anastasia's Guidance (1:27)
  1-29)	Fate (0:55)
  1-30)	Used by a User (0:59)
  1-31)	Valeria Chateau (1:38)
  1-32)	Dungeon: Pinch Type 2 (1:33)
  1-33)	Boss Demo (0:14)
  1-34)	Battle vs Mid Boss (1:40)
  1-35)	Game Over (0:36)
  1-36)	Western Village (1:36)
  1-37)	Inn (0:10)
  1-38)	Battle Robot Jack (5:43)
  1-39)	Odessa's Theme (1:32)
  1-40)	Battle vs Cocytus (2:02)
  1-41)	A Tinge of Regret (0:58)
  1-42)	Live Reflector (2:15)
  1-43)	Launch! (0:29)
  1-44)	Castle (2:00)
  1-45)	High Pressure (1:36)
  1-46)	Battle: KnightBlazer (1:40)
  1-47)	Liz and Ard (0:35)
  1-48)	Battle vs Liz and Ard (1:53)
  1-49)	Dungeon: Natural Type 1 (1:42)
  1-50)	Operation ARMS's Theme (1:37)

 >>> Disc 1 Total Time: 77 minutes 22 seconds

================
 Disc Two: Brad
================

  2-01) The Stronghold Surfaces (1:35)
  2-02) Guardian (0:34)
  2-03) Hidden Village (1:50)
  2-04) Dungeon: Mystery (1:47)
  2-05) Tim and Colette (2:02)
  2-06) Dungeon: Urgent Situations (1:25)
  2-07) Filgaia Summit (0:36)
  2-08) Dungeon: Odessa's Hideout (1:38)
  2-09) Heading Far from the Sea (1:44)
  2-10) Dungeon: Ruins Type 2 (1:43)
  2-11) Battle vs Kanon (1:32)
  2-12) Guild Galad (1:51)
  2-13) A Great Comback (1:36)
  2-14) Dungeon: Pillar of Hell (1:32)
  2-15) Dungeon: Heimdal Gazzo (1:19)
  2-16) Battle vs Vinsfeld (1:36)
  2-17) Before Victory (0:46)
  2-18) End of the Banquet (1:25)
  2-19) Wish Upon a Star ~ Broken Promise (1:44)
  2-20) Atomic ARMS (Disc 1 Ending) (1:47)
  2-21) Resistance Line (Disc 2 Opening) (1:37) [Game Edit!]
  2-22)	Dungeon: Anastasia's World (1:39)
  2-23)	An Old Tale (1:18)
  2-24)	From Beyond (1:40)
  2-25)	Suite - I'm Back (2:58)
  2-26)	Field: Distorted Sky (1:32)
  2-27)	Dungeon: Battle Preparations (1:37)
  2-28)	2 Lovers Split Apart (2:06)
  2-29)	Marina’s Miracle (1:26)
  2-30)	Harbinger of the Hurricane (2:06)
  2-31)	Dungeon: Ruins Type 3 (1:41)
  2-32)	Agony (1:14)
  2-33)	The Wall Around My Heart (1:47)
  2-34)	Eve of the Last Battle (3:03)
  2-35)	Field: Last Ignition (1:52)
  2-36)	Battle vs Ragu O' Ragula (1:21)
  2-37)	WIN!!! (0:25)
  2-38)	Dungeon: Spiral Tower (1:38)
  2-39)	The Center of Filgaia (0:40)
  2-40)	Dungeon: The Center of Filgaia (1:25)
  2-41)	Battle vs Root of the Kuiper Belt (1:53)
  2-42)	It's Clear (0:26)
  2-43)	Humanity’s Fight (1:51)
  2-44)	Battle vs Edgeworth = Kuiper Belt (1:26)
  2-45)	Crime and Sacrifice (0:50)
  2-46)	Bitter Return (1:36)
  2-47)	Apocalyptic Threat (1:20)
  2-48)	Battle vs Lord Blazer (3:25)
  2-49)	A New Sunset (0:52)

 >>> Disc 2 Total Time: 76 minutes 46 seconds

====================
 Disc Three : Lilka
====================

  3-01) (8 Tracks Nonstop) (16:05)
  3-02) Zephyrs's (Disc 2 Ending) (3:52)
  3-03) Final Chapter (4 Tracks Nonstop) (7:16)
  3-04)	File Viewer (1:36)
  3-05) The Night Sky (0:49)
  3-06) Miracle (0:55)
  3-07) Wild Arms 2 Medley (13:29)
  3-08) Wild Arms 2nd Ignition ~You’ll Never Be Alone~ (Disc 1 Opening)
        [North American Version] (1:33) 

 >>> Disc 3 Total Time: 45 minutes 35 seconds

 Note: "You're Not Alone..." is omitted because it doesn't appear in the game
       and "Resistance Line - Full Chorus Version (Disc 2 Opening)" is replaced
       with the game edit, shaving off a few minutes. As was said before, the
       full length version is on the -alone the world- WILD ARMS Vocal
       Collection (SVWC-7138) so one could still obtain it on an official CD.

Look at that! That would make a much for a much nicer soundtrack than Wild Arms
2 currently has, right? It's amazing the difference one extra CD makes as well
as arranging the songs in order of usage! You can loosely follow the game's
story with such an arrangement. Okay, now someone at King Records, make this
happen!

===============================================================================
 4.01 | The Current Translation
===============================================================================
This document uses Ongakusei's translation who was the Translation Editor for
the now defunct (but still accessible) Chudah's Corner (www.chudahs-corner.com)
Track title touch-ups were recommended by myself and implemented by The Paladin
(the site's Assistant Editor-in-Chief). Again, not that anyone will find it to
be interesting but this tracklisting is used with permission by the site's
founder Chudah.

As for my thoughts on the quality of the translation, I'll stick by Ongakusei's
work as the previous translation (more on that later) had some serious issues.
Granted there are a few issues with this translation but they are generally few
and far between. Furthermore, I will ALWAYS take a tracklisting that is
entirely translated BY THE SAME PERSON (a.k.a. "ONE MIND") over one that has
this and that "fixed" and "tweaked" by various people who have open access to
change things. I know these people are trying to help, but it systematically
destroys any kind of set standard. Despite this, I will list the titles that
have seen changes outside Ongakusei's influence later on.

===============================================================================
 4.02 | The Old Translation vs the New
===============================================================================
This section is mainly meant to preserve the translation history of the Wild
Arms 2nd Ignition Soundtrack. It can also be used to cross information gaps if
someone is still using the old titles and you're using the new or visa-versa.

  * If one title appears, the title is unchanged between the two translations.
    If two titles appear, the first one is the new and the second one is the
    old.

  * I do not have any data on the crafter of the old translation outside the
    fact several video game music sites where employing it before Ongakusei
    did his work on it. After that, most of those sites adopted his work as
    the standard, meaning this rendition was pretty much tossed out.

  * Notice the mistake that was present in the dungeon tracks.

  1-01) Main Title
  1-02) Wild Arms 2nd Ignition ~You’ll Never Be Alone~ (Disc 1 Opening) / Wild
        Arms 2nd Ignition ~You’ll Never Be Alone No Matter Where You Go~ (Disc
        1 Opening)
  1-03)	Going Out
  1-04)	Dungeon: Ruins Type 1 / Dungeon: Exploring 1
  1-05)	Serious Struggling / Confusion in the Front
  1-06)	Chase
  1-07)	The Crisis at Hand / The Trouble Brewing Along
  1-08)	A Dramatic Escape / A Resolution
  1-09)	Scene of Reminiscence / The Task at Hand
  1-10)	Dungeon: Natural Type 2 / Dungeon: Front Battle 2
  1-11)	A Momentary Respite / The Calm During the Storm
  1-12)	From Anxiety to Impatience / From Calamity to Dry Ground
  1-13)	The Young Witch Appears / Magical Girl Entrance
  1-14)	Separation / Wavering Feelings
  1-15)	Monsters Appear / Monster Haven
  1-16)	Victory!
  1-17)	A Journey / Travelers
  1-18)	Quiet Night / Dark, Calm Night
  1-19)	Formal Ceremony / A Time of Good
  1-20)	1st Ignition / First Ignition
  1-21)	Field: Roaming / Field: The Barren Lands
  1-22)	Field: Distorted Sky / Field: The Lightning Sky
  1-23)	Field: Last Ignition
  1-24)	Town Where the West Wind Blows / The Town to the Western Winds
  1-25)	Western Village
  1-26)	Hidden Village / The Foreboding Star
  1-27)	Inn / Well Rested
  1-28)	Heading Far from the Sea / Near the Seas
  1-29) The Stronghold Surfaces / Stretch Further Than the Skies
  1-30)	Harbinger of the Hurricane / A Blow of the Wind
  1-31)	Dungeon: Natural Type 1 / Dungeon: Front Battle 1
  1-32)	Dungeon: Ruins Type 2 / Dungeon: Surprised 1
  1-33)	Dungeon: Ruins Type 3 / Dungeon: Surprised 2
  1-34)	Dungeon: Pinch Type 1 / Dungeon: Pinch Fight 1
  1-35)	Dungeon: Pinch Type 2 / Dungeon: Pinch Fight 2
  1-36)	Dungeon: Horror
  1-37)	Dungeon: Urgent Situations / Dungeon: Tension
  1-38) Dungeon: Battle Preparations / Dungeon: Battle
  1-39)	Dungeon: Mystery / Dungeon: Chapel
  1-40)	Dungeon: Odessa's Hideout
  1-41)	Dungeon: Pillar of Hell / Dungeon: Monster World
  1-42) Dungeon: Heimdal Gazzo / Dungeon: Heimdal Gasso 
  1-43)	Dungeon: Anastasia's World / Dungeon: The World Anastasia Lives In
  1-44)	Dungeon: Spiral Tower / Dungeon: A Dangerous Place
  1-45	Dungeon: The Center of Filgaia / Dungeon: Center of Fargaia 
  1-46)	Castle
  1-47) Guild Galad
  1-48)	Valeria Chateau
  1-49)	Live Reflector
  1-50)	Guardian
  1-51)	Tim and Colette / Tim and Collet
  1-52)	Operation ARMS's Theme
  1-53)	Odessa's Theme
  1-54)	Battle Force
  1-55)	Battle: KnightBlazer
  1-56)	Battle vs Mid Boss
  1-57)	Battle vs Kanon
  1-58)	Battle vs Cocytus / Battle vs Coctaurus
  1-59)	End of Banquet / That Feeling that Someone is Watching
  1-60)	Battle vs Vinsfeld / Battle vs Vincefelt
  1-61)	Battle vs Liz and Ard
  1-62)	Battle vs Root of the Kuiper Belt / Battle vs Child of the Kaiverbelt
  1-63)	Battle vs Edgeworth = Kuiper Belt / Battle vs Edgeworth Kaiverbelt
  1-64) You're Not Alone...
  1-65)	Battle vs Lord Blazer
  1-66)	Battle vs Ragu O' Ragula / Battle vs Ragu-Ragura 
  1-67)	Condition Green!
  1-68)	A Tinge of Regret / New Entrances
  1-69)	Before Victory / Before the Path of Righteousness
  1-70)	It's Clear.
  1-71)	Crime and Sacrifice / Trap and the Path
  1-72)	A New Sunset / The New Sunset
  1-73)	WIN!!! / WIN!
  1-74)	Game Over
  1-75) Atomic Arms (Disc 1 Ending)

  2-01) Resistance Line – Full Chorus Version (Disc 2 Opening) / Resistance
        Line –  Extended Version (Disc 2 Opening)
  2-02)	Liz and Ard
  2-03)	Launch!
  2-04)	Boss Demo
  2-05)	Soaked in Terror / Pure Darkness
  2-06)	Anastasia's Guidance / The Plight of Anastasia
  2-07)	Used by a User / One Vanquisher of Evil
  2-08)	High Pressure
  2-09)	Fate
  2-10)	Agony / A New Chance
  2-11)	Battle Robot Jack
  2-12)	Wish Upon a Star ~ Broken Promise / Promise Made on a Star
  2-13)	Filgaia Summit / Fargaia Summit
  2-14)	An Old Tale / Old Tale
  2-15)	A Great Comeback / Starting Off
  2-16)	From Beyond / Starting from Night
  2-17)	Suite - I'm Back  / I'm Back - A Song
  2-18)	2 Lovers Split Apart / Thinking on a Sentiment
  2-19)	Marina’s Miracle / Marina's Plight
  2-20)	The Wall Around My Heart / The Message from the Heart
  2-21)	Eve of the Last Battle / Before the Final Battle
  2-22)	The Center of Filgaia / The Center of Fargaia
  2-23)	Humanity’s Fight / The Flight of the Human Race
  2-24)	Bitter Return / The Returners
  2-25)	Apocalyptic Threat / The Last Evil
  2-26) (8 Tracks Nonstop) / 8 Tracks in 1: Arranged
  2-27) Zephyrs’s (Disc 2 Ending)
  2-28) Final Chapter 1-4 (4 Tracks Nonstop) / Field 1 through 4
  2-29) The Night Sky
  2-30) Miracle / Do Not Worry, Just Believe
  2-31) Wild Arms 2 Medley

===============================================================================
 4.03 - Most Recent Updates
===============================================================================
As with anything that is translated, some things can be interpreted
differently. As such, some people have slightly tweaked some of the titles in
Ongakusei's translation over the years. While some of these have shed some
light on some things that didn't make a whole lot of sense, due to the fact
that these changes could have been made by anybody, I don't give them the same
level of respect as I do to the vast majority of Ongakusei's titles. Still,
here they are:

  * The first title is by Ongakusei, the second is what it has changed to

  * These changes can be viewed at http://vgmdb.net/album/1066

  1-03) Going Out / Going Out Preparations
  1-05) Serious Struggling / Serious Slapstick
  1-08) A Dramatic Escape / A Dramatic Return
  1-17) A Journey / Departure
  1-19) Formal Ceremony / Organization Ceremony
  1-21) Field: Roaming / Field: Wandering
  1-28) Heading Far from the Sea / Far into the Sea 
  1-30) Harbinger of the Hurricane / Gale Vanguard
  1-37) Dungeon: Urgent Situations / Dungeon: Emergency 
  1-41) Dungeon: Pillar of Hell / Dungeon: Diablo Pillar
  1-52) Operation ARMS' Theme / Theme of Operation: ARMS
  1-53) Odessa's Theme / Theme of Odessa
  1-59) End of the Banquet / The Demise of the Feast
  1-69) Before Victory / Beyond the Victory
  1-72) A New Sunset / A New Dawn 

  2-11) Battle Robot Jack / Clandestine Broadcast of the Rising to Action
        Announcement
  2-15) A Great Comeback / A Great Reversal
  2-18) 2 Lovers Split Apart / 2 Persons Split Apart
  2-21) Eve of the Last Battle / Eve of the Decisive Battle
  2-25) Apocalyptic Threat / Absolute Threat
  2-26) (8 Tracks Nonstop)
    - Admiring the Spiral Tower... / Gazing at the Spiral Tower... 
    - Nostalgic Reunion / Reunion with the Dear Ones
    - Valeria Sibling's Reminiscence / Valeria Brothers Recollection
    - With One Heart / As One Heart
    - Renewing Falgaia / Filgaia Revived
    - To Each Their Own Road / Their Paths
    - Friends Forever / Always Friends, Forever
    - Last Scene   

===============================================================================
 5.01 | Acknowledgements
===============================================================================

A special thanks goes out to:

Chudah - Founder, Editor-in-Chief, and Webmaster of Chudah's Corner.

         Chudah's Corner fostered my early interest in video game music and
         video game soundtracks. The site also gave my interest in writing an
         outlet as well. While the site is no longer updated it is still
         teaming with useful information and can found at www.chudahs-
         corner.com on the web.

Ongakusei - Translation Editor of Chudah's Corner.

            Considering that it's Ongakusei's translation of the Wild Arms
            2nd Ignition Original Soundtrack that this document is based on
            it should be no surprise that a special thanks is in order. His
            work on the album was definitely in need and appreciated.

The Paladin - Assistant Editor-in-Chief of Chudah's Corner.

              Helped in streamlining some of Ongakusei's work.

Zane - Reviews Editor of Chudah's Corner.

       While Zane really didn't aid in the creation of this document per say,
       thanks and apologies are definitely in order. I've done some dumb things
       in my life and how are relationship ended is definitely one of them. I
       have the bad trait of taking certain things too far and that's not some
       thing you should have had to deal with.

SPE Visual Works - I guess they deserve some credit for putting the Wild Arms
                   2nd Ignition Soundtrack on compact disc... but then they
                   deserve some distain as well considering how it was done.

Media Vision - Well, they made two great RPGs (the original Wild Arms and Wild
               Arms 2nd Ignition) before things went downhill and eventually
               crumbled to the point where they stand now in making crummy IP
               games. Reality is sometimes cruel I guess.

Michiko Naruke - As simple as this sounds, this guide simply wouldn't exist if
                 it wasn't for Naruke's music.

Matrixz - A psf. ripper who contributes to Zophar's Domain. His rip of the
          music from Wild Arms 2 was the basis behind the third section of the
          FAQ, giving me accurate track times for looped tracks. Unfortunately
          given the items the site deals in it's probably best I not insert a
          link to the site within this FAQ.

Creators of HE - HE (or Highly Experimental) is a music codec for Winamp that
                 allows the playing of psf. files which has allowed the music
                 of games without soundtracks (or those with heavily edited or
                 otherwise compromised soundtracks) to see daylight. However,
                 like emulators and emulation there are justifiable concerns
                 over legality thus I won't be inserting any links to HE or
                 sites hosting HE and psfs.

Video Game X-Change - An AWESOME video game store that easily trumps EB Games,
                      Gamestop with their great prices and wonderful sales
                      staff. It's about time a "mom and pop" store gave the
                      soulless corporate entity a run for it's money.

===============================================================================
 5.02 | People/places who/that displease me
===============================================================================

There are three organizations I would like to take the time to express my
displeasure with. They are:

 >> Square Enix Music (www.squareenixmusic.com)

You know for a site that lives on contributions from those in the community, I
saw the last of my contributions gather dust because they didn't fit into what
the site was "covering" at the time. Sorry guys, I don't give a crap about
modern video games, so that means I don't a crap about modern video game music.
I only care about what I grew up with. The site still has permission to use
anything I submitted to them in the past (this includes the work seen in the
track-by-track section) but anything beyond that point is off limits. I never
fit into your precious little group because I had the unforgivable sin of
having a life and problems to over come or something. You could have placed my
profile back into the contributors section after ousting it from the staff
section but no....

 >> Certain members that post on the Soundtrack Central Forums

Leaving this site was one of the best things I have ever done, because when one
is more concerned over one's grammar than how they are emotionally, there is no
need to waste time there anymore. Anyway, to the one (woman is too nice of a
term for this person) you can still sod off and I hope all those possessions
fill the precious void within you. 

 >> EB Games / Gamestop

I don't think there is any other place more responsible for the fall of modern
gaming than Gamestop. The place REEKS of being a corporate sell out and I can't
count the times I've been felt like an idiot when "employees" are clueless to
the games that preceded today’s "hits." With them dropping GBA and PS2 games I
have very little reason to enter their stores anymore which is a blessing in
every which way. I'd rather spend my money at the Game X-Change where they
actually KNOW my name.

===============================================================================
 5.03 | The Fate of Wild Arms
===============================================================================
As most people now know, Wild Arms is pretty much dead in the sense there
haven't been any new games since XF (Crossfire) on the PSP. Oh sure, I could
act like I'm sad and say I want a new/more games but I don't. Why? Well, it has
a lot to do with the fact I can't lie to myself anymore and use the old "it's
still well crafted" excuse. There isn't terribly "wrong" with the games that
follow Wild Arms 2nd Ignition but to say the even challenge what was presented
in the first two games is a joke.

===============================================================================
 5.04 | Contact information
===============================================================================
If you have any questions, comments or corrections please feel free to e-mail
me at theaterofsalvation[at]hotmail[dot]com. Please make the subject of the
e-mail "Wild Arms 2 Music FAQ" or something like that so I can easily pick it
out if it ends up in my spam folder. If you want to e-mail me in order to
harass me or pick apart my grammar (this is not a resume, this is a video game
based document on the internet) I'll just ignore and block you. I may have the
spare time to whip up a document like this but it doesn't mean I have to waste
it responding to crap ignorant people can spew.

Additionally, I make use of no instant messengers or social networking sites.
I'm not anti-social but prefer to focus on the people I see everyday rather
than those that live states or even continents away that'll never see. I do
have a blog I post product/game reviews on however:

http://ashleywinchesterreviews.blogspot.com/

The game reviews can also be found on GameFAQs. Please note that I'm obviously
not the same Ashley Winchester that's on Gamefaqs.

===============================================================================
 5.05 | Copyright Information
===============================================================================
This FAQ is the property John W. Niver II, 2011. All other trademarks within
are the property of their respective owners. The only website allowed to host
this document is GameFAQs (www.gamefaqs.com). Squareenixmusic is allowed to
host the review section of the document (which is used throughout section 2.07)
in their review section. Outside this one must ask permission to host this
document or any portion within. Doing so without the author's consent is a
violation of international copyright law. Really, in all honesty, if you're
interested just ask: unless something is fishy or you plan to butcher my work I
don't see why I'd refuse.