@@seovania9601 I know that's an option, what I meant was that this song plays all the time regardless of your settings (except if you mute the music entirely)
Me, 5 years ago: "what a fun looking fire emblem mobile game! I'm sure they'll keep it lighthearted" Me now: "there is no victor in war. Both sides suffer losses that make the fight unworthy of fighting to begin with. Where do we draw the line? Where is the mourning strong enough to put an end to the bloodshed? You can lose everything and still be forced to fight, and yet what purpose does it serve? If there are gods shining down on us, they are either filled with the same cold indifference as the stars above, watching in a pained silence, or are they benevolent? Do the benevolent gods even last in this world, or are they slaughtered to protect what they believe in? Did they die to save us? Did we still fail them?"
Fire Emblem ALWAYS delivers when it comes to great music. And yet, despite knowing that, I'm still shocked at how good FE music can get every single time a new track comes.
@@Xgil2Play I experienced enough to know there are lots of good games and music, still I grew up in a different context where the most popular mobile games were the low quality ones
For some reason it nearly made me tear up, something about the strings and the absolute pain in this song... I mean sure, they're fighting to the "death", but this is in context of both Alfonse and Veronica losing their dearest companion to a bloody sacrifice made by an evil god, and even then they're still forced to fight one another. It's a fight that no matter the outcome, something was already lost, and the only thing is to not lose anything else anymore. It's kind of FEH's very own "Don't Speak Her Name!", and it makes sense that the sacrifice was none other than Bruno who we've known since the beginning of FEH and gotten attached to whether we wanted to or not. Let's hope next chapter Embla gets delivered a rightful death.
I was so happy that Yggdrasil key managed to work in the end and finally freed Veronica from Embla's curse and will, i imagined Bruno had to trick Embla making her think he had the Yggdrasil key with him, but it was really with Xander which Xander managed to give the key to Veronica while Embla had her focus on Bruno on the previous chapter
Bruno has finally saved her sister from her curse. I feel really bad for him, but the plot.. was handled well for a thirteen chapter's content. I was actually caught by surprised for this chapter 12. Didn't see it coming!
Ever notice in Heroes" the character that makes a sacrifice and dies. Is the one that becomes a summonable unit not to long. Watch we're going to get Bruno" in a future banner soon.
I let out an audible *'oh shit'* when the track wasn't broken by the enemy phase. I also let out another *'oh shit'* when Veronica smited my Alfonse into dust with her new weapon. Book 6 is awesome.
I actively threw away my “only use units from the same game(s) as the banner rule just to create builds and a team that could let Alfonse deal the final blow on Veronica (he ended up one-shotting her).
I gave mine the Deflect magic seal to recreate the trailer. It was amazing to see him barely live and take down Vero. It was pretty satisfying to wipe the whole map with Alfonse and Sharena (with pulse tie from Bruno and poison strike from Peony to make a dent in Grima)
If the words "So we must continue to feud like this?........I wish I had never gotten to know you" needed a theme? This would be it. Also that moment it is made clear the seriousness of this moment when the track does not change in battle.
This music is like when "Don't speak her name" and "praise this despair!" Have a lovechild together In midst of painful grieving, lies wicked resolve to strike down the enemies you bonded over time
A powerful depiction of Veronica's sense of tearing her heart apart as she goes to fight fully conscious that she has no sense of what she's fighting for or, worse still, that she knows fully well that she's fighting for no reason whatsoever. The focus on the violin and on accoustic instruments in general puts us fully in Veronica's perspective. Veronica is a highly cultured girl and the accoustic sounds remind us of a Western classical orchestra. In particular, the violin characterizes Veronica - as we saw in the tambourine piece some months back - because it is really an instrument of sophistication and not of raw or brute force. In its upper register it lacks the piercing shrillness that gives instruments like the flute and oboe a certain power to cut through even overwhelming volumes; in its lower register it lacks the sense of authority that male voices can embody; in no register can it equal the raw decibel output of trumpets (or other brass instruments), percussion, or even pianos, the most common accompanying instrument. (If you're interested in just how hard modern pianos can overpower violins, search up on RUclips the discussion between Maxim Vengerov and Daniel Barenboim on Brahms' Third Violin Sonata.) So in the context of Western accoustic instruments, the violin is like a slender woman not too tall, i.e. Veronica's exact physique. One of the advantages of the violin is that it offers enormous range in nuance (not that other instruments aren't capable of a lot of nuance, but the violin is definitely capable of an incredible amount), which again plays to being cultured and sophisticated, major points among Veronica's strengths. The extremely low bass note paints a pitch-black sky under which the entire scene unfolds; it also communicates that the travesty taking place is no mere tragedy but the destruction of the human spirit at the deepest level. Dissonant chords in the piano flash like streaks of lightning, creating a sense of chaos resulting from the disintegration of any structure of thinking by which the human psyche finds meaning in life. After fighting so hard to overcome that within her which antagonized her against Alfonse and Sharena against her deeper will, she finds herself about to try to kill them, and that, without being possessed so that her consciousness would be thoroughly overwhelmed or suppressed. Combined with the sense of being unable to protect her people or even herself from a physically and morally hideous overcontrolling animal, her sense of humanness is violated and degraded on every front. Worse still, she has surrendered herself to it half-voluntarily, becoming a conscious agent of this degradation. She isn't just being violent; she herself is tearing to bits what she fought internally to hold dear and protect and she knows it. The violin's introductory figuration is angular, chromatic, sharp, harsh, and acriminious. The melody begins with a few slow descending figures alternated with ascending swoops. There is some sense of lament in the descents, like sighs, but the unrelenting and severe tone makes the melody more evocative of taking a heavy weapon and bludgeoning something repeatedly. Next we get double notes in the violin, intensifying the emotional outpour, again angular and chromatic and violent like the introductory figuration. The orchestra takes over the bludgeoning melody while the violin cries out above it until the musical statement reaches a semicolon. After one breath's length of silence, the violin laments having nothing left to live for. After that the music goes - sadly for us - into a section that only seems half characteristic of what's happening. Alternatively, you could read it as Veronica trying to reason her way to some kind of order and meaning, but mostly what I hear is a composer trying to build on material from earlier in the track and write virtuosic violin figuration over it. He (or she?) does succeed in some unexpected and effective harmonic turns, some of which pull us momentarily into nearly atonal territory, and the violin writing is successful both in showing off what performer and instrument can do while depicting disordered psychological thrashing, but I don't sense a coherent continuation from the tempest that begins the track. It seems like the composer tried to create some intermedium between the smashing in the first forty seconds and the tenderness of the piano-violin dirge in order to balance out the musical form and transition back to the tempest, only to fail at coming up with the right musical idea. What we end up with is the inspiration that fuels the flaming first half and filler that works well enough to make the beginning of the track effective again (whereas it wouldn't be if 80% of the track was just blood and fire).
And the music invoking a scene of suffering or being pulled apart is even more fitting when you remember the antagonist of Book 6 is a deity putting up walls to isolate people (barriers) and subsequently being cut off from human contact (broken bonds). Tabby, great comment. Your comment reads like an excerpt from a music professor. 👏
Her kingdom. Her family. Her free will. Potentially, even her life. Embla took everything from her to use her as a weapon in a feud that only she was driven to finish.
The FEH music quality is immense and it makes it very hard to dislike the characters, even if the writing isn’t remarkable… This music and character design alone cement Veronica’s character arc for me
So, this is the full version of "Destiny Closes In." Didn't expect it to be for what's essentially the final battle of the original conflict of the game.
Ngl doing this map i purposely had my alfonse be on the team cause it felt like he needed to be there Made it alot harder mind you but also alot more emotional
I dropped FEH around the ending of the mechnical/steampunk chapter (book 5 I believe). This just popped up in my rec but thank the algorithm because this is a banger. I've noticed that Veronica seems to have an "older/future" version of herself now? Time to google what this new story's about.
That fight was very intense, like this sounded like music for a final boss map. *Soon guys, next (and I think the last) chapter of book 6 we'll likely fight Embla.*
It such a good book, even the best one. Like Embla politics crisis and then Embla fight wow, such a master piece, lill sad to see it end next month ! Hope next book to be this good
Although it's obvious that the game's story will go on after Book VI, I wouldn't mind if this turned out to be the last one, since this one is pretty much the conclusion to everything built up in Book I.
Yoko Shimomura-soundin' ass I would also like to remind everyone that this plays in a mobile game, during one two-minute map*, where there's a good chance that SFX are not even on to begin with. And they went THIS hard
That's really ironic how they titled a song with the exact name in fe engage. It's also kinda funny how it also uses the same feels as: thorn in you, don't speak her name and others.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
I love that this map's music isn't interrupted by the Enemy Phase or a Boss Theme, makes the scene of battling Veronica more powerful
You... you realize that you can turn off Enemy Phase music right?
@@seovania9601 I know that's an option, what I meant was that this song plays all the time regardless of your settings (except if you mute the music entirely)
Agreed
Its basically don't speak her name
@@polybius32 Imagine if it still played the music even on mute
Veronica's new weapon be like:
"If I can't have friends then no one can."
Brave Veronica:”But I have friends now.”
@@Lemuel928
Death Veronica : I miss all my friends.
You know Thrasir"
Me, 5 years ago: "what a fun looking fire emblem mobile game! I'm sure they'll keep it lighthearted"
Me now: "there is no victor in war. Both sides suffer losses that make the fight unworthy of fighting to begin with. Where do we draw the line? Where is the mourning strong enough to put an end to the bloodshed? You can lose everything and still be forced to fight, and yet what purpose does it serve? If there are gods shining down on us, they are either filled with the same cold indifference as the stars above, watching in a pained silence, or are they benevolent? Do the benevolent gods even last in this world, or are they slaughtered to protect what they believe in? Did they die to save us? Did we still fail them?"
Has it really been five years?
Man.. I feel old.
That cuts deep bro
@@narnius6139now 7,fam
I can't believe this theme is from a mobile game. Literally a masterpiece
Can't*
@@Off-with-a-bang Thanks, I didn't see that
Fire Emblem ALWAYS delivers when it comes to great music.
And yet, despite knowing that, I'm still shocked at how good FE music can get every single time a new track comes.
You have much to experience in the wonders of mobile game.
@@Xgil2Play I experienced enough to know there are lots of good games and music, still I grew up in a different context where the most popular mobile games were the low quality ones
For some reason it nearly made me tear up, something about the strings and the absolute pain in this song... I mean sure, they're fighting to the "death", but this is in context of both Alfonse and Veronica losing their dearest companion to a bloody sacrifice made by an evil god, and even then they're still forced to fight one another.
It's a fight that no matter the outcome, something was already lost, and the only thing is to not lose anything else anymore. It's kind of FEH's very own "Don't Speak Her Name!", and it makes sense that the sacrifice was none other than Bruno who we've known since the beginning of FEH and gotten attached to whether we wanted to or not.
Let's hope next chapter Embla gets delivered a rightful death.
I was so happy that Yggdrasil key managed to work in the end and finally freed Veronica from Embla's curse and will, i imagined Bruno had to trick Embla making her think he had the Yggdrasil key with him, but it was really with Xander which Xander managed to give the key to Veronica while Embla had her focus on Bruno on the previous chapter
Ironic..That Veronica would have to destroy Lady Embla,thus avenging her brother’s death.
Bruno has finally saved her sister from her curse.
I feel really bad for him, but the plot.. was handled well for a thirteen chapter's content.
I was actually caught by surprised for this chapter 12. Didn't see it coming!
Ever notice in Heroes" the character that makes a sacrifice and dies. Is the one that becomes a summonable unit not to long. Watch we're going to get Bruno" in a future banner soon.
@@Off-with-a-bang you say that but Gustav took years to come out
I think we found the “Don’t Speak Her Name” of Fire Emblem Heroes.
Except it's a lot more sophisticated and way better at a technical level
Give whoever played that violin a raise please IS
Why does this book go so hard in the music department :0
Even book 1 had some crazy bops
Cuz they gotta smack us in the feels! You gotta admit they did a damn good job of making us actually like and CARE about Bruno and Veronica
@@jsschvz0 book 6 really said "screw you, Veronica >:D"
@@nerothewateruser8030 Book 6 is also giving us Ascended/Rearmed Veronica... Unless they pull a Letizia with her lol
I let out an audible *'oh shit'* when the track wasn't broken by the enemy phase. I also let out another *'oh shit'* when Veronica smited my Alfonse into dust with her new weapon. Book 6 is awesome.
I actively threw away my “only use units from the same game(s) as the banner rule just to create builds and a team that could let Alfonse deal the final blow on Veronica (he ended up one-shotting her).
Bro aint no way you have enemy phase and normal battle music on in 2022
I gave mine the Deflect magic seal to recreate the trailer. It was amazing to see him barely live and take down Vero.
It was pretty satisfying to wipe the whole map with Alfonse and Sharena (with pulse tie from Bruno and poison strike from Peony to make a dent in Grima)
If the words "So we must continue to feud like this?........I wish I had never gotten to know you"
needed a theme? This would be it.
Also that moment it is made clear the seriousness of this moment when the track does not change in battle.
This music is like when "Don't speak her name" and "praise this despair!" Have a lovechild together
In midst of painful grieving, lies wicked resolve to strike down the enemies you bonded over time
im glad im not the only one
A powerful depiction of Veronica's sense of tearing her heart apart as she goes to fight fully conscious that she has no sense of what she's fighting for or, worse still, that she knows fully well that she's fighting for no reason whatsoever.
The focus on the violin and on accoustic instruments in general puts us fully in Veronica's perspective. Veronica is a highly cultured girl and the accoustic sounds remind us of a Western classical orchestra. In particular, the violin characterizes Veronica - as we saw in the tambourine piece some months back - because it is really an instrument of sophistication and not of raw or brute force. In its upper register it lacks the piercing shrillness that gives instruments like the flute and oboe a certain power to cut through even overwhelming volumes; in its lower register it lacks the sense of authority that male voices can embody; in no register can it equal the raw decibel output of trumpets (or other brass instruments), percussion, or even pianos, the most common accompanying instrument. (If you're interested in just how hard modern pianos can overpower violins, search up on RUclips the discussion between Maxim Vengerov and Daniel Barenboim on Brahms' Third Violin Sonata.) So in the context of Western accoustic instruments, the violin is like a slender woman not too tall, i.e. Veronica's exact physique. One of the advantages of the violin is that it offers enormous range in nuance (not that other instruments aren't capable of a lot of nuance, but the violin is definitely capable of an incredible amount), which again plays to being cultured and sophisticated, major points among Veronica's strengths.
The extremely low bass note paints a pitch-black sky under which the entire scene unfolds; it also communicates that the travesty taking place is no mere tragedy but the destruction of the human spirit at the deepest level. Dissonant chords in the piano flash like streaks of lightning, creating a sense of chaos resulting from the disintegration of any structure of thinking by which the human psyche finds meaning in life. After fighting so hard to overcome that within her which antagonized her against Alfonse and Sharena against her deeper will, she finds herself about to try to kill them, and that, without being possessed so that her consciousness would be thoroughly overwhelmed or suppressed. Combined with the sense of being unable to protect her people or even herself from a physically and morally hideous overcontrolling animal, her sense of humanness is violated and degraded on every front. Worse still, she has surrendered herself to it half-voluntarily, becoming a conscious agent of this degradation. She isn't just being violent; she herself is tearing to bits what she fought internally to hold dear and protect and she knows it. The violin's introductory figuration is angular, chromatic, sharp, harsh, and acriminious. The melody begins with a few slow descending figures alternated with ascending swoops. There is some sense of lament in the descents, like sighs, but the unrelenting and severe tone makes the melody more evocative of taking a heavy weapon and bludgeoning something repeatedly. Next we get double notes in the violin, intensifying the emotional outpour, again angular and chromatic and violent like the introductory figuration.
The orchestra takes over the bludgeoning melody while the violin cries out above it until the musical statement reaches a semicolon. After one breath's length of silence, the violin laments having nothing left to live for.
After that the music goes - sadly for us - into a section that only seems half characteristic of what's happening. Alternatively, you could read it as Veronica trying to reason her way to some kind of order and meaning, but mostly what I hear is a composer trying to build on material from earlier in the track and write virtuosic violin figuration over it. He (or she?) does succeed in some unexpected and effective harmonic turns, some of which pull us momentarily into nearly atonal territory, and the violin writing is successful both in showing off what performer and instrument can do while depicting disordered psychological thrashing, but I don't sense a coherent continuation from the tempest that begins the track. It seems like the composer tried to create some intermedium between the smashing in the first forty seconds and the tenderness of the piano-violin dirge in order to balance out the musical form and transition back to the tempest, only to fail at coming up with the right musical idea. What we end up with is the inspiration that fuels the flaming first half and filler that works well enough to make the beginning of the track effective again (whereas it wouldn't be if 80% of the track was just blood and fire).
fr
And the music invoking a scene of suffering or being pulled apart is even more fitting when you remember the antagonist of Book 6 is a deity putting up walls to isolate people (barriers) and subsequently being cut off from human contact (broken bonds). Tabby, great comment. Your comment reads like an excerpt from a music professor. 👏
Did you need to write a whole essay?
@@rosemclean2519 it's clearly something the guy's passionate about, god forbid people have hobbies
@@basedgebby5820 Based indeed
Really great BGM for an emotional fight
(Hopefully RUclips processes this video correctly and I don't have to reupload)
"Do not leave me..."
Her kingdom. Her family. Her free will. Potentially, even her life.
Embla took everything from her to use her as a weapon in a feud that only she was driven to finish.
The FEH music quality is immense and it makes it very hard to dislike the characters, even if the writing isn’t remarkable…
This music and character design alone cement Veronica’s character arc for me
So, this is the full version of "Destiny Closes In." Didn't expect it to be for what's essentially the final battle of the original conflict of the game.
been waiting to hear this ever since the second trailer dropped and it is beautiful
Sammeeeee
Me too
Absolutely fantastic map theme. I'm really glad book 6 is going so well
Love the book 6 boss theme section at 1:45. Took a little bit to actually catch it.
Well, no wonder I seemed to like that part so much! Thanks for pointing that out!
Ngl doing this map i purposely had my alfonse be on the team cause it felt like he needed to be there
Made it alot harder mind you but also alot more emotional
Just noticed that this a more dramatic version of "Lonely Puppeteer"
I dropped FEH around the ending of the mechnical/steampunk chapter (book 5 I believe). This just popped up in my rec but thank the algorithm because this is a banger.
I've noticed that Veronica seems to have an "older/future" version of herself now? Time to google what this new story's about.
That fight was very intense, like this sounded like music for a final boss map.
*Soon guys, next (and I think the last) chapter of book 6 we'll likely fight Embla.*
Most likely, next month is November, and they usually start the new book before End Year.
Yup. That's the one that tore my heart in pieces.
So... It seems like this gem of a theme isn't restricted to just Book 6. Good! 👍
I also love how it is played in one of the maps of Book VII!
Agreed.
Damn you, Njoror…
The fact that this means we have to fight Heidr is so sat
@@cooldevildjva1246*Sad
This music slaps it goes so hard!
And it makes the battle between Veronica and her friends more sad !
This slaps harder than final boss music from some mainline games, goddamn
Book 6 Chapter 12-4... Book 6 Chapter 12-5... to know one without the other would be maddening.
2:29 is just so...wow.
Could've been ripped straight out of a Final Fantasy game lol
The song feels like you're fighting for nothing, all hope is lost
It such a good book, even the best one. Like Embla politics crisis and then Embla fight wow, such a master piece, lill sad to see it end next month ! Hope next book to be this good
I wonder if the next book either we go to one of the remaining realms, or Alfador aka Odin finally appears in the story
@@ryanbeck5014 we a ready got Thor and lokimso I'm waiting for Odin to hit
Oh my god please make Odin also a hot woman
The long awaited Xenologue.
@@ryanbeck5014 there's a last realm, Vanaheim, it's like god world, don't know how they will introduce this realm.
This song and Writhe makes me think that IS should have waited just a bit more before releasing the OST album.
I love this book ost so much! Amazing track, IS keeps killing it with the soundtrack. I hope one day they release the whole ost.
Gods... The Violin.. The Piano.. So Dark & Tragic.. Almost sounds violent even. Man... I can't fathomed & grasped about it. So as other instruments.
FEH again with banger music
I know I first heard this during Book 6. But the moment I heard this again when Heidr was beyond saving, that's when my tears fell down. Heidr... 😢
Truly a loop that deserves more than 12 and a half minutes. 😊
Yesss tough competitors but I’m sure this book has my favorite music so far
One of my favorite battles in the game
Part of me wishes that this was Veronica's map theme for engage but it's still good.
This map theme was really cool going into the chapter book 6 is great
I played this song throughout my morning workout. I managed to beat my best by two miles because I was too fixated on the melody 😅
The VIOLINS ON THIS
Should've had the volume on for this when playing the chapter. 😅 But thanks for the upload!
Although it's obvious that the game's story will go on after Book VI, I wouldn't mind if this turned out to be the last one, since this one is pretty much the conclusion to everything built up in Book I.
This theme sure hit different with Heiðr...
kingdom hearts levels of EMOTION
i'd be down to see a fire emblem game based on the events of book 1 and 6
At last the final battle
Yoko Shimomura-soundin' ass
I would also like to remind everyone that this plays in a mobile game, during one two-minute map*, where there's a good chance that SFX are not even on to begin with.
And they went THIS hard
This actually plays as a map theme on the chapter this song plays on rather than a battle theme which means you can hear this song in its entirely.
Ah, my mistake; now you can tell I'm one of the people with the game muted lmao
This definitely sounds like Fire Emblem music lol
Veronica i really don't want fight or hurt you but you leave me no choice
Am also pretty sure we might also get embla as a mythic hero
The piano at the beginning reminds me of Sigma Harmonics a ton
I’m looking forward to see if Embla has one last card to play.
I loooooove this 😍
Time to get her Emblem! Super happy I even managed to +1 her in Heroes as well with +Spd.
I need to pick up my violin again...
It's one of the most difficult instruments to master imo. But once you have you definitely won't be a forgettable person.
In the end, I realize
standing here
I realize
your were just like me
trying to make history
Good, now bring me the spring remix
Alternate title: Fracti Vinculi
That's really ironic how they titled a song with the exact name in fe engage. It's also kinda funny how it also uses the same feels as: thorn in you, don't speak her name and others.
This theme could belong to a major FE game like three houses
would the next book be about giants? Since we got dwarfs last book
I think the last book covered both even though it was mostly focused around the dwarf realm
We already had a book about giants with Dagr" and her twin sister Nott". Their relm was that of the giants.
*When Veronica finds out that Alfonse has found a new wife:*
I enjoy the regular battle theme, but I do dislike how it interrupts the map theme. (Music continues during combat)... Oh. OH.
THIS IS A MOBILE GAME NINTENDO DID NOT NEED TO COOK!!!
must be in smash bros 6
Do NOT try to Enemy Phase her, worst mistake of my life
Two words: Brave Dimitri
my zephiel handled it just fine
@@halt1931And my Fall Festival Rhea managed to survive the attack