Dawn of Mana, known in Japan as Seiken Densetsu 4, was been a long time coming; despite a variety of other games in Square-Enix’s long-running series (known as the Mana series stateside), none have come close to the popular and critical acclaim that Secret of Mana (Seiken Densetsu 2 in Japan) or Legend of Mana received in the 1990’s. While reactions to the game were decidedly mixed, there was been considerable interest in the new game’s score among video game music enthusiasts. After all, the list of composers attached to the project in one way or another is extremely impressive. The album clocks in at an impressive four discs, longer than any of the previous series sets, with Disc 4 given entirely over to new remixes of thematic material from previous games in the series, including music by fan favorites Hiroki Kikuta from Secret of Mana and Yoko Shimomura from Legend of Mana.
Chief among the exciting factors in Dawn of Mana was the involvement of noted concert and film composer Ryuichi Sakamoto, an Oscar winner for The Last Emperor, though his work turned out to be limited to the game’s introductory theme. Sakamoto’s four-minute title track is fairly subdued, piano-driven, and mostly effective. It introduces a few melodic fragments that are taken up later by the game’s main composers, but does stick out a bit, as it’s the only piano track on the album and one performed in a far more classical style than the rest, to say nothing of being acoustic rather than synthesized.
Kenji Ito, who has been the most prolific composer in the Mana series, with scores to the original Seiken Densetsu, its remake, and side games like Children of Mana under his belt, returns for Seiken Densetsu 4. Ito’s work has never resonated with the VGM community the way Hiroki Kikuta and Yoko Shimomura’s series contributions have, but Ito’s music has been consistently pleasant and professional. Ito obligingly dusts off his old theme from the original Seiken Densetsu, and offers performances of it in “Rising Sun” and again near the end of the album. Ito’s tracks are generally soft and pleasant, but many are unremarkable as well, with few strong melodies and even fewer consistent melodic ideas shared between tracks. It’s also very curious that the older Ito material on Disc 4 isn’t arranged by Ito himself, since he clearly was involved with the project and rearranging his existing themes to an extent.
In many ways, Tsuyoshi Sekito was the most exciting name attached to Dawn of Mana. Sekito’s previous arrangements of Nobuo Uematsu’s work for various Final Fantasy remakes has met with fan approval, and a high-profile series entry seemed the next logical step in his career. It’s unfortunate, then, that Sekito’s work is the weakest on the album, and generally subpar in every way. The composer leaned heavily on a sound that’s dominated by synthesized beats and ambiance. While this produces a few good tracks like “Emerald Shine” and “The Beast God’s Labyrinth,” they are by and large dull and meandering, and don’t share any themes or instrumentation with Ito’s portion. The rock tracks that Sekito brings to the table again produce a few positive results (such as “Burning Spirits”) but are most often extremely limp and uninteresting, especially when compared with the rock arrangements on Disc 4. It’s telling that Sekito’s best tracks are actually rearrangements of Hiroki Kikuta’s work (“Guardian Holy Beast Flammie”).
While early indications were that Junya Nakano, Masayoshi Soken, and Hirosato Noda would be functioning as co-composers in their own right, they are essentially arrangers in the album as presented. Nakano and Noda don’t have any original compositions, while Soken has a handful of generally pleasant original tunes at the tail end of the set. Their real work, though, was to arrange work from earlier in the Seiken Densetsu series. The rearrangements are generally strong and very involving, especially the music by Kikuta. “Don’t Hunt the Fairy,” “Weird Counterpoint,” and “Splash Hop” from Seiken Densetsu 3 (a game unreleased in the US and therefore without a Western title) and “Meridian Child” and “Child of the Sprite Tribe” from Secret of Mana get not one but two arrangements apiece. One is close in instrumentation to the original, serving as a sort of upgrade to the 16-bit Super Nintendo sound of the original, and the other is a sped-up rock version that takes severe liberties with the original.
Kikuta’s music is far more involving and interesting than the majority of Ito’s and Sekito’s, and the rock arrangements of Kikuta’s themes easily outshine the original rock pieces on the preceding discs. Shimomura’s original music from Legend of Mana isn’t as well represented, with only two arranged tracks, but Ito’s music for Seiken Densetsu gets a splendid treatment. Comparing Ito’s rearranged tracks, given delightful new life by Square Enix’s resident chiptune expert Hirosato Noda in particular, to his original Seiken Densetsu 4 compositions is almost an embarrassment.
One wonders why Kikuta or Shimomura weren’t hired outright, since their music so easily dominates the new material; from the limited material available, it seems as if Nakano or Soken could also have provided superior musical accompaniment to Ito and Sekito. As a result, Dawn of Mana is, despite the big names and bloated length, a disappointment, with largely mundane new material alongside fine rearrangements of older songs. Worst of all, the multi-composer approach destroys the album’s coherence, with wild variations in style and tone the norm. Though the album is to be commended for respecting the series’ musical roots in the rearrangements, none of the new material comes close in tone, instrumentation, melody, or memorability to Kikuta and Shimomura’s earlier, seminal work in the series. You are better off buying Kikuta’s Secret of Mana, its Genesis remix, and Shimomura’s Legend of Mana directly.