Touhou 16 / 17.5 - Secret God Matara ~ Hidden Star in All Seasons | Reacting To Video Game Music!
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- Опубліковано 12 вер 2024
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#Touhou #Touhou16 #Reaction
18:40 about the mainstream underground comment.
You just reminded me of a pretty major full circle moment that touhou has had recently.
There was a pretty big meme remix of un owen was her that escaped the Fandom in early youtube called Ronald Mcdonald insanity. To many people that was their first introduction to touhou.
And then, a few days ago, the official McDonald's Japan released a Comercial featuring a parody of a different touhou music video that attained meme status back around the same time as the Ronald Mcdonald insanity video, called Marisa stole the precious thing. McDonald's got the original singer, the original composer (iosys) and I think even the guy who drew the music video to make the McDonald's version. Just changing the lyrics that were originally about touhou stuff and instead making it about burgers.
The blonde lady on the right of the 2nd music is Okina Matara who this theme belongs to. The final boss of 16 and DLC final boss of 17.5. The first girl in red is the main protagonist of the series Reimu who I think you did one of her themes already. Maiden's Capricio . Also that is a giant spork.
Alright Jesse chill, as a Kirby fan, Sonic Fan and touhou fan this a bit much, i have not even finished watching the city escape one yet lol
We're eating good lately. Love your Strelitzia profile pic btw.
It's funny that you say that the second one sounds restrained, because that's on point.
Okina Matara is a secret god, one that doesn't show and only does things behind the scenes. She is also the god of disability, she fights in a wheelchair, even though she can stand up. In 17.5 there was a massive problem where she could've easily gotten rid of the bad guy (the one in the left), but she didn't do as she is meant keep herself a secret, and instead caused more problems so the main characters investigated.
ZUN makes the entire soundtrack for the main-line games. The spin-off games (the ones with decimal count) sometimes ZUN only composes the final boss's theme or new character's themes, and then the other musician makes mostly arrangements of already existing character themes ZUN composed in the past.
Okina Matara, the woman in the orange hat and robes, is (unintentionally) hilarious. Also, yes, that goat (Yuma) is holding a giant spork.
Okina is supposed to work from the shadows, but gets jealous that her coworkers are getting more attention than her. She then proceeds to ruffle the feathers of three major political factions, drag a half dozen noteworthy people into hell, and is a major pain in the rear of around a dozen innocent bystanders. She then peaces out and hasn't returned yet, being conspicuously absent from incidents caused by two of the three aforementioned political factions.
maybe she finally had her fill, as hard to believe as that is, besides this is literally just kanako all over again
God shows up, causes problems and major changes in gensokyo and is responsible for multiple incidents, then just straight disappears and barely shows up, kanako’s last noteworthy appearance or at relevance before gouyouku ibun was i think ten desires almost a decade ago
Now okina is more likely to appear than kanako, given how she is a sage and all, but this is just the life of any touhou character, they show up and have their fill, then fade into the vastness of gensokyo and only show their heads when ZUN feels like they should, except if you are noteworthy or a special human
The Music Room also shows ZUN's thought on each music he composed
In some way, I was protected by the Matarah god until I turned 16, the name "matarah" is the Sanskrit plural noun of "matr (mother)", referring to the seven mothers of the big dipper. stars used to be something mysterious, even to this day some of it really still is.
The "Chinese Valentine's Day/Tanabata" in my country we use common flowers(Gomphrena globosa) to give faith to the several mothers, we see these several mothers as one, the weaving girl, she will protect our childrens alongside other goddesses until they're 16.
The name "Matarah" seems to suggest it being a hindu god, but there's not any single mention there (only japan), the name also suggests it being a female goddess, but it's portrayed as a male god, though its image as a buddha still remains.
According to records, this is a god who can control hindrances (refer to obstacles to spiritual practice). believers can clear the obstacles behind smoothly, while non-believers will encounter obstacles similar to death, and they might even get devoured by the god like oni eats people. It's said that this god is the hindrance itself. Speaking of that, obstacles are an important element of a game. I like to think of Matarah as the one who caused all of the obstacles in this game.
Matarah is the god of star, god of hindrance, and more importantly, the god of outcast, she's the goddess of people who are not accepted by society. According to that dark history of Japan, this includes families working in the slaughterhouse industry, the funeral industry, the disabled, and homeless entertainers.
Yea for the spinoff games that were in collaboration with Twilight Frontier there's a second main composer for those games. U2 Akiyama for the fighting game spinoffs (7.5, 10.5, 12.5, 13.5, 14.5, and 15.5) and now ziki_7 for 17.5 (it's more like a side scrolling action game than a straight on fighter).
ZUN mainly composed the new original boss themes for the spinoff games
U2 Akiyama did the original tracks (menu themes, pre-battle themes, victory themes), but the 13.5 to 15.5 games also included custom arrangement remixes of past tracks from other composers/doujin circles who made fan works on Touhou like IOSYS.
ziki_7 actually did an arrangement in 14.5 for the track Reach for the Full Moon, Immortal Smoke before being the main composer for 17.5
12:32 If you're referring to the primary composer, then yes. ZUN did the games and the characters mainly because of his passion for music.
If there's another composer, it usually remixes another one of ZUN's composing, and they usually are on the spinoffs (which are the .5 series, but not they're not necessarily only guest arrangers).
ZUN has always been a fan of retro arcade games as it's what he grew up with, it's both what inspired his game style and much of his music, so it's not surprising that it reminds you of that!
The "point five" series are mostly spin off games, they are still canon, but sometimes they are niche bullet hell series like 9.5 where you take photos to delete bullets, or fighting games completely different from the main series.
while ZUN alone composes music for the whole-numbered games (and some bullet hell spinoffs) the fighting-game spinoffs tend to have original songs by different composers for pre-fight dialogues and settings, although new characters and important battle themes are composed by ZUN
it's *possible* to play touhou without the music but even from a strictly gameplay standpoint it's nice to learn music cues for certain parts. I've done it sometimes (or listening to other music) when doing a lot of repetitive practice but it doesn't hit nearly the same as the real deal
RE: playing Touhou without music. I find it very strange to do runs of the game without music. For one, it actually makes the game harder for me. I go for no hit no bomb etc challenge runs of the game, and I have some strategies I came up with where I use the music to help time some specific movements (Stages are synced to the music). I'm much too paranoid about these kinds of runs to play at a "disadvantage" lmao
This doesn't apply to boss music though. Those are often designed to have some level of sync with the boss attacks, but not frame perfect sync like stages.
Sometimes I do run other music when I'm just practicing boss patterns, though. And I do know some other people just play other music or just play in silence, for the actual runs of the game. idk it gets uncanny to me
So every mainline game is composed by ZUN, but in the .5 games ZUN's writing the story and new themes for new characters that get their introduction. With a couple of composers, some being fans who've made arrangements before just for fun now making remixes for all the returning characters, and some one off themes.
Okina Matara (the blonde one) has actually two themes, a final boss and extra stage theme. (the final boss theme actually got a ZUN rearrange in the most recent album CD!) She's, in short, one of the sagest of gensokyo and has a massive ego. To simplify this game's story, she goes on an ego trip on everyone to show off her strength. Just like other Touhou games it does take itself seriously but can be pretty funny, like with her being gaslit by a literal child.
This is one of my favorite final boss themes in the franchise, it captures Okina's nature really well. Also, i hope one day you react to "Where is that bustling marketplace now ~ Immemorial Marketeers".
Touhou is called the secret boss of the internet. Youll have heard touhou before but not know it was touhou, but the instant you look it up, well youll be surprised how huge it is.
Also this is okina's theme. In game she is one of the strongest characters in the game cause she is a youkai sage and the secret god of the backdoor. She is the blond character in the second video. In touhou 16 she caused an incident to find new servants to replace the ones she had cause she wanted them to retire after years of service. While 17.5 she secretly helped solve an incident for basically political gains while hiding the fact she did and had someone else take credit.
playing touhou without music is difficult because a lot of stage timings of enemy patterns are synced with the music, so without the music its harder to anticipate patterns and "remember" where you are supposed to be and what is coming up. Bosses are also somewhat synced to music, but its a lot more apparent in the stages.
17.5 is just saturated with bangers. The three themes for the final boss are up there in my favorites.
I come back after like an year and wow you've made so many touhou videos!! We're glad you enjoy them.
You probably already know this, but from a Touhou fan's perspective, the music isn't really considered same-sounding because Touhou game music is a genre of its own, and the sheer variety of different musical ideas, melodies, grooves etc that has been extracted from this single genre is what keeps me coming back.
Some of the decimal games are ZUN's collaborations with Twilight Frontier. They're mostly 2D fighters (think something like Guilty Gear), but this one is more of... "Cuphead except no run and gun stages" (and that one is probably because SFW was stuck in development hell due to various things, like COVID, so a bunch of stuff got cut). In these collabs (7.5, 10.5, 12.3, 13.5, 14.5, 15.5 and 17.5), only some music themes are made by ZUN, with others being made by Twilight Frontier staff.
1:14 He's going to listen to kobito of the shining needle eventually.
whats with all the bangers on the channel recently 🤣
In short, anything with a decimal count is a spinoff of sorts (fighting games, shooty games with a really weird gimmick, or 'photo games' where the goal is to make pictures of the boss while they are shooting a bazillion bullets at you. Yes, this is exactly as hard as it sounds), but is still an official Touhou game. In the fighting games in particular, ZUN still designs any and all new characters and their themes, but the actual game design is up to the alternate team's interpretation, as are the themes for any older characters. Thus you get things like this, where the song is obviously recognizable, but also very different. Speaking of, The music in the fighting games in particular tend to be WAY different from the average Touhou theme, generally sounding a lot more upbeat and a lot less chaotic. Special mention goes to Yamame's theme, "The Sealed Away Youkai - Lost Place" in its iterations from Subterranean Animism and Sunken Fossil World respectively.
4:07 "For those that don't know what's going on, this is happening. At least I'm pretty sure."
That's the stage, not the boss, so no. A completely different track plays at that point, "もうドアには入れない".
I said this on the previous Touhou video too, but I'll just say again that I don't recommend watching the gameplay at the same time for 2 reasons:
1. Captivating visuals steal attention away from already busy music, so you miss details (esp. when recordings only have 1 loop, like in this video).
2. Pulling up a separate gameplay video means visuals are not synched well (if at all), giving the wrong impression of the context of the music.
Touhou visuals and music usually go very well together, but it's a lot to take in. To me, one of the appeals of VGM reactions is the lack of visual context placing the focus solely on the music, giving insights you wouldn't otherwise gain juggling attention between visuals and music. The effect is even more pronounced with a game whose visuals are as enamouring as Touhou's.
I haven't listened to the 17.5 remix of her theme, but I wasn't expecting the EWI section during the chorus! That was really cool.
She is also the final boss, and the only final boss to show up twice in the same game as a boss, no less a extra stage boss, the only other times were in pc-98 with rika and alice and even then neither were the final boss
The character in the image of the first video is Hakurei Reimu, the main character of Touhou. The character on the right of the second video is Okina Matara, the Secret God who this theme belongs to. The whole numbered games are the main series. The .5 games are spinoffs, of which there are two types, one being spinoffs by ZUN and one being fighting games by Twilight Frontier. Gouyoku Ibun is the latter (Though actually, it's the first game by them that's technically not a fighting game, there's no PVP its just a game with a fighting game style story mode).
Personally, Touhou 16 Hidden Star in Four Seasons is the game with my least favorite music in the series. Secret God Matara has grown on me though. Okina Matara is unique in that she's the first Extra boss in the series that isn't an original character, instead she's also the final boss of the game, but now unveiling her true power as you've actually gained the ability to stop her this time.
The decimal games are the side games. Often (not always) they are collabs between ZUN and various members of the community. However, this doesn't mean that they aren't canon.
In the case of 17.5, it appears to play like the fighting games, but with the manipulation of water on the field as the main gimmick. We're essentially diving back into Former Hell for this one. I'm not sure if it's single player only, or if there's a multiplayer versus mode. Most of the soundtrack is pretty chill, except for the final boss, who has two themes all to herself.
As for 16: the theme of the game is the seasons are pretty much out of whack. And doors. Lots of doors. Three whole stages just stuck in the door dimension. And one of them is the Extra Stage.
I once did played touhou without music on, it throws me off balance quite a bit. Touhou sin't the same without the banger soundtracks accompanying the chaos happening.
When I have played without music i will get to certain parts of the games where attacks sync up with the music and 90% of the time will start humming it because its so engrained as part of the attack
Secret God Matara is definitely one of the coolest "new" touhou song. Okina is also one of the coolest touhou character. Hopefully he will listen to Concealed in four season
Man i love how you still react to tohou some people just react to 1-5 music and give up proud of you man
in Music Room, you can play endless loop of main menu themes, stage themes, boss themes, and credit themes, also comments from ZUN, his thoughts about that theme.
Btw Okina is the girl with orange outfit in the second video's art, the red girl is our main character.
The Point Five is treated as a spin-off in terms of the game system, but in terms of story and setting, it is just as important as the works with integer numbers.
Yay, he covered the theme of one of my favorite 2hus!
Got 6 hours to kill until Risk of Rain 2 DLC and i feel confident this will kill 20 minutes
Its not about the size of the girl, but he size of the hat they wear, you know inverse Warhammer 40k rules.
So, the .5 games are the fighting game spin offs. The fighting games are handled by a studio other than ZUN, but as far as the mainline games, ZUN does *everything* (unless something has changed recently I'm unaware of), design, music, programming, art, everything.
the .5 games are official spinoffs
Almost all the BGMs that exist in the whole Touhou music scores are all made by ZUN himself. And lots of them are all but renditions of the previous BGM over the years, depending on the game.
A thing that helped into Touhou series' influence is that there is no Copyright, you can create and monetize what you want about Touhou
(Sorry for my english :| )
The copyright of Touhou is owned by Team Shanghai Alice, and the rights holder ZUN allows derivative works based on the guidelines.
Derivative creations based on the guidelines may only be done by non-profit individuals or doujin circles, and if a for-profit organization creates derivative works, individual permission is required.
However, it is possible for doujin circles to generate income.
It is a lie to say that there is no copyright.
@@user-samhag55a lie or a mistake 🤷♂️
The first Touhou I ever 1 CCed, now I 1CCed every modern Touhou games except 15 and 12.
You can find arrangements on touhou.arrangement-chronicle.com website, so for this specific theme alone there is 166 arrangements from 100 Circles (fan groups) into 158 Albums, annd it's probably low ballin since it doesn't count all the no-CD works.