In it, the lines "Painful tainted birth," and "He invited death" alluded to Professor Hojo's horrific creation of Sephiroth. The lines also pertained to Sephiroth's path towards destruction. Moreover, the lines "Come, my son" and "Give me death once more" alluded to his eventual return in Advent Children.
As fans recall, the film showed how the Remnants of Sephiroth orchestrated his return. Being a vessel of death, Sephiroth will now attempt to transform Gaia itself into a meteor. Despite the popularity of One-Winged Angel, it might surprise fans to realize that this isn't necessarily Sephiroth's true theme. Sephiroth's theme - "Those Chosen by the Planet" - is a more somber yet equally dark track that describes his slow misconstrued version of the truth of being "the last Cetra. These include the melodies of the lines "Come, come O come, Do not let me die" as well as "Fate - monstrous, And empty" heard throughout the song.
People who hear One-Winged Angel for the first time will marvel at how Uematsu unified what at first glance seemed like wholly unrelated sections. However, Uematsu would agree with fans who realized they can split the track into different segments. In fact, this was entirely the basis of One-Winged Angel's development.
Uematsu had no preconception to the final version of One-Winged Angel while he created it. Uematsu explained that he felt bored with the idea of songs always having an introduction, a chorus, and an ending. As such, Uematsu deviated away from this formula and just wrote down musical measures that came into his head everyday. By the time he created 20 to 30 different measures, he simply rearranged them. This puzzle piece method created the wonder that was One-Winged Angel - and it's the only track created with this method so far.
It's one thing to listen to one of many iterations of Nobuo Uematsu's iconic Victory Fanfare. However, it's another wonder entirely to listen to a wondrous orchestra like that of One-Winged Angel. It's all the more notable that Uematsu hasn't been in an orchestra nor received training prior to One-Winged Angel's creation. Some versions of the album contain a hidden pregap track accessed by rewinding from the start of the album. This track is an instrumental version of "One-Winged Angel".
Instead of being the encore, "One-Winged Angel" opens the concert. A live recording of "One-Winged Angel" from at the London premiere of the concert of the same name on February 15, , conducted by Arnie Roth, is included on this album. The first movement of the symphony, titled "Nibelheim Incident", is based on Sephiroth. The 3-note motif of Sephiroth is used throughout the first movement as an element of structural integrity.
In the final phase "The One-Winged Angel" emerges before gradually distorting as all of the earlier themes are gradually built on top of each other. This distortion is a reflection of Sephiroth's internal chaos as he becomes aware of his past. In the end of the movement things slow down. As Sephiroth is reborn, the familiar pulse is heard "in almost spiritual context". The remixes of the theme feature shorter intros, leading almost immediately into the Latin vocals, and the vocals as a whole are more prominent than in the original version.
Sephiroth's trailer, itself titled "The One-Winged Angel! The final notes from this song were also used as Sephiroth's victory theme. It is one of the more powerful Keyblades that can be obtained, and is modeled after Sephiroth's Masamune. In Final Mix , it is obtained by defeating Sephiroth, while in Chain of Memories and its remake, it can be found in the Room of Rewards.
In Kingdom Hearts HD 2. Here, the only lyrics featured is the word "Hamburger" played comically when Sephiroth appears in the skit. In the video game Hyperdimension Neptunia Victory , "One-winged angel" is the name of a quest client.
Professional wrestler and avid video game fan Kenny Omega has named his finishing move after the theme. The developers experimented with the song and took the recording of it and reduced it in a way it would fit the game; Composer Nobuo Uematsu has mentioned that "One-Winged Angel" is a good example of an experimental song, or a result that they didn't expect from the beginning.
Having composed many battle themes for the series before, Uematsu wanted to create something new and unique for "One-Winged Angel". Uematsu has also said he had wanted to fuse "musical styles of Russian composer Igor Stravinsky and rock musician Jimi Hendrix" with the song.
Uematsu has also said he wanted to create something that would sound like '60s or '70s rock music performed by a full orchestra, and for the piece to have the same destructive impact as rock music. It felt too boring to start the piece with an introduction, followed by melody A, melody B, a chorus and an ending, like most songs. I wanted to make something different, structurally. So without any preconceptions about how the song would turn out I wrote down two to four measures of music that popped into my head every day until I got about 20 to 30 different measures.
Then I took those different pieces and rearranged them to fit together well. That process of placing these various two-to-four measure pieces of music is how I composed 'One-Winged Angel'. Uematsu had not been trained or been in an orchestra prior to composing "One-Winged Angel", but he wanted to keep the orchestral music atmosphere and be able to "rock it" and have a thick orchestral feel to it. He had samples of stuff he had prepared for the orchestra, but in the end he ended up just giving it over to them and seeing how they could perform it.
So I still think "One-Winged Angel" is a rock piece. The name of the theme refers to Sephiroth's appearance in the final battle, as well as his role in the story. In the non-canonical pseudepigraphical work, the Testament of Solomon , a one-winged demon named Abezethibou is summoned by King Solomon.
Usually accompanied by the stock phrases "No one who's witnessed this form has lived to tell the tale! Sometimes you never even fight their human form at all and they immediately turn into a monster. Can count as The Unfought if they showed fighting ability in their human form. This is more popular among minor video game villains who will often transform into tougher versions of earlier monsters like in the Breath of Fire and early Final Fantasy games, as a unique battle sprite for them would take up extra development time and storage space on the cartridge one unique boss could take the space of several mooks, more with the use of a Palette Swap.
Interestingly, heroes, particularly transforming characters , have been known to occasionally use this "turn into a big scary monster" tactic for their Super Modes as well.
It's extremely rare for it not to cross into Superpowered Evil Side territory. And for those with firmer morals, this qualifies the villain as a monster, making it fine to kill him. One way to defeat a villain who became giant is to become one yourself. A fight of giants can be even worse than a single giant, but it may be done anyway if there are no other options left. Super Mode is a sister trope. When the transformation is caused by the character's pain or anger it's Hulking Out.
For when the transformation is the villain dropping their humanoid disguise and assuming their true, more powerful form, see This Was His True Form. Not to Be Confused with Broken Angel.
Before adding examples, please be aware that this trope is not about just transforming into a monster.
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