| Game | Genre |
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|
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|---|---|---|---|---|---|---|
| ACN |  (ACN Y1 only) |
★4 (158) |
★6 (221) |
★6 (338) |
★10 (787) |
- |
79-158
parous (Parousia)Between August and September 2020, four unique tunes for the Variety genre (Game&Variety, back then) were introduced on consecutive Saturdays, brought along with an official blog entry collecting the involved artists' impressions of their own craft, as well as the ones for their respective Taiko notechars' makers. Between REDALiCE's ALiVE, Jun Kuroda's waitin' for u and t+pazolite's Dogbite, these still-arcade-exclusive picks have been observed by us on our own turf, with the final of such tunes being today's topic at hand...
Parousia (from the Greek παρουσία, "presence"), the term to title one of the many BMS contest entries by Yusuke 'xi' Ishiwata, refers for the Christian religious creed to the awaited second coming of Jesus Christ on Earth, as appointed in apostle John's Book of Revelation (or 'Book of the Apocalypse'), the final book of the Holy Bible's New Testament. To further drive home the religious influence onto the molded song, the original BOF 2011 contest entry for Parousia brings up a passage from the same Book of Revelation on the anticipated return of the religion's messiah, set to dispel evil and reign on Earth for 1000 more years, only to bring salvation to all Christians into heaven once the earth's final day will come. The song itself is also labeled under the "Apocalypsis Johannis" genre, which is Latin for "John's Apocalypse", the other name for the Book of Revelation and his writer among Jesus Christ's 12 apostles. The idea of xi behind this song is to deliver an upmost-solemn mood with the explosive "power of rust" that Dubstep music mixed with his usual piano-based style can deliever, as penned by the same composer on the related interview post on the official Taiko blog (our coverage).
While making it on the Score-judgement podium of the BMS of Fighters contest it has joined, Parousia received a lob-sided 9th place on median, while garnering quite the following in music gaming over the years. Strong of being the title-bearer for xi's 1st solo album release (which has also housed the song's extended version for the first time), it was ported into bemani's SOUND VOLTEX and Sega's CHUNITHM, strong of the already-plentiful mobile gaming ports scored across Rayark games (Cytus; Deemo and sequel). Charting the song for Taiko was SueP, already familiar with xi drum-charting after the past work on Namco Original Shippudotou. Parousia even got some post-music gaming ports action thanks to the nicknamed Blacklolita, remixing the song for xi's 5th solo album Quietus Ray.
Sure, to the eye of the four-years-on-Nijiiro player its top-starred mode might fall behind due to the really approachable BPM pace lead, but compound clusters of 1/12s-1/16s unite can and might find their way through some careless misses, or even overthinking the right handswitching approach to tackle it, for those not letting mnemonics do the heavy lifting.
