Orchestral Bombing: Difference between revisions

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* Happens quite literally in ''[[V for Vendetta]]'', where the titular V plays Tchaikovsky's "1812 Overture" over London's public address system when he blows up the Old Bailey and the Houses of Parliament.
* Happens quite literally in ''[[V for Vendetta]]'', where the titular V plays Tchaikovsky's "1812 Overture" over London's public address system when he blows up the Old Bailey and the Houses of Parliament.
* Used during the [[Earthshattering Kaboom]] at the climax of ''[[Damnatus]]''.
* Used during the [[Earthshattering Kaboom]] at the climax of ''[[Damnatus]]''.
* Used pretty-much constantly in ''Trinity and Beyond: The Atomic Bomb Movie''. With tons of [[Ominous Latin Chanting]]. More than justified, since it has pretty much an hour of nuclear explosion footage. I definitely heard Dies Ira, and I think I heard Die Valkyrie.
* Used pretty-much constantly in ''Trinity and Beyond: The Atomic Bomb Movie''. With tons of [[Ominous Latin Chanting]]. More than justified, since it has pretty much an hour of nuclear explosion footage. I definitely heard Dies Ira, and I think I heard Die Valkyrie.


== [[Literature]] ==
== [[Literature]] ==
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* ''The 1812 Overture'' itself! To quote [[Calvin and Hobbes|Calvin:]]
* ''The 1812 Overture'' itself! To quote [[Calvin and Hobbes|Calvin:]]
{{quote|"Gee, and I thought classical music was '''boring!'''"}}
{{quote|"Gee, and I thought classical music was '''boring!'''"}}
** Two words: Cannons firing. That's not a glib comment; that's actually ''part of the musical instruction''. Yes, the piece, when properly performed, actually uses ''cannons'' as part of the orchestra. Ya know, since the 1812 Overture was originally written to mark Russia valiantly defending Moscow against Napoleon's seemingly unstoppable horde. Which makes it even ''more'' [[Crowning Music of Awesome]].
** Two words: Cannons firing. That's not a glib comment; that's actually ''part of the musical instruction''. Yes, the piece, when properly performed, actually uses ''cannons'' as part of the orchestra. Ya know, since the 1812 Overture was originally written to mark Russia valiantly defending Moscow against Napoleon's seemingly unstoppable horde. Which makes it even ''more'' [[Crowning Music of Awesome]].
* Gustav Holst wrote the ''Mars, Bringer of War'' segment of ''[[The Planets]]'' suite before World War I had started, but it depicts the brutality and scale of its mechanized warfare brilliantly. John Williams certainly had it in mind - see the ship chase at the opening of ''[[Star Wars]]'' Episode IV.
* Gustav Holst wrote the ''Mars, Bringer of War'' segment of ''[[The Planets]]'' suite before World War I had started, but it depicts the brutality and scale of its mechanized warfare brilliantly. John Williams certainly had it in mind - see the ship chase at the opening of ''[[Star Wars]]'' Episode IV.


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* In ''[[Metal Gear Solid]] 3: Snake Eater'', the final boss fight takes place in a field of white flowers and has a 10 minute time limit. If you have not defeated your opponent by that point, you both get killed in an air strike. The fight starts with no music at all, but after 5 limit an instrumental version of the games main theme, which you have heard several times at that point, starts playing and you know that if you don't have won by the final note, you'll be dead.
* In ''[[Metal Gear Solid]] 3: Snake Eater'', the final boss fight takes place in a field of white flowers and has a 10 minute time limit. If you have not defeated your opponent by that point, you both get killed in an air strike. The fight starts with no music at all, but after 5 limit an instrumental version of the games main theme, which you have heard several times at that point, starts playing and you know that if you don't have won by the final note, you'll be dead.
* An orchestral version of [[Crowning Music of Awesome|Beyond The Bounds]] plays during an epic air siege in ''[[Zone of the Enders]]: The Second Runner''.
* An orchestral version of [[Crowning Music of Awesome|Beyond The Bounds]] plays during an epic air siege in ''[[Zone of the Enders]]: The Second Runner''.
* Given the huge number of remixes and styles incorporated in the ''[[Super Smash Bros]]'' series, pure statistics alone dictate that a ludicrously epic orchestral piece will be playing in the background at some point.
* Given the huge number of remixes and styles incorporated in the ''[[Super Smash Bros.]]'' series, pure statistics alone dictate that a ludicrously epic orchestral piece will be playing in the background at some point.
* ''[[Super Mario Galaxy]]'s'' soundtrack is 90% orchestrated (same for the sequel), and has this all over the place in varying degrees, but the best examples would have to be [http://www.youtube.com/watch?v=lYsp_U8zs9s every] [http://www.youtube.com/watch?v=IIiTjopLP2I single] [http://www.youtube.com/watch?v=A9cmUFBQK2E Bowser] [http://www.youtube.com/watch?v=Z2GHF8icAXI battle theme.]
* ''[[Super Mario Galaxy]]'s'' soundtrack is 90% orchestrated (same for the sequel), and has this all over the place in varying degrees, but the best examples would have to be [http://www.youtube.com/watch?v=lYsp_U8zs9s every] [http://www.youtube.com/watch?v=IIiTjopLP2I single] [http://www.youtube.com/watch?v=A9cmUFBQK2E Bowser] [http://www.youtube.com/watch?v=Z2GHF8icAXI battle theme.]
** [http://www.youtube.com/watch?v=XvnpWMxsc2g Melty Monster Galaxy] from ''[[Super Mario Galaxy 2]]'' is downright ''magnificent'' in all its orchestrated glory.
** [http://www.youtube.com/watch?v=XvnpWMxsc2g Melty Monster Galaxy] from ''[[Super Mario Galaxy 2]]'' is downright ''magnificent'' in all its orchestrated glory.
* ''[[The Legend of Zelda: Skyward Sword]]'' has this trope in spades, fittingly enough coming from the same music team behind the ''Galaxy'' games. While the overworld themes are surprisingly low-key(with the exception of the Sky theme), the boss themes in particular are particularly bombastic.
* ''[[The Legend of Zelda: Skyward Sword]]'' has this trope in spades, fittingly enough coming from the same music team behind the ''Galaxy'' games. While the overworld themes are surprisingly low-key(with the exception of the Sky theme), the boss themes in particular are particularly bombastic.
** The overall theme, ''Ballad of the Goddess'', starts with a solo [[Harp of Femininity]] (appropriately enough), and after about 45 seconds launches into epicness.
** The overall theme, ''Ballad of the Goddess'', starts with a solo [[Harp of Femininity]] (appropriately enough), and after about 45 seconds launches into epicness.
* [[Super Smash Bros|Super Smash Bros. Brawl]] has [http://www.youtube.com/watch?v=PLJuT8zPmvA Final Destination], which is both this and [[Ominous Latin Chanting]].
* [[Super Smash Bros.|Super Smash Bros. Brawl]] has [http://www.youtube.com/watch?v=PLJuT8zPmvA Final Destination], which is both this and [[Ominous Latin Chanting]].
* ''[[Bioshock]]''. When you place the third (out of four) picture in the art collab, the already unstable Sander Cohen freaks out and, in a fit of instability, orders his henchmen to kill you. Cue the [[Crowning Moment of Awesome]] as you beat the living crap out of splicers who seem to come out of [[Hammerspace]]. You'll be symponizing a bloody massacre while Waltz of the Flowers blares throughout the studio for minutes, though odds are that you'll be done by 2:44.
* ''[[Bioshock]]''. When you place the third (out of four) picture in the art collab, the already unstable Sander Cohen freaks out and, in a fit of instability, orders his henchmen to kill you. Cue the [[Crowning Moment of Awesome]] as you beat the living crap out of splicers who seem to come out of [[Hammerspace]]. You'll be symponizing a bloody massacre while Waltz of the Flowers blares throughout the studio for minutes, though odds are that you'll be done by 2:44.
* The action themes in the later ''[[Syphon Filter]]'' games.
* The action themes in the later ''[[Syphon Filter]]'' games.
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