I keep my PS5 locked in performance mode and One Piece Odyssey was not only up to the task, it did so without sacrificing any of the game’s impressive visual quality.Ī notable example would be the detail in Monkey D. While what happened with Brilliant Diamond and Shining Pearl isn’t clear (for my part, I thought they were fine), one definitely cannot point to a lack of skill on ILCA’s part because One Piece Odyssey is packed with stellar design both visually and in performance. Those remakes received a tepid reception, notably for some old mechanics and performance issues.
The studio the big leagues in 2021 when they were revealed to be the studio behind the Pokémon Diamond and Pearl remakes. This paper elaborates on non-spectralist influences on this work's harmonic language, analyzes the effectiveness of the tensions created within and between two main harmonic systems employed in the work (chromatic 12EDO and 72EDO used to closely approximate the overtone spectrum), and explores the various ways in which Haas exploits microtonality to amalgamate and dichotomize the harmonic systems at play.Before diving too deeply into the One Piece of it all, it is important to talk first about the developer ILCA (I Love Computer Art). This 30-minute work from 2010 is subtitled "concerto for six pianos in twelfth-tones and orchestra." By retuning five of the pianos, a complete scale with seventy-two equal divisions of the octave (72EDO) is accessible. The title for his work, limited approximations, is an expression of the necessity to temper even very finely tuned systems of pitch.
In whatever style he is writing, Haas regularly uses equal divisions of the traditional semitone, such as quarter-and sixth-tones, to approximate overtone spectra. Georg Friedrich Haas, a composer known for his use of microtonality, is often associated with spectralism, but he is also heavily influenced by other microtonal traditions, as well as 12-tone atonal styles.
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