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On the other hand, “Soul Seeds” and “The Onslaught” are rather generic dark pump-up tracks, and they’re also too short to be memorable. The atmospheric “Dying World” is fairly dark and oppressive with some unique stylings to it, and it certainly is one of the more interesting tracks on the album. “Lost Souls – Caius & Yeul” is a pretty good as a dramatic rendition of “Caius’s Theme”, but can also be a bit empty at times.
At the halfway mark the track changes completely into an atmospheric track with a couple horror movie-esque moments, though it’s not very melodic or memorable outside of its screeching climaxes. “The Captive Saint” begins with a piano rendition of “Vanille’s Theme”, which steadily becomes mysterious as other instruments join in. The album also includes songs from cutscenes that were not on the original soundtrack. But for some reason, the vocals are only on the right channel, which might frustrate some listeners. The Japanese version of “The Savior’s Words” is also included, with a vocalist that sounds remarkably similar to Wollny Andreas on the English track. It’s perfectly adequate, and some may prefer it over the original as a matter of taste.
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“Desert Lullaby” is here in full as an instrumental, with Gabe McNair’s vocal replaced by a flute. This time the focus is those synth strings with some attempts at drama, but it’s all too sparse to leave an impression, even as it recalls “The Promise” from the first game’s soundtrack.
In a similar fashion, “Snow’s Theme – Final Words (Complete Mix)” also has an instrumental introduction added to the original track.
“Sazh and Dajh (Complete Mix)” has a minute of new material, with some eerie but meandering piano and cheap sounding strings that eventually give way to the bright and bouncy original theme. Some of the alternate tracks have more substantial changes, mostly taken from cutscenes in the game. “Death Game (Synthesizer Ver.)” is a bit better, trading the harder rock elements of the original for synthesizers, but the structure and overall atmosphere of the track is identical to the original, so it’s not really a big deal. Tracks like “High Voltage (Game Ver.)” and “Dead Dunes (Live Edit Ver.)” feel very redundant, having such minute changes that they just come off as repeats. The use of the Overclock sound is a nice dramatic touch, and although it doesn’t come close to surpassing the original, its at least not as pointless as the later “Lightning Returns (Aggressive Mix)”, which only features that opening percussion for its duration. Once it launches into the melody, it’s a bit of a reduced variation on it, and before the track really gets to go anywhere, it finishes with a new outro. This track mainly features an extended introduction focusing on percussion. Opening the album is a trailer version of “Lightning Returns”. The album includes a number of alternate versions of tracks from the original soundtrack.
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It doesn’t help that the Lightning Returns soundtrack was one of the weaker entries in the series to begin with, making for a supplementary album that is largely lacklustre.
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These PLUS releases have drawn criticism for not presenting enough worthwhile material, and that criticism applies to this album as well. Lightning Returns: Final Fantasy XIII Original Soundtrack PLUS is a supplement to the original soundtrack for Lightning Returns: Final Fantasy XIII, containing some alternate versions of songs amongst other tracks that didn’t make it into the original soundtrack release. Final Fantasy XIII -Lightning Returns- Original Soundtrack PLUS
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