The Greatest Game Music - Reviews of truly outstanding game music

Dragon Quest VI Soundtrack (Mobile) – Review

Dragon Quest VI Soundtrack (Mobile), Koichi Sugiyama, 2015

Dragon Quest V was the first game in the franchise to hit a 16-bit platform. But while it sported one of the era’s more original and moving narratives, its presentation felt like a relatively minor upgrade over its NES predecessor. Thankfully, Dragon Quest VI fixed this particular issue. Released in 1995, Dragon Quest VI wholeheartedly embraced the SNES’ technical capacities, featuring far more detailed and colourful graphics. Players also got to enjoy a much larger game world, thanks to Dragon Quest VI’s ‘real world / dream world’ set up. Development duties passed from Chunsoft on to Heart Beat, founded in 1992 by Manabu Yamana, director of Dragon Quest III-V. Needless to say, Dragon Quest VI became the best-selling game of 1995 in Japan. On top of those 3.2 million SNES cartridges, it later also sold an additional one million copies on the Nintendo DS.

Of course, Koichi Sugiyama returned once more to deliver the Dragon Quest VI soundtrack. On this occasion, he was joined by two unusually famous collaborators: seasoned fellow game composers Hitoshi Sakimoto and Tsukasa Tawada, who handled sound design duties. Maybe as a result, Dragon Quest VI’s instrument samples are a marked improvement over those used on previous SNES Dragon Quest games. However, their quality is strangely inconsistent – listen to the watery strings on “Monsters” and “Eternal Lullaby”. Then again – as always – all eyes were on the orchestral arrangement of the score anyway, released less than two weeks after the game and once more performed by the London Philharmonic Orchestra. A re-recording with the Tokyo Metropolitan Symphony Orchestra followed in 2006. Compared to other games in the franchise, Dragon Quest VI received relatively few ports – to the Nintendo DS in 2010 and smartphones in 2015.

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Dragon Quest V Soundtrack (PlayStation 2) – Review

Dragon Quest V Soundtrack (PlayStation 2), Koichi Sugiyama, 2004

Considering just how big the Dragon Quest franchise has always been in Japan, it was a bit of surprise to only see it landing on the SNES in 1992 – maybe the last big 8-bit franchise to make the jump. Of course, once Dragon Quest V was released, it was another massive success for Chunsoft and Enix, selling 2.8 million copies on the SNES. Add in sales of its remakes (PlayStation 2 in 2004, Nintendo DS in 2008 and mobile phones in 2014) and the figure exceeds six million units.

For a franchise that has a reputation for not changing much from instalment to instalment, Dragon Quest V does try some interesting things. First and foremost, there’s the way its narrative is structured, covering thirty years of the main protagonist’s life, from birth to the point when he is married and has a family. And while Dragon Quest V didn’t invent the idea of collecting monsters (the Megami Tensei series had been there first), it was still a relatively novel concept that would soon become ubiquitous via the Pokémon franchise.

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Dragon Quest IV Soundtrack (Mobile) – Review

Since an internet search for screenshots of the mobile version’s cover came up empty, a screenshot of the PlayStation port’s cover has been used above.

Dragon Quest IV Soundtrack (Mobile), Koichi Sugiyama, 2014

It is to the credit of developer Chunsoft and publisher Enix that coming off the jaw-dropping success of Dragon Quest III, they decided not to play things safe with the next game in the franchise. Instead, they went to shake things up, going so far as to turn the game’s story into a series of initially unrelated chapters that introduce the various party members – before they all come together in the final chapter. Other innovations included day and night cycles, an early artificial intelligence system to give non-playable party members combat instructions, and the choice of which characters to use in battle. Dragon Quest IV turned into another million-seller for Enix – not quite as successful as its predecessor, but 3.1 million copies sold just in Japan for the NES original is not exactly a bad result either.

As per tradition, Koichi Sugiyama was back on board to score the Dragon Quest IV soundtrack. It turned out to be one of the most expansive NES scores ever written, clocking in at nearly a whole hour (looped). Sugiyama once more increased the breadth of the score, writing a theme for each world map, as well as several other location-specific compositions – on top of the pieces written for the usual suspects (town, dungeon, castle etc.)

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Dragon Quest III Soundtrack (Nintendo 3DS) – Review

Dragon Quest III Soundtrack (Nintendo 3DS), Koichi Sugiyama, 2017

While its predecessors had been immensely successful in their own right, it was really with 1988’s Dragon Quest III that the venerable franchise turned into a commercial juggernaut. The original NES game itself sold a staggering 3.8 million copies in Japan alone. Add in a few more million copies for the game’s various remakes and Dragon Quest III turns out to be the franchise’s most successful entry (it also spawned an urban myth about the Japanese government blocking future releases of Dragon Quest games on school days to curb truancy). The game itself didn’t revolutionise the JRPG genre, but developer Chunsoft still expanded upon the gameplay of the first two Dragon Quest titles with the introduction of a character class system. This feature would become a staple of future Dragon Quest games.

After Dragon Quest II’s music had been a marked improvement over its predecessor, Koichi Sugiyama returned for the Dragon Quest III soundtrack, further expanding its breadth and diversity. Sugiyama continued to move away from the template he had established on Dragon Quest I, now including a greater number of location-specific compositions (as opposed to using the same composition for each town / dungeon / castle etc.) The NES score’s quality remained somewhat patchy, but the soundtrack also featured several highlights such as the magisterial ending theme “Into the Legend”.

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T2: The Arcade Game Soundtrack (Sega Genesis) – Review

T2: The Arcade Game Soundtrack (Sega Genesis), Matt Furniss, 1993

Game developers certainly didn’t pass up the opportunity to make the most of the blockbuster juggernaut that was Terminator 2: Judgment Day. At the time the third-highest grossing movie worldwide (behind Star Wars and E.T. the Extra Terrestrial), James Cameron’s work prompted numerous video game adaptations. In fact, when Midway Manufacturing Company ported their arcade rail shooter Terminator 2: Judgment Day to home consoles, they had to change its name to T2: The Arcade Game, to differentiate it from the already existing T2 games. That didn’t stop Midway Manufacturing Company from porting the game to as many platforms as possible – even to those that don’t seem like obvious candidates for a rail shooter (the Game Boy?)

The arcade original, with its polished presentation, remains fondly-remembered. The reception of its many ports was fairly varied. The Genesis adaptation fared well enough, with reviewers agreeing it offered a fun opportunity to blast away at robots – as long as you didn’t mind the inherently limited rail shooter gameplay. As was often the case at the time, each port received an original soundtrack – and the Genesis game was lucky enough to be scored by Matt Furniss.

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