The Greatest Game Music - Page 2 of 24 - Reviews of truly outstanding game music

Dick Tracy Soundtrack (Game Boy)

Dick Tracy Soundtrack (Game Boy), George Sanger, 1991

The success of Tim Burton’s 1989 Batman kicked off the first wave of comic-book movies to hit cinemas. Warren Beatty’s Dick Tracy – released the following year – might have looked like it was riding on the caped crusader’s coattails, but in fact the project had been in development since the early 1980s. It turned out to be one of the decade’s more artistically and financially successful comic book movies, with its extravagant visual design drenched in primary colours still impressive decades later. Unfortunately, none of the film’s many video game adaptations – mostly for 8-bit platforms – could hope to match that kind of visual splendour.

Prolific developer Realtime Associates handled Dick Tracy’s NES and Game Boy versions – which meant gamers had another soundtrack from in-house composer George Sanger to look forward to. Interestingly enough, the NES and Game Boy ports turned out to be sufficiently different from one another to warrant one score for the NES game and another one for the Game Boy title. Of course, Sanger wrote both soundtracks, with the Game Boy one coming out on top. The NES version is jazzier, but in its adherence to that genre’s stereotypes, it’s also less interesting than the ambitious Game Boy equivalent. What also helps is that the compositions on the Game Boy score are significantly longer and more substantial than on the NES.

[Read more…]

Little Orpheus Soundtrack

Little Orpheus Soundtrack, Jessica Curry / Jim Fowler, 2020

Everybody’s Gone to the Rapture had been another commercial and critical success for The Chinese Room, but the following years saw the company going through a rough patch. Thankfully, after having to lay off all staff in 2017, directors Dan Pinchbeck and Jessica Curry bounced back soon enough when Sumo Digital acquired The Chinese Room, leading to 2020’s Little Orpheus. An Apple Arcade exclusive, Little Orpheus received acclaim for its substantial gameplay, outstanding presentation and original concept. The game follows the adventures of Ivan Ivanovich, tasked in 1962 with travelling inside the earth’s supposedly hollow interior to confirm whether it is fit for colonisation. After Ivan returns from his mission three years later, a tough-as-nails general interrogates him about what happened during his absence – and tries to figure out whether the fantastical tales of Ivan’s adventures could possibly be true.

As with other titles by The Chinese Room, Little Orpheus was a high-concept piece, channelling a number of influences and ideas. As such, it required a soundtrack that thoughtfully supported the game’s aesthetics and narrative. Jessica Curry had delivered these kinds of scores for several previous Chinese Room games. In the process, she had emerged as one of video game music’s leading composers through her impressively subtle and emotionally rewarding Dear Esther and Everybody’s Gone to the Rapture soundtracks – the latter deservedly netting her a BAFTA Award. After those games’ meditations on life and death, the Little Orpheus soundtrack was an opportunity for Curry to dabble in more colourful and brighter moods, with the game taking inspiration from Saturday morning B-Movie serials and classic adventure movies like Flash Gordon, Sinbad and The Land that Time Forgot.

[Read more…]

Psybadek Soundtrack

Psybadek Soundtrack, Mike Clarke, 1998

Including Psybadek in a list of “The WORST Playstation Game[s] Ever Made” (as a YouTube reviewer does) is probably taking things a bit far – remember that there were loads of horrendous shovelware for Sony’s console, particularly in its latter years. Still, Psybadek remains a bit of a mystery. Here’s a game by one of the 32-bit era’s most successful and trendiest developers (Psygnosis), released in between heavy-hitters by that company like the WipeOut, Colony Wars, Destruction Derby and Formula 1 titles – and according to both contemporary and more recent reviewers, Psybadek falls flat on its face, with nary any redeeming features. At least Psybadek’s mix of racing and platforming elements showed that the developers were thinking outside of the box, even if that genre combination was ultimately poorly implemented.

As Gamespot noted in their review though, there’s one aspect where Psybadek – unexpectedly – shines: its score. Their claim that “the soundtrack is easily one of the best in video games anywhere” might sound like hyperbole. However, this is indeed one of the era’s strongest electronic game scores and far better than what you would expect to find in a game with such an otherwise poor presentation. Thanks be to veteran composer Mike Clarke, who had delivered numerous soundtracks for Psygnosis since the early 1990s, including one of the best metal scores ever to grace a video game: Formula 1.

[Read more…]

Last Ninja 2 Soundtrack (C64)

Last Ninja 2 Soundtrack (C64), Matt Gray, 1988

The Last Ninja had been a multi-million smash hit, so developer System 3 didn’t upset the apple cart when they created Last Ninja 2: Back with a Vengeance. The main novelty was the change of scenery: protagonist Armakuni is mysteriously transported from feudal Japan to 20^th-century New York City, where he has to defeat evil shogun Kunitoki once again. The new locales added just the right amount of innovation, while the core gameplay largely remained the same. However, System 3 also tweaked and improved important aspects of the formula it was following – better sprite animation, more locations and a greater number of puzzles. The result? A whopping 5,5 million copies sold and ports for the Amiga, Atari ST, NES, ZX Spectrum and MS-DOS following in due course. And let’s not forget the confusingly titled Last Ninja Remix, a slightly enhanced re-release of Last Ninja 2 for 8-bit computers.

Ben Daglish and Anthony Lees’ work for The Last Ninja was one of that game’s main selling points, channelling the required sense of Eastern mysticism into one of the most energy-packed and dense 1980s action game soundtracks. Anthony Lees wrote some material for Last Ninja 2, which unfortunately was rejected by the developer, who deemed it unsuitable for the style of the game. In stepped composer Matt Gray, who had already worked on a handful of 8-bit game scores since entering the industry in 1987. However, Last Ninja 2 was his biggest assignment yet, which he landed after System 3 had made him their in-house composer based on his impressive, quickly composed loading track for Bangkok Knight. After three more years of game scoring, Gray became a dance music producer and remixer, co-creating songs for the Pet Shop Boys, Kylie Minogue, Girls Aloud, Sugarbabes – oh, and Cher’s “Believe”.

[Read more…]

The Last Ninja Soundtrack (C64)

The Last Ninja Soundtrack (C64), Ben Daglish / Anthony Lees, 1987

The Commodore 64 is home to more than a few legendary titles and The Last Ninja is no doubt part of that select group. However, its development turned out to be an unexpectedly protracted affair after the initial group of developers – Budapest’s SoftView – were unable to make progress on the project. System 3’s Mark Cale took the code back to London, with the game’s engine then rewritten for the C64 by John Twiddy. Cale’s vision for the project was an ambitious one. He envisaged an isometric ninja adventure that would create a far more expansive world for gamers to explore than what your regular C64 game accomplished. Blending exploration, adventure elements and arcade-style combat, The Last Ninja struck a chord with both critics and the masses, going on to sell about four million copies (according to Cale) and kicking off a massively successful franchise.

Like the game itself, The Last Ninja soundtrack has become the stuff of legend, again excelling on a platform that had no shortage of outstanding music. Scoring duties fell to the duo of Ben Daglish and Anthony Lees. Daglish had already built a sizeable portfolio of 8-bit computer soundtracks and was well on his way to becoming one of the most heralded game composers of the decade. Lees’ involvement was more of a surprise. He had entered a competition (run as an April Fool’s Day joke) by ZZAP! 64 magazine and his winning composition drew the attention of Cale. Lees would later write music for Last Ninja 2, but his score was rejected as the developers found it didn’t suit the style of the game. Many of the 16-bit computer games Lees would later write for unfortunately remained unpublished, before he retired from the game music scene.

[Read more…]