Hero Quest Soundtrack (ZX Spectrum)

Hero Quest Soundtrack (ZX Spectrum), Barry Leitch, 1991

Board games are arguably easier to turn into video games than, say, films. They already function as games, have a set of clearly defined rules, and often feature just enough backstory to establish their worlds efficiently. The sheer number of Dungeons & Dragons video games is testament to the close connection between the two forms. Naturally, the success of Dungeons & Dragons inspired others to follow in its footsteps. In 1989, American board-game manufacturer Milton Bradley tried its hand at a fantasy-themed title called Hero Quest. Despite its generic presentation, the game proved fairly successful around the world, spawning several expansions, new editions, and even novels.

The inevitable video game adaptations of Hero Quest arrived in 1991 on several home computer systems and the NES. Developer 221B Software Development handled the computer versions, while Eurocom looked after the NES game. Unfortunately, that version was ultimately cancelled and never officially released. As for the various computer ports, they were received reasonably well by games journalists, though reviews ranged from very strong to merely middling. While some welcomed the game’s accessibility, others bemoaned its low difficulty and the fact that Hero Quest adhered rather too closely to the mechanics of the original board game.

As with many other titles published by Gremlin Graphics, veteran game composer Barry Leitch wrote the Hero Quest soundtrack for the various computer platforms: Amiga, Amstrad CPC, Atari ST, Commodore 64, DOS, and ZX Spectrum. The project proved particularly challenging for Leitch, who was given only 30KB for the in-game music on the Amiga. As a result, he was forced to use the tiniest possible instrument samples: single-cycle waveforms, similar to the approach David Wise would later take on his Donkey Kong Country soundtracks. The effort was worthwhile, though. In an interview, Leitch ranked his Hero Quest in-game music among his ten favourite pieces.

Of the different versions of Leitch’s Hero Quest soundtrack, the ZX Spectrum port emerges as the strongest. As one would expect, the Amiga version sounds the most realistic and lavish. Yet it also suffers from a few niggling issues, including an occasionally piercing lead voice, particularly on “Title”, some ineffective orchestration choices such as the oddly placed electric piano on “In-Game 01”, and bass sounds that can become overbearing. The Atari ST version sounds almost identical to the ZX Spectrum score, which is ultimately disappointing given the Atari ST’s superior sound capabilities. Finally, the C64 version features only the title track in a faithful rendition that is pleasant in itself, but it cannot help sounding murkier and more bass-heavy than the ZX Spectrum score, making the composition’s intricate layering harder to appreciate.

Leitch has good reason to be fond of “In-Game 01”. The way it manages to ebb and flow organically, or almost organically, over seven minutes, with its melody continually reinventing itself, is deeply impressive. A gently fluttering ostinato forms the basis of the track, evoking a dream-like mood that perfectly suits adventures set in faraway lands. Leitch’s melodies are both subdued and majestic, straddling the divide between the expansiveness of classically inflected prog-rock lines and the direct appeal of great pop hooks. The cue builds for more than three minutes until it settles into a steady march rhythm, fully capitalising on the momentum accumulated so far, only to be cut off abruptly before returning to the pensive atmosphere of the opening, realised just as beautifully as before.

Throughout all this, “In-Game 01” rarely sounds especially adventurous. Instead, the Hero Quest soundtrack combines the lushness of its fantasy-inflected timbres, aided by Leitch’s technical ingenuity, with unexpectedly calm, even intimate strains. It is a surprisingly emotional composition, at times almost yearning, and it benefits immensely from the patience with which Leitch broadens its scope. Listen to how the soothing opening moves into a riding rhythm that heightens anticipation before heavier percussion joins at 2:35, accompanied by ominously rising and falling bass glissandi, and only then gives way to the main march section. There is no doubt that this is epic fantasy scoring, but it is realised through unusually quiet and intriguing means.

Leitch’s other two tracks on the Hero Quest soundtrack, “Title” and “In-Game 02”, are not quite as show-stopping, but they still maintain the score’s high level of quality. “Title” feels like a denser, more energetic companion piece to “In-Game 01”. A plodding melody, set over constant arpeggios and stately rhythms, gradually grows prouder and more animated as the cue progresses, while the music’s complexity increases until it surges forward with excitement. Once again, Leitch writes a constantly evolving melody that remains memorable in all its guises. It carries enough weight to suggest the gravitas of a grand fantasy adventure, yet remains agile enough never to drag.

“In-Game 02” feels like the Hero Quest soundtrack’s most straightforward chiptune composition, delivering a fitting, if somewhat low-key and reflective, close to the adventure through its anthemic melody lead and steady rhythms. The cue strikes exactly the right balance between heroic pride and wistful retrospection — a blend of emotions that Leitch articulates across the entire score, giving Hero Quest an individual character amid the mass of fantasy game soundtracks.