1997 Archives - The Greatest Game Music

Atlantis: The Lost Tales Soundtrack

Atlantis: The Lost Tales Soundtrack, Pierre Estève / Stéphane Picq, 1997

By the second half of the 1990s, French developer Cryo Interactive had found its niche: lavishly produced, Myst-style adventure games. The reception of these titles amongst critics remained somewhat ambivalent, but there’s no denying that Cryo’s approach was effective. Their most significant success might well have been Atlantis: The Lost Tales. Reviewers praised Atlantis’ visuals and intense atmosphere, bolstered by panoramic 360-degree first-person views of the pre-rendered environments and significant amounts of pre-recorded speech. At the same time, perceived gameplay flaws once again often resulted in average scores. That didn’t stop the game from selling more than 300,000 copies by late 1998, starting a franchise that would generate four more titles in future years and outlast Cryo itself.

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Blast Corps Soundtrack

Blast Corps Soundtrack, Graeme Norgate, 1997

Developer Rare arguably rose to fame and worldwide success with its Donkey Kong Country trilogy. However, it’s usually the Nintendo 64 era that is considered Rare’s golden age – no surprise, as the company seemed incapable of not churning out classic after classic for a while. That winning streak began with Blast Corps, released just in time for the console’s launch in Europe. The title was based on an idea by Rare founder Chris Stamper. For years, he had wanted to make a game about destroying buildings – simple as that. Beginning production in 1996, a team of just four developers (sometimes expanded to seven) fitted a gameplay concept around this idea: a nuclear missile carrier was out of control and steamrolling ahead on autopilot. To clear the way, the player controls an array of sometimes bizarre vehicles (including a giant one-armed robot with a rolling attack).

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Bounty Sword First Soundtrack

Bounty Sword First Soundtrack, Kohei Tanaka, 1997

Before Final Fantasy Tactics’ success, releases of turn-based strategy games in the West were far and few between – most of these titles were only ever released in Japan. One such game was 1995’s Bounty Sword for the SNES. Set in the year 4093, the game nonetheless featured a medieval-themed fantasy look beautifully realised through detailed 16-bit visuals. Bounty Sword’s gameplay was a bit of an oddity though. Gamers’ input into battles was minimal – they would set their units’ strategy before the fight began. After that, all they could do was command soldiers to use special moves. Even amidst the general interest for hidden late-era SNES treasures, Bounty Sword has remained obscure – and even less well-known was its PS1 remake Bounty Sword First. Ambitiously envisaged as the beginning of a trilogy, only one sequel (Bounty Sword: Double Edge) was released.

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Dark Law: Meaning of Death Soundtrack

Dark Law: Meaning of Death Soundtrack, Satoshi Nagano / Michihiko Shichi, 1997

By 1997, the SNES software supply has dwindled to a trickle – but intriguing new games for the ageing console still popped up here and there. One such title was developer Sakata SAS’ Dark Law: Meaning of Death, the sequel to 1991’s Dark Lord. While the premise of its fantasy narrative was fairly pedestrian (ancient evil returns – and kidnaps the damsel in distress!), Dark Law surprised with its unexpected take on RPG gameplay tropes. Focused less on combat and more on exploration and puzzle-solving, Dark Law was considerably less linear than most other JRPGs. Instead of following a clearly delineated path, gamers would select from a series of short stories or scenarios that ultimately became connected. And true to its ominous name, Dark Law: The Meaning of Death dealt with unusually sombre subject matter (at least for a 16-bit RPG).

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GoldenEye 007 Soundtrack (Nintendo 64)

GoldenEye 007 Soundtrack (Nintendo 64), Grant Kirkhope / Graeme Norgate, 1997

It’s no exaggeration to say that GoldenEye 007 was a game-changer. By the mid-1990s, games based on movies had (justly) developed a disastrous reputation, and the fact that GoldenEye 007 was released a full 18 months after the film didn’t help matters. And of course, this was a first-person shooter designed for a console, rather than for a PC – back then, the natural home for FPS titles. But in the end, none of this mattered. GoldenEye 007 went on to sell more than eight million copies, becoming one of the most successful games of its console generation. Its reception among reviewers was just as enthusiastic, and there’s no doubt GoldenEye 007 has left a lasting legacy – who could forget its legendary multiplayer mode? Not bad for a title developed by an inexperienced team that spent a full three years completing the game.

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Little Big Adventure 2 Soundtrack

Little Big Adventure 2 Soundtrack, Philippe Vachey, 1997

Little Big Adventure had won gamers’ hearts with its charming, open-ended fantasy world. Fans didn’t have to wait too long for a sequel to hit store shelves. In May 1997, Little Big Adventure 2 was released and even better received than the first game. Gamers hoping for a title that was bigger and better still than Little Big Adventure were duly rewarded. Little Big Adventure 2’s world was significantly larger than that of its predecessor and even included multiple planets.

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Nessa no Hoshi Soundtrack

Nessa no Hoshi Soundtrack, Kiyoshi Yoshikawa, 1997

The 32-bit era deserves to be remembered as one of gaming’s most experimental periods. Moving from two-dimensional pixel-based graphics into the polygonal 3D space forced developers to get creative and develop new gameplay concepts – sometimes through what feels in retrospect like try-and-error. One such experiment that now seems somewhat bizarre was Nessa no Hoshi. The game was an incongruous mix of first-person adventure and 3d-fighting games. The fact that Nessa no Hoshi was set on an alien desert planet might explain the game’s less than appealing graphics, presented in many dreary shades of brown. Still, there was significant ambition behind this game. It made extensive use of full-motion videos, to the point that Nessa no Hoshi was published on two CDs. The fact that developer Itochu was part of one of Japan’s largest companies might explain the surprising amount of resources invested into the game.

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Raiden DX Soundtrack (PlayStation)

Raiden DX Soundtrack (PlayStation), Go Sato, 1997

Raiden DX is the perfect example of why it got difficult keeping up with the Raiden franchise and its music at some stage. The game is effectively an updated version of Raiden II, making it the strongest entry in the franchise’s classic period. Recycling levels from Raiden II and mixing in completely new stages, Raiden DX presents its content via three different courses players can take. One is essentially a reprise of Raiden II. The other two modes consist of one massive level and of a whole new set of stages that increase Raiden II’s already considerable difficulty level. A full three years after its 1994 arcade release, Raiden DX received a PlayStation port that added more bonus goodies, including new options and a demo of developer Seibu Kaihatsu’s puzzle game Senkyu.

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Star Trek: Starfleet Academy Soundtrack

Star Trek: Starfleet Academy Soundtrack, Ron Jones / Brian Luzietti, 1997

The Star Trek: Starfleet Academy soundtrack is a prime example for how – and why – the conventions of Hollywood film music have been so deeply ingrained in orchestral game music right from the start. Star Trek: Starfleet Academy was part of the short-lived craze surrounding games based on full-motion videos in the mid-1990s. And if your game looks like a film, it makes sense to also make it sound like a film.

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Swagman Soundtrack

Swagman Soundtrack, Nathan McCree, 1997

Nathan McCree‘s body of work is the textbook example of one particular work overshadowing a game composer’s other accomplishments. Of course, we are talking about Tomb Raider and its many sequels, two of which McCree scored himself. Outside of some highlights, these scores don’t play too well outside of the games they accompany, and there are arguably more rewarding works in McCree’s discography. After all, his output ranges from Star Wars homage Soulstar to the creeping menace of Skeleton Krew‘s synth textures. As with so much other early Western game music, an album release was never on the cards for these titles.

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Top Gear Rally Soundtrack (N64)

Top Gear Rally Soundtrack (N64), Barry Leitch, 1997

After two generally well-received entries in the Top Gear franchise, developer Gremlin Interactive must have felt that the series needed a bit of a shakeup. That was probably correct, given Top Gear 2 had felt like an expansion pack of Top Gear – and considering that these two games didn’t look very different from Gremlin’s earlier Lotus trilogy of racing games. The result was Top Gear 3000 – the original trilogy’s black sheep, with its sci-fi trappings and weapons system. While swiftly forgotten, Top Gear 3000 kicked off the Top Gear franchise’s experimental phase. The results of this attempt to reinvent the series and keep it relevant hit the Nintendo 64 in quick succession: Top Gear Rally, Top Gear: Overdrive, Top Gear Rally 2 and Top Gear Hyper-Bike. Reviews for all these titles were reasonably strong, with critics commending Top Gear Rally for its realistic gameplay and accurate physics.

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Total Annihilation Soundtrack

Total Annihilation Soundtrack, Jeremy Soule, 1997

There’s no doubt that real-time strategy games peaked in popularity during the second half of the 1990s. Their commercial success was kickstarted by the hugely popular Command & Conquer and Warcraft II: Tides of Darkness. For a few years, RTS games were all the rage (not that the genre is dead now). As a result, a glut of similarly-themed products soon hit the shelves. Differentiation – either by quality, innovation or style – became paramount for more ambitious developers.

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