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.

Scoring duties for the Atlantis: The Lost Tales soundtrack went to Pierre Estève and Stéphane Picq. Picq had been Cryo’s main composer since the company’s very beginning, writing the entrancing music for its breakthrough hit Dune. Estève was a more recent addition to Cryo’s musical team, approaching the developer in 1995 after working as a rock musician and composer for French television and radio. His first project with Cryo turned out to be Dragon Lore II: The Heart of the Dragon Man. Estève would create the music and sound effects for several other Cryo titles in the years to follow, even remaining with the Atlantis franchise after the developer had closed its doors in 2002. His anthropological interest in a vast range of musical cultures – witnessed by his solo albums Bamboo and Metal – was a perfect match for Picq’s eclectic composition style.

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Blast Corps Soundtrack

Blast Corps Soundtrack, Graeme Norgate, 1997

Developer Rare arguably rose to fame and world-wide 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, who for years had wanted to make a game about destroying building – 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. The player controls an array of sometimes bizarre vehicles (including a giant one-armed robot with a rolling attack) to clear the way.

The result was met with almost universal acclaim. Blast Corps was a beautifully idiosyncratic game, combining puzzle, racing and all-out-action elements into a wholly original package. Sales – around one million copies – ended up lower than the development team had expected. However, Blast Corps remains one of the most fondly remembered N64 games, thanks to its flawless level design and tough-as-nails yet always fair difficulty curve.

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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.

Looking at screenshots of Bounty Sword First, it’s hard to identify many visuals improvements over the SNES original. The game’s soundtrack however is a different story – and poses some interesting questions about its authorship. Kohei Tanaka is credited as the sole composer of the SNES game, with talented composer Akihiko Mori taking on sound design duties – as he had on previous collaborations with Tanaka. It seems they reprised these roles for the Bounty Sword First soundtrack, which quite faithfully reprises the SNES original’s musical material.

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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).

To craft the game’s soundtrack, Sakata SAS hired a team of game musicians going by the name of Target Laboratory. Led by veteran composer Yusuke Takahama, Target Laboratory had been active since the mid-1990s. Four of its members worked on Dark Law – Takahama himself as sound producer and Nobuo Horie on sound effects, while Satoshi Nagano and Michihiko Shichi handled composing duties. Both artists – fairly new to the industry – had collaborated on previous Target Laboratory projects such as 1995’s Kat’s Run: Zen-Nippon K Car Senshuken and Tokimeki Card Paradise: Koi no Royal Straight Flush. Nagano’s career seems to have trailed off after a few more Target Laboratory games. Shichi joined developer Omega Force and became sound designer and director of their Samurai Warriors and Dynasty Warriors franchises – before joining tri-Ace and sound directing high-profile titles such as the later Star Ocean games and Resonance of Fate.

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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 movie 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.

Like the game as a whole, creating the GoldenEye 007 soundtrack was no easy feat – after all, this was one of Rare’s first Nintendo 64 titles. Initially, Graeme Norgate was tasked with writing the score, having previously worked on Rare’s Killer Instinct and Donkey Kong Land. However, Norgate was also working on Blast Corps at the same time and it became obvious that additional resources were needed. Thus Grant Kirkhope – while still working on Donkey Kong Land 2 – was drafted to join Norgate on GoldenEye 007 (he left before completion of that project to work on Dream). The challenge for both composers was to write music for a console that for the first one and a half years of the game’s development didn’t exist yet.

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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.

Philippe Vachey’s score for Little Big Adventure had turned out to be a milestone of Western orchestral game music. If there were any complaints, it would have been that the soundtrack was rather short. The larger scope of Little Big Adventure 2’s world would suggest that a more extensive soundtrack was the logical result. However, the Little Big Adventure 2 score is even a smidgen shorter than its predecessor. Mind you, it’s not a substantial issue – Vachey’s writing is at least as strong as it was on Little Big Adventure.

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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.

And so, developer Interplay decided to use a live orchestra to record Starfleet Academy‘s soundtrack. In 1997, this was quite a novelty. Still, a live orchestra was integral to capturing the Star Trek franchise’s trademark romantic spirit of bold spacefaring. Interplay even went one step further and hired Ron Jones to write the Star Trek: Starfleet Academy soundtrack. Jones had done outstanding work on Star Trek: The Next Generation and would be able to maintain the Star Trek franchise’s characteristic sound.

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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.

Thankfully, once more a mid-90s French game magazine came to the rescue, with one of those promotional CD releases that accompanied many of these publications (see also: Formula 1, Rapid Racer). The particular album in question holds – among other works – the majority of McCree’s work for Swagman. That game is a mostly forgotten action adventure title from Tomb Raider‘s Core Design. Reviews were middling and so it’s understandable that Swagman wouldn’t be on the radar of many game music fans. As it turns out though, the game contains what might well be the best score of McCree’s career.

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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.

The Top Gear Rally soundtrack saw the return of a familiar name: Barry Leitch, who had scored the first two Lotus games and Top Gear in the early 1990s. The second half of the decade saw him returning to racing games with a vengeance. After Top Gear Rally, Leitch wrote two (!) unreleased soundtracks for Twisted Edge Snowboarding before penning music for Rush 2: Extreme Racing USA, California Speed and San Francisco Rush 2049. For Top Gear Rally, Leitch took an unusual approach. Rather than emulating CD-quality sound, he used 8-bit samples (“[…] probably the only N64 game ever to use [them]”, Leitch mused in an interview). Like on a 16-bit machine, the samples were produced live off the hardware. This made Top Gear Rally one of the most advanced examples of this production technique due to the N64’s comparatively advanced audio capacities and the number of samples available.

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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.

Total Annihilation was the lucky case of differentiation through all those three markers. It didn’t rewrite the rule book, but made many tweaks that updated genre conventions in smart ways. And while its look wasn’t too different from the hordes of Command & Conquer clones, its music easily stood out. For that, gamers could thank Jeremy Soule, who back in 1997 wasn’t yet the star composer he is now. To set the game apart, Soule proposed a live orchestral soundtrack – nearly unheard of in 1997.

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