Reviews of truly outstanding game music
Before developer Rare became one of gaming’s powerhouses in the late 1990s and early 2000s, it toiled away for several years as one of the many companies churning out NES titles for various distributors. One of those distributors was LNJ – infamous for the usually low quality of the products that the company peddled. More than a few of their games were developed by Rare – almost all of them justifiably forgotten.
There aren’t a lot of Sega Master System ports of SNES games. There are even fewer ports where the Master System soundtrack improves on the SNES original. And if that score emerges from what was an unfinished release, we might be dealing with a minor miracle. Or maybe such a lucky outcome wasn’t entirely unpredictable. After all, it was Matt Furniss (working with Shaun Hollingworth under the Krisalis moniker) who ported the Battletoads in Battlemaniacs SNES score.
The Battletoads soundtrack might be David Wise’s best and most creative NES score. That’s certainly no small feat – after all, Wise scored a whopping 46 NES games during his prolific career. Of course, a soundtrack release was all but impossible in 1991. It took until 2015 – when enterprising game music label iam8bit released a raft of Rare scores on vinyl – that the Battletoads soundtrack received its belated, but very much deserved album release.
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.
When Donkey Kong Country was released on the SNES in 1994, it was hailed as a technical marvel that very few people would have expected to see on the ageing hardware. When Rare released a Game Boy port called Donkey Kong Land a year later, jaws hit the floor again. How could those Silicon Graphics workstations-rendered 3D sprites possibly translate to the monochrome Game Boy display? Turns out it was possible to bring those pre-rendered graphics to the 4-bit platform – although the result was visually overly busy and impacted gameplay.
It’s a shame that Neil Baldwin wrote his two best NES soundtracks for games that in the end were shelved. At least game music fans discovered Hero Quest‘s excellent score once the game’s developer released the ROM online. On the other hand, Baldwin’s second cancelled project Erik the Viking was pretty much unknown. That is, until Baldwin posted the soundtrack on his website Duty Cycle Generator.
One day, historians will determine how many hundreds of licensed platformers were released for the Game Boy and the Game Boy Colour. Then again, we might never know the exact number – the market share of both platforms was so large that even local releases promised commercial success. Case in point: Fix & Foxi – Episode 1: Lupo (and no, there was no second episode, so maybe things didn’t turn out as planned). The game was based on an animated TV series, which in turn was an adaptation of a weekly German comics magazine first published in 1953. The magazine ran for decades and boasted a circulation of several hundred thousand per week at the height of its success. Of course, abroad the two anthropomorphic foxes and their friend Lupo weren’t particularly well-known, so this Game Boy Colour title remained an obscure Germany-only game.
Even at the height of the NES’ popularity, there were no official album releases of Western NES game music. That makes a website like Neil Baldwin‘s Duty Cycle Generator a very important contribution towards closing this gap. On his site, game music veteran Baldwin, whose career began on the C64, released all of his NES soundtracks. Baldwin pointed out that part of the reason his website exists was the praise one of his works had generated within online chiptunes communities. That score was Hero Quest, the video game version of the popular fantasy-themed board game. The score’s popularity was all the more surprising considering that the game was cancelled. However, its developer Chris Shrigley released it years later into the NES community, and its reputation built over time. Baldwin’s surprised discovery of the Hero Quest soundtrack’s popularity also kickstarted his involvement with the online game music community.
Disclaimer: An earlier version of this review stated that the Atari ST port suffered from technical problems. This turned out to be an emulator issue and the ‘Conversion Notes’ section of the review has been updated accordingly.
Board games are arguably a lot easier to turn into video games than say movies. They already function as games, have a set of clearly defined rules and often enough feature just enough backstory to efficiently set up the game’s world. The sheer number of Dungeons & Dragons video games is testament to the close connection between both worlds. The success of the Dungeons & Dragons table top games of course inspired others to follow in their footsteps. In 1989, US board game manufacturer Milton Bradley tried their hand at a fantasy-themed title called Hero Quest. Despite its generic presentation, the game was fairly successful around the globe, with a number of expansions, new editions and even novels published.
How to stand out from the deluge of retro-inspired indie games that have flooded mobile devices and other platforms? Game developer The Rotting Cartridge went with an intriguing, if cheeky idea. Just pretend that your new game is a port of a forgotten Game Boy title released in 1992. Of course, Kale in Dinoland was no lost classic from the olden days of gaming. Instead, it was simply a new 2D platformer, clad in those monochrome graphics that millions of gamers will fondly remember.
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 20th-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: better sprite animation, more locations, and a more significant 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.
2021’s first indie game smash hit was undoubtedly Loop Hero. First presented at the 2019 Ludum Dare Jam, Loop Hero was nurtured by Russian development team Four Quarters into an engrossing exercise in world-building whose gameplay was as repetitive as it was addictive. Based on a simple idea – the protagonist completes the same loop over and over again, even without player input – Loop Hero folds unusual elements into its rogue-like structure. For example, players can change each loop’s outcome by placing cards onto the game board. And this is where Loop Hero’s narrative ambitions come into play. The game’s post-apocalyptic setting sees players rebuilding a vanished world, one card at a time – its protagonist the only survivor to remember the universe the way it was before its downfall.
Sometimes the universe (or at least video game publishers) work in mysterious ways. On paper, Monster Max should have been a success – not a million-seller (few isometric action adventures on the Game Boy were), but still a game that would deliver respectable sales figures. Its pedigree was impeccable – a collaboration between Rare and the duo of Jon Ritman and Bernie Drummond. Both parties had created genre classics in the 1980s – Rare with Knight Lore, Alien 8 and Nightshade, while Ritman and Drummond (inspired by Knight Lore) were the men behind Batman and Head Over Heels. Ritman had just finished work on a development system that Rare used for many of their games and he decided to start work on a Game Boy title.
Of course, hindsight is everything, so it’s easy to marvel now at how Nintendo thought that a console as clunky and inherently limited as the Virtual Boy could ever succeed. In defence of Nintendo and Virtual Boy creator Gunpei Yokoi, the console ultimately shipped in a downscaled version, as Nintendo shifted its attention and resources to the Nintendo 64 halfway through the Virtual Boy’s development. The story of the Virtual Boy was ultimately a short one, with only 770,000 copies sold worldwide and the platform discontinued after less than a year.
While seeing Sega franchises appear on Nintendo consoles has become common, back in 2000 – when Sega still had a stake in the console wars – the situation was very different. It was all the more surprising then that Sega decided to port one of its franchises – Sakura Taisen – to the Game Boy Colour (it’s worthwhile mentioning that less than one year earlier, the Neo Geo Pocket Colour had received a Sonic the Hedgehog port). Maybe not surprisingly, Sakura Taisen GB’s developers didn’t attempt to replicate the scale of previous franchise titles on the small handheld console. Instead, the game proceeds more along the lines of a dating-sim, with players controlling a character who spends a month training and living with the Hanagumi group of theatre actors/defenders of the planet.
Amongst the original properties that Rare launched on the NES and Game Boy, the Snake Rattle ‘n’ Roll games must rank among the best, up there with the Battletoads franchise. Inspired by Marble Madness’ isometric view (Rare developed the NES port), the developers concocted a joyfully bizarre and off-beat – not to mention funny – platformer. Its stars are a couple of snakes that need to gobble up as many enemies as they can so they’re heavy enough when hopping on the scales at the end of each level, hoping to be admitted to the next stage. Initially released on the NES in 1991, Snake Rattle ‘n’ Roll’s playability and creative multiplayer made the game enough of a success to warrant a Sega Genesis port in 1993, netting equally strong reviews. Meanwhile, the Game Boy saw an original, somewhat more middling 2d platformer starring the two slithering protagonists.
If you take a closer look at the history of movies and their video game adaptations, James Cameron’s 1991 Terminator 2: Judgment Day emerges as a watershed moment. At the time of its release, T2 became one of the highest-grossing movies of all time worldwide. Its futuristic, action-packed plot and revolutionary visuals made T2 an obvious candidate for a video game adaptation. What’s more, the film was released when the home video game market had diversified and matured, to the point where it could simultaneously support two console generations. The result was a glut of T2-related games, followed soon by numerous titles based on The Terminator. The creators of Terminator 2: Judgment Day were undoubtedly aware of video games’ commercial potential. After all, the film’s end credits finished with a message reading, “Play the hit Nintendo game from Acclaim/LJN Entertainment.”
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 – could not make progress on the project. System 3’s Mark Cale took the code back to London, with the game’s engine 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.
By the late 1990s, the Might & Magic franchise was going strong, with a number of successful main line games and the recent establishment of the Heroes of Might & Magic series. Not surprisingly, publisher The 3DO Company were keen to branch out further, making the most of the valued brand name. Its first attempt to do so in 1999 via 3d-action RPG Crusaders of Might and Magic didn’t cause much excitement. Interestingly enough, The 3DO Company tried again with a similar game concept a year later – however, Warriors of Might and Magic didn’t meet with much more enthusiasm amongst gamers and critics than its predecessor.