The Greatest Game Music

Reviews of truly outstanding game music

8-Bit Rally Soundtrack

8-Bit Rally Soundtrack

8-Bit Rally Soundtrack, poisoncut, 2011

Despite the album title, this is not one of the many retro exercises in NES-style chiptune. Instead, composer poisoncut’s work here makes full use of contemporary sounds and production techniques. At the same time, he subtly alludes to the music of the games that inspired 8-Bit Rally – the Lotus and Top Gear franchises. In a way, poisoncut is in a fortunate situation. The Lotus and Top Gear soundtracks never really developed an unmistakable signature sound, despite some recurring stylistic features. This means that poisoncut doesn’t need to mimic particular musical gestures. Instead he is free to work within his own style of melodic, high-octane electronic music. And in the end, that is enough to maintain consistency with 8-Bit Rally’s musical inspirations.

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Actraiser Renaissance Soundtrack

Actraiser Renaissance Soundtrack

Actraiser Renaissance Soundtrack, Yuzo Koshiro, 2021

One of the most fondly remembered games of the first generation of SNES titles is Actraiser. Only the fourth SNES game to be released in Japan, Actraiser was developer Quartet’s first project. It was the beginning of an auspicious career that would see the company create some of the most memorable SNES projects. Actraiser was the rare game that offered something unique at the time – a combination of side-scrolling platforming action and city-building simulation. The whole concept was held together by Actraiser’s mythical narrative, pitting a protagonist with god-like powers against the forces of darkness. Unfortunately, 1993’s Actraiser 2 met with a less enthusiastic response, after it focused entirely on (punishingly difficult) platforming. And so, the franchise stopped dead in its tracks, seemingly forgotten by new rightsholder Square Enix – until out of nowhere, the company announced remake Actraiser Renaissance in September 2021.

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Azkend 2: The World Beneath Soundtrack

Azkend 2: The World Beneath Soundtrack

Azkend 2: The World Beneath Soundtrack, Jonathan Geer, 2012

One of the most exciting experiences for music collectors is to come across a work that defies expectations and delivers something much more involving and satisfying than expected. Jonathan Geer’s Azkend 2: The World Beneath soundtrack is exactly that sort of album. It’s music for yet another match-3 game – a genre whose popularity soared with the advent of mobile gaming. This is not necessarily the kind of game one expects to deliver a full-bodied, lush (synth)orchestral score. However, that’s precisely what Azkend 2 achieves.

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Dragon Quest IV Soundtrack (Mobile)

Dragon Quest IV Soundtrack

Dragon Quest IV Soundtrack (Mobile), Koichi Sugiyama, 2014

It is to the credit of developer Chunsoft and publisher Enix that coming off the jaw-dropping success of Dragon Quest III, they decided not to play things safe with the next game in the franchise. Instead, they went to shake things up, going so far as to turn the game’s story into a series of initially unrelated chapters that introduce the various party members – before they all come together in the final chapter. Other innovations included day and night cycles, an early artificial intelligence system to give non-playable party members combat instructions, and the choice of which characters to use in battle. Dragon Quest IV turned into another million-seller for Enix – not quite as successful as its predecessor, but 3.1 million copies sold just in Japan for the NES original is not exactly a bad result either.

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Dragon Quest VI Soundtrack (Mobile)

Dragon Quest VI Soundtrack

Dragon Quest VI Soundtrack (Mobile), Koichi Sugiyama, 2015

Dragon Quest V was the first game in the franchise to hit a 16-bit platform. But while it sported one of the era’s more original and moving narratives, its presentation felt like a relatively minor upgrade over its NES predecessor. Thankfully, Dragon Quest VI fixed this particular issue. Released in 1995, Dragon Quest VI wholeheartedly embraced the SNES’ technical capacities, featuring far more detailed and colourful graphics. Players also enjoyed a much larger game world, thanks to Dragon Quest VI’s ‘real world/dream world’ set up. Development duties passed from Chunsoft on to Heart Beat, founded in 1992 by Manabu Yamana, director of Dragon Quest III-V. Needless to say, Dragon Quest VI became the best-selling game of 1995 in Japan. On top of those 3.2 million SNES cartridges, it later sold an additional one million copies on the Nintendo DS.

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Extreme Bike Trip Soundtrack

Extreme Bike Trip Soundtrack

Extreme Bike Trip Soundtrack, Big Giant Circles, 2013

Extreme Bike Trip – both game and soundtrack – are a product of the era of digital technologies. Both are short, sharp blasts of fun that precisely know their purpose. Before the dawn of digital distribution channels, it’s unlikely they would have seen the light of day as standalone releases. They also never pretend to be more than what they are – but within their limited scope of ambition, they achieve everything they’re aiming for.

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Final Fantasy Brave Exvius Soundtrack

Final Fantasy: Brave Exvius Soundtrack

Final Fantasy Brave Exvius Soundtrack, Noriyasu Agematsu / Hitoshi Fujima / Junpei Fujita / Seima Kondo / Ryota Tomaru, 2015

Square Enix’s post-merger strategy was based mainly on the idea of “polymorphic content” – although some might say that this was simply the age-old strategy of milking popular brands for all that they’re worth. As a result, the number of games bearing the “Final Fantasy” moniker exploded from the mid-2000s onwards – and of course, the franchise would eventually jump on the freemium mobile gaming bandwagon once this business model started to take off in the 2010s. Final Fantasy Brave Exvius was developed by Alim, who had displayed their assured handling of this particular genre with Brave Frontier. However, critical reception of Brave Exvius remained mixed, despite the copious amounts of fan service Alim had added to the mix. Then again, 45 million downloads within five years of the game’s release were nothing to sneeze at, so Brave Exvius certainly didn’t rate as a commercial failure.

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Final Fantasy I Soundtrack (Pixel Remaster)

Final Fantasy I Pixel Remaster Soundtrack

Final Fantasy I Soundtrack (Pixel Remaster), 2021, Nobuo Uematsu / Various

So much has been written about the original 1987 Final Fantasy, its influence analysed in such detail that there’s little to add. Like many other early Square titles, it was modelled on an earlier game – in this case, the enormously successful Dragon Quest. However, against the odds, Square managed to actually improve on the source of its inspiration, with a grander story, lusher presentation and more accessible – or just less tedious – gameplay. What’s more, Final Fantasy brought JRPGs to the attention of Western console gamers, many of whom would have never played anything like it before (unless they were familiar with computer RPGs). The rest, as they say, is history. Even though the Final Fantasy franchise’s popularity arguably peaked in the late 90s and early 00s, it remains a commercial juggernaut and one of gaming’s biggest IPs, with each new mainline release a tremendously expensive blockbuster title.

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Final Fantasy III Soundtrack (Pixel Remaster)

Final Fantasy III Soundtrack

Final Fantasy III Soundtrack (Pixel Remaster), 2021, Nobuo Uematsu / Various

To its credit, Final Fantasy II was a daring departure from its predecessor’s best-selling formula. Unfortunately, FF II‘s gameplay innovations were poorly executed, while the game’s narrative turned into an endless series of fetch quests. For Final Fantasy III then, Square handed the reins back to series founder Hironobu Sakaguchi. And just like Final Fantasy had been a refinement of concepts introduced by Dragon Quest, Final Fantasy III took after the monstrously successful third instalment of its fiercest competitor franchise. To be more precise, FF III introduced a richer job system that gave the gameplay an immense amount of depth. Combine that with a vast world to explore, and the game easily stands as the series’ greatest 8-bit instalment. It’s all the more astonishing then that the Pixel Remaster port is the first time Western audiences got to enjoy FF III in its original 2d version.

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Final Fantasy IV Soundtrack (Pixel Remaster)

Final Fantasy IV Soundtrack

Final Fantasy IV Soundtrack (Pixel Remaster), 2021, Nobuo Uematsu / Various

True, Square‘s Final Fantasy had been a milestone in RPG history, refining concepts introduced not long before by Dragon Quest. Sequels Final Fantasy II and III were among the best-selling RPGs of their generation, offering gameplay innovation (FFII) and what’s maybe the 8-bit era’s most polished, expansive role-playing game (FFIII). However, it was really with Final Fantasy IV that the franchise joined the ranks of gaming’s most hallowed and revered titles. Final Fantasy IV was a massive influence on the development of the entire RPG genre, particularly through its focus on dramatic storytelling and fleshed-out characters. The game’s legacy as a trailblazer seems secure – there’s a good reason why it keeps appearing on various “best games of all time” lists on both sides of the Pacific, clearly beloved by generations of gamers.

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Final Fantasy V Soundtrack (Pixel Remaster)

Final Fantasy V Soundtrack

Final Fantasy V Soundtrack (Pixel Remaster), 2021, Nobuo Uematsu / Various

Among the trio of SNES Final Fantasy titles, the franchise’s fifth instalment has always been the underdog, which ultimately only added to its appeal. First, there’s the simple fact that the 1992 SNES version of Final Fantasy V was not released in the West, inevitably adding to the mystique surrounding the game. It took until the release of Final Fantasy Anthology in 1999 that US audiences were able to finally lay their hands on the game. Then there’s Final Fantasy V’s main claim to fame – a job system that builds upon that introduced in Final Fantasy III, offering countless options to customise your party. The game felt like a throwback to the NES Final Fantasy titles in other aspects as well. Its fairly simplistic plot and stereotypical (yet enjoyable) characters felt like a conscious step away from Final Fantasy IVs more complex narrative.

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Final Fantasy VI Soundtrack (Pixel Remaster)

Final Fantasy VI Soundtrack

Final Fantasy VI Soundtrack (Pixel Remaster), Nobuo Uematsu / Various, 2022

A few select video games acquire an almost mythical aura, something that elevates them even beyond the status of a classic. Few gamers would doubt that Final Fantasy VI is one of those rarefied works. You could argue that the game didn’t reinvent its genre or presented radically innovative gameplay concepts. However, what Square’s young developers accomplished – flying high on the success of the company’s previous SNES hits – was the perfection of the JRPG genre formula. In some ways, this was a work of mad, unbridled ambition, determined to present as dramatic and sweeping a narrative as 16-bit technology allowed for. After all, how many games – before or after – would see the antagonist actually destroy the world, witness one of the main characters desperate enough to throw herself off a cliff, and insert a ten-minute opera sequence?

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Kale in Dinoland Soundtrack

Kale in Dinoland Soundtrack

Kale in Dinoland Soundtrack, Luming Hao, 2012

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.

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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 Ivan Ivanovich’s adventures, 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.

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Pocket Mine Soundtrack

Pocket Mine Soundtrack

Pocket Mine Soundtrack, Big Giant Circles, 2013

As much fun as it can be to analyse a piece of music, drill down into what things make it work or not, explore its sources of inspiration and so forth, there’s also the simple joy of getting caught up in a song that is just so irresistibly fun that all critical thinking takes a backseat for a moment. Big Giant Circle’s Pocket Mine soundtrack delivers precisely that sort of feeling with the aptly titled “That Diamond Smile”. The track also perfectly demonstrates how this soundtrack manages to draw upon the strengths derived from its 8-bit influences and enhances them by mixing in contemporary elements.

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Ultimate Rivals: The Court Soundtrack

Ultimate Rivals: The Court Soundtrack

Ultimate Rivals: The Court Soundtrack, Honnda, 2021

Putting together usually impossible dream teams is something video games have always excelled at, all the way back to King of Fighters ‘94. And so, Ultimate Rivals: The Court‘s concept is simply another take on a proud gaming tradition. The game pits athletes from various pro sports (NHL, NBA, MLB, WNBA, soccer etc.) against each other on the basketball court. With that kind of set-up, you’re not going to get a realistic basketball simulation. Instead, each athlete brings their own unique moves derived from their regular sport to the game, as teams of three face off against each other on futuristic courts. Of course, this kind of over-the-top, arcade-style basketball gameplay will remind seasoned gamers of the immortal NBA Jam franchise – and developer Bit Fry Game Studios were clearly aware of that historical connection, even bringing in NBA Jam announcer Tim Kitzrow.

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War of the Visions: Final Fantasy Brave Exvius Soundtrack

War of the Visions: Final Fantasy Brave Exvius Soundtrack

War of the Visions: Final Fantasy Brave Exvius Soundtrack, Noriyasu Agematsu / Hitoshi Fujima / Junpei Fujita / Ryota Tomaru, 2019

Among the many, many off-shoots of the Final Fantasy franchise that Square Enix churned out over the years, War of the Visions: Final Fantasy Brave Exvius was one of the more intriguing ones. Obviously a spin-off of Final Fantasy Brave Exvius, War of the Visions took inspiration from the Final Fantasy Tactics games, turning into a strategy RPG – not a direction that the franchise had taken much outside of the FFT titles. With War of the Visions being a free mobile game, gacha systems and in-app microtransactions were inevitable features gamers had to contend with. Some balancing issues aside, though, War of the Visions offered a surprisingly fully-fledged and in-depth strategy game experience bolstered by excellent production values. Maybe due to its genre, the game was significantly more successful in Japan than abroad but still managed over eleven million downloads in total soon after its release.

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World of Demons Soundtrack

World of Demons Soundtrack

World of Demons Soundtrack, Naofumi Harada / Hiroshi Yamaguchi, 2021

It’s very rare for a game to receive a limited release in a handful of second-tier markets, get pulled from store shelves within a few months – only to receive a second, worldwide release a full three years later. That’s precisely what happened to World of Demons, PlatinumGames’ first published foray into mobile gaming (it’s hard to ignore the fact that the developer’s previous mobile title – much-touted all-star JRPG Lost Order – was never released). Given PlatinumGames’ reputation as the action game auteurs behind titles like the Bayonetta franchise and Nier: Automata, World of Demons‘ announcement as a hack and slash inspired by Japanese mythology caused some excitement. Ultimately, reviews for the game were respectable rather than extraordinary, with critics praising its combat and art direction while finding fault with World of Demons‘ repetitive level structure.

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