Mobile Archives - The Greatest Game Music

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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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)

Since an internet search for screenshots of the mobile version’s cover came up empty, a screenshot of the PlayStation port’s cover has been used above.

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 (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, 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 I Soundtrack (Pixel Remaster)

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 (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 (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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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, 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, 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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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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