Orchestral Archives - Page 2 of 6 - The Greatest Game Music

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 got to enjoy 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 also sold an additional one million copies on the Nintendo DS.

Of course, Koichi Sugiyama returned once more to deliver the Dragon Quest VI soundtrack. On this occasion, he was joined by two unusually famous collaborators: seasoned fellow game composers Hitoshi Sakimoto and Tsukasa Tawada, who handled sound design duties. Maybe as a result, Dragon Quest VI’s instrument samples are a marked improvement over those used on previous SNES Dragon Quest games. However, their quality is strangely inconsistent – listen to the watery strings on “Monsters” and “Eternal Lullaby”. Then again – as always – all eyes were on the orchestral arrangement of the score anyway, released less than two weeks after the game and once more performed by the London Philharmonic Orchestra. A re-recording with the Tokyo Metropolitan Symphony Orchestra followed in 2006. Compared to other games in the franchise, Dragon Quest VI received relatively few ports – to the Nintendo DS in 2010 and smartphones in 2015.

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Enemy Zero Soundtrack

Enemy Zero Soundtrack, Michael Nyman, 1996

Few video game auteurs have left an oeuvre as intriguing – and divisive – as Kenji Eno. Eno fittingly came to prominence during one of experimental game design’s heydays – the mid 1990s. His company Warp became best known in the West for its D series of horror games: D, Enemy Zero and D2. Only very loosely connected with each other, these games proposed innovative gameplay and story ideas – arguably to various degrees of success. However, these titles did ultimately cement Eno’s name in game history for their unbridled audacity.

It’s certainly not Enemy Zero’s story line that is its most innovative component. The game’s narrative – a spaceship is overrun by murderous xenomorphs – takes entire portions of Alien and mixes in bits and pieces of other sci-fi classics such as Blade Runner. Far more interesting is the game’s central game play mechanic. The rampaging aliens are invisible and the only way to find and shoot them is to rely on a sonar-like system that indicates their location through changes in pitch and frequency. It was an ingenious idea that some reviewers found was implemented less smoothly than it should have been, making for one hell of a difficult game.

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EverQuest II Soundtrack

EverQuest II Soundtrack, Laura Karpman, 2004

In some ways, EverQuest II ended up between a rock and a hard place. Its predecessor EverQuest – together with Ultima Online – had established the genre of MMORPGs as we know them today. That meant that expectations for EverQuest II were high, to say the least. To the credit of developer Sony Online Entertainment, they released a product that was polished, accessible and among the best MMORPGs released up to that point. It just wasn’t the kind of quantum leap that EverQuest had been. And then World of Warcraft landed and changed MMORPGs forever. EverQuest II was ultimately far from a commercial flop – it did peak at 325,000 subscribers – but it didn’t stand a chance against World of Warcraft and the millions of subscribers it attracted. Still, EverQuest II retained a dedicated fan base, with the sixteenth expansion Reign of Shadows released in 2020, fourteen years after the base game’s release.

The developers put significant emphasis on the game’s audio – several reviewers commented on the impressive amount of recorded speech, delivered by high-profile actors such as Christopher Lee and Heather Graham. For the EverQuest II soundtrack, Sony turned to Laura Karpman. Karpman, making her game score debut, was an intriguing choice. A classically trained composer and jazz performer, Karpman had written for the concert hall, but also for film, television and theatre. By the time she worked on EverQuest II, she had already gathered several Emmy Award wins and nominations, with her biggest assignment being the score for Steven Spielberg’s TV series Taken. EverQuest II was the beginning of a productive career in video games for Karpman, while she continued her work in various other media. Meanwhile, in 2016 she became the first woman elected to the music branch of The Academy of Motion Picture Arts and Sciences Board of Governors.

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Everybody’s Gone to the Rapture Soundtrack

Everybody’s Gone to the Rapture Soundtrack, Jessica Curry, 2015

Coming off the critical and commercial success of Dear Esther, British indie developer The Chinese Room began work on two projects: Amnesia: A Machine for Pigs and Everybody’s Gone to the Rapture. Out of the two games, the latter was no doubt the bigger undertaking, co-produced by industry giant Sony Computer Entertainment for the PlayStation 4. By and large, Rapture took the same gameplay approach as Dear Esther. Gamers are tasked with walking through a deserted village, trying to piece together what happened to those who once inhabited this piece of idyllic English country side – no battles, perils or game over screens in sight. Not surprisingly, the limited interactivity within Rapture’s world wasn’t to the liking of everybody. All in all though, reviews were positive, with critics particularly pointing out the game’s strong narrative, placing Rapture on several year-end lists.

Rapture did reap several awards as well, including for its music. As with previous The Chinese Room titles, Jessica Curry provided the game’s soundtrack – deservedly taking home a BAFTA and two Game Audio Network Guild Awards for her efforts. Curry was involved with Rapture throughout the entirety of its three-year development period, both as composer and director of the project. It’s no surprise then that the music’s shape and function within the game was carefully considered. With the game’s design strongly influenced by the peculiarly British sci-fi sub-genre of the “cosy catastrophe”, Curry’s music was bound to follow suit.

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Harry Potter and the Chamber of Secrets Soundtrack

Harry Potter and the Chamber of Secrets Soundtrack, Jeremy Soule, 2002

The Harry Potter and the Chamber of Secrets soundtrack is easily the best of Jeremy Soule‘s five scores for the franchise. It also benefits from a better album presentation than Soule’s other Harry Potter soundtracks. Only eight minutes of notable material are missing from the album release, which thankfully excises a lot of ruminative underscore. In fact, Chamber of Secrets is Soule’s most satisfying fantasy soundtrack. Yes, that’s a big claim to make, considering his work on franchises like The Elder Scrolls and Guild Wars. But Chamber of Secrets achieves a consistency of quality that Soule’s more bloated scores don’t accomplish. He doubtlessly deserved his 2004 win of the BAFTA Games Award for Best Original Music for Chamber of Secrets.

Soule’s designation as “the John Williams of game music” has always had more to do with hyperbole and facile comparisons than with actual musical parallels. For example, Soule seems almost entirely disinterested in the elaborate thematic structures that shape so many of Williams’ works. However, there’s no denying that at his best, Soule is able to create a lavish orchestral sound broadly reminiscent of John Williams’ works in the science fiction and fantasy genre.

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Harry Potter and the Half-Blood Prince Soundtrack

Harry Potter and the Half-Blood Prince Soundtrack, James Hannigan, 2009

Harry Potter and the Order of the Phoenix turned to be industry veteran James Hannigan’s breakthrough work – a delectably luscious orchestral game score that topped Jeremy Soule’s previous contributions to the franchise and could proudly sit aside John Williams and Patrick Doyle’s Harry Potter soundtracks. It’s no surprise then that Hannigan’s Harry Potter and the Half-Blood Prince soundtrack doesn’t change the winning formula. Hannigan’s follow up work is as riveting as Order of the Phoenix, but it does introduce a few noteworthy changes.

The most important thing first: Half-Blood Prince once again features near-symphonic depth in its orchestrations and counterpoint. And of course, once more its melodies are gorgeous, full-bodied creations. Like Order of the Phoenix, it’s a work that sits very near the top of orchestral game soundtracks. The most significant difference between Half-Blood Prince and Order of the Phoenix is a greater sense of scope and scale. Outside of its roaring battle cues, Order of the Phoenix mostly pivoted between light-hearted mischievousness and hushed nocturnal wonder. The Harry Potter and the Half-Blood Prince soundtrack tips the balance in favour of a sweeping sensation of adventure.

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Harry Potter and the Order of the Phoenix Soundtrack

Harry Potter and the Order of the Phoenix Soundtrack, James Hannigan, 2007

There is some irony to the fact that in several interviews, James Hannigan voiced his concern about film scores by default overshadowing the music written for the game adaptation. If anything, Hannigan’s Harry Potter and the Order of the Phoenix soundtrack is the opposite case. Nicholas Hooper’s movie soundtrack was largely deemed underwhelming. Meanwhile, Hannigan garnered praise for his game score that in the eyes of many was the superior work. Indeed, it hits almost all the right notes for a sweeping, yet relatable fantasy epic like the Harry Potter series. Hannigan achieves a perfect balance between humour, magic and gravitas, mixing moods and orchestral colours masterfully. The only thing missing might be a more pervading sense of adventure and romanticism. Fortunately, this is something that Hannigan would address on The Half-Blood Prince.

Stylistically, Hannigan’s lushly orchestrated and meticulously crafted compositions don’t deviate from a certain generic fantasy sound one would expect from a soundtrack like this. This is not a work like Everquest II, out to expand and subvert genre conventions. Then again, on an assignment like this – writing for the sixth entry in a game series with an established sound world – upending expectations was never the aim. Instead, Hannigan’s Harry Potter and the Order of the Phoenix soundtrack fits snugly into the franchise’s musical history. At the same time, it is most definitely not a copycat of its illustrious predecessors.

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Hero Quest II: Legacy of Sorasil Soundtrack (Amiga CD32)

Hero Quest II: Legacy of Sorasil Soundtrack (Amiga CD32), Patrick Phelan, 1994

While it was based on a popular fantasy board game license, Hero Quest didn’t exactly set the video game world on fire upon release in 1991. Ultimately, it didn’t leave much more than a reasonably positive impression with reviewers and gamers. Still, developer Gremlin Interactive must have felt that there was enough life left in the license to squeeze out another Hero Quest game. Hero Quest II: Legacy of Sorasil was released in 1994, reusing its predecessor’s engine and isometric view. The game didn’t deliver much in terms of new ideas or innovations and consequently reaped the same muted response as the first Hero Quest. The fact that Legacy of Sorasil hit store shelves towards the end of the Amiga’s lifespan didn’t help – and its showing on the Amiga CD32 was doomed by the console’s quick demise.

Hero Quest’s biggest achievement might have been its music. Neil Baldwin (on the NES) and Barry Leitch (ZX Spectrum) delivered a couple of classic fantasy scores that both made full use of the limited sound capacities of their respective platforms. For the Hero Quest II: Legacy of Sorasil soundtrack, scoring duties went to Patrick Phelan. Phelan had only entered the game industry in 1992, but quickly established himself as one of Gremlin Interactive’s go-to composers, working on its Zool, Lotus and Top Gear games. Interestingly enough, on the Lotus and Top Gear series, Phelan took over from Leitch, who had scored earlier franchise iterations – and this trend would continue with Legacy of Sorasil.

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Heroes of Might and Magic II Soundtrack (PC)

Heroes of Might and Magic II Soundtrack (PC), Steve Baca / Rob King / Paul Romero, 1996

Even decades after its release, the Heroes of Might and Magic II soundtrack stands apart as a unique experiment. The score for Heroes of Might and Magic had clearly articulated Paul Romero and Rob King‘s immense ambition to create game music with the gravitas and impact (and cultural cache) of classical music. The result was a resounding artistic success. It’s no surprise then that Heroes of Might and Magic II‘s music amplifies its predecessor’s already lofty aspirations. But how do you make convincingly symphonically-styled music like that of Heroes of Might and Magic even more grandiose?

Romero and King – joined by King’s band mate Steve Baca – found a logical answer. They added vocals – and not just any sort of vocals. In other words: a large part of the Heroes of Might and Magic II soundtrack consists of full-blown opera arias. These days, underscoring a game with opera arias would be highly unusual. Proposing such a thing in 1996 was revolutionary – and probably a bit mad.

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Heroes of Might and Magic III Soundtrack

Heroes of Might and Magic III Soundtrack, Steve Baca / Rob King / Paul Romero, 1999

After Heroes of Might and Magic II‘s unprecedented operatic splendour, the composing team of Paul Romero, Rob King and Steve Baca faced a problem when they tackled the franchise‘s next soundtrack: where to go from here? Heroes of Might and Magic II found its approach by amplifying its predecessor’s ambitions and scale. As a result, it rocketed past other Western game soundtracks at the time into uncharted territory. Repeating the same strategy – going grander – for the Heroes of Might and Magic III soundtrack wasn’t an option. After all, how much bigger can you go than full-blown operatic grandeur?

What was Romero, King and Baca’s answer to this dilemma then? In a nutshell, they play it safe on the Heroes of Might and Magic III soundtrack. This is not an envelope-pushing work like its two predecessors. Instead, Heroes of Might and Magic III is nothing more and nothing less than a really great fantasy score, with all the stylistic trappings one would expect from the genre. It’s a less dazzling, extrovert work than Heroes of Might and Magic II. However, its melodic beauty and orchestrational finesse still tower above the vast majority of fantasy scores.

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