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

Ultima VIII: Pagan Soundtrack

Ultima VIII: Pagan Soundtrack, Nenad Vugrinec, 1994

In case the cover art – with its flame-engulfed pentagram – didn’t make it clear enough, Ultima VIII: Pagan was a far darker game than any of its predecessors. From Ultima IV: Quest of the Avatar onward, series creator Richard Garriott had turned the Ultima games into explorations of morality. These pioneering titles didn’t reward gamers for the usual monster killing and treasure hunting that governs RPGs – instead Garriott asked players to act virtuously while pondering ethical dilemmas that had no easy answer. Pagan followed the same design philosophy, but added a grim twist. The game’s antagonist – the Guardian – transports the Avatar to his own realm Pagan – a blasted wasteland that is beyond redemption and hope.

What’s worse, winning the game – as in defeating all enemies – will inevitably bring suffering to the people of Pagan. As Garriott put it: “The challenge was that you had to stay true to your core personal beliefs without totally ransacking the place to achieve your ends and work with the system that was there.” Garriott combined this change of tone with a gameplay style previously unseen in an Ultima game. Pagan was an isometric hack-and-slash, not far removed from Diablo, released two years later. Unfortunately, all of these grand ambitions were foiled by publisher Electronic Arts (once again) imposing a punishing project deadline on developer Origin. As a result, the version of Pagan that was released was effectively incomplete. Consequently, Pagan has always been one of the Ultima franchise’s black sheep, although it’s often admired for its daring reinvention of the Ultima universe.

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Ultima: Worlds of Adventure 2 – Martian Dreams Soundtrack

Ultima: Worlds of Adventure 2 – Martian Dreams Soundtrack, Dana Glover / Tom Hollingshead / George Sanger, 1991

Back in 1991, dedicated soundtrack releases for Western game soundtracks were pretty much unheard of. One of the pioneers was Origin Soundtrack, a compilation of music from some of Origin‘s high-profile games of 1990/91. Exactly how Origin Soundtrack came about still remains a bit of a mystery. What seems to be confirmed is that the album is an unauthorised collection of music. Its producer and engineer was veteran composer Martin Galway, who had just finished work on Wing Commander II. His aim was probably to showcase his work and that of other composers at Origin on a stand-alone basis.

Probably inevitably, the album was a mixed bag of offerings. Music from high-profile titles like Ultima VI: The False Prophet and Wing Commander II turned out to be surprisingly bland. On the other hand, Wing Commander’s pioneering, film music-inspired score made its album debut (if only with a six-minute medley). Nestled between these well-known games was a score that deserves much greater attention: Ultima: Worlds of Adventure 2 – Martian Dreams. Martian Dreams was part of the Ultima: Worlds of Adventure series that allowed Origin to get a bit playful with the venerable RPG franchise. Just look at Martian Dreams’ storyline, set in the Victorian era. Things kick off at the 1893 World Columbian Exhibition in Chicago with a steampunk-inspired rocket trip to Mars. Here, players meet Vladimir Lenin, Mark Twain, Nikola Tesla, Marie Curie, Rasputin and other prominent figures of the era.

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Victoria II Soundtrack

Victoria II Soundtrack, Andreas Waldetoft, 2010

Throughout the years, Andreas Waldetoft has been consistently churning out pleasingly melodic scores for Paradox Interactive’s history-themed strategy games. Titles like Europa Universalis III and Europa Universalis Rome showed promise during their moments of unrestrained melodicism. Unfortunately, various issues held these scores back from entirely fulfilling their promise.

It is on the Victoria II soundtrack that Waldetoft finally reaches his artistic peak. His music has always been best when allowed to wallow in its lyricism and meandering prettiness. The secret ingredient are Waldetoft’s beguiling melodies, which often manage to cover over the general thinness of his material. What’s usually more problematic is Waldetoft’s action material. Less melodic in nature, it can’t fall back on mellifluous instrument lines and can sound repetitive, if still competent.

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Viva Piñata Soundtrack

Viva Piñata Soundtrack, Grant Kirkhope, 2006

There was a time when Viva Piñata was touted as one of the fledgling XBox 360’s most important franchises, even accompanied by a tie-in television show. Ultimately, Viva Piñata didn’t go down in game history as anything close to a gamechanger or a classic like some of developer Rare’s previous titles. Still, the game’s colourful graphics and fairly novel gameplay – essentially it’s a first-person life and gardening simulation – left a positive enough impression with reviewers and gamers. In fact, the feedback was strong enough for Rare to release a sequel titled Viva Piñata: Trouble in Paradise, giving the developers the opportunity to implement features they had to leave out of the first game due to time pressures.

The story of who ended up writing the music for Viva Piñata is somewhat typical for Rare games, in that composers ended up working on several projects at once, swapping scoring responsibilities in the process. Initially, Steve Burke was tasked with creating the Viva Piñata soundtrack, with veteran Grant Kirkhope doing sound design. Once Burke got busier with Kameo: Elements of Power though, Kirkhope was asked to take over the music for Viva Piñata as well. In the process, Kirkhope used material he had previously composed for the aborted Dream project on the Nintendo 64 (which later morphed into Banjo-Kazooie).

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Wing Commander Soundtrack (FM Towns)

Wing Commander Soundtrack (FM Towns), David Govett / George Sanger / Nenad Vugrinec, 1992

Very few games foreground their music as much as Wing Commander – and that’s only one way in which it proved to be a watershed moment for game music. Before the player gets to see the game’s intro or even title, game producer Chris Roberts inserts something else, something remarkable: the sight of a pixelated orchestra and conductor, set against the backdrop of a blue planetoid and star-speckled outer space. The orchestra tunes for a few seconds, before the conductor gives the signal to launch into a brief fanfare.

Roberts’ vision for Wing Commander was to create a full-blown space opera à la Star Wars. The orchestra intro in Wing Commander shows that Roberts knew how hugely important music was for his dream project to play like a swashbuckling space opera. The intro also serves as a curtain raiser that heightens expectations. The show is about to start, and it’s going to be of grand proportions. And of course, the sight of the orchestra announces the composers’ symphonic ambitions – a rarity for a 1990 video game. Rarely has a 25-second game intro carried so much meaning and context.

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Wonder Project J Soundtrack

Wonder Project J Soundtrack, Akihiko Mori, 1994

The SNES isn’t necessarily known for its abundance of adventure games – a genre that flourished far more on PCs than on consoles during the mid-1990s. However, there are some adventure gems to be unearthed in the SNES’ library of games and the Japan-only Wonder Project J is undoubtedly one of them. Not only that, but it might well be one of the most unique and creative SNES games (and has rightfully amassed somewhat of a cult following since its release). Taking inspiration from Adventures of Pinoccio, Astro Boy and some of Hayao Miyazaki’s movies, Wonder Project J sees the player indirectly controlling a young android boy, Pino. While there is a storyline to complete, the player’s main task is to teach and train the naive boy, praising and scolding him for his actions (his default reaction to seeing any new object is to eat it).

Wonder Project J really comes to life through its gorgeous pixel art and lavish animations. This visual delight is matched by the game’s beautiful soundtrack, written by Akihiko Mori. Mori had created the score for developer Almanic’s previous game Shien’s Revenge, leaving his mark with one of the most densely orchestrated, opulent SNES soundtracks written up to that point. The young composer brings the same sensibilities to the Wonder Project J soundtrack. This time though, he gets a chance to apply his style to a more varied narrative that teases out his melodic talents.

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Wonder Project J2 Soundtrack

Wonder Project J2 Soundtrack, Akihiko Mori, 1996

Wonder Project J was an entirely delightful SNES adventure game, but its relatively unusual storyline and gameplay mechanics – teaching a robot boy to behave like a proper human being – meant it would never be released in the West. However, the game was successful enough in Japan to warrant an N64 sequel – one of developer Almanic’s final titles (they had renamed to Givro in 1995). Interestingly enough, this time Western gaming publications took note – mainly because they had to somehow fill their pages during the continuous drought of new N64 games. Wonder Project J2 maintained its predecessor’s gameplay, gorgeous 2D graphics and main story idea – the robot that wants to become human, requiring tuition from the player, be it about small daily tasks or philosophical questions like the meaning and permanence of death.

After scoring Wonder Project J like the world’s most lavish children’s movie, Akihiko Mori returned for Wonder Project J2 – writing his last major score before he would pass away in 1998, at the age of 31, from stomach cancer. Drawing parallels between a composer’s life circumstances and the music they produce is often a fraught undertaking, but it’s hard not to take note of the Wonder Project J2 soundtrack’s wistful mood without thinking of what was ahead for Mori.

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