RPG Archives - The Greatest Game Music

Cthulhu Saves the World Soundtrack – Review

Cthulhu Saves the World Soundtrack, Gordon McNeil, 2010

With the rise of indie games, the number of 8- and 16-bit styled titles has exploded. One of the most beloved genres from that era in gaming were JRPGs. It’s no surprise then that the retro game market has been flooded with titles that try to recapture the magic of genre classics like Final Fantasy, Dragon Quest, Star Ocean, Tales of… the list goes on and on. One of the better JRPG throwbacks was Zeboyd Games’ Cthulhu Saves The World. For the game’s soundtrack, Zeboyd Games turned to Gordon McNeil.

McNeil had provided a couple of tracks to Zeboyd Games’ earlier Breath of Death VII: The Beginning. His contribution to Chtulhu would be significantly larger, clocking in at more than 70 minutes of music. McNeil’s stylistic approach to scoring this hybrid parody/homage was unsurprising. In his words: “Since I was a tod I’ve wanted to score an RPG of the J variety, so I jumped at the chance. The whole idea behind Zeboyd’s RPGs is to make as much an honest tribute as well as parody, and so I decided to go whole hog and put together as iconic a JRPG soundtrack as I could.”

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Diablo Soundtrack – Review

Diablo Soundtrack, Matt Uelmen, 1996

When Blizzard announced Diablo III at the 2008 Blizzcon Worldwide International, they chose a simple way to do so. All guitarist Laurence Juber had to do was to play the first few chords of the original Diablo’s signature tune. Of course, the piece in question was Matt Uelmen’s immortal “Tristram”. And according to Diablo III’s lead composer Russell Brower “over 10,000 people in the room knew EXACTLY what was coming”. Such is the power of a truly classic soundtrack composition that it can become the most memorable and thus quickest reference to the game or film it accompanied. That makes it all the more remarkable that it took 15 years for this composition – and the rest of Diablo’s music – to get a soundtrack release.

No wonder that “Tristram” is still fondly remembered by millions of gamers. In short, Uelmen’s composition is a masterpiece of subtly evoked atmosphere. Those opening strummed guitar chords herald a piece that still remains fascinating for its ambiguous, multi-layered atmosphere.

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Gokinjo Bouken Tai Soundtrack – Review

Gokinjo Bouken Tai Soundtrack, Akihiko Mori, 1996

Gokinjo Bouken Tai is one of those 16-bit games that could have only come out of Japan – and of course was never released anywhere else. It’s a joyous, upbeat adventure, befitting its protagonist – young kindergartner Mana, who lives in a small Japanese town with her family. What makes Mana special is her ability to see and interact with youkai – Japanese spirits, gods and demons. Gokinjo Bouken Tai’s gameplay arguably hews closely to traditional JRPG tropes. However, its anime-inspired, unusual setting and the obvious love and care that has gone into creating its colourful world turn it into a small, largely undiscovered gem.

Approaching the end of his sadly short career – and coming off the creative triumph that was Mystic Ark – composer Akihiko Mori turns in another outstanding effort, once more expanding his stylistic palette while maintaining the strengths that had made previous works so outstanding. Given the game’s quirkiness and its kindergarten-aged protagonist, it’s no surprise that the Gokinjo Bouken Tai soundtrack is more overtly child-friendly than a magnum opus like Mystic Ark or a whirlwind action score like Shien’s Revenge. But this is children’s music done right – with just as much care for substance and attention to detail as any great work of art, regardless of genre.

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

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 1200’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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Hero Quest Soundtrack (NES) – Review

Hero Quest Soundtrack (NES), Neil Baldwin, 1991

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.

On Duty Cycle Generator, Baldwin shares his view that the Hero Quest soundtrack “is probably some of the best NES music” he did. It’s safe to say he’s correct in that assessment. Prior works by Baldwin (and his later Ferrari Grand Prix Challenge) can feel like exercises in arpeggio-based NES compositions. Those arpeggios were a relatively easy way to generate a lush sound with the NES’ limited hardware. There’s no doubt that Baldwin handled the arpeggio sounds driving his compositions with virtuoso technical skills matched by few other composers. Still, particularly a fantasy-themed work like Magician feels deficient in other regards, for example engaging melodies and moods.

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