Sega Genesis Archives - The Greatest Game Music

Battletoads Soundtrack (Sega Genesis)

Battletoads Soundtrack (Sega Genesis), Hikoshi Hashimoto / David Wise, 1993

Yes, it might have been a blatant attempt to ride the Teenage Mutant Ninja Turtles’ coattails. Still, Rare’s 1991 NES Battletoads game was successful enough to see it ported to a plethora of other platforms. Probably the highest-profile port was the Battletoads version released for the Sega Genesis in 1993. Reviews of the game were somewhat divided. More than a few critics pointed out that the developers could have done more to improve the game in the two years that had passed since the NES release, instead of releasing what was mostly a simple conversion that arguably didn’t push the Genesis graphics chip much. In fact, where the Genesis port of Battletoads probably shines the brightest is with its score.

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Demons of Asteborg Soundtrack

Demons of Asteborg Soundtrack, 2021, Jacob Altmann / Roland Sepherulo

The number of retro games that fashion themselves as new Sega Genesis titles isn’t huge, but since the 2010s, there has been a steady trickle of such projects. 2021’s Demons of Asteborg was one of the stronger Genesis look-alikes, combining aspects of classic titles like Ghouls’n Ghosts and Castlevania: Bloodlines – and even a bit of Space Harrier. Developer Neofid Studios seasoned this Gothic platforming action with Metroidvania elements – and following a successful Kickstarter campaign, they even released Demons of Asteborg as a physical Sega Genesis cartridge (in addition to Switch and Steam ports). The game met with positive reviews praising the title’s polished gameplay and lovingly crafted presentation.

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Galahad Soundtrack

Galahad Soundtrack, Matt Furniss, 1992

It probably didn’t sway many customers towards buying a Sega Genesis, but one advantage that the platform had over the SNES was a reasonably steady flow of European computer game ports – particularly from the Amiga. That was undoubtedly due to the Genesis outselling the SNES on the continent, making ports a potentially lucrative undertaking. However, few – if any – of these conversions are particularly well-remembered these days. Mind you, that’s not necessarily due to a lack of quality, which means there are some hidden gems to be unearthed. Enter Galahad, previously released as Leander on the Amiga. While the game – a medieval-themed hack’n’slash platformer – didn’t do anything drastically original to stand out from the crowd, it was a prime example of a rock-solid title that still entertains decades later: substantial content, tight controls, lovely graphics – and one of the platform’s greatest soundtracks.

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Gauntlet IV Soundtrack

Gauntlet IV Soundtrack, Masaharu Iwata / Hitoshi Sakimoto, 1993

In an industry dominated so much by spin, it is refreshing to see a corporate history description as honest as developer M2’s: “Gathered a bunch of friends who used to play Gauntlet together at the arcades and ported it to PC (X68000) for fun. Presented it to TENGEN/ATARI GAMES, who then sold it for the MegaDrive title after some back and forth.” It’s a perfectly succinct description of how Gauntlet IV came about – although it is worth pointing out that at least the game’s title was a clever bit of marketing. Technically, Gauntlet IV was a significantly enhanced port of the original Gauntlet, adding three new gameplay modes. However, naming the game after an eight-year-old title that had already been ported many times to other platforms probably didn’t look like a promising strategy. So, a roman numerical was added, and Gauntlet IV was instead sold as a sequel.

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MUSHA Soundtrack

MUSHA Soundtrack, Toshiaki Sakoda, 1990

It’s safe to say that Compile’s well-regarded Aleste series reached its pinnacle with 1990’s MUSHA for the Sega Genesis. It ranks as one of the 16-bit era’s best shooters, with lightning-fast gameplay, an immensely challenging difficulty level and some of the most breathtaking visuals ever seen on the Genesis – all the more impressive considering that MUSHA was a first-generation title. What really helped to set the game apart was its visual style. Feeling that MUSHA had to differ significantly from its franchise predecessors, the developers came up with an unusual mix of sci-fi tropes and traditional Japanese lore. As a result, your flying mecha shoots super-charged electric shurikens while facing off against enemies like robotic ninjas and Japanese castles on tank treads.

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Phantom 2040 Soundtrack (Sega Genesis)

Phantom 2040 Soundtrack (Sega Genesis), Matt Scott / Burke Trieschmann, 1995

Phantom 2040 probably never stood a chance. Firstly, it was released towards the end of the 16-bit era on SNES and Sega Genesis. Secondly, it was based on the TV series spin-off of a comic book licence that wasn’t hugely popular to begin with. It was no surprise then that Phantom 2040 was largely ignored by gamers – but it did find some traction amongst contemporary reviewers. And over the years, the game’s reputation only seems to have grown. With its ambitiously non-linear, Metroidvania-style level design, Phantom 2040 is now widely regarded as a forgotten gem of the SNES and Genesis game libraries.

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Puggsy Soundtrack (Sega Genesis)

Puggsy Soundtrack (Sega Genesis), Matt Furniss, 1993

At first glance, Puggsy might have looked like yet another early-90s mascot platformer, difficult to distinguish from the glut of similar titles flooding the SNES and Sega Genesis at the time. However, Puggsy and the story of how it came to be was actually far more intriguing than that. The Puggsy character originated in a 1990 Amiga demo called Puggs in Space, designed by demogroup Dionysus, which included future game music maestro Tim Wright. After signing with Psygnosis, Dionysus was pulled out of the game’s development, which went to Traveller’s Tales. Similarly, Puggsy’s gameplay hid a few unexpected intricacies. The title heavily featured puzzles based on a physics engine – an innovative feature for a 16-bit platform. Individual objects had different properties such as buoyancy, weight and friction, allowing for more intricate puzzles than most other platformers of the era managed.

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Skeleton Krew Soundtrack (Sega Genesis)

Skeleton Krew Soundtrack (Sega Genesis), Nathan McCree, 1995

Games released at the end of a console’s life cycle often end up somewhat lost to the ravages of time – not entirely forgotten by posterity maybe, but still mostly passed over for the incoming generation of new platforms. Core Design‘s Skeleton Krew (we’re deep in the midst of 1990s edginess) is one such title. An isometric shooter for the Sega Genesis, Amiga and Amiga CD32, Skeleton Krew failed to elicit much interest from gamers and reviewers back in 1995. Its gameplay featured few innovations, while Skeleton Krew’s six levels meant the fun was over fairly quickly. The game’s one standout feature was its presentation (once you looked past Skeleton Krew’s slightly desperate attempt to be all dark, violent and gritty). Creative use of the Amiga and Genesis’ colour palettes, highlighting the surreal H.R. Giger-inspired bio-mechanical artwork, set the game apart from the competition.

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Streets of Rage 2 Soundtrack (Sega Genesis)

Streets of Rage 2 Soundtrack (Sega Genesis), Motohiro Kawashima / Yuzo Koshiro, 1992

Often enough, sequels to successful games or movies follow a predictable path – repeat the formula that made the first outing a winner, but make sure to tweak and polish your approach. If all goes well, the result is a product that doesn’t innovate, but makes a good thing even better. That’s precisely what happened with Streets of Rage 2. Its predecessor was a strong entry in the very crowded genre of early 90s beat’em ups. It didn’t stand out as a classic, though – but Streets of Rage 2 definitely got there. With nearly flawless gameplay and outstanding visuals, Streets of Rage 2 might well be the greatest beat’em up released for the Sega Genesis – and one of the entire genre’s all-time greats.

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Streets of Rage 3 Soundtrack

Streets of Rage 3 Soundtrack, Motohiro Kawashima / Yuzo Koshiro, 1994

By the time Sega got around to developing Streets of Rage 3, the company faced a bit of a conundrum. Streets of Rage 2 had left its mark on one of the most popular video game genres of the early 90s. It emerged as a true genre classic by making smart, incremental changes to the formula introduced by Streets of Rage. There was precious little left to improve, so where could the developers take the franchise with Streets of Rage 3? The answer: add a few new gameplay mechanics, change the game’s visual style somewhat, but otherwise leave well enough alone. Well, that last point applied to the Japanese version of the game. When ported to the West, the game’s difficulty was significantly cranked up, to the point of unfairness and frustration. Sadly, to this day, Streets of Rage 3 serves as a reminder of how not to localise a game.

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T2: The Arcade Game Soundtrack (Sega Genesis)

T2: The Arcade Game Soundtrack (Sega Genesis), Matt Furniss, 1993

Game developers certainly didn’t pass up the opportunity to make the most of the blockbuster juggernaut that was Terminator 2: Judgment Day. At the time the third-highest grossing movie worldwide (behind Star Wars and E.T. the Extra-Terrestrial), James Cameron’s work prompted numerous video game adaptations. In fact, when Midway ported their arcade rail shooter Terminator 2: Judgment Day to home consoles, they had to change its name to T2: The Arcade Game, to differentiate it from the already existing T2 games. That didn’t stop Midway Manufacturing Company from porting the game to as many platforms as possible – even to those that don’t seem like obvious candidates for a rail shooter (the Game Boy?)

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