The Greatest Game Music

Reviews of truly outstanding game music

After Burner Soundtrack (C64 – Europe)

After Burner Soundtrack (C64 - Europe)

After Burner Soundtrack (C64 – Europe), Adam Gilmore / Hiroshi Kawaguchi, 1988

The immersive 3d-action and visual fireworks of 1985’s Space Harrier were unparalleled for its era. Sega quickly realised they were on to a winning formula and began to churn out several games that made more and more advanced use of the company’s Super Scaler technology. After motorbikes (Hang-On) and racing cars (OutRun), Sega chose fighter jets for 1987’s action extravaganza After Burner. In many ways, After Burner is the perfect summation of the arcade game experience: blinding speeds, non-stop action – and a difficulty level that focuses more on parting gamers with their quarters rather than providing a fair challenge. The latter point was less of an issue for the many, many console and home computer ports that this genre classic and franchise starter saw in subsequent years. Some platforms even received two After Burner ports – for example, C64 users got to choose between a European and a US version.

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After Burner Soundtrack (FM Towns)

After Burner Soundtrack

After Burner Soundtrack (FM Towns), Norio Hanzawa / Hiroshi Kawaguchi, 1989

Sega’s After Burner was such a smash hit in arcades that the game was ported to an astonishing number of console and home computer platforms. Of course, thanks to the power of After Burner’s X-Board arcade technology, none of the contemporary ports matched the original game’s sense of speed and visual fireworks. In some cases – such as the European C64 release – one might argue that developers should never have attempted a port in the first place. Out of all the many adaptations of After Burner, the FM Towns version came closest to matching the arcade original – not a surprise, given the platform’s powerful hardware that bested contemporaries like the Sega Genesis or the PC Engine.

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Cowboy Bebop Soundtrack

Cowboy Bebop Soundtrack

Cowboy Bebop Soundtrack, Yoko Kanno, 1998

After a somewhat rocky start (that initially didn’t even see all episodes screened), Cowboy Bebop went on to become one of anime’s cultural milestones – on both sides of the Pacific. Setting itself apart from almost anything else produced for TV animation in either Japan or the USA, Cowboy Bebop merged disparate genres and visual styles in ways that helped the series introduce many new Western viewers to anime. Its cross-cultural appeal was partially due to its use of tropes familiar to Western audiences – Western, pulp fiction, film noir and cyberpunk (all within a space opera setting). Shinichirou Watanabe’s creation turned out to be popular enough to spawn a movie sequel and feature on many ‘best of’ lists in the years that followed.

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Final Soldier Soundtrack

Final Soldier Soundtrack

Final Soldier Soundtrack, Masakatsu Maekawa, 1991

There’s no doubt that one of the TurboGrafx-16’s strengths was its stellar line-up of shoot’em ups. However, that also meant any developer who decided to throw their hat in the ring would find it harder to stand out from the crowd. Hudson Soft should have been well-placed to hit the target with Final Soldier, their third entry in the Star Soldier franchise and successor to commercial and critical success Super Star Soldier. Alas, Final Soldier offered little that other shoot’em ups hadn’t already brought to the table. Contemporary reviews agreed that this Japan-only release delivered the polish expected from a Hudson Soft shoot’em up. At the same time, a lower difficulty level meant that the game was over relatively soon for experienced players. A solid, well-designed game rather than a great one, seemed to be the general conclusion.

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IL-2 Sturmovik: Birds of Prey Soundtrack

IL-2 Sturmovik: Birds of Prey Soundtrack

IL-2 Sturmovik: Birds of Prey Soundtrack, Jeremy Soule, 2009

IL-2 Sturmovik: Birds of Prey arrived at the tail end of the World War II game genre’s huge popularity. As such, game music fans had witnessed many different approaches to underscoring this most devastating of armed conflicts. Especially Michael Giacchino‘s oeuvre had been a potent display of how to put war into music in various ways.

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Iridion II Soundtrack

Iridion II Soundtrack

Iridion II Soundtrack, Manfred Linzner, 2003

As the new millennium dawned, shoot’em ups were arguably nowhere near as popular as during their heyday of the 1980s and 90s. However, more than enough developers still had a fondness for the genre and kept the flame burning. One such studio was Shin’en Multimedia, founded in 1999 by former members of Amiga demoscene group Abyss. Focusing on Nintendo’s handheld consoles in the early years of their existence, Shin’en turned what had been conceived as a Game Boy shoot’em up into a Game Boy Advance launch title – Iridion 3D. Despite the game’s much-lauded pseudo-3D graphics, reviews were tepid due to frustrating gameplay. Two years later, Iridion II was received much more positively. Its gameplay broke little new ground, but critics agreed that it was a pleasant reminder of the more straightforward shooters of yore – and no review failed to mention Iridion II’s stellar presentation.

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Lair Soundtrack

Lair Soundtrack

Lair Soundtrack, John Debney / Kevin Kaska, 2007

The dichotomy of “bad game, great music” has rarely presented itself more strikingly than in the case of Lair. A much-hyped PlayStation 3 title, Lair crashed and burned due to its unwieldy control scheme. Ultimately, probably the only good things to emerge from the wreckage were Lair’s gorgeous visuals and its excellent music. Written by film score veteran John Debney with support from Kevin Kaska, the Lair soundtrack quickly gathered praise from game music reviewers. In fact, soon the music achieved such acclaim that soundtrack fans clamoured for a complete score release. Their pleas were answered in 2014, when La-La Land Records released a two-disc set of the Lair soundtrack with improved sound, making the previous iTunes release superfluous.

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Lock On Soundtrack

Lock On Soundtrack

Lock On Soundtrack, Akihiko Mori, 1993

Using the SNES’s famed 3D capabilities for a combat flight simulator seems like an obvious choice. However, despite the popularity of After Burner-style games in the late 80s and early 90s, not many titles of this kind were released on the SNES. One of the few SNES flight simulators was the blandly-titled Lock On (not that the Japanese release name Super Air Diver made any sense, but it sure sounds more fun). For post SNES-era gamers, the best way to view developer Copya System‘s Lock On is probably as a kind of simplified Ace Combat. Some of that simplification was inevitable, given that the SNES’ famous Mode 7 could only generate 3D graphics of limited complexity. However, in the eyes of many reviewers, the bigger issue was the monotonous mission and gameplay structure that distracted from the game’s fluid, fast graphics.

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MUSHA Soundtrack

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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Nanostray 2 Soundtrack

Nanostray 2 Soundtrack

Nanostray 2 Soundtrack, Manfred Linzner, 2008

Manfred Linzner remains one of Western game music’s better kept secrets – although his scores deserve to be much better known. His work particularly turned heads with the Game Boy Advance scores for Iridion 3D and Iridion II – and not just because of their catchy melodies. These scores were technical marvels, proving one could create high-quality sound on a console infamous for its lacking audio capabilities. Fortunately, the Iridion scores have seen an excellent release through a widely available arrange album. However, the vast majority of Linzner’s discography – including excellent work like Fix & Foxi 1 – Episode 1: Lupo – remains commercially unavailable.

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Octogeddon Soundtrack

Octogeddon Soundtrack

Octogeddon Soundtrack (PC), Big Giant Circles, 2018

“Every game before Plants vs. Zombies, I was just making a game. Now, after making Plants vs. Zombies, I’m making a game in that shadow.” That’s how developer George Fan described the not necessarily easy task of following up one of indie gaming’s biggest successes. But while Octogeddon didn’t sell by the bucketload as Plants vs. Zombies did, it still ranked as another success for Fan, with consistently strong feedback from reviewers and gamers. Like Plants vs. Zombies, Octogeddon works from a deliciously silly concept – this time, it’s a homicidal octopus that swears revenge after seeing his friends served as sushi, vowing to destroy the world’s most famous landmarks (think Eiffel Tower, the Statue of Liberty etc.) Fan decided to mix the gameplay’s arcadey nature – including hilarious weapon/tentacle upgrades – with rogue-like elements that helped keep the game’s early levels challenging, even upon repeated playthroughs.

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Raiden DX Soundtrack (PlayStation)

Raiden DX Soundtrack

Raiden DX Soundtrack (PlayStation), Go Sato, 1997

Raiden DX is the perfect example of why it got difficult keeping up with the Raiden franchise and its music at some stage. The game is effectively an updated version of Raiden II, making it the strongest entry in the franchise’s classic period. Recycling levels from Raiden II and mixing in completely new stages, Raiden DX presents its content via three different courses players can take. One is essentially a reprise of Raiden II. The other two modes consist of one massive level and of a whole new set of stages that increase Raiden II’s already considerable difficulty level. A full three years after its 1994 arcade release, Raiden DX received a PlayStation port that added more bonus goodies, including new options and a demo of developer Seibu Kaihatsu’s puzzle game Senkyu.

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Raiden Soundtrack (FM Towns)

Raiden Soundtrack

Raiden Soundtrack (FM Towns), Akira Satoh, 1991

You could argue Raiden wasn’t a terribly innovative or flashy title, released at a time when there was no shortage of shoot’em ups jostling for the genre throne. Still, Seibu Kaihatsu’s game turned into one of the best-known vertical shoot’em ups, spawning an extensive franchise that would see new games released even decades after Raiden first delighted arcade audiences in 1990. What did set the game apart from the competition was not just its refinement of existing gameplay concepts but also its almost proto-bullet hell approach, filling the screen with tons of projectiles. As would befit a popular shoot’em up from the genre’s golden era, Raiden was released across many computer and console platforms. Likely the best contemporary port was the FM Towns conversion – a familiar story at the time, given the platform’s superior processing power.

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Raiden V Soundtrack

Raiden V Soundtrack

Raiden V Soundtrack, Yoshimi Kudo, 2016

You’ve got to appreciate true dedication. Take the development staff of Seibu Kaihatsu, creators of the Raiden franchise. The company slid into financial woes from the late 1990s and focused on adult mahjong arcade games. However, its staff members left Seibu Kaihatsu, formed a new company called MOSS, bought the rights to the Raiden franchise – and ensured that its legacy would continue through several new instalments. After creating the franchise’s third and fourth titles, MOSS hit a milestone with Raiden V in 2016 – an impressive 26 years after the original Raiden hit arcades. As with previous franchise titles developed by MOSS, Raiden V picked up solid – if not always ecstatic – reviews. Not surprisingly, Raiden V introduced few innovations to the formula that the series had thrived on, but once again promised solid bullet hell-entertainment (that was slightly more accessible to novices than previous Raiden games).

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Red Alarm Soundtrack

Red Alarm Soundtrack

Red Alarm Soundtrack, Ken Kojima, 1995

Of course, hindsight is everything, so it’s easy to marvel now at how Nintendo thought that a console as clunky and inherently limited as the Virtual Boy could ever succeed. In defence of Nintendo and Virtual Boy creator Gunpei Yokoi, the console ultimately shipped in a downscaled version, as Nintendo shifted its attention and resources to the Nintendo 64 halfway through the Virtual Boy’s development. The story of the Virtual Boy was ultimately a short one, with only 770,000 copies sold worldwide and the platform discontinued after less than a year.

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Secret Weapons Over Normandy Soundtrack

Secret Weapons Over Normandy Soundtrack

Secret Weapons Over Normandy Soundtrack, Michael Giacchino, 2003

Among Michael Giacchino‘s WWII scores, the Secret Weapons Over Normandy soundtrack is conceptually and emotionally the most straightforward one. There’s none of the anguish and tragedy of Medal of Honor: Frontline here, none of the subtle character beats of Medal of Honor: Underground, or even the few injections of solemn patriotism of Medal of Honor – and the viciousness of Call of Duty, released almost at the same time as Secret Weapons, seems worlds away. Instead, the Secret Weapons Over Normandy soundtrack takes Medal of Honor‘s ‘war-as-adventure’ aesthetic to its extremely entertaining, bombastic extreme.

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Total Eclipse Soundtrack

Total Eclipse Soundtrack

Total Eclipse Soundtrack, Burke Trieschmann, 1994

The 3DO wasn’t around for long enough to produce many classic soundtracks exclusive to the system, or which at least germinated there first. However, do some digging, and you’ll come across a few hidden 3DO music gems. One of those pleasant surprises is Total Eclipse. While not a system exclusive like Zhadnost: The People’s Party, Total Eclipse first saw the light of day on the 3DO before being ported to the PlayStation a year later – with markedly less full sound, making the 3DO soundtrack far superior. The game itself wasn’t much to write home about, seemingly only turning heads in 1994 because of its (back then) spectacular 3D graphics. The dull, repetitive space shooter gameplay found few fans, and by the time the essentially unchanged PlayStation port appeared in 1995, the once shiny coat of paint had definitely faded.

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Wing Commander Soundtrack (FM Towns)

Wing Commandeer Soundtrack

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.

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