Starting this fine year of 2025, we are adding to the Memorable Music in Gaming series. The last Wednesday of each month will feature a game genre and favorite composer by each of our authors here at Chalgyr Games Room. Since our All Hands on Deck was well-received, we decided that it was time for a little bit of everyone to join in the fun! This month's genre is First Person Shooter composers and the music that grabbed each and every one of our author's love of their music in the game that they presented those soundtracks. I, for one, work from home, so blasting the music from my favorite composer gets my creative juices flowing and my body up out of the chair for that much needed exercise from sitting too long in front of a computer screen, or drawing board. Are there any favorite composers you'd like to talk about? Or just favorite game soundtracks in general?
Nick
Martin O’Donnell – Halo: Combat Evolved
When I think of first-person shooters and music, without hesitation the first song that comes to mind is the titular “Halo”. It is a song that within the first notes is immediately recognized, and has been covered and remade over the years numerous times in a variety of ways.
While O’Donnell had plenty of credits prior to Halo: Combat Evolved, it was said that he was a little nervous trying to concoct something “big, exciting and unusual with a classical orchestra touch to give it some weight and stature. We also wanted it to have some sort of ‘ancient’ feel to it.” (per references in Wikipedia).
On that front, I think the theme of Halo (which was leveraged in future titles and covered numerous times and ways by other artists over the years) certainly hit the mark. I remember finding it almost a surprise at first. I was familiar with the visuals before the game came out and given the futuristic weapons and armor and science fiction settings, I was expecting the OST to be much more futuristic or techno in nature, but instead got something far more satisfying and memorable.
If this was the only notable song released for the game, it still would have been impressive in its longevity and instant recognition, but the rest of the Halo: Combat Evolved soundtrack was amazing as well. As the audio director for Bungie at the time, Martin O’Donnell gets most of the credit, but it’s worth calling out that Michael Salvatori is also credited with the soundtrack.
Pulse pounding tunes like “Brothers in Arms” and the percussion heavy “The Gun Pointed at the Head of the Universe” do an excellent job of representing the action found in this FPS classic, while “Under the Cover of Night” blends a variety of softer instruments and ambient sounds to compliment the game’s quieter moments. Beyond the song “Halo”, my next favorite title in this particular track is also the longest, “Truth and Reconciliation Suite”. Due to the song’s length, it has a bit more time to move between swells of sound that are loud and demanding of attention, and moments of lull and slower pace that make it feel like a more complete piece than most of the offerings here, which turn to run about three minutes or less.
https://www.youtube.com/watch?v=Bzrnw4niuTA&list=PLE247806E68BCF2AC&index=27
Richard
FPS titles aren’t exactly my main forte, and I’ve usually not been too great at them either, but there have been some titles over the years that have caught me. While I’ve played a lot of the other titles that my cowriters have written about or discussed, there is one title that is probably the most memorable to me, although I probably wouldn’t list it as the best soundtrack, even though it isn’t bad.
By far the most memorable FPS soundtrack for me has to belong to Perfect Dark. The original, I’d like to point out. From the haunting opening theme, the cool menu theme, all the way to the Skedar Leader theme. It wouldn’t be a stretch to say that Perfect Dark was probably more popular in my circle of friends growing up than 007 was, believe it or not. There were many nights spent with gag weapon loadout runs, only proxy mines, and a lot of laughs and yelling. Even if there were only two of us, we could always tackle the campaign together.
Honestly, the menu themes still play in my mind to this day. The haunting tones of an intrepid mission that you must complete, but you’re still in the preparation phase. The Combat Simulator theme as me and my friends try to complete all the challenges. All primarily put together by the man, the legend, the absolute Chad that is Grant Kirkhope.
If you don’t recognize Kirkhope, shame on you, but you’ll probably recognize some of the soundtracks he’s been a part of: Banjo Kazooie/Tooie, GoldenEye 007, Killer Instinct 2, Star Fox Adventures, Kingdoms of Amalur: Reckoning, Castle of Illusion Starring Mickey Mouse (remake of the original soundtrack and original compositions), Civilization: Beyond Earth, Guest Composer for A Hat in Time. He also did voicework as Donkey Kong and Mumbo Jumbo from the Donkey Kong and Banjo Kazooie games. He’s also made guest appearances at video game orchestras and even on a cover from FamilyJules. I honestly think the man has a golden touch, because every soundtrack he touches comes out as pure gold.
Come and give the soundtrack a listen and dare tell me it’s not an absolute banger: https://www.youtube.com/watch?v=c6QZ6FuL-4k&list=PL8646AF39FBED4288
Robert
Doom 2016's score is something of a powerhouse soundtrack and is among the most influential pieces of music in the past decade. Nearing 10 years old, the Doom 2016 soundtrack is one of the best in the business. Standing firm like a lighthouse standing against the oppressive weight of a deep fog, Mick Gordon's work is a standout among game soundtracks. Typically dominated by the likes of Nobuo Uematsu, Hans Zimmer, or Jeremy Soule, Mick Gordon brutally carved a place amongst that pantheon of greats by following the philosophy of, "combat as rhythm." In doing so, Doom's soundtrack is on that dynamically adapts to the player's actions in game. This approach was not just more immersive, but it streamlined and simplified the music that Mick composed. Rather than overly complex music that's meant to wrap the player up in warm and fuzzies, Mick's approach is simple, straightforward, and energetic. From Rip & Tear to Ties that Bind and everything in between, adrenaline and immersion are the goal.
And he succeeded in attaining that goal, and then some.
For as weaving and complex as the music found in Doom sounds, the long and short of it is that it's actually quite simple in approach. Mick went in with a mission and came out with a BAFTA-awarded soundtrack for his work; something only a handful of artists in the video game world can claim. The only truly sour note in Mick's legacy is with how he was treated with regard to Doom Eternal's soundtrack. If you listen to the two of them, there's a noticeable difference in quality between Doom 2016 and Doom Eternal. That's because midway through production and after Mick had already composted about a dozen songs (wickedly-good songs, mind you) to be used in Doom Eternal, he was unceremoniously replaced ... and id Software didn't even have the common decency to pay him for his work.
So let's talk about the work ... what makes it great? Synthesized chainsaws. Gordon actually synthesized the sounds of chainsaws to use in Doom's soundtrack and all the while, he paid deep homage to Bobby Prince's original Doom score. Truly epic. Take Rip & Tear for one; perhaps my favorite track on a soundtrack full of my favorite tracks, this adrenaline-pumping track draws you in and doesn't let you go for nearly four and a half minutes. For me, it's the definitive "I'm the superboss and this is my song and you're about to have a bad time" track that truly fulfills the power fantasy. The fact that it dynamically plays throughout Doom is just the icing on the cake and there are times that I would get so wrapped up in the music that I'd be breathing hard after some of these songs, because they just put you in a mood ... a mood to rip and tear through the denizens of Hell.
Don't believe me? Take a listen for yourself as Mick's music stands above and alone- it is truly epic: https://www.youtube.com/watch?v=vyA1z2A-lhU&list=PL3-Zr0Ym0Fgw9G6368AMfMKp9TR1ToaqR&index=2
Hamza
When it comes to first-person shooters, you cannot find a more influential title than DOOM. And when it comes to the music, there are very few that parallel the rockin’ tunes of Bobby Prince.
Active primarily in the ’90s, Mr. Prince’s repertoire includes the likes of Bio Menace, Duke Nukem 3D, Rise of the Triad, Blake Stone, Wolfenstein 3D, and, of course, DOOM and DOOM II. His contributions to the latter two are nothing short of legendary.
At Doom’s Gate, or E1M1, is quintessential. It’s the archetypal track that continues to inspire underground and mainstream musicians to this day. In the seven-part BBC documentary Seven Ages of Rock, Rolling Stone senior editor David Fricke likens the opening snare of Dylan’s Like a Rolling Stone to “a judge wackin’ the gavel on his desk” and says that “history is called to order.” I believe the same sentiment applies to the opening riff of E1M1. With just a few notes, the landscape of gaming was changed forever.
The rest of the soundtrack is just as iconic, with I Sawed the Demons (E2M1) and The Demons from Adrian’s Pen (E2M2) being personal favorites. Even some of the lesser-known tracks, such as the Tchaikovsky-inspired Waltz of the Demons (E2M7) and Donna to the Rescue (E3M2), are bangers in their own right.
For DOOM II, Mr. Prince raised the bar even further, producing what I consider to be his magnum opus. There isn’t a weak track here; each is a worthy successor to what came before.
Running From Evil, or E1M1, is fantastic in its composition. Anyone who’s spent even 10 minutes attempting to create their own WAD in Doom Builder can attest to its earworm catchiness. I’m sure that if there had been a third entry in the classic series, Mr. Prince would have scored a hat trick with yet another unforgettable E1M1 track.
As for the rest of the DOOM II soundtrack, I often come back to Shawn’s Got the Shotgun and Into Sandy’s City. These two are regular repeats in my household. Out of all the tracks mentioned in this article, these two wear their heavy metal inspirations the most on their sleeves, and I wouldn’t be surprised if Mick Gordon—the composer for DOOM 2016 and DOOM Eternal—was, in some way, trying to meet the standard set by these tracks.
Bobby Prince may not be very active anymore, and the younger generation might not even recognize his name, but to us slightly old hats, he remains one of the defining composers of our time. You may be a Prince, but you’re definitely a King.
Valerie
Of all the first person shooters I've played, I still relish Quake (https://www.youtube.com/watch?v=eeNrRHty-Lo). The music of this game composed by Trent Reznor had me going from the theme, all through the rooms, and to the final area. In case you didn't know anything about this game, your mind definitely plays tricks on you if you get so engrossed in the music and not pay attention to your surroundings. This first person shooter has a wonderful gothic environment with a wide array of weapons from sci-fi and fantasy.
I have a penchant for unique music and Nine Inch Nails supplied my quest for rocking out the shots while getting all the treasures in a room. That is, of course, if an enemy didn't pick me off first! Trent Reznor is pure genius in the composing of all of Quake. The Hall of Souls (https://www.youtube.com/watch?v=4SFkuwGPdeg) sounded so much like a room whispering tips and tricks to me. Never, never take your hand off your gun during the pounding, fist-pumping sequence at the 4 minute mark in this track.
Want me some Scrags! These bad guys popped out of nowhere it seemed to me, until I finally had a good bead on them as I rounded a corner, or aimed up a lot. The Castle of the Damned (https://www.youtube.com/watch?v=90gID2mLPZA) is pure Lovecraft done in music at its best! I felt like I was sitting on a beach with the waves licking my toes. Put that to the dark, monster-ridden game and one can imagine red instead of blue for those waves licking your toes.
Mr. Reznor makes fine use of industrial rock, industrial dance, industrial, electro-industrial, industrial metal, electronic rock, alternative rock, and alternative metal in all the tracks on the Quake OST. I had a lot of fun in this game because of the real-time 3D rendering in the Quake engine that differs from the DOOM series I also play.
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