Culdcept the First (also attributed as Culdcept the First Saturn Tribute) is a very fun game, that does show its age. This is basically a re-issue of the 1997 Sega Saturn game that mashes together deckbuilding (think Magic: The Gathering) and boardgames (such as Monopoly).
With these annual seasonal renewals of the sports season comes the related video games as well, and the question reviewers such as myself always face is this: Is this year’s game worth purchasing one year after the last one? My answer? Yes, absolutely. NBA fans are going to almost certainly enjoy NBA 2K27.
Midnight Moments is a cozy cyberpunk diorama-building game that is stunning. Unlike games that require you to complete quests or take out assailants or even solve challenging puzzles, this one only requires one thing: imagination.
Isle of Reveries is a top down 2D action adventure game that made my nostalgia for old school Zelda games flare up really hard. A good blending of puzzle, exploration, and combat, Isle of Reveries is a wonderful title to experience inside and out.
Let me tell you about this cozy game my daughter and I are playing together called Outbound. Now, I've been following this game from the initial Kickstarter back in April 2025 to its full release in May 2026. The best Mother's Day gift for myself and my first ever collector's edition in a physical copy!
In OVER REQUIEMZ Yuhiru is thrown into the castle of Oz and is immediately accused of trying to assassinate the King and shoved into the dungeon. Not only is she treated like a criminal...
Today we’re looking at what has rapidly become an absolute favorite in the open-world RPG genre for me. An interesting story, memorable NPCs, stunning visuals, and a setting absolutely dripping with flavor, Dread Delusion sets its tone immediately and sticks with it.
...and I have been playing NHL games since. It didn't matter whether it was EA or another game like 2K in the 2000s; I loved hockey games and still do, but is NHL 27 a step in the right direction?
Asdivine Knot is the latest title in the Kemco JRPG library. Following protagonist Verselio, who's on the run from the church that they once served, he'll be accompanied by an odd selection of party members as they all find a reason to band together…
Our story begins in Akihabra, Tokyo Japan. The protagonist Okarin… Or rather Rintaro Okabe, (Voiced by Mamoru Minyano) is a recent high school graduate who rents an apartment with his best friend and resident computer hacker, Itaru ‘Daru’ Hashida (Voiced by Tomokazu Seki) during the summer of 2010.
Showing posts with label Memorable Music. Show all posts
Showing posts with label Memorable Music. Show all posts
This week, we’re looking at the main themes of one of the most acclaimed video
game franchises of all time: Fallout. With the new season of the TV show just
around the corner, now’s as good a time as any to revisit the music, tap into
some nostalgia, and maybe inspire you to explore the wasteland all over
again.
Fallout 1 & 2 | Main Theme
It’s both surprising and oddly fitting that for a series with such memorable
music—both original and licensed—the first two games open with atmospheric,
unsettling ambience rather than a melody.
The isometric titles had a
very distinct aesthetic, and the main theme reflects that: a bleak soundscape
that feels like the wasteland itself humming back at you. The Texas Chainsaw
Massacre fanboy in me approves.
This is where 90% of Fallout fans got their start, myself included. By the
mid-2000s, the franchise had been through a rough patch: Van Buren—the original
Fallout 3—was cancelled in 2003, and the Brotherhood of Steel spin-off tanked
interest even further.
Then Fallout 3 arrived in 2008, and it felt
like a cultural event. Anyone who was gaming at the time remembers that reveal:
the toxic green color grading, the Brotherhood of Steel helmet, that
unmistakable sense of scale.
The theme is militaristic, heroic, and
full of grand adventure—with just enough grit to remind you this is a tough
world.
Considered by many the best entry in the series, New Vegas is impossible not to
love. It trades Fallout 3’s green for dusty browns, hard sci-fi for frontier
grit, and tells a story that’s personal, political, and razor-sharp.
The
opening notes hit like a shot to the head—appropriate—and the rest of the theme
promises revenge, chaos, and a deeply human drama waiting in the Mojave.
This one is a personal favourite. For the first time, the series opened with an
animated main menu, and those soft piano strokes paired beautifully with the
slow-motion shots of the T-51b Power Armor.
The theme is cinematic
and a touch melancholic, yet it never loses its sense of sweeping scale and epic
ambition.
Where previous entries centered on a lone wanderer—with the occasional
companion—Fallout 76 is built around community. The theme reflects that shift:
lighter, breezier, and more optimistic than its predecessors.
There’s
a sense of camaraderie here, a hint of shared rebuilding, and a musical nod to
the idea that this wasteland is best explored together.
It’s spooky season - time for games that make the hairs on the back of your neck stand up. Probably no genre benefits more from quality sound design than horror. Whether it’s subtle ambient sound effects to in-your-face music swells, a horror game with well-done audio can get your heart racing in a way that visuals and gameplay alone can’t quite seem to achieve.
Though it came out about a decade ago now, SOMA is still one of my favorite horror titles ever. I’ve played it on multiple platforms over the years, and even though I know what’s coming - the game still manages to create tension through its sound effects and the impressive OST composed by Mikko Tarmia. Probably best known for his work on the Amnesia and Penubra games, Mikko Tarmia also founded his own independent label called The Sound of Fiction (which is an awesome name in my opinion).
While many of his other works are better recognized, I believe SOMA is probably the best of his soundtracks that I have experienced. The game itself is a creepy science fiction game that relies on atmosphere and tension over random jump scares. Songs such as Ark (https://www.youtube.com/watch?v=Tk1eidg3Pzw) and Going down really help to create the thick sense of tension in the air as you explore. Even the opening and credit themes that bookend the experience are memorable well after I had put down the game.
Viacheslav Pakalin - Sherlock Holmes: The Awakened
Like several of my colleagues, I don’t really play horror games. The closest I tend to get to the genre are investigative focussed games like Call of Cthulhu (which I only got so far before I was too creeped out) and Sherlock Holmes - which isn’t really a horror game per se. Needless to say, Sherlock Holmes is going to be my entry for this month’s memorable music because I absolutely loved this game, despite a few scenes where I was a little disturbed.
As a game, it felt a little bit pulled back from Chapter One which had an interesting gameplay method and one mechanic that just never worked for me. The Awakened was a little more focussed on what it was meant to be, and I was thrilled with the game. Especially when you consider that the music composed by Viacheslav Pakalin was brilliantly done. As the main composer for a couple of Frogwares games, it stands to reason that he earned his stripes. Each track in The Awakened is creepily simple with some haunting reverbs and a grand piano to add the atmosphere in an already tense and bloodied world. Take a listen to Warehouse 12 (https://open.spotify.com/track/3cjLWDA4PmnPt7GUtfzG84?si=a4b7e7314ad942ac) which slowly crescendos ones imagination into overdrive. Considering that the whole game is creepy enough as it is with the concept, the atmosphere, as well as the addition of this music, it is definitely a memorable soundtrack and game in my eyes.
And yes, I know, it’s not strictly a horror game. I don’t do horror games, so this is the best you get.
Dumavita/Vinicius Braga/Michel Cardosa - Enigma of Fear
I don’t play many horror games, and the ones that I do pretty much only have an ambient soundtrack instead of full music tracks. As such, I’d like to toss in Enigma of Fear. While it’s not exactly a traditional horror game, being more a mystery/supernatural/adventure type game akin to an isometric Resident Evil, it is definitely a spooky setting.
When I first started playing Enigma of Fear I was initially taken by the art style and voice acting, both of which really clicked right off the bat. As you investigate the mysterious disappearances surrounding a supernatural hotspot centered around the house of an insane family, you’ll delve into the mystery of what’s going on. What better way to set the tone than with the soundtrack? Instilling a sense of dread and foreboding, the music from Enigma of Fear really made an impact on me, both from a gameplay perspective and from a musical sense.
Dumativa, the developer of Enigma of Fear, is an amazing Brazilian game studio that really nailed the tone and the atmosphere here, in addition to producing an amazing game. Definitely a soundtrack that I found really memorable.
We hope you enjoy this week’s selections as much as we do.
Crash Team Racing | Main Theme
That xylophone is a thing of beauty. If the PlayStation startup sound represents the console’s soul, then this theme perfectly sums up the spirit of its game library.
I keep promising myself I’ll play FTL, but life always finds a way to delay it. Until I do, I’ve got Ben Prunty’s masterful soundtrack to keep me company.
“Rockmen” feels like a tribute to 90s chip music, but never comes off as cliché.
Back in MM #28, I mentioned wanting a specific video game track as my personal life theme. I stand by that… but if life gave you a second slot, this would be my pick.
It’s the perfect soundtrack for modern-day hustle—especially the mental marathon that is corporate life.
No recent game has gripped me quite like A Little to the Left. A charming little puzzler where you organize objects—sometimes with logic, sometimes with cartoon logic.
Between the base game and its two DLCs, I’ve spent over 50 hours replaying levels. A big reason for that? The warm, comforting soundtrack by newcomer Justin Karas. He’s made a cozy classic here.
This month we are featuring music from real-time strategy games, or RTS as they are listed on many gaming websites, forums, discussion groups and so on. These will probably take you back quite a few years, but these games are still enjoyed even today!
Jamie Christopherson and Bill Brown - The Lord of the Rings: The Battle for Middle-earth
There’s a lot to enjoy about this 2004 real-time strategy game. It has a typical structure built around factions and the tug-of-war between resources and military expansion. The overall reception was quite positive, and it helped that the game had such a strong tie-in to the popular movies of the era. This was primarily evident between short clips in the movie and likenesses of popular characters such as Pippen, Merry, Legolas and more.
However, the music for me was a standout, as I adored the music from the movies. Now, normally when I talk about memorable music in gaming, I try to focus on original music and not just importing something popular from another source (like the Guitar Hero games). While it’s true that The Lord of the Rings: The Battle for Middle-earth does contain music composed by Howard Shore for The Lord of the Rings trilogy, there are original scores to be found here as well. These pieces were composed by Jamie Christopherson and Bill Brown.
Jamie Christopherson has had his work show up in film, television and video games with a lean towards action such as The Crow: Wicked Prayer, Spider-Man: Web of Shadows, the Bionic Commando remake and Lost Planet 2 to name just a handful. Bill Brown’s claims to fame span multiple types of media as well such as CSI: NY, several Tom Clancy titles and some of the Command & Conquer games. Perhaps most notably however, Bill was responsible for many of those iconic boops, bleeps, tunes and tones that came with Windows XP.
So while these two men had quite a variety of genres and media in their working history, it is impressive how they were able to come up with nearly two dozen tracks for the The Lord of the Rings: The Battle for Middle-earth video game that felt like they belonged with the popular music from the movies. Tracks like Hordes Attack would feel just as at home in those classic Dungeons & Dragons video games as it does in this one, swelling in one moment after softly building up to it. The horns and tempo found in Unstoppable Evil would have certainly worked during battle scenes in the movies and are an excellent compliment to the military skirmishes found in the game. Most of the songs are relatively short, looping when necessary or used to compliment a brief scene, clocking in at around a minute or so each. My favorite however has to be the sweeping Riding The Plains, which is a bit over four minutes long and manages to stand out in my memory despite fitting in so well with the rest of the music from the game and movies, and is definitely worth a listen to by itself.
Who could have seen this coming? Of course my music choice for the RTS genre is going to be Starcraft related (although, Warcraft is also right up there in the genre as well!) And there are several reasons for this. I haven't played a ton of RTS games to begin with - thus options being limited for me - but I feel as though the genre has dropped out of favor in place of other genres like action, adventure, cozy, and simulation games. I find there are a lot more shooters out there, even though many pale in comparison to the viewership levels of esport shooters.
In giving a little love to the RTS genre, Russel Brower is my choice from Starcraft II: Heart of the Swarm. While the music in the base game is fantastic, I only played Terran to get through the base game story. Heart of the Swarm is where my heart truly lies as everyone should bow to the Queen of Blades (And I don't mean Scarlett, the pro player who has previously been dubbed the same. Although, she is pretty awesome.)
Unlike Wings of Liberty or Legacy of the Void, Heart of the Swarm had everything I was looking for as a zerg player. (It may be fun to note here that all my Discord main roles are named after zerg units!) It came with units that I loved for their abilities and for their strategic uses. The ability to burrow your units into the ground like the roach made me happy. (I'm not going to talk about swarm hosts, which at one time were so ridiculously over tuned that Stephano and Petraeus had a THREE HOUR GAME live on stream. It was way back in 2014 and all of us sat there wondering if the game was going to end. Spoiler alert, it did.) Anyways, I found that playing the swarm made a lot more sense to me than the other two races in the game. Even before the DLC came out, I was sending waves upon waves against the enemy so that I could overwhelm them. Needless to say, swarm tactics are kinda my thing :D
The music for Heart of the Swarm was quite impressionable as I ended up listening to it the most during the time of Starcraft II's heyday. And while the other two soundtracks are just as kickass as this DLC, Wings of Liberty I only played through once and never went back, and Legacy of the Void's campaign I didn't touch at all. (Would you believe that even the couple of missions you play as Protoss in the Heart of the Swarm campaign, I failed a couple times? Yes? Mmhmm. PROTOSS SCUM!) Now before continuing, I will mention that Russell Brower wasn't the only writer for many of the tracks on the volume one. He contributed to the last four tracks called: Phantoms of the Void, He Had it Coming, Ascension, and Whispering of the Stars. All of those songs are fantastic and I definitely relistened to all four of them while writing this. On volume 2, Brower contributed to every song and it shouldn't be a surprise to anyone that my favorite song would be aptly named 'Queen'. The track starts off with an eerie almost orchestral build into a heavy hitting and gritty beat. In fact, the song became the titular track preceding many professional Starcraft II games. Honestly, if that doesn't tell the tale of the song, I don't know what would. It speaks for itself.
My composer for this Memorable Music Collective is Gregory Alper, and I thoroughly enjoy the music he composed for Warcraft: Orcs & Humans. Mr. Alper is still making music as it's his life's career of over 4 decades now. He's dipped his toes into the music genres of Country, Jazz, Latin, R&B, African, Calypso, and Big Band Swing over the years. He also composed the music for Mech Commander 2, another fave game of mine!
Recently, there is a remastered version of Warcraft: Orcs & Humans that I hope to get my hands on just to be immersed in that universe again. I've always played the orcs campaign. I got a royal kick out of the orcss and their 'Work complete' to 'We're being attacked'. The music that ran during the gameplay amplified the atmosphere of the Warcraft universe and set the bar for the games that came out later. I played the PC98 version since I didn't have any of the consoles, with the exception of playing with my kids on the Nintendo.
When Gregory had composed the Warcraft themes he followed an action, driving, and orchestral plan. You can hear that in all of the tracks, but I especially love Orc Victory. The driving of the drums just pounds away at my orcish soul.
That 'where is he now in his career' question came to mind while I was researching for this article. On his website (https://www.alpermusic.com/biography) in his bio I read this: "Teaching young people to play jazz is like navigating the discovery of a new world. Ensemble playing and improvisation explore new territory, the expansion and feeling of freedom through personal expression allows the soul to speak." So awesome to know that he is passing on his greatness to the younger musicians who absorb all music like the sponges they are! And on an ending note, I didn't know that he had played with another musician I love listening to: the great Ella Fitzgerald!
This week, we’re talking about video game music that could just as easily fit into TV shows or movies. The following are this author’s own interpretations of cinematic moments where these tracks could work beautifully.
Hotline Miami | Miami
There’s a moment in Snatch where two parallel scenes sync perfectly to “Disco Science” by Mirwais.
I recently rewatched Turbo Kid, and I can totally picture a slow-motion montage that blends the gritty visuals of Turbo Kid with the dark humor of Snatch—all while this sleepy, synth-heavy track plays in the background.
This is the most James Bond-sounding theme ever composed for a video game.
Speaking of Bond, I’m still bummed that “Spectre” by Radiohead was dropped in favor of Sam Smith’s forgettable “Writing’s on the Wall.” Inspired by Old Man Logan, I imagine an Old Man Bond scenario—an aging, bearded Brosnan-era Bond is pulled out of retirement for one last mission. The story follows a younger character seeking guidance from the legendary 007 agent.
Yes, this fits Deus Ex perfectly—but it could also serve as the main theme for a prestige TV drama à la Westworld or The Leftovers. In fact, I think anything from Damon Lindelof’s creative universe could benefit from this chilling, slow-burn tone-setter.
This one screams "closing credits music." I picture it wrapping up a post-apocalyptic film that ends on a bittersweet note—something to quietly reassure the audience that not all hope is lost.
That hard section near the end? It would be the musical cue for a cold water moment, where you’re reminded not everything is going to turn out alright. Wipe that smile off your face.
Another contender for best credits music. I can see this closing out an episode of a show that ends on a gut-punch cliffhanger—maybe even the death of a beloved character.
Also: Can we please just get Half-Life 3 already?!
This week’s theme is… well, we’ll let you figure it out. There’s a subtle pattern woven throughout. If you think you’ve cracked it, sound off in the comments—we’re curious who catches it first.
Comix Zone - Episode 1-1
This was a total classic growing up. I loved every second of it, and this track in particular—easily one of the best in the “screaming chiptune” category—still holds up.
How can anyone not like this tune? It oozes 90s cool in the best way possible—groovy, street-smart, and totally trendsetting. This is the sound of retro urban swagger distilled into music form.
The first three Donkey Kong Country games each boast incredible soundtracks that are hard to replicate—and even harder to beat.
“Rockface Rumble” especially stands out with its vaporwave quality. Every time I hear it, I’m instantly transported to those sterile appliance stores from the 90s. It brings back such a specific, carefree feeling.
Sung by Shihoko Hirata—who also lent her voice to “Pursuing My True Self” (which we featured back in #MM 55)—this track is bubbly, charming, and infectiously upbeat.
It’s one of those songs that makes you smile, even if you’re not paying full attention.
For a character named after a legendary figure from an epic poem—and with a design as wild as his backstory—it’s only right that his battle theme is just as chaotic and over-the-top.
“Clash on the Big Bridge” (a.k.a. Gilgamesh’s Theme) is bombastic, bursting with personality, and one of the most memorable tracks in the Final Fantasy series.
Jack Wall is considered the primary composer for the outstanding Mass Effect 2 soundtrack, with additional contributions from Sam Hulick, David Kates and Jimmy Hinson. However, Jack’s fingerprints are all over this fantastic title’s music. Jack’s discography includes a couple of traditional television and film credits, but his video game contributions are considerably more pronounced.
Dating back to the third-person shooter Vigilance for PC by SegaSoft in 1998, Jack’s credits include Myst III and IV, The Mark of Kri, Splinter Cell: Pandora Tomorrow, Jade Empire, several Call of Duty titles and the first two Mass Effect games. There’s a theme here of big, bombastic franchises and Jack’s music perfectly encompasses these often-massive set pieces within action-heavy games. However, unlike the Call of Duty titles that Jack crafted, Mass Effects 1 and 2 both have orchestral tones complimented by electronic elements that compliment the science fiction setting.
This is never truer than Mass Effect 2, which also happens to be one of my favorite titles ever, let alone action-RPG titles (the theme of this month’s Memorable Music). The music swells and is bombastic during scenes with lots of action but knows how to be soft and subtle during many of its more emotional moments as well. For me no song is more memorable in Mass Effect 2 than Suicide Run (https://www.youtube.com/watch?v=VTsD2FjmLsw&rco=1), which evokes numerous emotions when paired with the game’s events near the end.
Over the last few weeks, I’ve been playing a game with some friends that is free to play. It is none other than Genshin Impact which has some of the most beautifully composed music I’ve heard in a video game. There have been several moments while running around figuring out how to level up artifacts and characters to complete a story mission that I’ve commented about the music in this game. Each region has a distinct theme, and along with the theme is music that fits the area. In total, there are seven nations in Teyvat which are: Mondstadt, Liyue, Inazuma, Sumeru, Fontaine, Natlan, and Snezhnaya. Those seven nations are inspired by real world places and their music. Monstadt is based off of Germany because of its unique architecture, Liyue is modelled after China, Inazuma is reminiscent of Japan, Sumeru is inspired by the Middle East, Fontaine is definitely modelled off of France, Natlan is said to be based off the Philippines, and Snezhnaya is inspired by Russia.
Given each nation’s inspiration comes unique music throughout the region being explored. The composer Yu-Peng Chen (aka Chen Zhiyi) produced the soundtrack for Genshin Impact under the in-house music studio HOYO-MiX. Chen made it a point to mix traditional folk music with western arrangements to facilitate the diverse locations in the game. Thus, the music uses the tin whistle, medieval style lutes, and piano. Although it has evolved over time, HOYO-MiX now consists of several composers who have been featured on different albums for Genshin Impact. The man who is responsible for much of the early game music departed the HOYO-MiX team to pursue his own musical dreams.
With that in mind, I’ve found myself drawn to several tracks from the Mondstadt and Liyue regions. For one Mondstadt Starlit, the Dawn Winery Theme, and Flows like Jade Water are all beautifully crafted songs that I love, but they are certainly not the only ones. See, I’ve recently stepped into The Chasm and the main theme of the area is quite memorable, especially since it has a quiet piano and violin melody to accompany you on your journey. Another area with rich music is Sumeru as it features a Middle Eastern sound that I really enjoy. All you have to do is listen to the Sumeru theme to hear what I mean.
Honestly, there are so many amazing tracks in Genshin Impact that I’m impressed. Although the game may have some flaws, the music is fantastic and I can’t help but get drawn in by it.
This is an incredibly tough pick for me since there are so many great options, but if I were forced to choose a game that’s had the most soundtrack stuck in my head for the longest, I’d have to go with Ys VIII: Lacrimosa of Dana. I believe we’ve discussed Falcom’s music team being absolutely amazing, but I really think they hit it out of the park with Ys VIII. From really heartfelt pieces that’ll pull on your heartstrings, the amazing battle themes, great area themes, and a final dungeon theme that WON’T. LEAVE. MY. HEAD.
Seriously though, probably about 70% of the soundtrack is permanently on loop in my brain. While Ys titles have always been amazing audio wise, there’s just something about Lacrimosa of Dana that really hits home with me. There’s not much I can say other than Yukihiro Jindo makes soundtracks that reflect the nature of the scene so well it’s honestly astounding. There have been some games I’ve bought just because the soundtrack is amazing, and honestly Ys VIII would be one of them if I weren’t already invested in the Ys franchise.
I don’t work out… much… but if I did, these are the tunes I’d want blasting during an evening lifting session.
Hot Wheels: Turbo Racing | Pride of San Jacinto
Whatever happened to racing games featuring such wildly catchy and memorable music? I probably wouldn’t have even known about Reverend Horton Heat if it weren’t for this gem.
There’s something magical about watching your Hot Wheels car pull off a loop-the-loop while this rockabilly banger kicks in. I’ve got a diecast of Way 2 Fast on my shelf—and every time I glance at it, this tune starts playing in my head. No joke.
Okay, maybe it’s not your typical gym track, but if Madeleine Wood’s soaring vocals and B-BANDJ’s robotic lines don’t push you into doing one more rep, I honestly don’t know what will. Dramatic? Absolutely. Effective? Without a doubt.
If every gym played this on loop, I swear every single person would walk out shredded. Forget steroids and protein shakes—just cue up BFG Division and watch the gains roll in. Pure, primal power.
Not as explosive as the others, but perfect for warm-ups or slower, controlled sets. “Rust” has a smooth, determined energy—just enough momentum to keep you moving while you prep for the heavier stuff.
This week, we’re spotlighting songs that could be considered “the other famous title” from their respective soundtracks or franchises. Whether they’re underrated, overrated, or just-right-rated, these sibling tracks deserve your love just as much as their more iconic counterparts.
Streets of Rage 2 | Dreamer
🎵 Sibling to: “Go Straight”
Another dance-floor banger from the Streets of Rage 2 soundtrack. “Dreamer” is insanely catchy and puts you in the perfect mood to punch your way through waves of bad dudes. Yuzo Koshiro, take a bow—again.
This haunting cover by Midge Ure is one of my favorite songs in general, not just within the MGS universe. Even outside the game’s context, the track carries a mysterious, broken quality that fits The Phantom Pain's themes of identity and chaos all too well.
This track is the audio equivalent of the phrase “harbinger of doom.”
I often think of that scene from Harry Potter and the Prisoner of Azkaban where the choir sings “Double Trouble.” Now imagine a choir of Overwatch soldiers being led by an Elite unit into a warped version of that performance. That’s what this sounds like.
A chiptune masterpiece that nails the vibe of retro action-platformers. It’s energetic, atmospheric, and perfectly supports The Lost City stage. Like the rest of Shovel Knight’s soundtrack, this one’s a heartfelt tribute to the 8-bit golden era.
Also composed by M.O.O.N., “Dust” doesn’t quite get the same love as “Hydrogen”—but it absolutely should. Where “Hydrogen” is catchy and pulse-pounding, “Dust” leans into cinematic storytelling. Less club track, more slow-motion breakdown. Still hypnotic.
@ColeNalle writes: It kinda does remind me it's the day that we are getting ready to be moving to the new house by the minute while we're going to start packing up pretty soon at first while it's time for our old house to go and it gets more depressing by the minute after sometimes while it's all true that I know so often in my head while this Music plays. So emotional how it feels.
@elliottlava7784 writes: I don't know why but after deltarune this hits way harder. It feels sadder. I've never heard a song sound so different despite being the exact same song, when i hear it now all i can think of is what he's saying: "look, i gave up trying to go back a long time ago. And going to the surface doesn't appeal to me too much, either." This isn't a triumph, this isn't a final hoorah, this is someone who's lost everything watching the world fall apart around them and using every single little bit of energy to try and save it, although he knows that in the end it'll all be for nothing.
@gplgs4640 writes: This is probably the most “Batman” theme out of every single iteration. You can hear some part of this song fit with any iteration we’ve seen of him, whether it’s Affleck’s, Pattinson’s, Bale’s, Keaton’s, Kilmer’s, or even damn Clooney’s. I’d argue this could be used for the animated Batmen too. There’s just no other theme out there that so vividly captures the essence of The Batman like this one.
This week we’re all about tunes that are epic in nature. These tracks will have you convinced you’re part of something philosophically bigger than yourself.
Tekken 6 | Azazael's Chamber
Biblical in nature, the haunting choir amplifies the feeling that you’re in the fight of your life. It's oppressive, ancient, and grand—exactly what you want from a final boss track.
Ace Combat 4 Shattered Skies | Rex Tremendae & Megalith Agnus Dei
Latin chants will never not be cool—this is a prime example of that. There's something incredibly potent and uplifting about this music. I feel like I could conquer the world with this as my soundtrack.
World at War is the only CoD game I’ve properly finished (aside from the original), so everything about it sticks vividly in my head—including this fantastic mission.
This track’s thumping, primal rhythm masks your real-life heartbeat by providing a new one.
That’s some of the best shred guitar I’ve ever heard in a video game soundtrack. It’s what a collaboration between Yngwie Malmsteen and Kenji Kawai would probably sound like—melodic chaos with a cinematic core.
Heavy metal has come a long way from burning guitars, bat heads, and even chainsaws. This track takes it a step further.
It has screams and yells of the damned, and then—out of nowhere—Nature Ganganbaigal delivers an otherworldly throat-singing performance. This is musical carnage with culture.
This month we chose racing games. Now I know that some racing games used licensed music, but here are a couple with composers for the soundtracks of their games.
Best known for his work in the overall Mario Kart franchise, Kenta Nagata got his start with the Nintendo Entertainment Analysis & Development department with a pair of Nintendo 64 titles: 1080° Snowboarding and Mario Kart 64. I was personally quite late to the SNES party, having gotten a SEGA Genesis well before the SNES came out, and didn’t play the original Mario Kart on that platform. My first exposure to the series was Mario Kart 64 (which along with Madden and Golden Eye were some of the most popular ‘party games’ my college buddies and I played on a regular basis. Mario Kart 64 was a fantastic blend of battle and racing games, complimented by accessible but deep gameplay, whimsical visuals and highly enjoyable sound effects and music.
Kenta Nagata found his talents put to use on a variety of well-known Nintendo titles such as Mario Kart 7 and 8, Super Mario 64, Phantom Hourglass and New Super Mario Bros. 2 in various capacities. But it is his first work, Mario Kart 64 where he was the Music Composer, I want to reflect on here. The music so often complimented the unique tracks, from the whimsey of Choco Mountain, to the deep and menacing sounds of Koopa Castle and the procession-heavy Donkey Jungle Park.
Of course, the most memorable for me is the longest, most visually impressive track Rainbow Road, which at just over five minutes in length is also the longest song on the track. This track felt like the ultimate one in the game, and something about this particular song has remained burned into my memory decades later.
Now I’ll be the first to admit that racing games aren’t usually my forte. Sure I’ll find some of them fun, but more often than not they don’t really catch my interest the same as other genres do. Well, Cruis’n USA is one of the few exceptions to that, and the soundtrack is one of the main reasons why.
Back in the day, one of the first games I got for my N64 was Cruis’n USA. Before I knew whether or not I liked racing games, before I even had my own money, Cruis’n USA was probably the 2nd or 3rd game I ever owned on the N64, and boy did I play the hell out of it.
I’ve never been all that great at racing games. Consistently average, but that’s about it. I remember the good old days where I would have friends over for sleepovers and we would wake in the early morning, scamper downstairs to my basement where the TV was, and play Cruis’n USA at five in the morning, much to my parents’ chagrin. I fondly recall us skipping through the tracks while driving, some notable tracks being “House Special”, “Deadwood Drive”, and “Bluegrass Boogie”.
To this day I’m still not a big racing game fan, but Cruis’n USA still holds a special place in my heart, and on my shelf, for a beloved childhood game, and Vince Pontarelli did a solid job of helping to make that happen. Pontarelli has also worked on some pretty big titles, such as NFL Blitz, Mortal Kombat titles, NBA Ballers, and WWE games. If you’ve got a chance to try out this retro classic, I’d actually suggest giving it a go. It’s from a time when there were no gimmicks, just straight driving!
Today’s theme is rather unique. We’ll be looking at five famous tracks that sample “Is That the Door?” by Zero-G Ltd, from their album “Cuckooland - Ghost in the Machine”.
(Note: I’ve already talked about “Radio” (one of the two most well-known examples) from Half-Life 2 in MM #57. Be sure to read that, too.)
Sampling is when a musician lifts a segment from another song and works it into their own composition, either untouched or heavily altered. Companies like Zero-G Ltd specialize in sound libraries—pre-recorded sound effects and music loops that anyone can use.
Max Payne | PC | Max’s Nightmare
The original two Max Payne games were something else, weren’t they? Easily the best IP to emerge in The Matrix's immediate aftermath, the first Max Payne is unmatched in its gritty realism, heavy cynicism, and top-tier production.
The nightmare section? Just that—an absolute nightmare. It’s one of the most cerebrally depressing and nerve-wracking sequences ever put into a video game. The repetitive, thumping notes in the background do nothing to ease the discomfort of this sequence.
I’ve played quite a few Westwood Studios games—Blade Runner and C&C: Tiberian Sun immediately come to mind. I’m not too familiar with their Lands of Lore series, but one thing’s for sure: their soundtrack is fire.
Die Unterwelt (German: "The Underworld") is a fantastic fusion of sci-fi and high-fantasy soundscapes. Think DOOM meets Lord of the Rings, and you’re on the right track.
Oh, I’m no stranger to racing games surprising you with their music. I learned it a long time ago when I heard Joyrider by Jug, which I’ve talked about all the way back in MM #27.
Frankly, this one’s a personal favorite. I love how it shifts from a haunting melody to a full-blown club rave beat. Whoever thought this transition was fitting for a racing game must’ve been in… an interesting state of mind, to say the least.
I have no plans to ever play any of the Postal games. There are some pieces of media I can live without, thank you very much.
That said, Central Park is perhaps the most well-known example of this sample in gaming circles, so it would’ve been remiss of me not to include it here.
These tunes feel like the perfect soundtrack for sitting by the window, your favorite beverage in hand, and a good book in your lap.
Final Fantasy VIII | PC | Balamb Garden
Final Fantasy VIII is the only Final Fantasy game I’ve come close to finishing and the only one I have any nostalgic connection to. Before I started appreciating games more for their stories, FFVIII was one of the earliest that helped break that mold for me.
Balamb Garden is serene, soothing, and effortlessly calming.
For a game filled with body horror and tense gameplay, the music sure can be the complete opposite at times.
Phendrana Drifts sounds like it could play over stock footage of stunning landscapes and scenic vistas. It’s all about those echoey, plucky notes for me.
How can a piece of music feel like taking a two-week vacation to a breezy island?
I swear, Hang Glider physically transports me to a beach—sun in my eyes, water in my face, sand in my hair. I want to start a petition to make this Earth’s official background music whenever you step outside.
One of my favorite locations in gaming is Fiona’s apartment in The Longest Journey. That early-2000s chunky 3D aesthetic somehow feels both retro and futuristic at the same time.
My ultimate aspiration in life? To retire somewhere in Europe, in an apartment like Fiona’s—or Nico’s from Broken Sword—and have music like this play in the background as I make my third cup of tea for the day.
Nick: Final Fantasy X - Nobuo Uematsu, along with Masashi Hamauzu and Junya Nakano
Let’s be real – Nobuo Uematsu is best known for his contributions to the legendary Final Fantasy series after joining Square back in 1986. That being said, Nobuo has dozens of credits to his name. It is, however, his collaboration with Junya Nakano and Masashi Hamauzu that created arguably my favorite video game soundtrack of all time, Final Fantasy X.
For me, Final Fantasy X is special. It is my favorite game in the long-running series, and I’ve been playing Final Fantasy titles since the first one released on the NES a million years ago. The music in this series has always been spectacular, but the visuals, story, characters and combat that the series has always been known for were introduced to voice acting for the first time and it all came together beautifully. I borrowed a buddy’s PS2 and this game when he went on vacation for a week. I was working a lot of hours back then, I didn’t have time to complete the game, but I enjoyed it so much that a couple of months later my dad, my wife and her aunt got together and gifted me a PlayStation 2 for Christmas – along with my own copy of Final Fantasy X.
The soundtrack ranges from the blistering heavy metal sounds of Otherworld heard in the game’s opening cinematics to the soulful piano playing of Zanarkand we get at the beginning. Some of the music is simply ambient and beautiful such as the subtle softness of Hum of the Fayth as your characters walk around different temples.
I loved the music from this game so much that I went out and bought the vinyl record albums for it. Each side of the two-record set has different beautiful artwork on it. It’s one of the favorites in my record collection. It was also the basis for our site’s second Memorable Music in Gaming article back when I wrote about it in 2014.
With over a dozen songs in the soundtrack, there is a great deal of music to be had in Final Fantasy X. As someone who was very invested in the characters and stories, I still recall many of the game’s more poignant scenes. It was a story of adventure, companionship, happiness and heartbreak and it was beautifully encapsulated in Final Fantasy X.
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Richard - The Atelier collective (Iris, Sophie, Mana Khemia, etc.)
You know, this was a really tough decision for me. I have tons of games where the music has really impacted me from a very large slew of different titles. While I was waffling about what game, or series, to choose, I decided to land on the series I’ve been playing for quite a while and probably has the largest number of tracks stuck in my head: the Atelier series.
Now while the more recent titles such as Atelier Sophie 2 and Atelier Yumia might have more recognition, I started back with Atelier Iris, which I believe was the 6th title in the Atelier series, and we’re up to 24 or so now, not including side series. Straight from the get go the Atelier and Gust games have done a wonderful job in the music department. There have been many amazing tracks over the years, and it all started for me from the opening sequence of Atelier Iris: Eternal Mana. From tracks such as the first town theme in Atelier Iris, Danger Zone from Atelier Iris 2, Tunes of Distant Time from Atelier Iris 3, A Rusted Neigh, Nefertiti, Crystallized all from Mana Khemia, and Beyond Wisdom from Atelier Firis are all some of my more memorable tracks. Of course we can’t forget Sad Vampire either, a track that’s gotten a number of remixes or remasters over the years, and for good reason.
The Atelier series always holds a special place in my heart, whether it be the nice combination of synthesizing paired with the combat segments, creating and outfitting your characters with what you actually make, or the engaging storytelling. That’s all well and good, but a game can really pop when paired with the right music, and considering I’m still occasionally humming some of these tracks 20 years later, I’d say they were pretty dang memorable.
The Atelier series has seen a few composers over the years, including: Daisuke Achiwa, Kazuki Yanagawa, Ken Nakagawa, Tatsuya Yano, Toshiharu Yamanishi, and Hayato Asano. Some of these composers have worked on other titles, such as Ar Nosurge or Knights of Azure as well, and they certainly aren’t slacking there either.
Ultimately we aren’t here for best game or even technically best music, although I would rate the Atelier series in general quite highly in both categories. What we are here for is “Memorable Music”, and there are a lot of Atelier tracks that absolutely refuse to remove themselves from the cavity that is my brain. If the gameplay doesn’t do it for you, at least the music should be good to listen to!
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PY: The Falcom Sound Team JDK - The Legend of Heroes: Trails of Cold Steel (sub-series)
Here I find myself once again gushing praise for perhaps one of my favorite music groups in Japanese RPGs, The Falcom Sound Team JDK.
Responsible for a variety of epic tracks over the last few decades, there's one series that I've continued to have on repeat. The Legend of Heroes: Trails of Cold Steel. The versatility in their approach is one not often seen, and there's a range here that simply continues to surpass my expectations and Atrocious Raid is a prime example.
Each version builds on one another and while the sound team are epic, the design team knew what they were doing when they expertly placed them within each title. It's the combination of the visuals, the story, and then the range of music.
But they don't just stop there! The sound team is also not afraid to blend genres like synth and orchestra for epic tracks like the other Trails of Cold Steel IV banger To the Future,
And that doesn't even begin to cover what they've done with the rest of the Legend of Heroes series or the Ys Series. The best part of it all? They freely drop their tracks on both YouTube and Spotify for everyone to enjoy.
This week, we're looking at some tunes that follow the convention of being named after a character from their respective games.
Saya no Uta | PC | Song of Saya II
This is the only VN I’ve played, and boy did it leave an impact on me. The concept is deeply upsetting and surreal—putting most modern horror stories to shame.
In a previous MM article—#31, to be exact—I talked about another track, Schizophrenia, a painful auditory experience unlike any other. Song of Saya II starts off cutesy and catchy but quickly spirals into distortion and audio glitches.
Nothing ever stays sane or safe in this VN, and the soundtrack reflects that.
I haven’t heard each and every Mario soundtrack, but rarely have any gone as hard and metal as this one. The opening 15 seconds are the audio equivalent of the “It Was At This Moment He Knew... He F***ed Up” meme.
What follows next is a prog rockin’ sequence that mimics the likes of Yes and Rush.
The story goes that Akira Yamaoka named this track after Laura because she was the first character he saw during the game’s development. Perhaps confusingly, this is the game’s main theme.
Theme of Laura showcases the more rock-heavy side of Mr. Yamaoka. That guitar work is lovely.
A dirge fit for a fallen king. The subject in question is Vendrick—a once-great ruler now reduced to a shambling husk.
What makes this track so haunting is how it blends sorrow with mockery. The soundtrack retains his title but when you confront him, the game only labels him Vendrick—no title, no ceremony—just another lost soul. The music’s bitter irony makes you question whether you're putting him out of his misery or simply desecrating what little dignity he has left.
