Memorable Music in Gaming - January Genre - Puzzle / Casual

Puzzle Games. Who doesn't love them? I know I'm a big fan and so are my fellow authors here at Chalgyr's Game Room. In today's collective, which is also the first of this year, we feature memorable music from puzzle / casual games. These games help you relax, or keep your mind sharp for the next puzzle game to come out. I swear the composers for the music of this genre really nailed it. From the opening notes of the first track, to the meat of a section of the game, the transitions, they all draw you along throughout the game. It's also good to be able to have some of the music for regular life where it can soothe your raging frustration at day to day life. Enjoy! 

 

Nick

Austin Wintory – Journey (2012)

Journey is one of those titles that I was somewhat late to when it was released in 2012, but once I began to play it, I fell in love with it. Something about the simple yet elegant visuals, play-at-your-pace style that mixed exploration with light platforming and puzzle elements made it a game that I felt like I was experiencing rather than just playing. However, despite all of those above elements coming together to help create such a memorable experience, the music was probably the standout aspect for many people. There is a reason it was nominated for a Grammy in 2013 for Best Score Soundtrack for Visual Media. Even though Journey didn’t come away with the hardware, it was notable because this was the first time a video game had been nominated for this particular award.

Austin Wintory was the composer, and he has a long list of credits both in the film/TV and video game industry. His first credit dates back to 2002 and his most recent work was as recently as this year (probably most notably as a co-composer with the recently released and critically acclaimed Hades 2). 

Journey is a game about mystery, discovery and exploration with moments that can be whimsical but also at times a bit tense throughout the adventure. There’s so many great songs on this soundtrack, with Apotheosis ( https://www.youtube.com/watch?v=ypNgvc6c6Cc ) being a standout entry, but The Crossing being another memorable track in a collection filled with songs that stuck with me well after my journey had ended.

Susan N.

Peter Gabriel - Myst IV: Revelation (2004)

As you are all aware by now, I love puzzle games. Although, rarely does the music in a puzzle game captivate me as much as many songs from the Myst series. I’ve previously mentioned enjoying Catherine’s Theme from Riven, but I haven’t talked about some of my other favorites and why they resonate so much. Out of the whole series the order of my favorite titles goes Myst IV: Revelation, Myst III: Exile, Riven, Myst, and End of Ages. Songs that I adore include: The Theme from Amateria ( https://youtu.be/B0yjqq4ZWOw ) and Going Home ( https://youtu.be/HBPKsYsLuBc?list=PL1E2F81F280184A96 ). Both are from Myst III: Exile and are quite different to each other. Amateria is an age full of crystals and sparkling atmosphere which is why I like it so much whereas Going Home is only heard when you reach a specific ending - a good one too! Unlike Riven or Myst before it, Exile had multiple endings which made it my favorite at the time. Then Myst IV topped my list and really stepped up its storytelling and gameplay. Like Exile, the game allowed us to choose different endings but didn’t have as many cutscenes that pushed the narrative forward without requiring pages of information and a copious amount of notetaking to extrapolate puzzle solutions. The series developed quality of life features that made puzzle solving easier for video game players and that is one of the defining reasons for the series’ reputation.

Where Myst and Riven’s music was composed by Robyn Miller, Myst III: Exile switched it up with compositions by Jack Wall. I can recall listening to the intro song on repeat and it has burned a permanent place in my skull as one of my favorite game themes next to Baba Yetu from Civilization. However, it is not the one that destroys all other puzzle game tracks. When Myst IV: Revelation released there was one song that Jack Wall didn’t do. 

As you fall asleep to enter Dream, a beautiful cutscene plays with a song composed by Peter Gabriel titled Curtains. It is the most iconic song for me and it is only heard the first time you enter Dream, which is honestly a tragedy because the song is spectacular and quite surreal. I remember being so entranced by it and I am not sure I can explain why. (For reference Peter Gabriel composed Solsbury Hill which is one of his many iconic songs that you can hear here: https://youtu.be/_OO2PuGz-H8 ) Curtains could only be heard in Myst IV: Revelation and was not released until 2019 on the album titled ‘Flotsam and Jetsam’ which is a collection of previously unreleased and rare B-Side tracks. I know this because I went looking for the song back then, only to discover that it was an exclusive track. Anyways, part of why this song sticks out in my mind is because it manages to put people into a zen state of mind, which is good because in this new ethereal and abstract place known as Dream you must complete an irritating and simple color puzzle that I felt made the color marble puzzle from Riven look like child’s play - at the time. Anyways, that song leading into Dream resonated with me so much that Curtains by Peter Gabriel sticks out in my mind as THE most memorable song in gaming history partly due to its inclusion in my favorite Myst game of all time and partly due to its affiliation with one of the most surreal sections in any video game I’ve ever played. There is nothing that has captured a sense of awe and wonder quite like the Myst series as a whole - at least, nothing I can recall. So, without further ado, I present to you Curtains by Peter Gabriel: https://youtu.be/dpXCpmk5xdo. 

Honestly, Myst IV: Revelation changed the gaming landscape by using cutscenes to drive a story forward. The physical acting was spectacular and brought the story to life. It is part of the reason the Myst series became a benchmark for puzzle games and kicked off the genre in a big way. Plus, they were some of the first games to have multiple endings. Needless to say, the Myst series is responsible for my addiction to puzzle games and I’m not ashamed to say it. The music helped create that healthy addiction I have…

Richard

Tomohito Nishiura - Professor Layton (2007-2017)

Mmm, this is a real tough choice for me, because I do like me some puzzle games. Even tougher because there’s a lot of cross genre games that may not really settle nicely in this category. Take La Mulana for example. I’d call it a brutal puzzle game, but it’s probably more action platformer. Tetris? A true classic, but everyone knows Tetris. Maybe something like Phoenix Wright or Misao? Great games, but they’re more Visual Novel with puzzle elements. There are also plenty of Puzzle games with fitting ambient soundtracks that aren’t really memorable, much to my chagrin. The Super Solvers games for instance I loved the music for, I remember that, but I can’t remember the actual soundtracks anymore.

There is, however, a game I played almost 20 years ago now that I still remember a lot of the soundtrack to: Professor Layton and the Curious Village. This series in general is a great puzzle game series that incorporates a lot of small brain teaser type puzzles into a large overarching game with an interesting plotline, tied together by a usually soothing soundtrack you can solve puzzles to. Tomohito Nishiura has been the composer for Dark Cloud, Rogue Galaxy, and the Layton series for ten years. While there are other puzzle games I may rate higher than the Layton games, the soundtrack is certainly one of the most memorable for me. It definitely starts off strong right from the main theme of The Curious Village (https://www.youtube.com/watch?v=GYlpoteRT6o&list=RDGYlpoteRT6o&start_radio=1)

Valerie

Trigg and Gusset - Blue Prince

There is nothing like a puzzle game to keep one's mind on their toes and their imagination floating away in the music of that game. While writing this up for our memorable music collective I came across an interview of the duo Trigg and Gusset. In it they featured two of the sound tracks that keep me opening the next door and then the next. However, I am hard-pressed to choose just one as they all are the body of the game.

If I must choose a couple, then Stairways & Steam and Under the Black Bridge. Throughout all of the pieces you get the sense of things hiding, things disappearing and reappearing, nooks and crannies to discover, the people that live there, and all manner of atmosphere of a house that has a story to tell. If you haven't played this awesome game by now, I say go get it. 

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Memorable Music in Gaming #72

Intro

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.

Fallout Main Theme Evolution (1997-2018) 

Fallout 3 | Main Theme

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.

Fallout Main Theme Evolution (1997-2018) 

Fallout: New Vegas | Main Theme

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.

Fallout Main Theme Evolution (1997-2018) 

Fallout 4 | Main Theme

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.

Fallout Main Theme Evolution (1997-2018) 

Fallout 76 | Main Theme

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.

Fallout Main Theme Evolution (1997-2018) 

Article by: Hamza

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Memorable Music in Gaming - October Genre - Survival / Horror

Nick

Mikko Tarmia – Soma

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.

~~~~~

Susie

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. 

~~~~~

Richard

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.

~~~

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Memorable Music in Gaming - September Genre - Platformer

What is it about a platformer's soundtrack that brings good memories? Is it the pace, the variety of instruments used, the smoothness, or the chaos? I don't know about you, but most times for me it's the composer's ability to follow you along in the game with music that is fitting per scene, action, and even the simplest of jumps to make it to that next platform. It compliments and even accentuates the toughest and most interesting moments found in the game and elevates the entire experience in the process. 

Nick

Takashi Tateishi (credited as Ogeretsu Kun) – Mega Man 2

Mega Man 2 was arguably my most-played action / platformer from the NES era (it or Contra). It was one of those games that I played numerous different ways. I would beat it on the hardest difficulty setting in a single sitting to see how quickly I could best it, or sometimes I would take the least intuitive boss order possible just to see if I could still beat it. The visuals and gameplay were excellent, but my goodness – that music has stuck with me over the years (decades really).

Takashi Tateishi was a sound designer for Capcom during some of their earlier days, with some minor credits such as 1943 Kai and later made his way to producing music for the Tokimeki Memorial series and his way over to Konami for various sound design roles. By far though, his best-known work would seem to be composing for Mega Man 2.

For the sake of this article, I decided to fire up the game for the first time in a long time and man – that music still slaps. From the introductory theme (especially the upbeat ‘Part 2’: https://www.youtube.com/watch?v=ZT9DST_M_g8 ) during the slow vertical scroll of the game starting up, to the brief but catchy boss selection screen to the various stages throughout the game. It is worth calling out that the introductory theme is a reworking of the prior game’s credits theme (the first Mega Man was composed by Manami Matsumae, who was credited as Manami Ietel).
The music tracks, like the visuals, are distinctive between stages.  For me, the Air Man stage was almost always the first boss I tackled (this was the only other stage that Manami Matsumae contributed some bars for), so it was immediately familiar and nostalgic as it was probably the stage I played the most back in the day. Wily Fortress 1 is probably my favorite tune in the game. It’s frantic pace perfectly matches the intensity of the gameplay as you near the endgame (). It’s an old game, but the music is timeless.

Susie

Retro Family - Pid 

Ha! I love how we all agree with Mega Man 2’s music being the most memorable because I would have written about it too. However, Nick did an awesome job. Although, my most favorite song in it is Metal Man’s theme…

Anyways, my actual pick for memorable music is going to bring back some memories of the Co-optional Podcast where Totalbiscuit would give us an upcoming game list or talk about games he was really excited about. Enter a cute indie platformer called Pid that came out in 2012. It was developed and published by Might and Delight and since Totalbiscuit was not the best at platformers (at least, not that I can recall), I ended up being interested in the game because he really enjoyed Pid. He not only released a ‘WTF is… Pid’ video which you can see here: https://youtu.be/Zswu86qnGMs, but he also enjoyed it enough to mention it on the podcast as well! Now, as a kindred gamer that sucks at platformers, he talked about this outlier of a game to the point where I was now sold on it. I really needed to know. (In fact, this wasn’t the only game I learned about because of the podcast, but I digress…) 

Now, I’m sure that people may be confused because somehow any iteration of Mario hasn’t made it on this list, and here I am choosing a platformer that I sucked at. But, I had a great time with it. You see, Pid begins with your character getting onto a bus. During the ride, you fall asleep and when you awaken again, you meet some strange creatures that tell you that you can’t simply take a bus back home. In fact, no buses have shown up in years. And this is how you learn that you’ve been transported to a new dimension and need to find a way back home. 

So, one of the main things that Totalbiscuit talked about with respect to Pid is its brilliant and calm music. Nothing compares to playing an aggravating game that has soothing music in the background. Have you ever tried to break difficult codes with Mozart in the background? If you have, this game is like that. Pid does not have classical music like the game I was just referring to. Instead, it has a soundtrack full of lounge music, which very much lends itself to existing in the background without taking you out of the experience. The style of music certainly sets a tone that allows players to focus on the task at hand, and as a result, you are less likely to be raging at the game. 

Let’s just listen to the first track of the game called Landing. There is something oddly relaxing about this particular song. It is carried by the piano’s melody and is fully supported by the slow drums in a big way. The song is not a long one, but it sets the mood quite nicely.  In contrast, The City (Day) is much more upbeat and allows the player to feel adventurous with that amazing synthesized top line guitar-ish sound. It’s hopeful and full of character. Another favorite of mine is Catacombs which uses a bright guitar melody that is used to create a bit more of a haunting sound with a subtle reverb effect. And the bottom line keeps enough of a beat to keep you on your toes. 

I’m telling you, Pid is a fantastic platformer that I’m sure many people have never heard of, but I thoroughly enjoyed playing - a lot of the reason stemming from the recommendation and the spectacular music composed for the game. There’s just something about smooth jazz that brings me back down to Earth, you know?

PY

Jake Kaufman - Shantae 1/2 Genie Hero 

I've played a lot of platformers over the years and some of the music used has remained rent free in my internal stereo system. But since Nick took Mega Man, I didn't really want to go into Mega Man X with the epic, legendary X vs Zero track from Mega Man X5. 

Instead, I'm going a different approach with another epic masterpiece that is from Shantae 1/2 Genie Hero: Dance Through the Danger. 

There are a few elements that made this track memorable for me. The first is that the vocals are from Christina Vee who voices the protagonist Shantae. This for me helped mesh the song to the game as it's basically Shantae herself singing about how she's once again going to dance through the danger. 

The second, is that the track itself has a killer beat to it that's not too much drums or synth, it finds a good mix of both so that one doesn't outdo the other. To me anyways. Lastly, what really helped make this track stick is that it's not used in an opening or ending credit sequence. It's used as the music for the opening stage which sets the tone for the rest of the platforming and dancing through the danger that Shantae will need to do with her half genie powers. 

Richard

Stewart Copeland - Spyro the Dragon 

In terms of memorable platformer music there’s a lot I could name. Like PY and Nick the Megaman franchise has been a big influence on me and has remained in the moldy recesses of my brain. Like PY also mentioned, the Shantae games are also really good for their soundtracks. Should I pull on Celeste? Perhaps go for the lesser known “I wanna be the Guy”? Gunvolt? Curse Crackers? Rosenkreuzstilette? A Hat in Time? All great titles, but I think I’m going to have to go with what is probably a classic title to many here, and received a really good remaster fairly recently, Spyro the Dragon.

One of the few games where I always sit through the credits, that I’ve beaten completely at least ten times, and that will always hold a very special place in my childhood memories. A 3D platformer that really exploded onto the PS1, and the second game Insomniac had ever made as a company, Spyro the Dragon was a big hit, and the soundtrack was probably a part of it becoming the hit it still is today. Stewart Copeland sure did one hell of a good job. Yes, the member of the band The Police. He’s actually done a lot, for both movies and TV series as well as the original Spyro trilogy. Apparently he would also play through the levels before designing the themes for them, which is probably one of the major reasons I’ve always felt that the theme songs for the Spyro stages were always so fitting, and I’d always seem to be doing glides or jumps at certain parts during the songs like they were timed. One of my favourite games, as well as a great old-school 3D platformer, or the reignited trilogy also was very well remastered, so feel free to take that for a spin.

~~~

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Memorable Music in Gaming #71

Intro

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.

CTR™: Crash Team Racing Soundtrack - Menu

FTL | Rockmen

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.

Rockmen (Explore)

Persona 5 Royal | Ideal and The Real

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.

Ideal and the Real - Persona 5 The Royal

FTL | Space Cruise

It’s those isolated opening notes. Right from the start, they set the tone for wonder, optimism, and the unknown.

This feels like airport lounge music—if the airport were orbiting Saturn.

Space Cruise (Title)

A Little to the Left | Home Sweet Home

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.

A Little to the Left - OST - Level 1 - Home Sweet Home
 

 

Article by: Hamza

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Memorable Music in Gaming - August Genre - RTS

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! 

Nick

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. 

 

~~~ 

Susan

Russell Brower - Starcraft II: Heart of the Swarm

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.

 

~~~ 

Valerie

Gregory Alper - Warcraft: Orcs & Humans

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! 

~~~ 

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Memorable Music in Gaming #70

Intro 

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.

Miami (Original Mix)

Metal Gear Solid | Snake Eater

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.

Metal Gear Solid 3 Snake Eater Soundtrack: Snake Eater

Deus Ex: Human Revolution | Main Theme

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.

Icarus - Main Theme

Silent Hill | Promise

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.

Promise

Half-Life 2 | Triage at Dawn

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?!

Half life 2 Triage at Dawn (Extended)
 

 

Article by: Hamza

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Memorable Music in Gaming #68

Intro

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.

Comix Zone OST - Episode 1 (Page 1-1)

Streets of Rage II - Go Straight

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.

Streets Of Rage 2 - Go Straight

Donkey Kong Country 3 - Rockface Rumble

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.

Donkey Kong Country 3 - Rockface Rumble

Persona 4 - Your Affection

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.

Persona 4 OST - Your Affection (With Lyrics)

Final Fantasy V - Clash on the Big Bridge

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.

VGM Treasures #0004 - "Death Battle at the Big Bridge" (Final Fantasy V 1992 SNES)
 

 

Article by: Hamza

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Memorable Music in Gaming #67

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.

Pride Of San Jacinto

Sonic Forces | The Final Battle Has Begun

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.

Sonic Forces "Imperial Tower" Music

DOOM | BFG Division

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.

Doom OST - BFG Division

Forza Motorsport 6 | Rust

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.

Kaveh Cohen-Forza Motorsport 6--Disc 2--Track 2--Rust

Tribes 2 | Ice Level

Much like “Rust,” this track leans mellow, but it’s exactly what you’d want when shifting gears from warming up to serious lifting. 

Tribes 2 Ice Music

 

Article by: Hamza

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Memorable Music in Gaming #66

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.

Dreamer

 

Metal Gear Solid | The Man Who Sold The World

🎵 Sibling to: “Nuclear”

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.

Metal Gear Solid V - T.P.P. | Midge Ure - The Man Who Sold The World

Half-Life 2 | Combine

🎵 Sibling to: “Valve Theme”

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.

Half Life 2-Combine Theme

Shovel Knight | An Underlying Problem

🎵 Sibling to: “Strike the Earth”

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.

An Underlying Problem (The Lost City) - Shovel Knight [OST]

Hotline Miami 2 | Dust

🎵 Sibling to: “Hydrogen”

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.

Hotline Miami 2: Wrong Number Soundtrack - Dust

Article by: Hamza

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Memorable Music in Gaming #65

This week we’re gonna do something a touch different. We’re gonna be looking at user comments beneath the videos and picking out our favorite.

Nier | Prestigious Mask

@Futago2803 writes: Fall in love this soundtrack, feels chilling in peaceful village <3

【ニーアレプリカント ver.1.22 BGM】仮面ノ誉 (仮面の街) ｜ NieR Replicant OST - The Prestigious Mask

Red Dead Redemption 2 | That's the Way It Is

@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.

Red Dead Redemption 2 Official Soundtrack - That's The Way It Is

Kentucky Route Zero | You’ve Got to Walk

@elvenlament writes: the slow zoom out, the faceless shapes, wondering where weaver had just gone... this scene was perfect

"You've Got To Walk" by The Bedquilt Ramblers (Kentucky Route Zero)

Undertale | Megalovania

@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.

Undertale - Megalovania

Batman: Arkham City | Main Theme

@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.

Batman Arkham City Soundtrack -  Main Theme (Track #1)

Article by: Hamza

 

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Memorable Music in Gaming #64

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.

Tekken 6 Soundtrack: Azazel's Chamber

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.

Video Game Music Gems - 156 - Ace Combat 4 Shattered Skies - Rex Tremendae - Megalith Angus Dei

Call of Duty: World at War | Black Cats

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.

Call of Duty World at War OST - "Black Cats"

Arc the Lad IV: Twilight of the Spirits | Ordeal

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.

Arc The Lad Twilight Of The Spirits OST~ Ordeal

Doom Eternal | KarEnTuk

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.

Doom Eternal Master Soundtrack - Kar En Tuk (Unreleased Track)

Article by: Hamza

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Memorable Music in Gaming - April Genre - Racing Games

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.

 

Nick: Mario Kart 64 - Kenta Nagata

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.

~~~~~~~~~~~~~

 

Richard: Cruis’n USA - Vince Pontarelli

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!

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Memorable Music in Gaming #63

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.

Max Payne - Max's Nightmare

Lands of Lore III | PC | Die Unterwelt

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.

Lands of Lore 3 Soundtrack - Die Unterwelt

Silent Hill: Shattered Memories | PSP | Ice

What happens when an already foreboding piece of music lands in the majestic hands of Akira Yamaoka? You get an absolute masterpiece, that’s what.

You know the phrase, "If you’re going through hell, keep going"? I imagine this is what plays at the end of that ordeal.

Silent Hill: Shattered Memories [Music] - Ice

Vanishing Point | PS1 | Peregone

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.

Vanishing Point (2001) Soundtrack #4 - Peregone

Postal | PC | Central Park

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.

POSTAL Redux OST - Central Park

Article by: Hamza

 

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Memorable Music in Gaming #62

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.

OST Final Fantasy VIII Balamb Garden [HQ]

Metroid Prime | GameCube | Phendrana Drifts

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.

Metroid Prime Music- Phendrana Drifts

Pilotwings Resort | 3DS | Hang Glider

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.

Hang Glider - Pilotwings Resort

Gran Turismo 2 | PS1 | Blue Line (Instrumental Version)

I’ll be honest: I actually became a fan of Blue Line when Dunkey used it in his review of God of War.

There’s no denying the power of a great saxophone piece (Candy Dulfer, thank you for what you do), and Blue Line doesn’t disappoint one bit.

Keiji Matsumoto - Blue Line (Instrumental Version)

Disco Elysium | PC | Whirling-in-Rags Hotel (Day)

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.

Best VGM 2351 - Disco Elysium - Whirling-in-Rags Hotel (Day)

Article by: Hamza

 

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