My 200 Favorite Video Game Themes- Part 20: Fin.

10.

Magic City

from Sim City 3000

Composer: Jerry Martin

Maxis; 1999

So, I open the final chapter in this series with an entry that is probably not on anyone else’s top 10 favorite VGM.  This personal choice comes from hundreds of hours over many years playing Sim City 3000.  I adore this song.  The pace, the tone, the piano, the way it builds and the melodies that overlap and play off each other are all just astounding to me.  There are a lot of great themes from the Sim City franchise but Magic City is the one that fits my taste and idea of an “amazing song” better than any of this storied series’ other tunes.

09.

Aquatic Ambiance

from Donkey Kong Country

Composer: David Wise, Evellyn Fisher Novacovic, Robin Beanland

Rare; 1994

Aquatic Ambiance really stands out for me as a 16-bit era song that not only uses the system’s audio capabilities better than any other song on the Super Nintendo (though it is not my favorite SNES theme), but also as another composition by David Wise that crushes the standards of game music.  It is an achievement in terms of stunning sound design and for pushing the limitations of 16-bit, midi-format music.  Aquatic Ambiance has a slow build, not getting to the song proper until the time when most game themes would have already begun looping.  All of the little details of this song, from the ambient synth filling the background to the beautiful piano melody that plays throughout come together to form a tune that does not simply live up to its pedigree, but it sets the standard for the sound of the entire series.

08.

Intro/Title

from Mega Man II

Composer:Takashi Tateishi

Capcom; 1988

The Intro theme from Mega Man II is one of the most well-known and revered themes among gamers.  It reflects all of the sounds and musical ideas that are expressed throughout the entirety of the game in one short, memorable tune.  The song has been covered time and time again, and has even had lyrics written for it in numerous fan videos.  It plays over the introduction to Mega Man II, the game I believe bears the best soundtrack of any single game in the history of the medium so far.  It is vibrant, bright, fun and catchy, and like just about every song in the game, it is timeless.

07.

Duff McWhalen

from Mega Man X-5

Composer: Naoto Tanaka

Capcom; 2000

Duff McWhalen’s theme is another song that likely does not show up on a lot of top tens, so let me see if I can express why I have this song featured so high on my list.  The piano melody is complex in the right way, the time signature and respective beat is catchy and lively, and the song’s tonal shifts are just perfect.  Duff McWhalen’s theme from the PSX game Mega Man X-5 is actually a cover of Bubble Crab’s stage from Mega Man X-2, and while melodically that version is just as good, as it is the exactly same, I love this version for its use of a set of synth sounds that just fit perfectly.  It is moody and simply brilliant.  

06.

Chill Penguin

from Mega Man X

Composer: Setsuo Yamamoto

Capcom; 1993

Another fan-favorite, Chill Penguin ranks as my second favorite Mega Man theme of all time.  It’s high-energy sound, insane use of a brain-melting synth/bass combination and classic melody make it stand out as the perfect tune for its stage.  It is has a fast lead riff that keeps the energy of the song high while still having a relatively slow tempo, and while those may sound like conflicting ideas, listening to the theme should help that make sense.  The tune has a slightly slower pace than most other songs on the soundtrack, but that does not detract from its intensity, accentuated by that phenomenal synth riff.  It also has a sound that perfectly reflects its stage, another major contributor to its placement in my top ten.  

05.

Dancing Mad

from Final Fantasy VI

Composer: Nobuo Uematsu

Squaresoft; 1994

Considered by most to be the ultimate boss theme, Dancing Mad is the official Kefka battle theme from Final Fantasy VI.  It plays as the player engages one of the most powerful video game bosses of all time and is the iconic example of the “perfect” battle theme, feeling grand and threatening.  Many fans of the Final Fantasy series extol Kefka as the greatest villain in the series, and considering he quite literally becomes God by the end of the game (right down to the Michelangelo imagery and Shekina behind his head), I can understand why.  The theme to battling a deity had better be amazing, and Dancing Mad nails it.

04.

Moon Theme

from Duck Tales

Composer: Hiroshige Tonomura

Capcom; 1989

To more casual game music fans or younger gamers, the inclusion of this 1989 licensed title from Capcom may seem a little odd.  However, while the original Duck Tales game was actually quite good, it is the soundtrack that kept its legacy alive.  It is full of great tracks and the quality of the soundtrack lies squarely on the shoulders of composer Hiroshige Tonomura, who only composed six titles under the Capcom label before leaving the company to work for Taito, whom he then left in the mid-90’s to pursue other projects.  Of his entire career, however, Tonomura has left one song behind that is among a few themes that really set the standard for what game music can and should be.  The Moon Theme is a beloved tune because of its cheery mood, tonal complexity and sheer breadth.  It is energetic, too, but it has a warmth to it that many game themes really lack.  It is a fun and endearing song that is always in the back of my mind when the subject of game music comes up.

03.

Wily - Stage 1

from Mega Man II

Composer: Takashi Tateishi

Capcom; 1988

Of all the themes in the outstanding Mega Man II soundtrack, the theme from Wily’s Castle 1 is by far my favorite.  It is hard to really put a finger on why, but I believe it falls mostly on the energy.  The minor key, the pace and the tone all give the feel of a song written to drive the player forward.  It is a perfect accompaniment to its stage, complimenting the flow well, despite the level’s more lazy vertical segments.  Still, there is an urgency to it, and it just feels right.  Also, it really just seems to stand out on the soundtrack.  It does not clash, mind you, rather it is like an evolution of the sounds heard up to that point.  It is actually a quite brilliant when you think about it.

02.

Bowser in the Dark World

from Super Mario 64

Composer: Koji Kondo

Nintendo; 1996

The Mario series of games has been hit or miss for me in terms of music.  Occasionally, I will hear a song that expresses the franchise’s trademark whimsy and self-aware sensibilities well and it will stick with me, but more often than not, it just comes off as forced.  However, Super Mario 64’s soundtrack is quite an achievement.  It has a mix of a lot of different musical ideas and all of them work astonishingly well.  The one song on the soundtrack that ranks above the others as my favorite is the Dark World theme.  The three courses in in the Castle where Bowser has hidden the keys to the varying floors have a song that is, for a lack of a better word, awesome.  The percussion, the build, and that moody melody during the song’s main section are all just intensely-classic.  I played this game a lot in my teens when it came out and it remains one of my favorite games of all time to this day, and this song is, believe it or not, part of the reason.  When I enter these worlds and that song kicks in, it just hits me with an overwhelming sense of nostalgia.

01.

Hyrule Field

from The Legend of Zelda: Ocarina of Time

Composer: Koji Kondo

Nintendo; 1998

Alas, the finale.  My number one pick.  Cliched?  Okay.  Obvious?  Maybe?  However, why is this one song held in such high regard by so many gamers?  Well, it is a masterful composition and an amazing achievement in sound design in games, but I do not think this is solely the reason.  I believe it is a combination of things.  Forget the argument that Ocarina of Time is among a handful of contenders for what could objectively be called the “Greatest Video Game of All Time”, and consider this one aspect of the game: When you enter Hyrule Field, this song plays for the first time contrasting a sorrowful and silent goodbye to a childhood home for Link.  The flutes break the day and the camera pans showing us what is really the first vast, open landscape any gamer had ever really gotten a chance to explore.  Sure it is not quite as big as it may seem, thanks to some clever design tricks that allow for the illusion of scale while remaining within the bounds of the console’s limitations, but the promise of exploring this world the first time we see the field and hear this song is a striking memory, at least for me.  The song is a orchestration of the classic Legend of Zelda theme music but unlike a vast majority of game music up to the time this game was released, this tune does not really loop.  It opens with the break of day and then, just as the song would begin its loop, fades out as night falls leaving behind an unsettling silence, broken only occasionally by the howling of a wolf or the chirps and shakes of midnight ambiance.  The song goes through several segments, all flowing to a triumphant climax as dusk approaches.  Koji Kondo’s theme for Hyrule Field is not only a good theme in terms of composition, but is equally stunning in terms of how it is used in the game.  It is a flawless implementation of an already breathtaking song, and that is why it is my number one.  

It took me a while to get through this list, but now that it is over, I have another list to start working on, here.  Keep watch because very, very soon I will be sharing my favorite movies of the 90’s.

Thank you for reading.

My 200 Favorite Video Game Themes - Part 11: Over the Hill

100.

Sim Broadway

from Sim City 3000

Composer: Jerry Martin

Maxis; 1999

Sim City 3000 makes its first appearance on my list with the theme Sim Broadway.  Playing occasionally during gameplay, this tune chimes in to add a little energy to the proceedings.  It is a classic, early 20th-Century-style jazz ensemble piece highlighted by superb composition.  The steady build of the song, the whimsical trade off between instruments and the way it all comes full circle in the end make this an excellent tune.  I love Jerry Martin’s work on this game and this is one of his best.

99.

Freeway

from Teenage Mutant Ninja Turtles (Arcade)

Composers: Mutsuhiko Izumi, Miki Higashino

Konami; 1989

A few entries back I featured the stage 1 theme from this arcade classic.  I have always loved scrolling beat-em-ups and TMNT is one the all-time best.  It is a fun, fast-paced game with a ton of great tunes to back it up.  The Freeway theme is one of those songs that I have heard for a large portion of my life and I smile every time it plays.  I just brings back so many memories.  It is  high-energy theme with a great hook, fitting the pace and theme of the level perfectly.

98.

Act 4-2

from Ninja Gaiden

Composers: Keiji Yamagishi, Ryuichi Nitta

Tecmo; 1988

Like the rest of the Ninja Gaiden soundtrack, this is a layered, energetic theme that features some of the most complex riffs on the NES.  It still has the old-school feel but it is so well-constructed as a theme that it feels ahead of its time.  It is bouncy and high-impact, which adds a sense of urgency to the level.  It is a fittingly-powerful theme for such an unforgiving game.

97.

Crystal Snail

from Mega Man X2

Composer: Yuki Iwai

Capcom; 1994

Crystal Snail is one of the more sophisticated tracks of any of the Mega Man titles predating Mega Man 8.  The mood and pace of the song has a nice feel to it, matching the imagery of the level, and the time signature is definitely captivating.  MMX2 was released in a time when games were starting to become less about quick-fix entertainment and more about unique and interesting artistic ideas.  With the PC gaming market growing more rapidly than ever before, the mid-90’s saw a sea change in gaming tropes and ideas and console franchises like Mega Man and Final Fantasy were forced to evolve with them.  I think this is a theme that reflects the ideas of its time as the series soundtrack went from being about heavy guitar rock to being about smooth, captivating themes.

96.

Mad Forest

from Castlevania III: Dracula’s Curse

Composers: Hidenori Maezawa, Jun Funahashi, Yukie Morimoto, Yoshinori Sasaki

Konami; 1989

Castlevania III has already appeared on my list a few times and Mad Forest is just another example of how great this 8-bit classic really is.  It has that well-known Castlevania feel, conveying a classic Konami sound, full of strong melodies, upbeat rhythms and a rock-inspired minor key.

95.

Intro/Title

from Mega Man VI

Composer: Yuko Takehara

Capcom; 1993

I like the main portion of this theme because of just how much energy it brings.  It is a lively piece and paves the way for a solid entry in this storied franchise.  Mega Man VI’s intro brings back a lot of memories for me, too.  This was the last game I ever got NEW for my NES.  Then ten or eleven years of age, I had already jumped onto the Super Nintendo bandwagon at this point and, being a dedicated Mega Man fanboy at the time, I saw this game sitting carelessly in a bargain bin at a local Mall toy store.  The box was slightly beat up and the sticker had the price scribbled out.  I begged for this game and I got it.  I took it home and was completely happy.  It was so good to experience a new installment in what was, at that time, my favorite game franchise.  Period.  

NOTE: I chose to share this16-bit Mega Man 7 version of the theme as I was unable to locate a suitable version of the original in its entirety at the time of this post.

94.

Sky Garden

from Illusion of Gaia

Composer: Yasuhiro Kawasaki

Enix; 1993

Illusion of Gaia appeared once on my list already and, at the time, I did not mention one important detail about this game:  Illusion of Gaia is my favorite RPG of all time.  It is an odd choice, for sure, but I love the game’s fun design, fast pace, interactive story, and use of real-world locations like the Great Wall of China and the Pyramids of Giza.  it is a game that does a lot right in my opinion, and features a great deal of clever ideas done so well, they are unforgettable.  The soundtrack is a mixed bag, however.  Unlike other RPG soundtracks, Illusion of Gaia is not packed full of original themes that play at very specific points.  It has about twenty or so tracks that often repeat as the game progresses.  The Sky Garden, like the other “dungeons” in the game, does feature its own theme, however.  It is a good one too.  It is adventurous and eerie, a perfect dichotomy for a level with a very literal dark underbelly.

93.

Tifa’s Theme

from Final Fantasy VII

Composer: Nobuo Uematsu

Sqauresoft; 1997

I am sorry.  I really am.  As I sorted this list I KNEW there would be some people shocked by how low this beloved Final Fantasy classic is.  In some gamers’ eyes, this is one of the best songs ever, and while I agree it is good, I defer to one of my previous entries' statements where I described some songs as “sleepy”.  I do like the melody and mood of the song, hence its placement in my top 100, but I do think it is a little too soft for me to feature it so high on my list as some would say it belongs.

92.

Intro Stage

from Mega Man 8

Composer: Shusaku Uchiyama

Capcom; 1997

Now this is an energetic song.  This is the first song you hear shortly after launching Mega Man 8.  The intro stage is a short introduction to the core mechanics of the game.  It does not take any time at all to get through but the song is so much fun.  It is a great precursor to the rest of the game’s epic soundtrack as well.

91.

Battle Theme

from Final Fantasy VI

Composer: Nobuo Uematsu

Squaresoft; 1994

The battle theme from FFVI is one of the best battle themes in the franchise and I do not think many fans would disagree with that sentiment.  It has a tone that really gets you psyched to get into the spirit of combat, and Final Fantasy VI’s impressive loadout of characters with countless combat possibilities makes for a fun romp to go along with this high-energy theme.  It is also a classic in the sense that it is probably the most heard song in one of the most beloved games of all time.  Final Fantasy VI was a game that helped propel video games into a new era of storytelling and visuals and, to this day, ranks among the undisputed best games of all time (Unless you ask G4... Idiots.).

My 200 Favorite Video Game Themes - Part 1: City Streets, Pirates and Plumbers

200.

Capital City Theme

from Sim City (SNES)

Composer: Soyo Oko

1991; Maxis

)

In a game where the whole idea is to build a successful city, the feeling of progress is a necessity.  Aside from his far-reaching influence in the area of game design, Sim City's designer Will Wright is justly credited (alongside his peer Sid Meyer) as one of the founding fathers of the strategy genre.  This is a game series I’ve loved for many years (Except for the 2013 reboot.  Go bankrupt, EA.  The world hates your face), and as the years went on, one consistent positive element in this series has been its excellent music.  The first Sim City and Sim City 3000, in particular, had stunning soundtracks with memorable music ranging from relaxing to encouraging and energetic, and this first theme from this storied franchise sort of falls into both categories.  It starts of with the sound that is reminiscent of construction, it is to me at least.  It then progresses into a soft theme mixing synth and strings sounds.  It’s a solid theme and is one of the majority of songs on this list that dominated my childhood.

199.  

Eyes On Me

from Final Fantasy VIII (PSX)

Composer: Faye Wong

1999; Squaresoft

)

As stated in my introduction for this series, Final Fantasy is going to be one franchise whose music will show up again and again on my list.  Eyes On Me is on here because… well… I don’t know.  I am being entirely sincere here.  I do like the song, but most of the fond memories of this song comes from length conversations with friends about this game.  It is on the list because it was a song that I have always associated with the strange love story between Julia and Laguna; a story I had always considered far more interesting than the tepid romance between Squall and Rinoa, despite my irritation with Laguna’s constant wussing out.  Whenever I hear Eyes on Me it does bring back fond memories of gaming in the late 90’s and early 2000’s.  This is in spite of the fact that I consider VIII to be among the weaker of the Final Fantasy titles.  I still enjoy the game, but not nearly as much as many of the series’ other titles, however I contend that the soundtrack to Final Fantasy VIII is among the series’ best, and Eyes On Me is just one of a number of entries from this game on my list.

198.

Main Theme

from The Curse of Monkey Island (PC)

Composer: Michael Land

1997; LucasArts

)

My history with PC gaming does not really go back that far.  I did not get my first quality PC until my senior year of High School.  Before that, I was using an older Windows 95 machine that could not run most new games.  Today, I’m pretty much a PC gamer almost exclusively.  I still play console games from time to time, but most of the titles of the last five years or so have been my primary focus have been popular MMORPG’s, Minecraft, or various titles on Valve’s excellent Steam platform.  That said, I did get some hands-on time in the early 2000’s catching up on some of LucasArts’ classic adventure titles.  The first one I played was Curse of Monkey Island, a late and well-loved entry into the long-running series.  The entire series has good music, but I particularly enjoy this theme.  I guess this simply comes from the fact that it is exactly what you expect a title theme for a game about pirates to sound.  So, it’s perfect!

197.

A Place of Memory  - Memoria

from Final Fantasy IX (PSX)

Composer: Nobuo Uematsu

2000; Squaresoft

)

Final Fantasy IX is not one of my favorite games in the series.  It is good, don’t get me wrong, but it feels a little over-simplified and lacked the customization of VII and even VIII (which I repeat, I'm a little lukewarm to).  I am a person who likes to play a game the way I want to, not the way the developer wants me to, and I always felt more than a little constricted by Final Fantasy IX’s overall structure.  Still, the game had a wonderful soundtrack.  It is not one of my favorites in the series, but Nobuo Uematsu always brings his A-game and FFIX was no exception.  The soundtrack is a mix of folk, blues, Baroque and Renaissance-period sounds that culminates to a uniquely bright and moving symphony.  Now, Memoria is a weird place.  It is another world, built from collective memories, where time has stood still while the world it governs seems to be trying to move on without it, and while, from a story standpoint, this particular area is out of left field, it has three really good things going for it.  First, and most memorably, are the bosses, which are among the most intimidating and creative in the series’ history, despite some of them being throwbacks to fights in previous games.  Second is the art design, where the artists at Square just went crazy and made a stunning, haunting and simply beautiful landscape.  Lastly: the music.  The theme for Memoria is a ghostly melody that is mournful and it has a tone of loss to it, not just losing someone, but as though the characters in the story are lost… for good.  Memoria as a whole is a great final chapter to what is ultimately a pretty weak third act in the game.  In fact, Memoria is one of my all-time favorite Final Fantasy levels, and the beautiful song that plays chillingly in the background has done much to influence my love for this place that memories built and time forgot.

196.

Overworld 1 Theme

from Super Mario Bros. 3 (NES)

Composer: Koji Kondo

1990 (NA); Nintendo

)

Koji Kondo.  Real video game fans know that name.  He is the head sound director/composer for many of Nintendo’s flagship franchises.  Think of an iconic Nintendo melody and there is about an 80% chance Kondo was behind it.  He has been an inspiration for game composers and has given countless two-dimensional worlds depth with his inspired and iconic scores.  He, alongside the aforementioned Nobuo Uematsu and a few other names will appear many times on this list, as they are the definitive names in game music, and for good reason.  Now, I want to say a few words about Super Mario Bros. 3.  It is not a simply a “good” game.  It is one of only a few titles in existence that I would call “perfect”.  It ranks among the best platformers of all time and is one of my favorite video games.  It also laid the groundwork for many ideas that would become staples of the industry, such as the “three hit boss” and the fully-interactive map leading to different levels.  Another unforgettable aspect of Super Mario Bros. 3 is its soundtrack, which has numerous songs that are instantly recognizable for me and just about anyone who was gaming in the late-80’s and early 90’s.  It is not my favorite Nintendo soundtrack, nor is it even Kondo’s best work as a whole, but it definitely hits all of the right note blocks (sorry).  Instead of going for high-energy music, Kondo composed a chiptune with an island sound and a delightful melody.

195.

Under Logic

from Streets of Rage 2 (Genesis)

Composers: Yuzo Koshiro and Motohiro Kawashima

1992; Sega

)

Koshiro and Kawashima managed to conjure up a solid groove for Sega’s headlining beat-’em-up series for the Genesis.  The Streets of Rage series is full of great music and this first track on this list, Under Logic, the Stage 4 theme, motivates the player as they bash through wave after wave of thugs in a run-down park.  Brawlers always have such fun music, and I’m not entirely sure why.  The genre is a mixed bag, going from superb to bland to god-awful.  However, Streets of Rage 2 is one of the best in the genre and one of my favorite games on the Genesis.  The music is a mix of funk, soul and techno that feels like the streets.  At half-tempo, I could see this song playing over the opening credits of an early-80’s Scorsese film, easily.  It’s energetic and has an aggression to it that matches the brutal streets the game portrays.

194.

Distant Mountain

from Suikoden (PSX)

Composers: Miki Higashino, Hiroshi Tamawari, Tappi Iwase, Hirofumi Taniguchi and Mayuko Kageshita

1995; Konami

)

Oh, man… It’s been years!  Suikoden is Konami’s frontlining RPG series.  It spans ten titles and numerous platforms.  While not exactly huge in the States, this is a popular franchise in Japan.  Its world is loosely based on a popular piece of classical Chinese literature and it has been one of the few JRPG franchises that has truly survived the Western RPG revolution of the early-to-mid 2000’s.  The series has delightful music, too.  Distant Mountain, the theme first heard early in the game on Mt. Tigerwolf, has a strong Celtic influence, as do many great JRPG themes.  This is an often-overlooked soundtrack that is full of little gems here and there.  I strongly suggest giving a listen in its entirety.  Also, note some of those composers’ names as they will be showing up multiple times on this list.

193.

Festival of Servants

from Castlevania: Symphony of the Night (PSX)

Composer: Michiru Yamane

1997; Konami

)

This is one of the boss themes from Symphony of the Night, which is not only one of my favorite Playstation titles, but is one of my favorite games of all time.  The theme first plays during an early-game encounter with Slogra and Gaibon, a duo of bosses long-time fans of the series have seen over and over again  At this point, they are pretty much expected to be in a Castlevania game, and their accompanying theme will become the official mini-boss theme of the game.  The song opens with a loud, squealing guitar wail, followed by an intense theme pounding the tension of the moment into the player.  I have always found the power of this theme at this boss kind of funny considering how easy these two are, but still, it is a memorable tune and a well-loved moment from one of the best adventure/platformers of all time.

192.

Shadow Man

from Mega Man III (NES)

Composers: Yasuaki Fujita and Harumi Fujita

1990; Capcom

Rockman is one of the most essential game franchises of all time.  Whether you like them or not (though I’ve never met a gamer who does not like at least some of these games), does not change the fact that Mega Man is influential and fun.  Then there is the music.  Oh, my GOD the music in this series…  Some franchises are known for their soundtracks and, as I mentioned in my introduction, expect to see a lot from Mega Man.  I will even go so far as to contend you will hear at least one song from the franchise in each entry in this series.  My list is saturated with music from the Blue Bomber’s storied history and, I would argue, deservedly so.  Few franchises have produced music as catchy, memorable and fun as the Capcom’s flagship series.  Shadow Man is the lowest of the franchise’s entries on this list but it is, itself, quite excellent.  The minor key, the bluesy bass, the tonal shifts, everything works.  It also goes quite well with the level, which has the player traversing a lava-filled factory as the lights constantly fade in and out.  Shadow Man is also one of the coolest Master Robots in the series, and his song just fits perfectly here.

191.

No Man's Land

from Contra III: The Alien Wars (SNES)

Composers: Miki Higashino, Masanori Adachi and Tappi Iwase

1992; Konami

)

Tension is the operative emotion when the player is making their way to the final encounter.  You, a human, armed with two guns, has just trekked across a flaming city, stormed a massive factory filled with hostile aliens, scoured the wastelands and now, within the enemy base, only your final targets remain.  You scale the side of his antechamber, leading to his throne.  He is the one-and-only Red Falcon.  You have defeated him before, and you can certainly defeat him again!  Fearful of your wrath, Falcon sends one last foe your way, his one remaining flying metal guardian.  You fill the flying metal beast with holes and now, with the coward Falcon’s last defenses in ruins, you make the final jump up to the platform to face your destiny.  No Man’s Land plays right after you defeat Shadow Beast Kimkou, who was actually the final boss of the previous game in the series, Super C on the NES.  After an easy few fights, the tone shifts for the final stretch of the game, and this song is the perfect mood-setter.  It is heroic, intense, menacing and energizing all at once.  I love the power and  the punch to the gut that this melody has.  It invokes a lot of great memories of my closing out the last few minutes of one of my favorite video games of all time. Also, take note of the composers’ names. Do they sound familiar?

Continue to Part 2