My 200 Favorite Video Game Themes - Part 15: The Blue Bomber Takes Over

60.

Squid Adler’s Stage

from Mega Man X-5

Composer: Naoto Tanaka

Capcom; 2000

Mega Man X-5 remains one of my favorite game soundtracks of all time.  There is an intensity there that is simply captivating, and every song is highlighted by a single riff somewhere that makes it just stand out amidst the standard anime-themed video game soundtrack full of rock guitar anthems and 80’s-inspired metal.  Squid Adler’s hook is really the first thirteen or fourteen seconds.  The fast piano riff accompanied by stone-crushing rock chords and powerful drums is just mind-blowing.  It creates so much pressure and pure rock power that it is simply unforgettable, at least for me.  I did not even really play X-5 much, yet the soundtrack still resonates with me.

59.

Besaid Island

from Final Fantasy X-2

Composers: Noriko Matsueda, Takahito Eguchi

SquareEnix; 2003

Here’s another track from the much-derided Final Fantasy X-2.  The sequel’s theme for Yuna’s home island pales in comparison to the original’s but remains a beautifully-executed piano theme on its own.  There is an obvious island inspiration here, and the bluesy piano mixed with a shuffling rhythm section makes for a delightful whole.  There is a lot to love about this theme.  No matter how many times I hear it, it never fails to put a smile on my face.

58.

Aqua Man Theme

from Mega Man 8

Composer: Shusaku Uchiyama

Capcom; 1997

Yet another tune from Mega Man 8, Aqua Man’s theme is a smooth-feeling jazzy groove with a slick bass track and a soft island sound.  Like the Besaid Island theme, the theme song for Aqua Man’s stage is sets a mood that is both relaxing and bright.  However, we know that the stage itself is not all that relaxing.  I find the track a funny contrast to its accompanying level.

57.

Gravity Man Theme

from Mega Man V

Composer: Mari Yamaguchi

Capcom; 1992

Gravity Man’s stage theme has a very sci-fi sound.  It sounds like space, which is a fitting theme for the level it plays over.  Gravity flips as the hero passes specific gates, leaving Mega Man running along the ceiling at times, and the theme creates just the right atmosphere for the stage.  The breakdown has a smooth lead that hums a lead melody that just feels right.  This is another brilliant anthem from a stunning game.

56.

Twin Dragons

from Scott Pilgrim vs. the World: The Game

Composers: Anamanaguchi

Ubisoft Montreal; 2010

Twin Dragons is one of the more intense themes from Scott Pilgrim and the talented Anamanaguchi lay out a techno-style rock song with an great synth bridge.  This high-impact tune plays just as good on its own as it does with the game.

55.

Still Alive

from Mirror’s Edge

Composer: Lisa Miskovsky

DICE; 2008

EDITORIAL NOTE:  I accidentally wrote this entry as Portal’s Still Alive, which was an error likely made due to sleep deprivation.  My Mistake.  Hopefully this resolves the problem for any future readers.

Mirror’s Edge is a solid game, and despite a few flaws and some occasionally-frustrating mechanics, is one of the more clever and original titles out there.  The theme song is also great.  I love this tune.  It could easily be construed as a slightly unconventional pick, but Lisa Mikovsky’s Still Alive is a damn-powerful power-pop ballad that fits the tone and feel of the game well.

54.

Charge Man

from Mega Man V

Composer: Mari Yamaguchi

Capcom; 1992

It is Mega Man V again.  Charge Man’s theme is a high-tempo, energetic tune that suits the train theme of the stage, having the rhythm of a steam train.  Imagine the faster pace of a train playing in your head while this song runs.  It is exactly that rhythm.  The brilliance of this alone makes it a classic, but aside from that it is an awesome theme as a whole, where the layers all work and the sound of each part fits perfectly.

53.

Giza Plains

from Final Fantasy XII

Composers: Hitoshi Sakimoto, Nobuo Uematsu

SquareEnix; 2006

Early into the story of Final Fantasy XII, the player, as Vaan, is forced to sidetrack from the core adventure to complete a time sink in a labyrinthine drylands called the Giza Plains.  The player has to travel to several stones and interact with them to fill a gauge.  This part of the game is pointless and only serves to drag out an already long campaign.  I do like Final Fantasy XII, but I hate this segment.  That said, the one and only saving grace to this part is Giza Plains’ theme.  It starts off as a bright, adventurous tune that evolves into an intense action march.  The theme builds and builds, foreshadowing a looming threat.  It is stunning and one of the best songs on one of the best soundtracks of the 2000’s.

52.

Wily Castle I

from Mega Man III

Composers: Yasuaki Fujita, Harumi Fujita

Capcom; 1990

I have already expressed, multiple times, this game’s importance to me.  This theme is part of that.  It brings back a lot of childhood memories of me and my friends passing the controller to once again conquer this classic.  It may seem like a simple, insignificant song in the grand scheme to most, but it has a lot of personal meaning.  Everyone has a song that is solely their own.  It may not be popular, it may not be the best ever, but it is important to them for one reason or another, and this is that tune for me.  That said, I can defend the minor key groove and the nice beat this song boasts as justification for its relatively-high placement on my 200 Favorite themes list.

51.

Forest of Monsters

from Super Castlevania IV

Composers: Masanori Adachi, Taro Kudo

Konami; 1991

Here’s a creepy entry… sort of.  Super Castlevania IV has appeared on this list before and will appear again.  One of my favorite SNES soundtracks hosts a haunting Stage 2 theme.  Opening with a slightly detuned organ and then leading into a strong, lively, well-paced tune where that same organ's background chords accentuate a much brighter and deliberate main riff.  By the time the horn and strings kick in, this song has built up to an undeniable climax. It also features the soundtracks trademark jazz influence, with a breakdown at the end that chops the rhythm to emphasize a smooth trumpet solo. The stage has water that pushes Simon forward, matching the faster pace of the theme.  I really love this tune, so much so that years ago I made a cover on the Playstation version of MTV Music Generator.  It’s a fun track with a lot of life to it.

My 200 Favorite Video Game Themes - Part 12: Meanwhile, In This Millennium:

90.

Leave the Past Behind

from Scott Pilgrim vs. the World

Composers: Anamanaguchi

Ubisoft Montreal; 2010

This is yet another tune from Scott Pilgrim vs. the World.  Anamanaguchi keeps to the game’s tone and sound with this song and it features all of the characteristic elements of the game and the band’s obvious 8-bit-era-influence.  If you listen closely, you can hear some Mega Man and Double Dragon in there.  The song is incredibly catchy, using a fun and energetic melody that is both exciting and joyous.  I do love this game’s soundtrack in its entirety and this is not the last time it will show up on my list.

89.

Burst Man

from Mega Man 7

Composers: Toshifumi Ōnishi, Kazunori Tazaki, Tatsuya Yoshikawa

Capcom; 1995

This song starts off with the quintessential “Mega Man sound” and then changes into something else entirely.  Mega Man 7 was released pretty late into the SNES cycle yet this song does not reflect the quality or the evolution of its late 16-bit counterparts.  Instead, it has an early-90’s feel to it, which I like.  It keeps things simple, focusing on a good melody rather than showing off the capabilities of the console.  It is a great song, and features a bright and cheerful tone that just makes me smile whenever I hear it, no matter how I am feeling at the time.

88.

Nighttime Excursion

from Flower

Composer: Vincent Diamante

ThatGameCompany; 2009

Flower is back with another breathtakingly-beautiful theme.  I stand by my assertion that this title, along with Halo 3, Bastion and Scott Pilgrim vs. the World, comprise the shortlist of standout soundtracks of the last gaming “era”.  Things are really starting to change as the medium matures.  We have titles with thought-provoking, intelligent themes like Gone Home and the Stanley Parable making industry and consumer-wide waves and as the mood and ideas of gaming evolves, so is the music.  Flower is a breathtaking artistic achievement and it hosts a beautifully-woven and smart form of storytelling.  Feeling like a wonderful picture book in motion the scenery flows past as the flower petals ride the wind carefully held sway by the player.  You have power over one of the mightiest forces of nature in its most gentle form.  The soundtrack is a relaxing peaceful series of evolving but connected melodies, adding to the atmosphere and the player’s own emotions play into the controls, as the softness of the game’s mood steadies the hands holding the controller.  It is just a perfect experiment in gaming psychology and a stunning example of video games as art.  If anyone ever states that games are just about killing aliens, this title will certainly, and deservedly, put them in their place.

NOTE: The video formatting is off because I could not locate the song in Blogger's native YouTube embedding tool.

87.

Corneria

from Starfox

Composer: Hajime Hirasawa

Nintendo; 1993

This classic tune is a favorite among 16-bit era fanboys and is certainly a beloved classic.  It shocked everyone, too, as Nintendo fans were used to bright, whimsical melodies in their first-party titles, but this…  This was shockingly different!  At the time, there were tons of soundtracks that were dark, or simply in a minor key, but Starfox was a milestone in composition quality.  It featured a long loop, and matched the pace and mood of the game.  Also, this game was released following a turning point in musical ideas as well.  Where the fluff and beeps of mainstream 80’s music had since faded and a darker, minor key tone was setting in.  The Corneria theme reflects both the ideas of music in its time, and also the evolution of game music as a whole.

86.

Hallow Bastion

from Kingdom Hearts

Composesr: Yoko Shimomura, Kaoru Wada

Squaresoft; 2002

It is undeniable that this game could have been crap.  Seriously.  It would not have taken much to screw this up.  Disney and Final Fantasy joining forces?  It worked out well as a game, though.  Despite a few clunky moments and some behind-the-times level design (for the most part, anyway), Kingdom Hearts was a great game.  The soundtrack was also quite good, mixing Square’s distinct, orchestral stylings with classic Disney cheer.  Hollow Bastion is probably the most highly-regarded original entry on the soundtrack, with a haunting gothic vibe and a stirring woodwind bridge, it is a memorable and essential video game theme.

85.

Guile’s Theme

from Super Street Fighter IV

Composer: Hideyuki Fukasawa

Capcom; 2010

Guile’s Theme is one of the more overplayed video game themes out there.  An entry in countless spoof videos on YouTube, representing a fight or showdown of any degree.  It works, too, having the sound of an 80’s training montague, it is a fun and badass tune.  It is the “Eye of the Tiger” of video game music, if you will.  Obviously drawing inspiration from early 80’s rock, this theme has captures the hearts of gamers across the world, and for a good reason: it’s awesome!

84.

Mt. Gagazet

from Final Fantasy X-2

Composers: Noriko Matsueda, Takahito Eguchi

SquareEnix; 2003

Back in entry 175, Zanarkand, I stated that Final Fantasy X-2 featured an underrated soundtrack.  I meant it because there is good music to be found on this soundtrack.  The looming mountain of Gagazet was one of the final destinations in Final Fantasy X and featured a great tune.  In X-2, the mood is a lot less mournful, therefore the song is more energetic and gritty.  Featuring a mix of worldly flutes and chanting with a touch of electric drums, this tune exemplifies a modern idea of game music for me.  It is not the best of its time, but it is an example of how game music can bridge the gap between this niche music community and more mainstream music fanatics.

83.

I Want You Gone

from Portal 2

Composer: Jonathan Coulton

Valve; 2011

In 2007, Valve introduced the now fan-favorite Portal series in their Orange Box collection.  The antagonist of the game, a sardonic and megalomaniacal cybernetic intelligence named GLaDOS, became a video game icon due to the game’s clever writing and funny one-liners.

Portal ended with a song that gamers universally loved, so, naturally, its sequel would have one too.  I Want You Gone is along the same lines, theme-wise.  It does do some things differently, however.  It has a more electronic sound and stronger vocals, and thanks to the legacy of the first song, manages to be recognized as a classic in its own right.  It is a well-written and catchy song and is worth watching over the credits for the lyrics and a pretty funny sight gag.

82.

The Faith of Jevel

from Bastion

Composer; Darren Korb

Supergiant Games; 2011

Yet another Bastion song makes my list.  The Faith of Jevel features haunting guitar and piano melodies and a smooth, electronic beat.  The song never overdoes it, staying simple and focusing on mood rather than power or energy.  It is a great song for atmosphere, featuring the game’s distinct Western sound with a well-structured and layered accompaniment.

81.

Cerobi Steppe

from Final Fantasy XII

Composers: Nobuo Uematsu, Hitoshi Sakimoto

SquareEnix; 2006

Uematsu and Sakimoto’s work on Final Fantasy XII is beautiful and bright.  It plays over a distinctly-dangerous part of the game, too, which makes the mood somewhat off-kilter, in a good way.  The song is incredibly soft, never breaking into mighty drums or heavy accompaniment, instead it to its breezy melodies are the showcase.  It is a soothing entry in a strong soundtrack entry in the storied franchise.