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Other Game Music

We have come to the end of another year, and it is time for the annual OGM roundup. For this [tentatively] final feature of the year, I rank my favorite VGM releases of the period, plus some extras. First up is honorable mentions:

I didn't get around to Infernax this year, and as such cannot technically speak to its quality, but I'm fairly confident that I'll enjoy it greatly when the time comes. As such, I want to ensure others have the heads-up while we're still in its release year. If anyone is interested in checking it out, be warned that (to my knowledge) it's only been posted in three distinct parts, divided according to the three composers; as such, listening to it without first purchasing may be more inconvenient than usual. As uninformed recommendations, I'll list Jason Letourneau's Liquid Town, Oliver Couillard's A Good Day to be Alive, and Jules Conroy's Knowledge is Power.

Tunic got a full feature earlier in the year, and part of me is surprised it didn't have more endurance in recognition (then again, I haven't played it, so what would I know?). The music is generally less intensive then other things of its style, but its atmosphere is perfect, with enough form to remain memorable. I've already presented recommendations for this album, but I'll add Memories of Memories and Ocean Glaze.

That's all my honorable mentions for this year; there are always soundtracks that I hear about but don't get enough experience with to consider them for this, but that is to be expected. Now on to the official ranking:

#5:
NoteBlock - Mago
I'd been looking forward to this soundtrack for some time; as I've said before, NoteBlock (a.k.a. Evan Goertzen) is among my favorite VGM arrangers, and I had high expectations for a full-sized project from him. These expectations were not disappointed, despite the end result being a bit more stylistic than I expected. On a side note, I'm looking forward to next year's release of Undertale Yellow, the project through which I original discovered this musician.


#4:
Yuuta Ogasawara, Hirokazu Ando, Jun Ishikawa, & Yuki Shimooka - Kirby and the Forgotten Land
Another title I was surprised didn't get more recognition. Granted that Kirby has as lot of history I'm not aware of, but I'm just vaguely familiar enough with some of the past music to still consider this a stand-out release. I listened through this fairly early in the year, and it has stuck with me since.


#3:
River Boy - Cult of the Lamb
I all but announced this being here in the feature earlier this month. Whatever reservations I have about the game, the music deserves recognition. I'm not convinced this theme does it justice (or if it's even the main theme), but I guess that's what the features are for anyway.


#2:
Michael Wyckoff - Bonelab
Early this year, I discovered the Boneworks soundtrack, which was very nearly the most exciting find of the year; I still consider it to be under-appreciated (in as much as I don't see its music receiving the commendation it deserves). Unexpectedly, the (technical) sequel was released this year, and whatever the game's merits may or may not be, I have no complaints with the music. Increased variety without stylistic deficiency made this an easy favorite for the year, very closely contending for my number one.


#1:
Jason Graves - Moss: Book II
A part of me feels guilty for having so many sequels in this years rankings, but ultimately they are included for the improvements they make over their predecessors. This soundtrack is more than the original Moss; not in sound or style, but in depth. I may have no understanding of its intended context, but I nonetheless understand it in its clarity. For that, it is elevated above other options. I don't know which the main theme is, so I'll go with a new track.


Funnily enough, this is now the third year in a row where all my favorite soundtrack come from games I haven't played.

To finish off, I wanted into include my personal favorite discovery of the year. Often I don't come across a soundtrack until well after its release, thus disqualifying it from receiving recognition during the roundup despite potentially being a major highlight. I earlier mentioned Boneworks; however, its place was later overtaken by another discovery.

Bonus Feature (#0):
Frank Klepacki, Black Ice 9, & World Beyond Soundtracks - Command & Conquer: Mental Omega
I am still listening to this mod's associated music, both outsourced and original, and it is firmly established among my favorite soundtracks of all time. Despite dedicating an entire month to featuring it (not to mention this extra), I'll add recommendations for Black Ice 9's Relativity and World Beyond's Alternative Route Advised, which aren't part of the official track listings.

Also, unlike the other features, I've actually played this game, and it is also one of my favorites.


As usual, I'd like to encourage others to provide their own rankings/mention their favorite releases of the year!
The annual record will be posted later in the week. Shalom!
 
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I should have posted here before doing Musical Discoveries. Oh well.

Here is the official OGM feature record for 2022. I would like to offer my thanks to those who shared their interest in various soundtracks this year. Lord willing, we will continue to enjoy this activity for some time to come.
Features (in order of initial posting):

Iconoclasts – Robin, Preacher, Far Reaches, Moonlight

FNaF World – Battle Theme, 8-Bit Travel 1, Dusting Fields, Stone Cold

Boneworks – Ambient_A, Analog Sunrise, MythOS, Pick It Up (Ima Say Ma Namowa)

Yakuza 0 – Trouble Shooting Star, Try to have some fun for me !!, Oath of Enma, JUDGEMENT -Shinpan-, Opening Theme, Friday Night

Ryū ga Gotoku 0: Chikai no Basho – Bubble

WarGroove – Cheeky Ruckus, Creeping Ivy, Wild Flower, Dancing Crane, Reflection

Deemo II – DGR (piano ver.)

Sharks of Mars: Prologue – Sharks on Mars

Rivals of Aether – Dazzling Dark Future

Typer Shark Deluxe – Main Theme

LEGO Mars Mission – Main Theme

Cave Story (Freeware) – On to Grasstown, Jenka 2, Moonsong, Last Battle

Cave Story 3D (3DS) – Labyrinth Fight (Remastered), Pressure (Remastered), Silence (Remastered), Meltdown (Remastered)

Cave Story (Wii) – Access (New), Safety (New), Living Waterways (New), Running Hell (New)

Cave Story+ (Switch) – Balrog’s Theme (FamiTracks), Mischievous Robot (FamiTracks), Scorching Back (FamiTracks), White (FamiTracks), Gestation (Ridiculon), Tyrant (Ridiculon), Jenka 1 (Ridiculon), The Way Back Home (Ridiculon)
Shin Megami Tensei IV – Main Theme

Guilty Gear Strive – The Kiss of Death, The Disaster of Passion, Out of the Box

Himno – Sleeping Waters, Unturned, Endure

ITORAH – Nahu Fields, Violet Temple, The Forgotten Ruins, Fighting Spirit

Guacamelee! – Desierto Caliente, Canal de las Flores (Spirit World), Temple of Rain, Boss Battle (Chiptune Remix)/El Trio de la Muerte I

Kirby and the Forgotten Land – Running Through the New World, The Battle of Blizzard Bridge, Pitch-Black Horror, Faded Dream of a Psychomeddler, Two Planets Approach the Roche Limit, Ready to Go!

Tunic – The Weight of Rain, The Siege, Ooze Control, Remember to Remember

Subnautica: Below Zero – Arctic Peeper, Twisty Bridges, Phi Robotics, Lily Pads

Everhood – 72 (Everhood Mix), Feisty Flowers, The Final Battle, Barge

Sonic Adventure 2 – This Way Out, Down in the Base

Monster Hunter: Frontier – Javon Dance, The Rumbling Ultramarine Armour, Sanctuary in the Sky, Gigantic Castle of Vicious Sand, The Silhouette's Transformation, The Azure Dragon’s Advent, The Azure Dragon Soars to the Heavens, Storm Preceding the Verge of Death, Imperial Wrath of the Azure Dragon, Frontier G Preview Site Theme

Hollow Knight – Daughter of Hallownest, Truth Beauty and Hatred, The Grimm Troupe

Sonic Mania – Time Trials, Wildstyle Pistolero, Ruby Delusions, Stardust Speedway Act 1

Furi – Love and Madness, 6:24, What We Fight For, Enraged

The Last Ninja – Wastelands, Wilderness, Lower Area Loader, Wastelands Loader

Willow – Sacred Tower Area, Nockmaar Castle 01, Battle Theme, Zhena’s Theme, Zhena & Muzh

Cuphead – Chef Saltbaker, Snow Cult Scuffle, King of Games’ Castle (Rococo Ver.), High-Noon Hoopla

Critadel – Opening[?] Theme

Dead Estate – Welcome to Dead Estate

Sonic Origins – Trailer Theme

Katana ZERO – Rain on Brick, Katana ZERO [Title Theme], Nocturne

Moss: Book II – The Starthing’s Way, The Winter Glass, To Raise an Army, We Remember You, When One Door Shuts

Ys I&II Chronicles – First Step Toward Wars, Feena

Ys I Complete – Tension, Tower of the Shadow of Death

Dance Mat Typing – i & e, Press dOWn, n & b

Zero Deaths – In the Midst, Through the Meme Graveyard, Cloud Jumping, Synth Lasagna

Stray – Slums, Secret Lab, Outlaws, Daybreak

Red Alert 2: Yuri’s Revenge – Bully Kit, Brain Freeze, Defend the Base

Mental Omega – Solara, Chaotic Impulse, Hell March Trilogy

30XX – Mines at Dusk (Echocave Editor), The Upside Drown (Watergrav)

Fall Guys – Future Utobeania, Chimney Bean Bebop

The Stanley Parable: Ultra Deluxe – Exploring Stanley, The Infinite Hole, The End is Never the End Again, Following Stanley

Bonelab – Fightfight Fugue, Bone Daddy, Unsolved Sciences, Turn Around, Stargrid

GNOG – FRG-Y, PURP-L, HOM-3, Fanfare

Hiveswap: Act 1 – Filthy Nuclear Bunker, Half-Hartley Manor, That’s How I Beat Snake, Alternative Recipe

Mago – One Small Step for a Mage, A Quiet Town, Crimson Bird, Fly Dragon! Fly!, Wandering Boss, Your Last Supper - GOURMET II, For We are the Questbound!

Okami – Izayoi Shrine, Helping with the Fishing, Seiankyou Commoners' Quarter, Inside the Water Dragon, Shachimaru's Theme

Cult of the Lamb – Darkwood, Work and Worship, Anchordeep, Shamura, Praise the Lamb

Pokemon Scarlet & Violet – Mesagoza (Walking), East Province (Riding), Team Star Appears!, Star Barrage!, Making a Sandwich, Battle! Cassiopeia

Sonic Frontiers – Kronos Island: 3rd Mvt, Cyber Space 2-7: Floating in the Blue, Guardian: SPIDER, Cyber Space 4-6: Fog Funk, Cyber Space 1-3: Digital Cave, Titan: SUPREME - I’m Here (Re-Edit), Dear Father

Shadow of the Colossus – Full OST

God of War: Ragnarök – Huldra Brothers, A Son’s Path, Holding On, Vanaheim, God of War Ragnarök [Title Theme], Raeb’s Lament


Technicalities (special cases):

Cactus McCoy – Handful of Coins

Kamigawa: Neon Dynasty – Argon Reflection, The Future is Bright, The Neon Riverside

Clad in Shadow Vol. 1 – Shadow Dong

Cave Story: Wii Balanced – Mimiga Village, Mischievous Robot

DynamiteManEXE Presents: Cave Story [VRC6] – Hero’s End, Moonsong

DM DOKURO Presents: Cave Story Arranged – Last Cave, Cave Story (Title Mix)

Stone McKnuckle – Spark Mandrill (Mega Man X), Flame Mammoth (Mega Man X), Introduction Stage (Mega Man X)

A Hat in Time: Unreleased Music – Full Steam Ahead, The Abandoned Metro, Hat Kid ~ Traveler of Time

Monster Hunter: Frontier - Shantien Medley

Jahn Davis – Metallic Doppleganger!

The Fastloaders & Ben Daglish – Wastlands Loader

Hyde209 – Bend But Don’t Break

Zeeboon – Quillshroom’s Horrors

Game Music Design – Beneath the Tides (Orchestral Remix)

Lame Genie – The Messenger (Glacial Peak

Morphscape – Cyberteck

Virtual Control – Virtual Control

Infiltrator – Odd Funk, Construct

Rocktronic – Decible, Rocktronic

Viratia – Banished

Awakening of Aggression – Brain Dead

Black Ice 9 – Beyond the Obsidian Sands, Frostburn, Echo, Psychosis

Mindshell – CTOS Calibration, The Last Line of Defense, The Rescue, Remnant of the Distant Future

Crypt of the Necrodancer: Reanimated – A Cold Sweat (3-3 Cold) Reanimated Remix

Blindsight – Bewitched
 
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I try to make the first feature of the year somehow "fitting" (which is arbitrary, so . . .). This year, I decided to do a proper feature for Beyond Skyrim; I briefly alluded to it following the Elder Scrolls V feature, but without going into significant detail.

For those who don't know, Beyond Skyrim is a massive mod project that seeks to expand The Elder Scrolls V: Skyrim to include other parts of the series' world, complete with quest lines, area-specific items, and (most importantly for my purposes) music. The project is divided up according to the different areas, so that several teams can divide the work and develop each area as its own mod. As such, rather than there being a single soundtrack for the whole project, each area has its own soundtrack composed by different people. This has already resulted in a high quantity of music, most of which is reminiscent of Jeremy Soule's soundtrack, but which also may vary according to the composers and the theme of each mod.

I'm not sure it's possible for me to qualify the impact dividing up the composing in this manner has had on the collective project. Whether it was intended or not, I see genius in keeping each area's music unique in artist as well as usage; there exists the possibility of signature style becoming characteristic of its accompanying area in a way that would be difficult to simulate from a single team. Ultimately, most of the music has been (and will likely continue to be) patterned off of the standard set by Soule's work. But since those involved are composing original pieces, there is bound to be some stylistic distinction, and I consider that to be a wonderful consequence.




 
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Life has been unexpectedly busy these first weeks of 2023. I'm still here, but also still failing at desired punctuality. Nonetheless, here is this week's feature.

Austin Wintory's Journey is legendary among video game soundtracks, providing the backbone of a game heavily reliant on emotional investment without excessive immersion. Rather than instilling varying emotions according to the context, the album chronicles a unified, continuous journey in phases. By being more vague in the specifics, it achieves a more poignant atmosphere overall.





My preferences in music favor stronger, more direct progression, but I can still appreciate the musical mastery of projects such as this.
 
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After one of the busiest weeks I can recall in recent years, I can finally take some time to check how things are going over here.

Looks like a lot. *sigh* Anyway . . .

Darren Korb is a unique composer; while arguably one of the most skilled musicians in the VGM industry, his work isn't usually referenced in the same way other soundtracks are. He uses a hybrid between the "cinematic style" and "dynamic style" (my names, hopefully self-explanatory based on previous explanations), simultaneously crafted to the context and free enough to stand on its own, if less than standard. This means his music is best appreciated as part of the game it's composed for, but is still unique in ways independent of those experiences.

While I believe this uniqueness is fairly evident in all his work, my personal favorite is the soundtrack for Transistor. The additional gimmick for this project was an optional layer of hummed vocals to the instrumentation for most tracks. There are some details of functionality in game, but for my purposes I will only note the comparison and contrast between the "hummed" songs and their default counterparts. Many of these pieces have rather limited progression despite generally having higher energy (they build up a bit, but don't usual reach a climax), but this is compensated by the complexity of the compositions, especially in their instrumentation. What is more interesting is their lack of distinctive melody; despite being the "default" versions, the hum-less tracks sound more like instrumental versions of songs. This becomes especially apparent when the humming is added in, but not because it adds melody; rather, it carries a seeming familiarity with the intended progression of the "song" by becoming a complimentary accompaniment to the non-existent melody. Without completing the song, the additional layer nonetheless completes the experience of the song by simulating familiarity.

At least, that's my attempt at qualifying the unique attributes of this soundtrack. A better explanation may yet be presented.




 
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I've put off featuring Gris for some time, not because of the music itself, but for its heavily dynamic nature; listened to out of context, it lacks much of the impact its meant to have. Similar considerations refrained my featuring Journey for a while, with the unique factor being that I haven't played Journey, and thus could not myself be aware of its contextual impact. Since I have pushed forward with that feature, I might as well do so with this as well. Tracks like Perseverance, Descent, and Unagi (to say nothing of Gris, Pt. 2) simply do not have the same presentation in their more straightforward form, so I have tried to favor tracks that both listen well and still give an idea of what the soundtrack has to offer.



 
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Recent tournament round had a strongly ambient piece, and I was reminded of The Longing. Its music was understandably low energy to compliment the theme of waiting, but had enough nuance to avoid becoming monotonous; some pieces may even become nostalgic over repeat listens. There's also a surprising variety (considering the game's size). The game itself is one of my favorites, so it's about time I featured it some way or other.



 
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I finally got around to Dark Souls, and was surprised to discover how little music there is outside of boss fights. In a way, this contextualizes my previous experience with Soulsborne soundtracks, not necessarily as an indicator but as an expectation setter. Regardless, I found this soundtrack much more approachable.

The majority of music in this game is dark, though in a variety of tones. The game's theme of decay and corruption is woven into the music, with additional mood worked in according to the intended characterization. This can be a more standard progression structure for more noble characters, or a more sinister progression for more horrific ones. More important to me, however, is the discernible melodies; each piece has a motif and develops it. I had expected a more ambient-heavy soundtrack, and what I got was much more to my liking.

That being said, I should be more careful with the expectations I come with for these features, as they can strongly impact my final perceptions.



 
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Before Tunic, I was most familiar with Lifeformed through the Dustforce OST. The soundtrack is made up of relatively short, simple tracks with chill tones and encouraging melodies, showcasing the artist's propensity for serene airy synth. This is my preferred sound for background music while doing a task, as it's active enough to be effective but light enough to not distract.



 
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I never expected to bring this soundtrack up again (and to be fair it's been quite a while), but a recent arrangement album reminded me of the previously released orchestral soundtrack for Rabi-Ribi. I still regret being aware of this game in the first place, yet it's music has remained one of those "hidden gems" of a soundtrack for me over the years, to the extent that I could (and perhaps eventually will) easily do another feature for it. But for now, I will instead feature some of the orchestral remixes done for an anniversary celebration a while back. The transitioning of instrumentation is surprisingly creative, and while I'm occasionally undecided concerning the viability of certain tracks, it's overall quite the accomplishment. They did not arrange the entire soundtrack, and some of the choices made in that regard confuse me (Rabi Rabi Park was already mostly orchestral?), but they covered most of the important ones anyhow.



 
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Because of the way in which I got into VGM, many of the more iconic soundtracks remain unfamiliar to me beyond their most famous tracks. In an attempt to remedy this, I hope to occasionally dedicate a month of features to a specific series, giving me the incentive to check out the more infamous titles. I've already done this with Super Mario; this month, I'd like to familiarize myself further with The Legend of Zelda.

To start off, I've chosen A Link to the Past as being one of the more iconic entries. By my understanding, several series-staple motifs were introduced in this game, and it continues to be referenced as among the best in the series. Personally, I tend to struggle with the SNES sound; sometimes it works (Chrono Trigger comes to mind), but sometimes it sounds like the composers wanted an orchestra and weren't willing to adjust. This isn't quite that bad, but I suspect it could have been better. Fortunately, there are many strong melodies to make the soundtrack a memorable experience anyway.



 
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No LoZ game has quite reached the level of acclaim and esteem of The Ocarina of Time. Still considered among the greatest video games ever made, it has continued to be a foundational influence for the medium as a whole. It's soundtrack is similarly iconic, featuring a wide variety of styles that work surprisingly well with the N64 sound; while the more notable motifs receive frequent reuse, I'd argue there's little significant improvement to be had in the overall presentation. While many of the game's pieces are well known, the soundtrack is surprisingly large (for an older game), and there are still a few rare gems in its tracklist; it's well worth the perusal if one is willing to take the time.





 
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7 hours ago, Ken Hisuag said:
No LoZ game has quite reached the level of acclaim and esteem of The Ocarina of Time. Still considered among the greatest video games ever made, it has continued to be a foundational influence for the medium as a whole. It's soundtrack is similarly iconic, featuring a wide variety of styles that work surprisingly well with the N64 sound; while the more notable motifs receive frequent reuse, I'd argue there's little significant improvement to be had in the overall presentation. While many of the game's pieces are well known, the soundtrack is surprisingly large (for an older game), and there are still a few rare gems in its tracklist; it's well worth the perusal if one is willing to take the time.



  Reveal hidden contents




 
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dunno if anyone posted anything about it yet but ultrakill songs fuckin bang




 
There were three specific games in the LoZ series I wanted to prioritize this month. The first two were foundational entries which established iconic motifs for future installments, and I was previously familiar with some of what they contained. The third is Legend of Zelda: The Wind Waker; though not quite as influential in comparison, this soundtrack is nonetheless a highlight of the series. The same spirit of adventure is present, with the advancement of technology enabling a more full sound without losing the charm of its limitations. While leitmotifs were hardly new to the series, they'd begun to take on a fresh aspect at this point; compositions were unique, but included references to past themes to invoke nostalgia and establish an internal consistency. It's difficult for me to tell how prevalent this style was in previous titles post-Ocarina (it was not present in Majora's Mask), but it has certainly been the standard for the series ever since.





 
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After the LoZ trifecta of soundtracks, it becomes difficult to choose which entries to highlight. I determined to feature Link’s Awakening, because I knew it was well liked by some musicians I respect, and because it was apparently popular enough to get a thorough remake.

This was a GameBoy release, and as such its soundtrack is entirely quad-channel 8-bit. I’ve heard this utilized with stunning complexity, but find older soundtracks don’t often accomplish those levels. The redeeming quality of said soundtracks tends to be their powerful melodies, which transcend their presentation and endure into nostalgia. In theory, Link’s Awakening is such a soundtrack; however, it’s worth noting the attempts at altering the sounds to differentiate between different instruments.

That aside, I think it may also be one of those OSTs better to experience through the game, because I’ve had a difficult time appreciating it without. Too many of the motifs sound like other melodies I’ve heard elsewhere, sometimes implying leitmotif but other times simply being atmospheric patterns the composers have used in past projects. Figuring out what counts as a unique motif or otherwise has been rather confusing. Nonetheless, I’m sure there’s something to it; my brief look into the remake’s soundtrack impressed me, and made we wonder about the significance of instrumentation being dependent upon the strength of melody. A query for another day, perhaps.







For comparison:
 
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At this, the conclusion of this series of Legend of Zelda features, I was left to decide between the remaining titles for a worthy contributor and fitting ending. I've already covered Breath of the Wild, and some soundtracks like Majora's Mask are too closely connected with other entries. I had it narrowed down to two, with no particular leaning one way or the other. I eventually chose Twilight Princess over Skyward Sword; I had little to no familiarity with either title, but figured it was better to favor the earlier release.

Legend of Zelda: Twilight Princess is considered a notably darker game compared to other entries, and is commonly contrasted to Wind Waker in tone and aesthetic (for a variety of reasons). Much of the music in the game seems to reflect this, being more somber and often favoring lower tones; some pieces utilize unique instrumentation blends to accomplish intimidating atmospheres. However, the soundtrack is extensive, and has a surprising degree of variety; in between the area and event themes, there are a multitude of mini-game and comedic tracks that somehow avoid contrasting too sharply with the rest of the game. This has resulted in my selection of featured tracks being significantly more difficult than usual. Under different circumstances, I might have divided this into two separate features; as it is, this is will be the largest single feature I've done thus far.









Consider the above as the feature proper, and these as "bonus tracks," as it were; they represent the other extremes this soundtrack occasionally reaches, while maintaining a level of quality consistent with the whole:


 
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In the aftermath of the latest Rivals Direct, it seems ideal to feature the music from Dungeons of Aether. Similarly to Creatures, this soundtrack was arranged entirely in FM. Personally, I don't think this normally suites the style of Flashygoodness, but in this particular entry it seems to have worked well; perhaps influence from the rest of RESOFORCE is to be credited? Regardless, there are several noteworthy motifs introduced in this title, and I consider it a worthy addition to the series.



 
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