It’s hard to dispute that Sony’s PlayStation 4 is the current winner of the console wars. 86 million units have shipped since the console was launched back in November 2013. By contrast, the Xbox One has shipped approximately less than half that amount. Nintendo are highly likely to blast past Microsoft’s flagship console with the Switch in spite of its 2017 release, but even they will struggle to take the crown from Sony, especially if rumours of a similar Playstation hybrid console are true. PlayStation has always struggled to get a foothold in the portable console realm, with Nintendo dominating both the PSP and PS VITA with its dual-screen handheld offerings, but a hybrid might pack the strengths of Sony’s home consoles with the convenience of the Nintendo Switch. Truly, a terrifying thought to behold.
While there are lots of problems with the game industry today, I believe in earnest that we are in the golden age of gaming, and some of the strongest titles are exclusive to the PlayStation 4. Marvel’s Spider-Man, God of War, Shadow of the Colossus, Horizon: Zero Dawn, Journey, Bloodborne and The Last of Us are all essential, contemporary games that can only be experienced on PlayStation. On top of that, Sony offers the only readily affordable VR headset, with strong exclusives like Wipeout and Until Dawn: Rush of Blood, as well as VR-optional killer apps Resident Evil VII: biohazard, Thumper and Rez: Infinite.
Without further ado, enjoy the next selection of games in our Top 100 PlayStation Games list!
80 Best PlayStation Games of All Time
80 – Syphon Filter
There’s a bio-terrorist on the loose, and somebody needs to bring him to justice. And since we’re talking about video games, that means there’s going to be an awful lot of running and shooting. But Syphon Filter wasn’t just another brainless shooter. There were stealth options available to the player, and the ability to not just mercilessly gun down every enemy combatant you come across was relatively rare at the time.
Syphon Filter never quite managed to pick up the following that Metal Gear Solid did, but as the other prominent PSOne stealth action game starring an implausibly talented super-soldier, it was worthy of its silver medal. The stealth mechanics weren’t as refined as in MGS, and the game was happy to have you shoot your way out of any given situation rather than sneak through it, but surprisingly competent AI and a slew of clever ideas made Syphon Filter a game that many remember fondly.
Chief among those clever ideas was the fantastically useful tazer weapon that series hero Gabe Logan held in his arsenal. You could fire the barb from the tazer across surprisingly
79 – Sly 2: Band of Thieves
Good games are the sums of the foundation they’re built upon. Some games are good because they have a story that’s easy to follow, yet intriguing; it’ll captivate you and have you coming back for more. Some games are good because of the gameplay, – the sense of being in touch with the character you’re controlling, making the controller more than just a device; it becomes an extension of your very consciousness, and it brings you closer to the game as a whole. Some games are good because of how the different characters of the game appeal to you; how their charismatic ways never fail to enchant you and relate to them on a personal level, as if they’re something bigger than just a virtual companion – they find their way into your everyday life.
Sly 2: Band of Thieves possesses all of these qualities. Continuing the story from the original Sly Cooper, Sly 2 grabs your attention from the very beginning of the game. The cartoonish graphics make you feel completely at home in all of the games different locations, which you are completely free to explore as any of the three main characters of the game. The characters themselves are charming and entertaining, and make a lasting impression on those who take control of them. Heck, one of my good friends does an amazing impression of Murray on a regular basis, and it never seems to get old.
Controlling the characters feels smooth and tidy, and the different qualities of the different characters make both the missions and the free-roaming exciting and captivating. The combat system is simple but has you invested in the on-screen conflict. The stealth aspect makes the exploration even better, as you can reach areas in unconventional methods, and it makes you feel like a proper thief, with a strict moral code of course. Overall, Sly 2 is charming, witty, enchanting, and it makes you feel deeply for all the characters, even the lesser villains and bi-characters involved, and if you haven’t tried it yet, now is the right time to do so. (Johnny Pedersen)
78 – Gravity Rush
Gravity Rush is the kind of creative endeavor that was very much part of PlayStation’s DNA in the heydays of the late 90s and early 2000s, if that same kind of innovation had carried over to today’s technological possibilities in gaming.
Initially released for the PS Vita, and then later ported over as a remaster to PS4, Gravity Rush takes the tired and boring “urban guy with superpowers jump around a city” and turns it into a topsy turvy, physics-based playground, where the player manipulates gravity to get around a world of floating islands and quaint cities infused with the soul of European inspired locales, especially the French Quarter, all to the game’s jazzy, bustling musical score.
What’s more is that while Gravity Rush’s story is nothing amazing to write home about, it still helps flesh out an interesting world, and is chock-full of great ideas, some explored in the game’s sequel. Simply using your gravity powers to zip around the game’s relatively small yet detailed map is a treat; collecting gems is a delight, and something that I could for hours on end if an endless version of the game existed. It’s the kind of controls that very quickly become second nature, especially when playing the PS4 version of the game.
It’s a shame that the gaming culture PlayStation has cultivated these days no longer complies with games such as Gravity Rush, as the game remains a modern hidden gem; hardly ever brought up, despite being a first-party title. For many people, it might appear as a relic of a bygone era, and it’s a constant reminder of an “uncharted” bubble that looms over us that I hope one day bursts. We need more games like Gravity Rush. (Maxwell N)
77 – Jak 3
Amongst the gaming press, Mario and Zelda are hailed as legends – masters of their craft. They are the games an entire generation grew up with. The games that inspired children to go out into the world, with the goal of either covering games media or developing games themselves. They are in many ways childish, geared towards a younger audience, but designed in a way that someone of any age could enjoy themselves.
Over the years these individuals grew up, looking for more mature experiences, but still held a place in their heart for Nintendo’s nostalgic franchises. One day Jak 3 will be viewed in the same way. Upon release, it catered to a young teenage audience. It was kid-friendly, but simultaneously angsty. Many reviewers who grew up with Mario and Zelda turned their noses up at Naughty Dog’s flagship PlayStation 2 series. Criticizing it for catering to individuals younger than themselves. But for video game writers and aspiring game developers of my generation, this is one of the games that we will hail as a masterpiece in years to come. Its Pixar-like animation style meant our parents were willing to purchase it for us, but the grittier tone the series leaned into as it progressed was quite frankly, “awesome,” in the eyes of my 10-year-old self.
Jak 3 took the series from its origins as a simple 3D platformer, and offered two fully explorable open worlds, Haven City and the Wasteland. Gameplay was diverse, with over a dozen unique weapons, with various eco abilities mixed in for versatility and an abundance of vehicles. It was a platformer, a racing game, an action game, and an open world GTA clone, at a time when many of us were too young to know what GTA even was.
Jak 3 was a masterclass in game design, open world design, and storytelling. It inspired a generation. The only reason it is not spoken about commonly with such high praise, is that the generation who loved it have yet to have their voices heard. (Chris Bowring)
76 – Jak and Daxter: The Precursor Legacy
Take one part Crash Bandicoot, a pinch of 90s manga, a big scoop of Banjo-Kazooie and you’ve got Jak and Daxter: The Precursor Legacy, the biggest PS2 platformer until Sly Cooper and Ratchet and Clank arrived in 2002. Merely a year after Rareware’s wonderful but bloated Banjo-Tooie, developer Naughty Dog abandons the shotgun linearity of the Crash series to create the collect-a-thon to end all collect-a-thons.
With open, detailed levels, no loading screens, and a comic-book art-style all of its own, Jak and Daxter improves in many ways upon its Nintendo 64 inspirations (which also included Super Mario 64 and Rare’s Donkey Kong Country games).
At the same time, the first in the Jak series foreshadows the transitional period that Naughty Dog was going through during the PS2’s life. While still funny and light-hearted, Jak and Daxter’s plot and more advanced character animation resemble less a Nintendo game than an after-school cartoon (almost a year before Nintendo went in a similar direction with The Wind Waker).
It is with this series that Naughty Dog would begin to show an interest in character-driven narrative and slick set-piece design that reached its full flourishing with Uncharted on the PS3. Compared to most of Rare’s 3D platformers, the adventure worlds in Jak and Daxter are linked thematically to their hubs, creating a more cohesive setting. As for gameplay, levels like the grav-zoomer races or the entirely linear Boggy Swamp offer action-adventure without the increasingly sprawling confusion that attracted criticism in Banjo-Tooie.
The Jak series would go on to completely abandon the Rareware-style playground levels in its sequel, but as for Jak and Daxter, there is still plenty of 3D-platforming goodness for old-school fans too. Misty Island, the Lost Precursor City, and Snowy Mountain, in particular, can stand toe-to-toe with Banjo’s levels. Bring on the next one, Sony! (Mitchell Akhurst)
75 – Shin Megami Tensei: Digital Devil Saga
Digital Devil Saga might very well be the single strongest entry in the entire Shin Megami Tensei franchise, offering up the best the JRPG genre is capable of in regards to both gameplay and story. The Press Turn system makes a welcome return from Shin Megami Tensei: Nocturne, but the inclusion of Atma allows each party member to grow alongside their own skill tree, emphasizing customization on a level other games in the series simply do not offer.
Narratively, Digital Devil Saga is a two-volume epic that comments on the nature of humanity through a humanistic and spiritual lens. The first volume itself ends with one of the greatest twists in the genre, re-contextualizing the entire adventure up to that point and paving the way for the second half. This is to say nothing of Shoji Meguro’s masterful score, with tracks that adhere to the setting of each volume, scoring a world painfully on the cusp of apocalyptic collapse.
Digital Devil Saga is that rare RPG where its gameplay and story are equal in quality from start to finish. There is never a dip. If anything, each new dungeon and each new story beat enhances the experience. Both volumes ultimately culminate in one of the greatest final bosses of all time as the protagonists shed away all their worldly baggage and square off in a divine climax that would put any other finale in the genre to shame. Digital Devil Saga is Shin Megami Tensei at its very best. (Renan Fontes)
74 – Spyro the Dragon
Known primarily for the ultra-successful Ratchet & Clank series, Insomniac Games was once identified not by a Lombax, but by a purple dragon – a little guy with the attitude of Smaug but the cool of Fonzie. In late 1998, Spyro the Dragon was released on the PlayStation after the critical hit/commercial disappointment of Disruptor, Insomniac’s first foray into console gaming.
Going from a serious-themed FPS like Disruptor to family-friendly platformer Spyro the Dragon would present challenges to any developer, but young Insomniac Games switched gears to release their first critical and commercial success. For those old enough to remember, Spyro the Dragon was as exciting and addictive as Crash Bandicoot or – and this is borderline blasphemy in some circles – any of the great Nintendo 64 releases in that day. Spyro the Dragon was the first fully 3D success for Sony’s flagship console, and it paved the way not only for two Spyro sequels from Insomniac but all 3D platformers to come.
In Spyro the Dragon, the player is given two weapons to overthrow antagonist Gnasty Gnorc, both common to dragons: dragon horns and dragon fire breath. Becoming acquainted with these weapons is an easy enough task, and you’ll be required to find a combination of both moves to fell the grunts and bosses you encounter. Insomniac outfitted their purple dragon platformer with vast areas to explore – via all fours or gliding with his wings, depending on the situation – and treasures to find hidden in these worlds. Spyro the Dragon was a game that will forever have happy memories in my mind and a game that was exactly what the PlayStation needed in 1998. (Tyler Sawyer)
73 – Infamous: Second Son
The latest effort from Sucker Punch Productions, Infamous: Second Son, has players on the streets of real-world Seattle, a first for the series, and taking the reins of the new protagonist, Delsin Rowe, after the sacrificial death of Cole MacGrath from Infamous 2.
In a big step forward for the series, Rowe, a conduit, has the unique ability to absorb any conduit powers he comes in contact with, the first being smoke. He may then swap back to a conduit power he acquired earlier in the game, such as neon, which he would absorb from a neon sign. To revert to back a previous power, like smoke, Delsin must absorb the emissions released by a recently destroyed car. You get the idea. In total, Second Son has four conduit powers Delsin can use throughout the game, each with its own strengths, weaknesses, and ability tree. A diversion from previous Infamous titles, each conduit ability is available for use as soon as the corresponding “element” is unlocked – with the extent and strength of each ability being upgraded from the ability tree.
Second Son follows the morality system of the two Infamous titles previous, for good or ill, giving the player control over the fates of any slain enemies or an innocent bystander. Every good deed notches one point in the blue column, a bad deed in the red, with each point trailing up a leveling system which will make aesthetic changes for Delsin and, ultimately, lead to one of two outcomes. Not an incredibly deep game as far as themes or narrative, it succeeds by the same virtue as the other Infamous games — it’s damn fun. Exploring each ability tree is a blast, Seattle feels alive and varied, and the parkour system is as tight as ever. Second Son is a great addition to the series, not too long, not too short, leaving you satisfied and happy to play more, in the future. (Tyler Sawyer)
72 – Spyro 2
The Spyro franchise was off to a soaring start after the release of the first game, Spyro the Dragon, but there were a few elements of his first adventure that did receive some criticism. The sequel Spyro 2: Ripto’s Rage, known as Gateway to Glimmer in Europe, is a game that not only acknowledges the flaws of its predecessor, it actively works on fixing them and successfully revitalizes the franchise.
Spyro 2 has a similar set up to the first game in that there are three main home worlds themed around the seasons. However, there is a notable difference in the way that Spyro can get around the world. I always found one of the more frustrating things about the first Spyro game was his limited abilities. He would immediately drown if he fell in water, it was easy to miss a jump completely and die and his glide could only take you so far.
These were all issues that were addressed for the sequel. By unlocking them via gems, Spyro was able to learn new abilities in Spyro 2. He was able to learn to swim and climb, meaning he no longer would die upon putting his toe into the water and the climbing ability made it so he could access higher areas without risking falling to his death. He also could learn the head bash ability, giving him the power to break through tougher objects. In my opinion, the best upgrade from the first game is Spyro’s ability to hover at the end of his glide. I was always finding myself just missing a ledge when I would glide in the first game so being able to add a small hover boost at the end of my glide saved my life more times than I can remember. These new skills improved the overall experience of Spyro and made him more fun to play.
There’s also a variety of new characters in Spyro 2. In the first game, we only really had the other dragons as companions as you saved them. Here though, Spyro is introduced to three new central characters, Hunter the cheetah, Elora the faun and the Professor the mole as well as a new fairy called Zoe. They guide you on your journey and offer helpful hints and tips, much like the dragons in Spyro the Dragon, but they also pop up in certain worlds in different missions. Moneybags the bear is also a new character who grew to be one of the most hated video game characters in history, taking your gems at every turn. The loathsome bear is an infuriating but ultimately memorable addition. There are also the inhabitants of each world you go to, all unique and interesting in their own way with designs based around the theme of the world they live in. Whereas before the worlds were mostly composed of enemies, these new worlds are full of bright, colorful and endearing creatures that make the game more engaging.
Spyro 2 does what every game sequel should strive to do. It takes notice of what wasn’t quite working with its first installment and worked on it to create a more versatile and more enjoyable gaming experience. (Antonia Haynes)
71 – Suikoden II
After years of hearing about how innovative and amazing 1998’s PlayStation cult classic, Suikoden II was, the gaming community was finally able to legally purchase a copy (that didn’t require a small fortune) when it became downloadable on the Playstation Network. Starting the game in 2014, I was skeptical that the JRPG could live up to the enormous hype it amassed over 15 years, but after a few sleepless nights, I was resoundingly proven wrong. Suikoden II is not only one of the greatest RPGs in history but a sweeping saga of a story, incorporating dialogue trees and large scale character recruitment years ahead of modern triple-A titles like Mass Effect and Dragon Age.
The player begins as a measly foot soldier in the grand Highland Army and eventually comes to lead the main faction opposing it, the New Alliance Army. After the villainous prince of Highland, Luca Blight, massacres one of his own squads, he frames the neighboring nation of Jowston and incites a war that goes on to envelop the whole world. Upon rising to the top of the forces defending Jowston, the game opens up exponentially, giving the player free reign of their own castle and encouraging them to explore the world map to raise an army. Discontent with only refining one gaming mechanic, Konami created three distinct battle systems. In typical JRPG fashion, the turn-based combat is a fast and tactical six-on-six brawl that allows for a lot of customization since 40 of the recruitable characters are immediately controllable.
These characters each have their own stats, abilities, and slots for equipable items, skill and magical runes, creating an extremely complex cast to manage. Featuring a staggering 108 total characters to recruit, even those that don’t directly assist in combat often open up new services/minigames in the Alliance Castle; such as the farmer, Tony, the Innkeeper, Hilda, and the Chef, Hai Yo. All the player’s efforts culminate in the game’s Army Battles, massive confrontations that adopt a Fire Emblem style tactical, grid-based battle system. Here, allies can permanently die, giving the game a great sense of emotional weight. Finally, duels occur between the protagonist and notable enemies, playing out in a rock-paper-scissors style one-on-one fights that have a much more personal feeling.
With a soaring score by Miki Hagashino, massively open character customization and an incredibly large scale story that still manages to feel intimate, I can’t think of any better way to spend ten dollars than by purchasing Suikoden II. (Matt Bruzzano)
70 – Parasite Eve
A product of the late 1990’s horror boom, Parasite Eve combines action, survival horror, and turn-based RPG into one completely unique package. The game follows Aya Brea, and police officer out to stop a viral infection from taking over the city of Manhattan. The game is actually a sequel to a Japanese science-fiction novel with the same title, and the author Hideki Sena oversaw the development of the game. What really makes Parasite Eve stand out is its gameplay. Survival horror combat is already different from that in your typical mid-90s shooter, and Eve takes it to the next level. You have to bob-and-weave between enemy mutants while your action bar fills up before you can counterattack. And even then, you still have to properly position yourself to attack, as different weapons have different ranges on them, and you can’t shoot something outside your circular range indicator.
Parasite Eve also sports a rather interesting new game plus. In games like Resident Evil you’re given a ridiculously strong weapon to breeze through additional playthroughs, but Eve gives you a 77-story dungeon to explore in the form of the Chrysler Building. In true RPG-fashion, you’ll have to scale the massive tower to fight the game’s real final boss to unlock the true ending. The game is now a cult classic, and stands as an example of how to mutate the survival horror formula out of its typical action/3rd person shooter foundation. (Taylor Smith)
69 – Ni No Kuni: Wrath of the White Witch
The JRPG genre had found itself in a bit of a slump during the PlayStation 3 days. The Final Fantasy series had gone to hell, and Atlus were milking the Persona series dry in every conceivable way except for the one people wanted – Persona 5. Being the best JRPG of the generation isn’t exactly high praise, but then that shouldn’t take anything away from just how good Ni No Kuni is.
Ni No Kuni was made as part of a joint venture between Level 5 and Studio Ghibli, and the involvement of the latter means that the game is unspeakably gorgeous to look at. Even today some years on, the classic animation style of the game is impressive. It’s as close to playing a Studio Ghibli movie as you’re likely to get.
But Ni No Kuni is not all style and no substance. The game features a surprisingly deep combat system that plays how a home console version of Pokemon might work if Nintendo ever made one, and the lengthy story isn’t quite as childish as the aesthetic might have you believe. With a charming cast of characters, a moving narrative, and beautiful visuals, Ni No Kuni is a fantastic JRPG that will delight all but the most jaded of hearts. (John Cal McCormick)
68 – Infamous
The promise of Kingdom Hearts III kept the PS3 on my mind as I played the well-worn Xbox 360, but it was an Infamous demo I played at Best Buy that led me to the checkout counter.
In 2009, Sucker Punch Productions transitioned from the platforming super thief Sly Cooper series to release Infamous, an open-world action-adventure game that shows what happens when an average Joe stumbles upon the powers of Zeus. Apparently, long-time relationships break and deadly government conspiracies are uncovered when a regular guy suddenly becomes god-like.
Ordinary narrative arcs aside, Infamous was a game that made you feel as powerful as the cinematics between the action sequences made the hero look. We’ve all been disappointed at a game where the protagonist exhibits meta-human abilities in the trailers but is limited to a series of menus and redundant animations when the actual battles ensue. That isn’t Infamous. Of course, that may be due in part to the game’s cinematics being a narrator reading comic-book panels, but that’s not the point. Infamous advertised an experience of harnessing extraordinary lightning powers and not only did it thunderously deliver, but it was also the reason for Infamous’ greatness.
Amid complaints that the game carried a vanilla story and an uninspired cast, playing as Cole MacGrath was a thrilling trinity of destructible environments, fast-paced and large-scale battles, and static-powered hovering between Assassin’s Creed-like wall scaling. Such simple passion can’t be argued against. Keeping with the trend of morality meters in games from that time (no doubt in an effort to make the story spicier) your Cole could be one of vengeful rage while mine was just and righteous. The line between right and wrong is very, very clear in Infamous, but even a perfectly upstanding hero cannot go through his world without consequential choices. I may invest my entire life in pursuing what is good and noble, yet there will be those who take issue. Such is life, and such is Infamous. (Tyler Sawyer)
67 – God of War
The game that started one of Sony’s biggest series (second only to Gran Turismo) is a remarkable feat, combining the hack-and-slash action of Onimusha, the creature designs of Ray Harryhausen and an assortment of adventure influences as diverse as Prince of Persia and The Legend of Zelda.
Decreasing the difficulty level from those inspirations helped the first God of War to bring the cinematic action game to a new audience. With the exception of a rushed and frustrating jumping sequence in Hades, the game is designed for players who don’t want to spend hours and hours mastering a gameplay mechanic. Instead, the puzzles and combat propel the story like a musical score, always showing off new and strange locations – where Kratos can then continue to disembowel mythic creatures.
At the very start, God of War shows that it means business with the Hydra boss; now burned into the minds of players around the world. The game’s mission statement of “Greek-Mythology-meets-Heavy-Metal-magazine” heralded a different kind of mature video game: a serious epic filled with towering monsters that weren’t afraid to also be fantastical and weird.
With Kratos’ revenge story leading him deeper and deeper into anger and madness, God of War manages to have its cake and eat it too. Like many of Tarantino’s films, the game simultaneously revels in gore and criticizes its protagonist for his destructive actions. More than in any of the other games in the series, Kratos is a human being here, one who went off the deep end, eliciting both sympathy and horror.
Even against the climactic finale of God of War III, the first God of War stands out as an exciting adventure and bloody tragedy for the ages. (Mitchell Akhurst)
66 – Ratchet and Clank: A Crack in Time
The greatest of the PlayStation 3 Ratchet games, A Crack in Time sends our heroes on one of their most emotional (and yet still hilarious) journeys yet. Following from the cliffhangers of Tools of Destruction and Quest for Booty, Clank has been kidnapped by Doctor Nefarious and Ratchet is scouring the Polaris Galaxy to find him.
For the first half of the game, the pair’s reunion is delayed. Both of the title characters are given an opportunity to reconnect with their heritage: Clank with the Great Clock (created by his father and kind-of-God of the universe, Orvus), and Ratchet with his father’s comrade in arms, General Azimuth. All the while, the game gives Captain Qwark, Nefarious and Lawrence plenty of time to crack players up with some of the best and wittiest humor of any game barring Portal.
Gameplay is an evolution of the same jump-and-shoot staples that have served the series for over a decade, combined with a slight cel-shading effect that continues the “playing a Pixar movie” ethos. Adding to the humor are the little limited-animation shorts created to introduce the player to every zany new weapon: this time including a burp cannon and an inter-dimensional portal to a tentacled monster named “Fred”.
With the recent reboot, developers Insomniac Games clearly knew which title to draw the most experience from, and so both the reboot and A Crack in Time are fairly similar – but while the new game simply introduces players to the duo and their villains, A Crack in Time was able to develop them into real characters in a crazy, fun universe. (Mitchell Akhurst)
65 – Final Fantasy X
There’s an extremely niche corner of gaming culture that vehemently argues over which Final Fantasy game is “best.” Although Cloud’s disciples usually cry loudest – and I have suspicions on the first-handedness of some of those screams – one of the smaller groups reveres Auron as being the quintessential Final Fantasy badass. I’m proudly in that camp.
The 10th entry in the series of ultra-popular JRPGs and the first for the PS2, Final Fantasy X released on the console only a year after the masterful Final Fantasy IX, and did not disappoint those looking for a great follow-up. Telling the legend of the young Blitzball whiz kid Tidus, players are swept up in a narrative that transcends time, explores familial ties, and promises to leave you breathless as you witness Christ-like self-sacrifice while managing a light-heartedness that somehow makes the game’s tragedies even more felt.
Final Fantasy X was the first game in the series to utilize voice acting, a monumental advancement for the series, while also vaunting nearly unprecedented graphics, most notably in the cinematics. I have a vivid memory of marveling at such a cinematic – right at the beginning of the game, Tidus is seen playing Blitzball in a giant, physics-defying, spherical pool just before Sin crashes to earth, bringing the apocalypse and prematurely ending the sport. My formative nine-year-old mind was captured by this moment in a way that I hadn’t experienced before from a video game, and I don’t think it’s hyperbolic to say that I wouldn’t be the games-lover I am today had I not experienced such rapture.
Final Fantasy X was a determinative game for the PS2, Sony, and gaming as a whole, and this is no more recognized than in the fact that this title has received two remasters – one for the PS3 and one for the PS4, the latter having been released in May of 2015. Deservedly so. (Tyler Sawyer)
64 – Resident Evil 3: Nemesis
Hot on the heels of one of the most successful sequels in gaming history, in the form of Resident Evil 2, Resident Evil 3: Nemesis had a lot to prove when it arrived back in 1999.
Capitalizing on the success of the Tyrant chase sequences from the B scenarios of Resident Evil 2, Nemesis chose to make that the focal point of the game, all the while attempting to wrap up the trilogy in as neat a package as possible by setting the main setting of Raccoon City completely, and literally salting the earth in its wake.
Unfortunately, for all its successes, Resident Evil 3 is actually a step back in a lot of ways, ignoring the fact that the variety of Resident Evil 2 and the interplay between its two protagonists across the four scenarios is a lot of what made it succeed in the first place. With that said, the Resident Evil 3 experience does make one marked accomplishment over its predecessors, and that lies in the grounding of the world through the eyes of one central figure in the form of Jill Valentine.
Whether battling the undead hordes, fleeing the relentless Nemesis, or attempting to escape from Raccoon City once and for all, we rarely leave Jill’s side, and that focus achieves a lot of what makes Resident Evil 3: Nemesis work so well, even in spite of its shortcomings. (Mike Worby)
63 – Kingdom Hearts II
When Kingdom Hearts first arrived on the scene, positing itself as a merging of two beloved franchises (Final Fantasy and the worlds of Disney) to say that fans were skeptical would be an understatement. On paper, it could have been an unfocused disaster but luckily director Tetsuya Nomura kept the game on a tight leash and it emerged as a flawed but impressive action-RPG.
A few years later, Kingdom Hearts II emerged from the gates and was all that much better thanks to the correction of nearly all of the tiny mistakes that held the first game back. The game had matured, with less goofiness and a more focused storyline, and as its main characters all grew into teenagers, it became a lot more believable for the fate of the universe to be resting on their shoulders.
The problematic Gummi ship and platforming sections were vastly improved or nixed entirely, making the gameplay a lot tighter, and combat had diversified past the point of hacking away with the X button while occasionally rolling and jumping. Limit breaks were introduced, the selection of Disney worlds was better, and there was no environment you ever dreaded going back too (okay, scratch that, we all remember Atlantica).
All in all, Kingdom Hearts II is everything you want from a competent sequel and is regularly voted among the best games on the PS2, even topping a few lists here and there. Engaging and endlessly replayable, Kingdom Hearts II is basically the perfect successor. (Mike Worby)
62 – Uncharted: Drake’s Fortune
When Naughty Dog was tasked with showcasing the capabilities of the PlayStation 3, they decided it would be best to create a new IP instead of continuing their already popular Jak and Daxter series. Uncharted allowed the legendary studio to show-off the new hardware and its features with more realistic character models. Combining action-adventure and platforming elements with a third-person perspective, Drake’s Fortune struck a chord with gamers thanks to the beautiful environments, bravura set pieces, and white-knuckle action. Uncharted was released in winter 2007 and moved 3.5 million copies within its first year. It gave early adopters of the then-pricey PS3 something to be proud of.
Uncharted owes a great debt to matinee movies of the silver screen era, as well as more modern films like Indiana Jones. It also borrowed elements from a number of popular video game series, including Tomb Raider and Gears of War – yet this crackerjack fantasy-adventure shapes its pulp sensibilities and cliff-hanging serial origins into an exhilarating escapist adventure quite unlike anything else in gaming. It is the kind of video game that, even today, gamers immediately fall in love with. It has all the right ingredients: a smart script, a dash of romance, a touch of sly humor, and the most lovable of rogues, under our wing. What was once labeled “Dude Raider” by the press is now considered one of the most consummately entertaining adventure games of all time. (Ricky D)
61 – Ratchet and Clank (2017)
Casual observers may be surprised to hear that the Ratchet & Clank series has nine core titles in it. Cynical observers may label this re-imagining of the original as a rushed attempt to cash in on a slightly baffling movie release. Releasing under a cloud as a glorified port in an over-saturated franchise, it came as a huge surprise that 2017’s Ratchet & Clank was an absolutely gorgeous delight to play.
Far from an HD port, R&C actually serves as an amalgamation of the series’ best elements all squeezed into a triumphant revival for a franchise thought to be out of steam. Insomniac Games brought a number of weapons from around the Ratchet universe into the game, even adding some new ones, while several gameplay elements were also adapted into the framework of the original, making this the definitive experience for fans.
Of course, anyone familiar with Ratchet & Clank wouldn’t be surprised by the huge variety in the gameplay, but it was at its most refined here. Slick combat with fun weapons, puzzles, mini-games, jet packs, races, collectibles, upgrades – it’s all here, and it’s paced brilliantly across huge levels that belie the game’s linear nature. It’s no stretch to say that the Ratchet games exist in a genre that’s been disappointingly barren in the modern generation, but the PS4’s only series entry so far serves as an excellent reminder that they still have an important place in contemporary gaming. (Alex Aldridge)
‘Donkey Kong Country’ – Still As Difficult, Demanding And Amazing To This Day
Donkey Kong Country: 25 Years Later
Back in 1994, Nintendo was struggling with their 16-bit Super Nintendo Entertainment System, which wasn’t selling as well as they’d hoped it would. With the release of the Saturn and Playstation on the horizon, the Super Nintendo needed a visually impressive and original title to reinforce its market dominance. After three years of intense competition and heated rivalries, Nintendo desperately needed a hit that could prove the Super NES could output graphics on the same level as the forthcoming 32-bit consoles. They teamed up with Rare to produce Donkey Kong Country, a Mario-style platformer, and the rest, as they say, is history.
Donkey Kong Country is a game held in high regard and with reason. Monumental! Monstrous! Magnificent! Use any term you want, there’s no denying how important this game was for Nintendo and Rare. The graphics for the time were above and beyond anything anyone would imagine possible for the 16-bit system. For a two-dimensional side-scroller, Donkey Kong Country conveys a three-dimensional sense of dept. The characters are fluidly animated and the rich tropical environments make use of every visual effect in the Super NES’s armory. Each stage has its own theme, forcing players to swim underwater, navigate through a misty swamp, swing from vines, or transport DK using a set of barrels (cannons) to advance. And let’s not forget the mine cart stages where you ride on rails and use your quick reflexes to successfully reach the end. Every level has little nooks and crannies too, hiding secret areas and passageways that lead to bonus games where you can earn bananas and balloons, which you can trade in for additional lives. And in Donkey Kong Country, you’re not alone; your simian sidekick Diddy tags along for the adventure. You control one character at a time, and each has his own unique strengths. Donkey Kong can dispatch larger enemies with his giant fists, while Diddy can jump a little higher than his bulky cousin. It isn’t the most original platforming feature, but it works. The two heroes can also rely on various animal friends to help guide them through their adventure. Predating Super Mario World: Yoshi’s Island, Diddy and DK can also ride on the backs of Rambi the Rhino, Winky the Frog, Enguarde the Swordfish and more!
What’s really impressive about Donkey Kong Country is how it has withstood the passage of time. In 1994, Donkey Kong Country’s visuals were spectacular with its rendered 3D models, lively character animations, detailed backgrounds, and a lush jungle setting, and while some would argue the game is dated, in my eyes it still looks great to this day. Kong has heart, and he’s willing to show it in a game made with wit, excitement and moments of visionary beauty. Meanwhile, the soundtrack by David Wise is guaranteed to win listener’s over. Practically every piece on the soundtrack exudes a certain lyricism that has become a staple of Rare’s games – from its upbeat tropical introduction to the unforgettable climax which secures its place as one of the Super Nintendo’s most memorable boss fights. The result is an apt accompaniment to the colorful characters, tropical landscape, and tomfoolery that proceeds.
What really stands out the most about Donkey Kong Country after all of these years is just how challenging this game is.
But what really stands out the most after all of these years is just how challenging this game is. Donkey Kong Country is a platformer you can only finish through persistence and with a lot of patience. Right from the start, you’re in for one hell of a ride. In fact, some of the hardest levels come early on. There are constant pitfalls and Donkey Kong can only take a single hit before he loses a life. If your companion Diddy is following you he will take over but then if he takes a single hit you lose a life and it’s back to the start of a level. Needless to say, the game is unforgiving and requires quick reflexes and precise pattern memorization to continue. This game requires so much fine precision that it will definitely appeal to hardcore platforming veterans looking for a challenge and those that do are in for one hundred eighty minutes of mesmerization, astonishment, thrills, chills, spills, kills and ills. The only real downfall of Donkey Kong Country is the boss battles. Yes, Donkey Kong Country gave us some memorable villains such as Dumb Drum (a giant Oil Drum that spawns enemies after it hits the floor), and The Kremling King (who is responsible for stealing Donkey Kong’s Banana Hoard), but these enemies have very basic attack patterns and far too easy to defeat.
It’s one of the rare, great works of art that stands up endlessly despite repeated playthroughs, each time revealing something new.
Along with its two SNES sequels, Donkey Kong Country is one of the defining platformers for the SNES. The game looks great and sounds great and the platforming, while incredibly difficult, is still very fun. Rare did the unexpected by recasting a classic Nintendo villain as the titular hero and it paid off in spades. It’s one of the rare, great works of art that stands up endlessly despite repeated playthroughs, each time revealing something new.
The beauty of the original is that there’s more to it than the oversized gorilla. Donkey Kong Country is truly amazing!
– Ricky D
‘Aria of Sorrow’: The Symphony of the Night Sequel Castlevania Needed
Castlevania’s run from 1986 to 1997 is downright legendary. While there are a few duds sprinkled throughout the series’ first decade (Simon’s Quest, The Adventure, Dracula X), this is the same franchise that produced Super Castlevania IV, Rondo of Blood, and Bloodlines over the course of three years– three of the greatest action platformers of all time. 1997 saw Castlevania reach what was arguably its highest point when, unprompted and with no real need to do so, Symphony of the Night pulled off such an expert reinvention that it ended up creating a new genre altogether. With 11 years of goodwill to bank on, Castlevania’s future would never look as bright again– and unfortunately for good reason.
Following the revolutionary success of Symphony of the Night, Castlevania almost immediately fumbled as a franchise. 1997 closed out not with Symphony of the Night, but the ferociously underwhelming Legends, a Game Boy title that took a cleaver to the franchise’s lore and massacred it. The Nintendo 64 would see the release of Castlevania in 1999, arguably the worst transition from 2D to 3D on the N64, followed by a moderately improved but still mediocre re-release that same year, Legacy of Darkness. By 2000, Castlevania had entered the 21st Century at its lowest point, with Symphony of the Night silently in the background, untouched.
As if to signal a return to form, however, 2001 saw Konami release two fairly noteworthy titles: Circle of the Moon for the Game Boy Advance and Castlevania Chronicles for the PlayStation. Where the latter was a remake of the first game, Circle of the Moon marked the series’ first attempt at producing a mechanical sequel to Symphony of the Night. Utilizing the Metroidvania format SotN popularised, Circle of the Moon was met with near universal acclaim at release due to its difficulty curve, tight platforming, and a gameplay loop catered towards old school fans.
Which alone is enough to make Circle of the Moon less a Symphony sequel, and more a Castlevania stuck between the Classicvania and Metroidvania model. It’s a good title for what it is, but Circle of the Moon is so fundamentally different from Symphony of the Night that series producer Koji Igarashi overcorrected when re-taking the reins for 2002’s Harmony of Dissonance, a game that– while good– shamelessly apes everything it can from SotN in an attempt to win over audiences. Juste Belmont looks like Alucard, there’s a variation of the Inverted Castle twist, and the game was designed with the explicit purpose of capitalizing on Symphony of the Night.
To Konami’s credit, the series had regained its legitimacy between both Circle of the Moon and Harmony of Dissonance, but neither game captured Symphony’s inventiveness. CotM deserves some slack for generally doing its own thing and remaining the most unique Metroidvania in the series to date, but Harmony of Dissonance plays itself too safe, ultimately just winding up a worse version of Symphony of the Night. Not just that, there was the matter of the series’ story. 19 games in and past the turn of the century, the story couldn’t stay in the background anymore. Legends, Legacy of Darkness, Circle of the Moon, and Harmony of Dissonance all tried to tell a compelling story and they all faltered along the way.
Castlevania wasn’t in need of reinvention in 2003, but refinement. The series was good, not great, and every new release was only shining a spotlight on how good Symphony of the Night was, not on how its successors were following it up. It only makes sense, though. How is a franchise meant to follow-up a game like Symphony of the Night? How can Castlevania even be discussed anymore without mention of what is unquestionably one of the greatest video games of all time? It seemed as though the franchise was suffering for no reason at all, but there’s actually a fairly simple answer as to why the series struggled between 1997 and 2003: the lack of the dream team.
Castlevania often shuffled around its development teams, but Symphony of the Night managed to land a team that in retrospect is on-par with the likes of Chrono Trigger’s legendary development team. Alongside Koji Igarashi– who at the time was assistant director, a programmer, and the scenario writer– Michiru Yamane composed her second soundtrack for the series following Bloodlines, and Ayami Kojima made her debut as a character designer, solidifying the franchise’s gothic aesthetic for good. Unfortunately, the three wouldn’t all intersect again for some time, leaving the Castlevania games to come without the essential players who made Symphony of the Night what it was.
Igarashi and Kojima would work together again on both Chronicles & Harmony of Dissonance, but Yamane’s other work kept her from Castlevania between 1997 & 2003, and none of them would work on Legends, Legacy of Darkness, or Circle of the Moon. The nature of the industry meant there was no guarantee the three would work on the same project again, but now Castlevania’s lead producer, Koji Igarashi had pull to hire Yamane as the lead composer of his next Castlevania game. Ready to address Harmony of the Night’s criticisms, Koji Igarashi set the stage for the game that would breathe new life into Castlevania– Aria of Sorrow.
Instead of calling attention to itself as a successor to Symphony of the Night– something the game admittedly could’ve gotten away with given its production team– Aria of Sorrow does everything it can to assert its individuality asap. Soma Cruz has seemingly no connection to the Belmonts or Dracula, Dracula’s Castle is now inside of an eclipse, and the timeline is no longer rooted in history with the story set in 2035. This is all information conveyed in the opening title crawl, but less than a full minute into gameplay and audiences are already introduced to the Soul mechanic, a system that allows Soma to absorb enemy Souls in order to use their techniques. From there, it’s on the onus of the player to explore.
For such an all-encompassing opening, Aria actually kicks off with little fanfare. Symphony of the Night, Circle of the Moon, and Harmony of Dissonance all open with spectacle, but Aria of Sorrow keeps itself subdued, understanding that while Symphony’s spectacle was indeed an important part of its identity, it’s the gameplay that ultimately won audiences over. Aria of Sorrow wastes no time in presenting its defining Soul mechanic, making it the very first concept players will fully understand: kill enemies to get Souls, use Souls to kill enemies. It’s a simple gameplay loop, but it keeps Aria of Sorrow’s blood pumping long after the credits roll.
With Soul drops determined by RNG, no two playthroughs will be the same. Such an approach might bother those looking to 100% the game, but it’s exactly this reason why Aria of Sorrow remains so enjoyable to replay. With over 100 Souls available for use, Soma can accomplish far more than any other Castlevania protagonist. Soma can equip three Souls in total at any given moment: one Bullet Soul, Aria’s sub-weapons; one Guardian Soul, skills that can be triggered with R; and one Enchanted Soul, passive abilities that don’t need to be activated. Soma also has access to Ability Souls, inherent techniques that he can activate & deactivate ala Alucard’s skills from Symphony.
While the Soul system is more than enough to freshen up the series’ core combat, Aria of Sorrow ditches whips and goes back to the Alucard method of collecting multiple different weapons. Between Souls and Soma’s generous arsenal of weaponry, all play styles are accommodated. Normal Mode is also more forgiving than usual, with Hard Mode better designed for series veterans. This isn’t ideal since most will play Normal and miss out on Hard Mode altogether, but it’s an approach that– in theory– does accommodate fans old and new alike. Aria of Sorrow has an almost overwhelming amount of content, but that’s exactly why it’s so accessible. There’s a weapon, Soul, or difficulty for everyone.
Engaging combat mechanics mean very little without the proper level design, however. Where Harmony of Dissonance comfortably followed a “bigger is better” mentality to its castle’s design, Aria of Sorrow shows a considerable amount of restraint. There is no second castle to unlock– what you see is what you get. Areas are more interconnected than usual, ensuring that fewer areas end up in dead ends, and the castle’s settings are visually grounded for the most part. Aria indulges in chaotic visuals and level design for the final area, but the castle leading up to the finale is unusually comprehensible. As far as navigation goes, this is the best castle in the series.
Of course, the high-quality castle only makes sense when one remembers that it’s Ayami Kojima’s art style that serves as Aria of Sorrow’s base. Moody and gothic, Kojima’s self-taught style has an earthy quality that easily tips into the fantastical, an aesthetic that fits Castlevania perfectly. Michiru Yamane’s score seemingly builds off of Kojima’s art, following the lead with less catchy and more atmospheric tracks on a whole. This doesn’t mean Aria of Sorrow isn’t bursting with amazing songs– one only needs to listen to Heart of Fire to understand that– rather, it’s Aria’s way of keeping a mature, sorrowful tone throughout.
And Aria of Sorrow is indeed more mature than previous Castlevania titles when it comes to story. Where both Circle of the Moon and Harmony of Dissonance played their stories straight, Aria of Sorrow features a decent amount of subtext to bolster its already incredibly intriguing plot. Aria doesn’t just take place in the future, it takes place in a future where Dracula has been killed for good. No Dracula means that a new villain can rise up in the form of Graham Jones, and while he’s not that compelling, he ends up representing everything Dracula claims to despise in humanity. Graham is a hateful coward who thinks too highly of himself, and too little of others. A miserable little pile of secrets.
That said, while it’s always beneficial to keep characters who fill similar roles antithetical to one another, Graham’s personality is more layered than that. He may be the main antagonist, but he’s no Dracula. Literally. The main plot of Aria of Sorrow concerns itself with who Dracula has reincarnated into. It’s obviously Soma, a fact the series no longer tries to hide, but Aria of Sorrow very cleverly gets around this by doubling down on Graham’s evilness. He’s blatantly evil from his first interaction with Soma, but that’s exactly what keeps players from guessing the Dracula twist their first playthrough.
Soma being Dracula is the cherry on top of Aria of Sorrow, that last little detail that makes everything just right– not just in the game, but in the context of the series. Fast-forwarding far into the future, Aria of Sorrow establishes Dracula’s demise, a grand battle that took place in 1999, and the last Belmont– Julius– the man who killed Dracula for good, but lost his memory in the process. Aria doesn’t hold any punches when it comes to Soma either, making him succumb before the end of the game and even featuring an alternate ending where he embraces his demonic powers, leaving Julius to kill Dracula yet again.
Aria of Sorrow goes beyond wanting to replicate the greats and instead chooses to be great in its own right.
Although Soma has a clear love interest in Mina Hakuba, it’s the relationship between Soma and Julius that ties the story together. Aria is just as much a character study of Dracula through Soma as it is a celebration of the ultimate struggle between the Belmont clan and the Count. The roles have been flipped this time around, with Julius serving as the penultimate battle in one of the best (& hardest) boss fights in the franchise. As he’s not the main character, Julius is also allowed greater depth than the average Belmont. When he appears, it’s because the story calls for it and his scenes are never wasted.
They’re always used as a means to either flesh out the game’s backstory, or build-up to the confrontation between Soma and Julius. The two build a slight bond over the course of the game, one that turns into genuine respect by the time the two men are fighting to the death. It’s easy to overlook the substance in Julius’ interactions since he’s only in six scenes (including the bad ending), but they all slowly chip away at the man underneath– his history, his connection to Dracula, and what it means to be a Belmont. Which in itself is important, as it gives audiences an opportunity to see a Belmont in his element from not only an outsider’s perspective, but Dracula’s.
Soma’s relationship with Julius may be what best contextualizes Aria of Sorrow’s role in the franchise, but this isn’t to say that the supporting players don’t contribute. Hammer and Yoko Belnades are both on the flat side, but Mina and Genya Arikado do some heavy narrative lifting. Mina evokes images of Dracula’s wife, Lisa, who was first introduced in Symphony of the Night. Their dialogue shows how deeply they care for one another, and Soma’s Dracula-related insecurities end up tainting their dynamic at the end of the game, cutting Soma off from his only source of genuine affection and love. Not just that, Mina proves that Dracula could have adjusted to a normal life had mankind not killed Lisa.
Then there’s Genya Arikado, a man so blatantly Alucard that the word “Alucard” doesn’t need to appear in the script a single time for fans to make the connection– which it doesn’t. Aria of Sorrow features the main character from Symphony of the Night in an incredibly important and relevant capacity, and he neither looks like he did in Symphony of the Night or directly acknowledges his identity. Frankly, it’s the only tasteful way to use Alucard in a post-Symphony of the Night context. His character has evolved with time, and seeing him in a supportive capacity only makes sense given the events of his own game. His presence helps draw in a sense of finality alongside Mina and Julius.
These three characters thematically represent the main fixtures of Dracula’s life: Mina, the love that ties Dracula to humanity; Genya, the son who in spite of his father’s evil, loves him enough to ensure he can truly rest; and Julius, the final descendant of the Belmont clan and perhaps the strongest man alive. At the center of it all is Soma Cruz, the reincarnation of Dracula. Aria of Sorrow feels like the end of everything Castlevania represents. More games would follow, and Aria would even see a direct sequel in Dawn, but what makes Aria such a worthy successor to Symphony of the Night is that it wasn’t afraid to do something new and bold with Castlevania. Most of this boldness stems from the gameplay, but the story presents itself as a thematic end for Castlevania if nothing else. Dracula and the Belmonts may finally put their feud to rest.
Aria of Sorrow might not have had the same cultural impact of Symphony of the Night, but it’s exemplary of Castlevania at its best.
Or not. As previously mentioned, Aria of Sorrow features an ending where Soma goes full-Dracula. It’s morbid and cuts off right before Julius begins his fight with the dark lord, but it only makes sense. Aria doesn’t shy away from Dracula’s nastier aspects, and that means allowing Soma to be corrupted. Castlevania was always about the eternal struggle between Dracula and the Belmonts, so it’s only fair an ending offers a scenario where the cycle simply repeats. Regardless of which ending players find most appropriate, Michiru Yamane’s use of Bloody Tears in the track Epilogue makes one thing clear: Aria marks a new chapter for Castlevania.
When all is said and done, Aria of Sorrow doesn’t even feel like a sequel to Symphony of the Night. Aria goes beyond wanting to replicate the greats and instead chooses to be great in its own right. The end product is the end result of the series living in Symphony’s shadow for years. Koji Igarashi went beyond parroting himself, and instead entered production prepared to take Castlevania to the next level with a tried and true team. But even in sharing the same core members as Symphony, Aria never feels like anything but its own distinct game– a mature goodbye to Count Dracula, the Belmont legacy, and everything that happened in between. Aria of Sorrow might not have had the same cultural impact of Symphony of the Night, but it’s exemplary of Castlevania at its best.
Awesome Mixtape: Best Video Game Soundtracks 2019
Awesome Mixtape Vol. 5
It’s that time once again in which I bring to you my awesome mixtape featuring the best tracks from the best video game soundtracks of the year. Last year, my mixtape featured tracks from Triple-A titles such as Red Dead Redemption 2 and indie darlings like Celeste. In 2017, my picks for best soundtracks included tracks from some of my favorite games including Cuphead, Breath of the Wild and Into the Woods, to name just a few. Well, 2019 has been another banner year for the industry and as always, the games were blessed with an astounding selection of musical scores— some would argue the soundtracks were even better than the actual games at times. As always, it wasn’t easy deciding which songs to include and what to leave out— and as always, I’ve also mixed in some audio clips from various cut scenes while trying to keep it spoiler-free. Feel free to share this link and let me know if you think I’ve missed any great soundtracks in the comments below.
Best Video Game Soundtracks 2019 Playlist
Death Stranding clip
Death Stranding: Low Roar – “I’ll Keep Coming”
Life Is Strange 2 clip
Life is Strange 2: Seyr – “Colour To Colour”
Life is Strange 2: Jonathan Morali – “Into the Woods”
Life Is Strange 2 clip
Sayonara Wild Hearts: Daniel Olsen – “Sayonara Wild Heart”
Sayonara Wild Hearts: Daniel Olsen – “Wild Hearts Never Die”
Death Stranding: CHVRCHES – “Death Stranding”
Untitled Goose Game – Dan Golding – “Title and Credits”
Afterparty: scntfc – “Hades Gonna Hate”
Afterparty: scntfc – “Schoolyard Strangler”
Untitled Goose Game – Dan Golding – “The Garden”
Octopath Traveler: Yasunori Nishiki – Main Theme
Octopath Traveler: Yasunori Nishiki – Cyrus the Scholar
Kingdom Hearts 3 clip
Fire Emblem Three Houses clip
Fire Emblem Three Houses: Yuka Tsujiyoko, Hirokazu Tanaka – “Main Theme”
Fire Emblem Three Houses: Yuka Tsujiyoko, Hirokazu Tanaka – “Blue Skies and a Battle”
Devil May Cry 5 clip
Devil May Cry 5: Kota Suzuki – “Urizen Boss Battle Music”
Untitled Goose Game – Dan Golding – “The Garden”
FAR: Lone Sails: Joel Schoch – “Colored Engine”
Days Gone: Nathan Whitehead— “Soldier’s Eye”
Death Stranding: Low Roar – “Easy Way Out”
Death Stranding clip
Death Stranding: Low Roar – “Easy Way Out”
Metro Exodus: Alexey Omelchuk – “Main Theme”
Resident Evil 2 Remake clip
Resident Evil 2 Remake: Masami Ueda, Shusaku Uchiyama, Shun Nishigaki – “Mr.X Theme Music (T-103)”
Sayonara Wild Hearts: Daniel Olsen – “Begin Again”
Life is Strange 2: Lincoln Grounds, Pat Reyford – “Morning Good Morning”
Life is Strange 2: Sufjan Stevens – “Death With Dignity”
Luigi’s Mansion 3 clip
Luigi’s Mansion 3: Koji Kondo – “Main Theme”
Ape Out: Matt Boch – “Intro”
Deltarune: Toby Fox – “Field of Hopes and Dreams”
Return of the Obra Dinn: Lucas Pope – “Loose Cargo”
“Star Wars: Imperial March” Hip Hop Remix
Star Wars Jedi: Fallen Order: Gordy Haab and Stephen Barton and the London Symphony Orchestra (and London Voices at Abbey Road)
Death Stranding: Silent Poets – “Asylum for The Feeling”
Catherine: Full Body: Shoji Meguro – “Tomorrow”
The Legend of Zelda: Link’s Awakening: Koji Kondo – “Marin’s Ballad of the Windfish”
Metro Exodus – Alexey Omelchuk: “Teardrops”
Sekiro: Yuka Kitamura – “Ashina Reservoir”
Return of the Obra Dinn: Lucas Pope – “The Doom”
Medley: Eye of Death / Wild Hearts Never Die / Dragon Heart / Clair De Lune
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