2019 has been a year of ups and downs for the video game industry but one aspect that has been consistently excellent is the quality of soundtracks in gaming. The bar is constantly being raised in regard to the standard of music in games, with gaming soundtracks becoming as iconic as film and television scores. There has been a huge amount of amazing video game soundtracks this year so I’m going to be counting down twenty of the best soundtracks from 2019 from across the gaming world. Before we do so, let’s start with some honourable mentions. There are a few games that had brilliant soundtracks that I just couldn’t fit into the main list. Cutting them was a painful process so I thought I would give them and their composers a shout out.
Anthem- Sarah Schachner
Anthem may have received a lukewarm response upon its release in February but one element of the game that cannot be faulted is the soundtrack. Perfectly capturing the futuristic, sci-fi nature of the game, the Anthem score is an achievement that deserves to be acknowledged. It is also great to see a female composer make her mark in an industry dominated by male composers. Schachner clearly understands the world of Anthem and brings it to life excellently.
The Outer Worlds- Justin E. Bell
A recent game that became a hit, The Outer Worlds is another sci-fi style game that allows players to explore various planets and become a helping hand or a terrorising force to the inhabitants. Bell is able to capture the epic science fiction nature of the game, but he blends it with differing genres to create a unique sound. The most noticeable is the nod to the Western genre, reflecting the player’s travels through the vast wilderness of space.
Little Town Hero- Toby Fox
Cutting this one hurt as I really love this soundtrack but with so much great competition this year, unfortunately I couldn’t justify its place. Though the game itself received mixed reviews, Fox’s score oozes with charm. Fox has carved out a place for himself in the gaming world and his soundtracks are always vibrant and bubbly with a hint of powerful emotion. Although Little Town Hero doesn’t have quite the same depth as the scores for Undertale or even Deltarune: Chapter 1, Fox has crafted a little gem that is brimming with personality.
Borderlands 3- Jesper Kyd, Michael McCann and Finishing Move Inc.
When it comes to pure, unadulterated video game fun, Borderlands is the franchise to go to. The long awaited third game released in September and it had a surprisingly varied soundtrack. The eclectic combination of styles comes about thanks to the three separate composers. They each bring a different feel to each world and provide more depth than one might expect from Borderlands.
Metro Exodus- Alexei Omelchuk
The music from this game is incredibly powerful, perfectly reflecting the post-apocalyptic nature of the story. Based on the Metro book series which is set in Russia after a devastating nuclear war, the game is a first-person shooter with a strong narrative aspect. Ukrainian composer Alexei Omelchuk creates an eerie and haunting soundtrack that also invokes a great deal of emotion for important story moments and gripping tension for action scenes. His music could easily go toe to toe with a film soundtrack, and it would probably win.
The Legend of Zelda: Link’s Awakening (Remake)- Ryo Nagamatsu
Ryo Nagamatsu truly hits the nail on the head with his remake score. Bursting with cuteness and personality, the Link’s Awakening remake soundtrack cleverly combines an 8-bit musical style with orchestrated pieces. This invokes an element of nostalgia whilst also bringing the game into the contemporary video game scene.
These honourable mentions deserved a moment to be recognised and praised but now let’s get into the list. I’ll be listing entries twenty to eleven in this instalment, with part two coming afterwards.
20. Untitled Goose Game: Dan Golding
A surprise hit of 2019 was the indie game centred on the player controlling a slightly dastardly goose aptly named Untitled Goose Game. The game was praised widely and quickly became an internet sensation due to the passive aggressive nature of said goose. Interestingly enough, developers House House weren’t actually planning on having a prominent soundtrack. This soon changed following the release of the games trailer in 2017. Classical piece “Prelude No. 12: Minstrels” by Debussy was used to highlight the silly antics of the playable goose. The music was edited in a way that it almost seemed like it was framed around the goose’s behaviour, adding an extra layer of humour to an already pretty funny premise. The popularity of the trailer led to the decision to include music, but not just as a background element. The music of the game is situational in that it changes based on the actions of the player. Golding went through an elaborate process to bring this to life, but it was well worth the effort. As the goose lurks around its victims, the music will feel more low energy, but it perks up as soon as the player’s dastardly deeds are being committed. The piano tunes that follow your naughty goose around are all variations of six Debussy Preludes, with some original music from Golding also appearing on the radio in game. Due to this incredibly smart decision to include reactive music, I had to put Untitled Goose Game on this list even if the soundtrack itself is only half the length of some of the other entries here. Creative, unique and wonderfully executed, Untitled Goose Game succeeds in creating a soundtrack that reacts to your various devilish goose deeds.
Top Track: The Garden
It is difficult to highlight actual tracks from the game due to the reactive nature of the music but the piano piece that is used as you annoy the gardener in the game’s first level-The Garden- is my favourite. It is an example of Golding fantastically adapting Debussy, but it also somehow manages to reflect the actions of a wayward goose. The scheming of the goose; the irritable nature of his victims; the bad behaviour with no rhyme or reason; it is all captured perfectly in “The Garden”. It encapsulates everything the goose represents: being a bit of a nuisance.
19. Astral Chain: Satoshi Igarashi
Nintendo title Astral Chain is a game that unexpectedly rose to prominence upon its release in August 2019. An entirely original IP, Astral Chain is a hack and slash adventure game centred on a world known as “The Ark” and a police force known as “Neuron” who the player is a detective for. The music is a dynamic aspect of the game as it regularly fluctuates between three distinctive genres: metal, orchestral and electronica. The score boasts a range of tracks and it is impressive how Igarashi- who previously scored Bayonetta 2– manages to switch so easily between them. You get a feel for how a scene in the game is playing out just by listening to the soundtrack due to Igarashi’s masterful manipulation of the various genres. In a developer blog by PlatinumGames, Igarashi gives some credit where it is due to two other composers who helped out on the game, Naofumi Harada and Hitomi Kurokawa, as well as two outside composers who were also involved, Masahiro Aoki and Satoshi Setsune. Igarashi also includes a graph on this blog depicting the music genres used in the game and how they reflect certain moods during the game such as tense and calm. This shows the importance of maintaining the three genre structure and how Igarashi and his colleagues went about enforcing this method throughout the game. Not only does the score juggle three separate genres, it does it incredibly well. This versatile nature of the score is what makes Astral Chain one of the best soundtracks this year.
Top Track: Dark Hero- Female Version- sung by Beverly
Despite the brilliant tracks throughout, it is one of the actual songs from the game that I have chosen for the best of the soundtrack. There are two different versions of this song, a male and a female version. I chose the female version as Beverly-the artist who sings it- has an incredible voice that amps up the epic nature of the song. The male version is still good, but it is incredibly auto tuned. This does actually fit in with the Astral Chain world with its robotic sound, but Beverly’s version is still the more enjoyable. The song is a perfect encapsulation of both metal and electronica and sounds like it was ripped straight out of a mainstream anime. With great vocals and awesome instrumentals, the song is fabulously over the top and stands out significantly.
18.Sea of Solitude: Guy Jackson
Berlin based indie game developers Jo-Mei Games released the adventure game Sea of Solitude in the summer of 2019. The game centres on a girl named Kay who has turned into a monster. As she traverses through a submerged city on a boat, she encounters various creatures and other monsters as she goes about trying to become human again. Sea of Solitude acts as metaphor for depression, loneliness, fear and battling your inner demons and the musical score is a reflection of Kay’s fight against her personal darkness. Composer Guy Jackson was brought on to score the game after he demonstrated some melancholy pieces of music he had been working on in his spare time during a meeting with CEO of Jo-Mei games Cornelia Geppert. The score has moments that reflect a significant amount of emotion, from anger to pain to desolate sadness. Jackson captures each emotion perfectly with his simple yet raw and powerful music. The game itself may have received mixed reviews, but there is no faulting Jackson’s carefully crafted score which stemmed from a folder of sad music on his computer. This is why I believe Sea of Solitude has one of the best soundtracks of the year. From humble and unpolished beginnings, Jackson managed to create a perfect score to represent the tumultuous traversal of mental health issues that we all deal with at some point.
Top Track: I Picture You Before Me- sung by Stella Angelika
“I Picture You Before Me” kind of acts as the games main theme as it appears at the beginning and at the end of the game. There is an instrumental version of it but the version I have chosen is a version sung by Stella Angelika with Guy Jackson accompanying her on the piano. The unique nature of the song’s inception is intriguing, as they did not begin recording with the song completely finished. Jackson referred to the state of the song as a “sketch” when he and Angelika began recording. He began playing the piano and whilst Angelika sang some lyrics she had written on her phone, it was mostly an improvised composition. Although the final version was given some fine tuning, the improvisation was kept. This improvised style reflects the true emotion of those involved, especially Stella Angelika who stated that the lyrics she had written on her phone to aid her with her improve were written during “the darkest time”. She went on to say that “The things that I was feeling really went into this little sketch”. This raw emotion is what makes this track a stand out on the album, reflecting the nature of the game as well as capturing real human emotion within the artist. It is a unique way of creating a song, but Jackson and Angelika really nailed it with “I Picture You Before Me”.
17. Pokémon Sword and Shield: Minako Adachi and Go Ichinose featuring Toby Fox
Pokémon Sword and Shield is a game that has been getting some flack since its release in November. Despite praise from critics, fans have slated the animations, the incomplete Pokédex and the narrative. Once again, Sword and Shield is a game with outstanding music that outweighs the negative energy surrounding the actual game. The soundtrack represents the end of an era as Pokémon music aficionado Junichi Masuda is not involved. In an interview last year, Masuda stated that “it’s important to have the younger generation at Game Freak take over the development of Pokémon as a series”. Masuda has been involved in the series since the very first Red and Blue games. Whilst it is sad to see him depart, the new composers bring heaps of energy to the behemoth of a score (there are around 72 tracks) whilst maintaining the key elements that are the most recognisable from the series. The original music from the first games are referenced constantly throughout. The title screen theme is an homage to the main theme from Pokémon Red and Blue, which became a theme that most Pokémon media rallies under (it was even remixed brilliantly in the ending credits to Detective Pikachu). The Sword and Shield remix revitalises the theme to represent the new game, the new region and the new trainers ready to set out on their adventures. Other classic themes such as the “Pokémon Centre” music, the “Evolution theme” and the “Wild Pokémon Victory Theme” are included with a modernised sound but little else changed. As much as I loved the homages to classic Pokémon music, it was the new themes that particularly caught my attention. The soundtrack switches genres frequently, including funky electronica, cutesy pop, punkish metal and even a bit of country mixed in there with “Hulbury Town”. There is something for everyone and it is all extremely enjoyable to listen to. No matter how Pokémon Sword and Shield will be remembered in the grander scheme of the Pokémon franchise, the music will surely be remembered for its greatness.
Top Track: Battle! (Gym Leader)
Whilst Toby Fox’s “Battle! (Battle Tower)” theme that he created especially for the game is an enjoyable addition to the soundtrack, it is the “Gym Leader Battle” theme that truly steals the show here. The theme is bombastic, highly energetic and wouldn’t sound out of place in a nightclub. The excitement of Pokémon battles is highlighted in this track, particularly when the crowd cheers start to kick in about three quarters of the way through the song. Their chanting is reminiscent of those attending a real-life sports match and it is a clever feature to integrate into the music. The “Gym Leader Battle” theme is awesome and definitely a standout on the Sword and Shield soundtrack.
16. A Plague Tale: Innocence: Olivier Deriviere
Set in 14th century France, A Plague Tale: Innocence is mostly a stealth based game about a teenager named Amicia and her younger brother Hugo attempting to find a safe place after their home was invaded by the Inquisition. They must deal with various enemies as they navigate their war-torn homeland, most notably swarms of plague rats that devour everything in sight. As with many games where the narrative takes precedence, the soundtrack is an important element and one that is wonderfully executed by Deriviere whose previous video game work includes Remember Me and Vampyr.
Due to the time period in which the game is set, the main focus of the score is only on a few instruments. There is an emphasis on the strings section such as the violin, cello and guitar to encompass the medieval mood. The strings are used in both the action sequences and the quieter moments to great effect. In the tense moments where the player may find themselves sneaking around to avoid danger, the strings will screech in a deep and booming fashion such as in the track “The Inquisition”. They often start slow and build to something that goes from slightly unnerving to utter heart pounding tension. These segments reminded me strongly of music found in television, such as Bear McCreary’s The Walking Dead or Ramin Djawdi’s Game of Thrones scores. Both make great use of the strings for epic moments and Deriviere’s work here wouldn’t be out of place amongst them. The Soundtrack World website describes the intimidating string work perfectly, “…contains a pattern that keeps repeating, but instead of getting tedious, enough variation has been added to the pattern to keep the music interesting and gets progressively darker and builds to a broader sounding climax.” This is certainly the case for “The Inquisition”, and several other tracks, the ones Soundtrack World references including “Orphans” and “Escape”.
The calmer moments of the soundtrack are equally powerful but it invokes more soothing emotions. The soft pluck of the guitar strings is calming, despite the stressful situation that Amicia and Hugo find themselves in. They act as peaceful interludes amongst the violence and decimation within the game and Deriviere composes these pieces beautifully.
A Plague Tale: Innocence is a perfect example of how a simple soundtrack made up of only a handful of instruments can be just as effective as a complex one. Deriviere keeps the soundtrack firmly grounded in the 14th century game setting whilst also breathing life into this plague infested world. Amicia and Hugo’s journey is often without music in-game but when the soundtrack does kick in, the fear, violence and life or death scenarios feel all the more real.
Top Track: Father
I was torn between this track and “Beyond the Horizon” here. “Beyond the Horizon” is unique in that it is the only song that makes use of a different style and different instruments, including an organ and some male vocals. However, I believe that “Father” has a stronger emotional impact. “Father” is the second track on the soundtrack and it encompasses the childlike innocence of Amicia and the connection between her and her father before her world is turned upside down. It represents that which a great deal of us still cling to: optimism and hope. It is a simple guitar piece with a small strings section kicking in about halfway through. Beautiful and hopeful, the song suggests a peaceful life. Although this peace is ultimately shattered, it reflects a happier time for the siblings. Sometimes being able to reflect on these happier moments is what keeps us going, making this piece feel incredibly human.
15. Star Wars Jedi: Fallen Order: Stephen Barton and Gordy Haab
When it comes to franchises, Star Wars is one of the most iconic of them all. Anyone who is able to work on anything even remotely to do with it- films, games, television, terrible holiday specials- is sure to be subject to criticism and intense scrutiny by the hordes of dedicated Star Wars fans. This goes for the music of the franchise too. John Williams created one of the most iconic and beloved film scores of all time. Other composers have chipped in via the various spin off movies and television shows (most recently Ludwig Göransson in his incredible music for The Mandalorian). It’s a hefty task but when it came to score the music for the latest Star Wars game, Star Wars Jedi: Fallen Order, Stephen Barton and Gordy Haab took up the challenge and did amazingly well.
With John Williams’s soundtracks, he captured the feel of a completely fictional sci-fi world whilst maintaining some relatability and humanity with tracks such as “Princess Leia’s Theme” and “The Force Theme”. Barton and Haab are able to do the same here, blending bombastic, orchestral action pieces with softer pieces that are equally orchestral but make use of the woodwind section to create a soothing sci-fi atmosphere. The score is so convincing at times that I honestly wondered if John Williams had a hand in it in some way. The inspiration that Barton and Haab took from Williams is incredibly clear to anyone, even those who may have only heard the main Star Wars theme. However, there is an interesting use of music in Fallen Order that does separate it somewhat from Williams’s orchestral inspiration.
The opening of the game has a fascinating use of music that hasn’t really been seen in the Star Wars universe before. A strange, alien sounding song can be heard and as we focus in on playable protagonist Cal Kestis, we realise that this song is actually music that he is listening to on his headphones. The use of music within the Star Wars universe itself is rarely delved into (except the weird cantina acts) and-correct me if I’m wrong internet- I’m pretty sure that no one has ever been shown just listening to a recorded artist on a music player. It is an interesting place to start the game, with an alien song rather than an orchestral score. We all know the intense and mind-blowing way that the movies open, so I found this opening a brilliant twist on the use of music to introduce us to a Star Wars adventure. Oh, and fun fact, the alien band that Cal is listening to is actually a Mongolian heavy metal band who use throat chanting in their songs. You’re welcome for that titbit.
The soundtrack has not been officially released so I’m not even entirely certain of the names of all the tracks despite my research. There are a few dotted around out there, mostly based on the names of the various planets that you visit such as Kashyyk and Dathomir. There’s even a petition to get the soundtrack officially released which I’ll link here if you are interested. Though I can’t be specific with titles from the soundtrack, it is clear that Barton and Haab had a clear understanding of the Star Wars universe as their music slots straight into it without a second glance. There are moments of brilliance that feel ripped straight from the movies as well as quieter moments that are equally strong. There is no doubting that Barton and Haab succeeded in pulling the player into a galaxy far, far away with their brilliant music.
Top Track: Cal Kestis Theme
Whilst I couldn’t find an official upload of “Cal’s Theme”, a YouTuber by the name of Flash Music put together the pieces of Cal’s Theme that they could decipher throughout the game. Thanks Flash Music! “Cal’s Theme” is quite a whimsical number in its initial iterations, suggesting a character that has much to learn and has a great journey ahead of him. In this compilation, the theme gets more mature as the game progresses. I love when composers use a particular theme for a character that alters throughout as that character develops. That is exactly was Barton and Haab do for “Cal’s Theme” and it is a brilliant way to show that his path will not be an easy one and he may not come out the other side of it as the same person.” Cal’s Theme” easily stands up against other character themes throughout the Star Wars franchise, even one such as “Rey’s Theme” from the latest trilogy, and that is why I feel it is one of the best pieces from the soundtrack.
14. Catherine: Full Body: Shoji Meguro and Inspion Izene Inc.
Catherine: Full Body is a remaster and extended version of the original Catherine game from eight years ago. The remaster includes 21 new tracks and this soundtrack is what I am putting on the list. The Catherine soundtrack was great at bringing together an eclectic group of music genres and somehow making them all work amazingly together. The Catherine: Full Body soundtrack continues this tradition with some awesome remixes of classical pieces, smooth and soothing jazz melodies and hip hop songs that sound ripped straight from the mainstream music charts. Composer Shoji Meguro- famous for his work on the Persona series– enlisted the help of Inspion Inzene Inc for the extended soundtrack due to their help on the sound design of the original title (I’m linking an interesting article in regards to Inspion’s involvement but be warned that the website is in Japanese!). This collaboration works well as there is a sense of familiarity regarding the soundtrack but a fresh new set of tracks to distinguish the new material from the original content.
The Catherine: Full Body soundtrack is just as creative, eclectic, unique and quirky as the soundtrack for Catherine was, with just the right combination of various genres. It makes for an interesting listen that offers up a bit of something for everyone whilst expanding the already brilliant original material.
Top Track: Tomorrow (Rin’s Theme)
For all its varying genres of music, the piece that stood out to me the most was the simple yet beautifully performed “Tomorrow.” Acting as a theme for the new character in Full Body Qatherine- known as Rin- the theme is simple and sweet and incredibly soothing. Rin is a new neighbour who befriends Vincent in the game. The tune is played by Rin on the piano and acts as a tool for helping Vincent during his nightmares. This helpful nature is reflected in the melody of the song, which echoes with a benevolent nature. Despite there being some amazing remixes of classical music involved in the soundtrack (the “Ride of the Valkyries” remix is my personal favourite) “Tomorrow” is a lovely tune that brings some sweetness to the game.
13. Afterparty: scntfc
Following the success of their first game Oxenfree, indie game developers Night School Studio continued to demonstrate their strength in the indie game field with their recent release Afterparty. Afterparty follows Milo and Lola, two best friends who find themselves suddenly in Hell with no recollection as to how they died. Composer Andrew Rohrmann- known by his stage name scntfc- returns to score Afterparty following his work on Oxenfree. The score is a unique mix of booming club style electronica and creeping, atmospheric, organ heavy tunes that embodies a theme worthy of the underworld.
Whilst there are other elements that pop up throughout, the game mostly revolves around the premise drinking and partying and this is reflected well in the soundtrack. Milo and Lola find out that the only way to escape from Hell is to out-drink Satan himself, making getting wasted pretty important to the plot. The music encompasses a techno vibe that would be associated with a party heavy environment. It’s fun to listen to and is easy to imagine a bunch of drunken party goers dancing uneasily to the infectious beats.
The electronic techno music is definitely an element that makes this soundtrack one of the best this year, but the ability to infuse it with a different style completely is what makes it great. I would say that the other style of music is a crossover of rock and religion. I’ll use the track, “Your Own, Personal Demon” as an example. It begins with an organ and develops with choral voices, drumbeats and eventually includes the electric guitar. There is an element of music that one may think of when considering Heaven, Hell or religious matters (organs and a chorus of singers) then it merges with the style that reflects the badass that is Satan in Afterparty. After all, he is the Lord of the Underworld who throws 24/7 parties. A cool guitar riff would suit him nicely. With this mashup of musical styles, scntfc creates an interesting music combination that is both clever and enjoyable.
The music of Afterparty is proof that taking musical risks- such as merging styles that may not seem compatible- can really pay off. There has clearly been a lot of thought put into which musical genres reflect the games premise and characters best and it all comes together nicely. With Afterparty, scntfc has scored another incredible soundtrack for Night School Studios. Here’s hoping they continue their collaboration in the future.
Top Track- Hades Gonna Hate
“Schoolyard Strangler” is a perfect representation of how the various genres combine to create one unique track that reflects the (under) world of Afterparty perfectly. However, I just couldn’t resist putting “Hades Gonna Hate” as the top track as it is pure electronic enjoyment. It seriously sounds like a song in the mainstream music charts today with its awesome techno beats and addictive riffs. I dare you not to at least tap your foot whilst listening to this one.
12. Code Vein: Go Shiina
When I first started listening to the Code Vein soundtrack, I was struck by how dramatic and powerful the first track alone was. Honestly, the sudden choral voices made me jump a little. Booming and harmonic in style, the soundtrack is incredibly epic and shockingly well done. Despite having licensed music included, I’ll be focusing on the musical score of the game.
Code Vein is a role playing game set in a post-apocalyptic society where a terrible and mysterious event led to the destruction of humanity. Whilst many games have dystopian settings, few of them go as bombastic with their music as Code Vein does. The score is highly orchestral, making the game come alive. It is hard not to feel something when a swelling chorus and orchestra bursts to life as you play. The player battles various monsters and vampiric creatures throughout the game and the music plays a key part. Fights can quickly become more effective once the music begins to intensify and the score alters with player decisions. This dynamic approach to the soundtrack did cause issues for the composer though, as Go Shiina suggests this in a behind the scenes video on the game where he states, “the music needs to be composed in a way that allows for change at any time without undercutting the track, and these changes aren’t necessarily limited to dark sounds that match the backing.” It was clearly a struggle to include reactive music but Shiina pulls it off to the point where even the most tedious of battles can be uplifted by the power of the soundtrack.
Code Vein is another game that received mixed reviews upon release but as with the other entries on this list with the same issue, the soundtrack is far from mediocre. Shiina was given a fair amount of freedom on the project, “They basically let me do what I wanted with the composition”, he says in the BTS video. I personally think this was a great move on behalf of Bandai Namco. They clearly placed a lot of trust in Shiina, likely due to his previous work with them on games such as the God Eater series. They were right to do so, despite his Code Vein work being “very strong and hard compared to the (God Eater) music”. This hardness is apparent throughout, with certain tracks literally booming. “Main Theme” is a great example of this (the one I first listened to that gave me a slight scare). It immediately opens up with a chanting chorus of voices followed quickly by a bellowing organ before the full orchestra kicks in. A review from Shack News accurately describes the singing as an “almost-Gregorian monk-chanting piece”. This is such a unique way to introduce the player to the game. Don’t forget, this is only the main menu. This kind of introduction is important as it is the first impression that the player gets. This intro indicates that the player is certainly in for an epic journey.
Code Vein manages to inflict some serious damage with its astounding music that begins as soon as the game is started up. It doesn’t let up throughout and can uplift the player during battle due to the interactivity and intensity of the score. Code Vein is yet another fantastic soundtrack that may not have gotten the credit it deserved due to the reaction from critics.
Top Track: Memory of the Lost
I know I’ve been heaping praise on the “Main Theme” of Code Vein but for my top track, I have to choose the melancholy “Memory of the Lost”. Played during a sequence in the game that delves into a certain character’s memories, “Memory of the Lost” is an emotionally charged piece of music. Starting off with the string section, the piece then begins to include a piano and a female vocal performance. The composition of the song screams anime and that is definitely not a bad thing. Anime has some of most inspiring and beautiful soundtracks and this track is certainly the best that Code Vein offers.
11. Days Gone: Nathan Whitehead
PlayStation 4 exclusive Days Gone was released to mixed reviews in April of 2019 but the soundtrack is one of the best I’ve heard this year. Acting as a composer for films and television as well as video games, Nathan Whitehead has created a score that sucks you into rural post-apocalyptic Oregon and doesn’t let go. In Days Gone the player takes on the role of Deacon St John, a biker who is surviving alone after a pandemic turned people into “Freakers” (basically fast zombies). The score is a versatile collection that ranges from terror inducing themes for the Freakers and softer numbers for emotional moments in the story.
Whitehead previously worked on some of the films in The Purge franchise so it is no surprise that he is incredibly well adept at invoking a feeling of suspense and imminent danger within his score. His piece “The Freakshow” is a haunting theme for the Freakers that immerses you in a deep feeling of dread. It is a perfect monster theme but there is also a touch of softness to it to remind the listener of the human that once resided within. When discussing his work on the PlayStation Blog, Whitehead mentions that this was essential for the theme, “It was…important to maintain a thread of humanity”. “The Freakshow” builds and builds until it becomes heavily reliant on the string section and the sense of tension that it can bring (the best example of utilising the strings like this is the theme from Psycho). There is an overall tone of fear but that small yet potent inclusion of something to reference the Freakers humanity is a nice touch that shows that Whitehead clearly went out of his way to bring some gravitas to this score.
Whilst the more harrowing and action-packed scores are exciting to listen to, I found myself drawn to the quieter pieces. Whitehead noted that his two biggest influences on the score are “Deacon…and the setting of the Pacific Northwest” and I found that this came across most powerfully in the softer moments of the score. There is a certain peaceful nature to the various guitar riffs, especially when combined with an orchestra. Whitehead wanted to create an “organic, lived-in sound with a touch of Americana” and this is particularly powerful in the guitar heavy tracks. You can’t help but hear the rural American countryside, although Whitehead did say that he didn’t want it to “sound too country”. I think he succeeds in this as there isn’t a permeating twang that you get with pure country scores. It represents the beauty of the environment that Deacon finds himself in during his travels whilst also reflecting Deacon as a character and his connection to nature.
The Days Gone soundtrack manages to invoke a plethora of emotions, from serenity to tension to fear and back again. Whitehead shows off his versatility as a composer whose score changes with the players actions, such as increasing in tension if Deacon happens to run into a pack of Freakers. There are similarities to Gustavo Santolalla’s The Last of Us soundtrack (one of my favourite game soundtracks of all time) in that the composer has perfectly managed to capture both the feeling of a desolate and dangerous world and the struggles of the last bastion of humanity. Despite other elements of Days Gone not being so well received, the soundtrack is easily one of the standout features of the game. Clearly a labour of love on Whitehead’s part, Days Gone is undoubtedly one of the best soundtracks in gaming this year.
Top Track: I Remember
One of the most affecting tracks of Days Gone is “I Remember”, a track about Deacon and his life before the outbreak that destroyed the world. It is a heartfelt track with a focus on the guitar, creating a soothing atmospheric tone. The theme acts as a reflection of Deacon’s past with hints of themes from his future. The piece slowly builds to a powerful orchestral theme before ending with the quiet guitar again. Whitehead said that the piece was meant to be “wistful and a little hopeful…to reflect Deacon’s resolve.” The lower guitar moments seem to represent the wistful elements, with the crescendo symbolising Deacon’s strength and “resolve.” Beautifully created and almost rustic in its tone, “I Remember” is the most striking piece from Days Gone that shows how game scores can be just as moving as movie scores.
‘Super Mario 3D All-Stars’ Defines Three Incredible Generations
Super Mario 3D All-Stars is the best bang for your buck compilation that the Super Mario Bros. franchise and the Nintendo Switch currently has to offer.
Super Mario 3D All-Stars Review
Developer: Nintendo | Publisher: Nintendo | Genre: Platformer, Action | Platforms: Nintendo Switch | Reviewed On: Nintendo Switch
After nearly half a year of rumors, it was no surprise that Nintendo was going to jump up super high with another compilation title on their red plumber’s next special numbered anniversary. It’s absolutely undeniable to say that Super Mario 3D All-Stars is the best bang for your buck compilation that the Super Mario Bros. franchise and the Nintendo Switch currently have to offer. However, there are still a few pesky problems that persist through its leaking warp pipes. Nonetheless, what you are getting here is three updated masterclass retro classics that I probably don’t have to sell you on.
Super Mario 64, Super Mario Sunshine, and Super Mario Galaxy are not only some of the most critically acclaimed titles on their respective systems, but they’re also among the most influential games ever made. Having all these platformers on one modern console handheld hybrid system sounds certainly promising, but how do they hold up in comparison to other games out on the market today? Is this really the best way to play these three classics? Have they been obliterated by time? Of course they all still hold up exceptionally well, but there are some upsetting answers to be found. Veterans and newcomers of Mario’s three-dimensional adventures will be rather pleased though by what is being offered in Super Mario 3D All-Stars.
3D All-Stars is a great best-hits package that can sometimes skimp out on features and upgrades, but it’s simply exceptional nonetheless.
Taking it all the way back to the past, 1996’s Super Mario 64 still holds a candle to many of today’s modern platformers as it flaunts its rebellious spirit through open environments and selective mission paths. The Nintendo 64’s shining star is just as good as you’ve heard or remember it to be. Despite some of its troublesome camera rotation and weird analog movement, the first three-dimensional Super Mario title still lives up to that high standard you would expect from a Nintendo release. Even after all these years, Super Mario 64 still comes out on top as the king of its generation.
There are plenty of cleaned-up trimmings, including new textures and user interface icons sprinkled here and there that benefit the original game’s noticeably aging areas throughout it’s latest rerelease. In comparison to its bundled successors, however, Super Mario 64 received the short end of the enhanced stick. While I certainly won’t say that Super Mario 64 was utterly cheated out on receiving the gleaming treatment it deserves, in comparison to something like Rare’s remasters of Banjo-Kazooie and Banjo-Tooie, Bethesda’s recent DOOM 64 port, or even just the other games within 3D All-Stars for that matter, Nintendo’s fifth-generation golden goose has disappointingly been adapted to Switch, to say the least.
Not only is the game not in widescreen like the other titles, but the framerate is still capped at 30 frames per second. Nintendo has created an authentic experience for those looking for the same adventure players witnessed when this groundbreaking masterpiece initially hit the public, but that does not mean these features could not have been optional. Considering Super Mario Galaxy is running at 1080p, sixty frames per second, surely Nintendo could have gotten the more primitive Nintendo 64 title up to that pristine quality.
Revisiting 2002’s summer vacation to Isle Delfino was a tear-worthy experience for me that one could say was fludding with nostalgia. I am not going to lie, Super Mario Sunshine was one of the very first console games I ever owned and it is still one of, if not my all-time favorite titles out there. However, ignoring my deep-rooted connection with the GameCube, objectively speaking Sunshine may perhaps be the Mario game that benefits the most from this compilation. Not only does the game look fantastic in widescreen format and high definition like the other games, but that extra field of view increases Delfino’s sense of scale and vision. It is truly incredible how well some of Nintendo’s earliest library of sixth-generation titles hold up visually despite being almost twenty years old.
The biggest concern longtime fans of Super Mario Sunshine will have going into this collection is how the control scheme would function. As someone who has played through the GameCube release dozens of times, I can happily confirm that Nintendo has done a fine job porting the game over to Switch. For those who are unaware, Sunshine originally allowed you to dictate the amount of water pressure F.L.U.D.D. would power out depending on how far you held the right trigger in. Due to the Switch’s lack of back analog triggers, replicating the original game’s experience was going to be difficult from the get-go. Nintendo’s solution was to make the character operate entirely on full power mode. This may sound like a major change, but in reality, the old control scheme was merely a feature that was fun to mess around with rather than a game-changing aspect. Outside of the late game’s irritating casino pachislot before the King Boo boss fight, there is no other area affected by the alteration.
While Nintendo’s newest GameCube emulation is surely impressive, it may not be entirely flawless for every perfectionist’s liking. Sunshine does indeed contain some minor faults that can likely be fixed in a future patch if Nintendo ever so chooses to release one. There are two notable quirks that will bother longtime fans although it should be mentioned that these are incredibly nitpicky changes in the grand scheme of things. For one, I noticed that a specific sound effect heard multiple times before timed missions had been changed to an oddly annoying censored beep- way to make El Piantissimo and Blooper racing bother more newcomers. Secondly, during some of the Fluddless missions focused on platforming, textured blocks that players are not supposed to see can appear that indicate an object’s trajectory.
Speaking of trajectories, its time to talk about the outer space adventure veterans probably have the most questions about. To bring this library to a close, we have 2007’s astronomical hit Super Mario Galaxy– the most critically praised game in this entire package, with the highest Metacritic and OpenCritic scores out of these three monoliths. Super Mario Galaxy is definitely the closest game to hit the modern standard of Mario’s latest globe-trotting adventures. When it comes to gorgeously designed landscapes and compact areas to explore, there are times where Galaxy could quite honestly stand toe to toe with Super Mario Odyssey from a distance. On top of this, we have what is arguably the most heartfelt Mario story to date as its beautifully constructed narrative never pulls any punches with its wholesome story entirely told through chapters of short text and subcontext.
Galaxy heavily utilized the Wii remote and nunchuck, but Nintendo is offering players with quite a few ways to now enjoy the title. Both Pro-Controller and Joy-Con proclaimers can breath easy because Galaxy supports both formats. While they may not be as pinpoint accurate as they previously were, the latest control schemes are exceptional. When playing with either of these controller options, you will have to utilize either motion or gyro to move the Luma cursor used to collect star bits, stop enemies, or solve various puzzles. Since the Switch lacks the intricately designed motion controls of the Wii, the developers have smartly mapped the right trigger to reset the cursor to the center of the screen.
The only aspect of Super Mario Galaxy that can often become problematic is when the game is being played in handheld mode, but this really only applies to specific sections of the game. In regards to on the go action, the game’s motion controls have been optimized for the touch screen, however, anyone who has played the Wii release can probably tell why this would not always work efficiently. When it comes to specifically collecting star bits, Galaxy can be a nightmare to try and multitask as you have to either pull your hand away from moving the left stick or inputting basic action commands like jumping. Menus and motion puzzles work great in handheld mode and can even be easier to play at times, but it is odd that the docked and tabletop control schemes can not be used with attached Joy-Cons.
Outside of the core three titles, Nintendo has opted out of including any special modes or features, unlike some of their various other notable anniversary titles such as Kirby’s Dream Collection or even the original Super Mario All-Stars rerelease on Wii. Without the additional extra content that properly commemorates the history of the Super Mario Bros. series, this anniversary can feel dishearteningly shallow as it looks more like a hangout than a massive birthday on the surface. Aside from including each game’s incredible soundtracks that double down as a way to always mix up your main menu experience, there are no art pages, interviews, design documents, or anything significant to glance at in this collection when it comes to additional trincites to awe at.
At the bare minimum, Nintendo could have at least included each title’s original manual for players to browse through, but even that is absent here. Even Super Mario Maker’s physical release came with a special booklet for fans to peruse five years ago. The games are obviously what matters most, but for something made to celebrate such a noteworthy milestone, audiences will definitely be expecting more from a character as iconic as Mario. The Super Mario Bros. franchise has such a fascinating history with a literal ocean of trivia and art worth exploring that you can find across several official artbooks, social media platform pages, and wikis. It is truly a shame that Nintendo did not go the extra mile to include any of this when commemorating 35 years of their mascot, but once again, the games at the spotlight are what truly matters most.
Despite its minor emulation issues and missing opportunities, 3D All-Stars manages to defy three incredible generations in one worthwhile package.
With its outstanding lineup of three masterclass generation-defining titles, Super Mario 3D All-Stars exceeds in a value rightfully way above its retail price tag as it bundles together three incredible journies into one package. Whether it is your first time getting to know Mario’s fantastical world or you are coming back to relive your childhood memories, this is a special title that offers some of the finest platforming adventures the red plumber has embarked on. Outside of the fact that it is literally a limited-time release, Nintendo’s latest anniversary best-hits extravaganza is well worth running out to purchase. If you have not played Super Mario 64, Super Mario Sunshine, or Super Mario Galaxy, you owe it to yourself to experience every one of these games.
Super Mario 3D All-Stars is indeed lacking in bonus content to make this truly feel like a shebang worth celebrating, but its three games keep the entire party from ever being less than exceptional. All three games included still remain tremendously entertaining as they prove to excel upon the passage of time. Perhaps it is not the grand superstar it could have potentially been, but it will put a huge smile on any veteran or newcomer’s face as they explore Peach’s castle grounds, take on a thwarted island vacation, or skyrocket into the cosmos that have brought decades of enjoyment to audiences of all ages. Collect your coins and get it while you can or begin plotting a Bowser-like scheme to score a copy in the distant future.
PAX Online: ‘Unpacking’ and ‘Infernax’
Our PAX Online coverage continues with a game the calm and relaxing Unpacking and the not-so calm and relaxing Infernax.
Our PAX Online coverage continues with a game that takes a hated activity and somehow makes it relaxing and another game that will leave you clenching your buttocks.
As someone who is coming fresh off of moving just a little over a month ago, you couldn’t have blamed me for being a little skeptical going into what was dubbed a “zen puzzle” game based on the final stretch of the process. Unpacking is just that, though. It’s a calming, almost therapeutic exercise that happened to serve as a wonderful way for me to unwind at the end of a day.
Unpacking is exactly what it says on the tin. There are no scores, no timers, no leaderboards, just you, and a few boxes with various items in them that need to be placed somewhere. The demo starts with a single bedroom in 1997. There’s nothing in the game that tells you where something should go, only your own taste and intuition; a locked diary would probably go in a desk-drawer while a soccer trophy would probably be displayed on a shelf.
As I slowly unearthed items one-by-one, I gradually got a feel for what the room’s new inhabitant was most likely like. The endless supply of stuffed animals implied someone of younger age while the numerous art supplies indicated someone inclined to right brain thinking. It’s rather engaging to learn about this person’s life purely by their belongings.
Every item taken out was like a delightful surprise and would sometimes even make me feel a little sentimental such as when I took out a small device that was clearly a Tamagotchi. More importantly, Unpacking nails that sinking feeling of when you feel like you’ve used all your available space but still have boxes left. Reaching the point of just throwing stuff wherever it fits is such an immediately relatable feeling that I was almost offended. And that was only for a single bedroom!
The demo’s second stage was a little more involved with a bedroom, bathroom, and kitchen in the year of 2004. The hilarious moments of finding a boot in your kitchenware box or a bra with your toiletries also felt like a call-out to my own hodge-podge packing methods. It’s something I can’t help but let out an exasperated chuckle at.
It was also neat to see how this person has grown since their earlier abode. Much fewer stuffed animals but more art supplies and a brand new computer imply this character is maybe entering the working adult world. I’ve never actually seen this character, but I can’t help but feel a connection to them already, and that was only after two moves. The full game will have eight total moves to follow them through and I am genuinely curious to see how our nameless and faceless protagonist grows throughout them.
Now if only unpacking in real life could be this soothing.
Some players may recognize Berzerk Studio for their excellent 2018 bullet-hell, rhythm game Just Shapes & Beats. Coming hot of the heels of that hit they immediately pivoted in the new direction with Infernax, a delightfully edgy 8-bit adventure platformer that takes cues from old-school Castlevania titles.
Our hero returns to his land after a successful crusade only to find it overrun by horrible monstrosities in every which direction. With nothing but mace in hand, he sets out on a quest anew to rid the land of the undead filth. Immediately apparent upon starting is just how tightly the game controls; anyone fond of earlier NES titles will feel right at home with Infernax. I quickly got a handle on my exact attack reach down to the pixel and began mowing down the zombies in front of me. It emphasized how much joy a game is possible of eliciting from simply a jump and attack button.
Getting to that proficiency is important too because the game doesn’t waste any time in taking off the training wheels! Even the base enemies shaved off half my HP if I got careless and that difficulty ramped up at a rapid rate as new enemy types were introduced at a decent clip such as flying evil eyes and jumping rodents. Not only do these foes burst into tasty experience points and gold to be spent on upgrades, but also into extremely satisfying fountains of blood.
Infernax isn’t particularly shy about turning up the gore factor, but it’s still impressive by just how creative they get with it using simple pixel art. Nowhere is this more apparent than when you are killed. Every single enemy type has a unique kill animation when they deal the final blow to our hero. From the chump ass pillbugs to the big bad bosses, all of them mutilate you in a different way and it’s honestly morbidly mesmerizing to witness. It made me want to suicide against every enemy I came across just so I could see what creative way they took my life.
Depending on your playstyle you might not want to do this, though, as Infernax features two different ways to respawn when you die. Hardcore respawn sends you all the way back to your last save point, just like in those classic NES titles. Casual respawn lets you restart right where you left off with no loss in progress, but choosing to do so locks you out from Hardcore the rest of the game. It’s a sort of mark of shame that I was glad to wear during the demo after I came up against the final boss and promptly got my ass handed to me. It sounds a little cheeky on paper but is actually very consistent with the game’s overtly edgy tone.
Infernax feels like a game that was lost to time during the NES era and is just now being rediscovered. Those looking for for a game that harkens back to the simplicity of the olden days need not look any further.
Indie Games Spotlight – Going Full Circle
We’re featuring five exciting indie games in our latest spotlight, including the internship roguelike Going Under and the cozy puzzles of Lonesome Village.
Indie Games Spotlight is Goomba Stomp’s biweekly column where we highlight some of the most exciting new and upcoming independent games. Summer may have come to a close, but that hasn’t stopped big announcements from rolling in. With events like PAX Online and the recent PlayStation 5 Showcase flooding the web with announcements, trailers, and gameplay footage, there’s been a constant deluge of news to keep up with. With so much coming on the horizon, we’re spotlighting five exciting indies that you’ll be able to play sooner rather than later. Whether you’re in the mood for a brutally addictive action game or a cozy adventure and social sim, there’s bound to be a game that speaks to you in this spotlight.
Moving Up Professionally in Going Under
Work is its own payment in Going Under. In this action game from developer Aggro Crab, you’re put in the shoes of an unpaid intern who must explore the endless ruins of failed tech startups while fighting off the monsters that spawn within them. It’s hard work to do without a single paycheck—but hey, at least you’re gaining valuable experience!
As a former unpaid intern myself, the writing in Going Under certainly resonates with me and it’s sure to strike a chord with anyone who’s ever felt underappreciated or overworked. Its vibrant and colorful 3D graphics, as well as its satirical story, only make it all the more enticing. It really should offer a great working experience when it hits all consoles and PC via Steam on September 24.
Fill in the Gaps in Journey of the Broken Circle
Something’s missing in Journey of the Broken Circle. Like its name would suggest, this puzzle platformer follows a Pacman-like circle with a hole to fill. It wanders through a world that is whimsical and existential at once, searching for a companion to fill its gaps. As the circle rolls through ethereal environments, it encounters different shapes to use that allow for new gameplay mechanics.
Journey of the Broken Circle might be about an abstract shape, but in its quest to become whole, it strives to capture the human experience. It promises to be an intimate experience that clocks in at about five hours to complete. If you’re interested in getting this ball rolling, it’s already available now on Switch and Steam.
Prepare to Get GORSD
There’s a delicate balance between unsettling the player without being outright scary. GORSD treads the line here as a one-hit-kill shooter that stars humans encased in the skins of octopuses, dragons with human faces, and nightmarish environments. Something feels off about GORSD, but that’s exactly what makes it so interesting.
Brought to life with detailed pixel art, GORSD supports up to four players who can face off in chaotic matches in varied arenas. It also features a full-fledged single-player campaign with a vast overworld with dozens of unique stages. Its concept is inspired by its developers’ native Southeast Asian cultures, making for a unique gameplay and aesthetic experience. If you’re ready to dive in and see it for yourself, it’s available now on all consoles and PC via Steam.
Get Ready For a Foregone Conclusion
Saying Foregone is a 2D Dark Souls would be cliché, but accurate nonetheless. It’s a hardcore action game where you’ll fight against insurmountable odds to prevent monsters from overrunning the world. It has a brutally addictive gameplay loop—its difficulty may be excruciating, but because it offers a wide assortment of abilities to leverage, it’s immensely euphoric once you overcome the challenges before you.
This beautiful 3D/pixelated hybrid action game has been available on PC in early access since February, but at long last, it’s seeing its full console release in October. It’s been a promising title ever since its pre-release days, and now that it’s finally seeing its complete iteration, there’s never been a better time to dive in and give it a shot. It’s hitting all platforms on October 5, so there’s not long to wait!
Finding Good Company in a Lonesome Village
Mix Zelda with Animal Crossing and you might get something like Lonesome Village. This newly-revealed puzzle adventure game features Zelda-like adventure in a hand-drawn world populated by animal characters. Players control a wandering coyote who stumbles upon a strange village and decides to investigate its mysterious happenings by interacting with villagers, solving puzzles, and exploring its dungeons.
It’s more than a simple adventure game. In addition to puzzle-solving, you’ll interact with Lonesome Village’s eclectic cast of characters to forge relationships and unravel brooding mysteries. It’s showing plenty of potential with its cozy gameplay loop, and if you want to give it a shot, check out its official demo from its Kickstarter page! It’s already been fully funded in less than 24 hours, but if you want to help the developers out even further, consider contributing to their campaign.
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