Many games feature amazing music, but certain games take it beyond even that.
Games like DOOM are known for the “procedural” composition they use to marry gameplay and sound, and not only that, the way the music is a perfect tonal match to what is happening.
What games have you played that feature music that doesn’t just make you notice it, but also pulls you further in?
Can you tell me more about Katana Zero? I have one of this developers other games and looked at this the other day but opted out. I don’t listen to audio when I look at trailers, so I didn’t hear the music or anything.
Also, YIIK has a great soundtrack even though everyone bombed the hell out of that game. I still listen to tracks from it. Inscryption, The Path, 2064: Read Only Memories, The Friends of Ringo Ishikawa, Going Under, games developed by Blaze Epic, Dicey Dungeons, Party Hard, Stray Cat Crossing, New Ice York, Beyond Galaxyland, JARS, Ladykiller in a Bind, Oxenfree, Dust Force, & Plants vs. Zombies (Laura Shigihara still has me bopping). Not including classic video game bangers - this is just stuff I pulled from a quick Steam-y glance.
*Love has a banger of a soundtrack too. Kentucky Route Zero as well.
Askiisoft hasn’t made any other widely known games. Of the three, only Katana Zero is on steam.
Are you referring to the publisher? They just front the funding for the development, and handle distribution. In this case that’s Devolver, who deals with a ton of small studios, and hence there’s a very wide range of games under them. But they’re all made by different people. A lot of Devolver projects are one-offs where the game is the only thing the particular studio has made, and will make.
Katana ZERO marries gameplay, story, and sound, immaculately.
The player character has the ability to see the future. The act of playing through a level (dying and re-trying), in universe, is Zero looking into the future and seeing what will work and what won’t.
This gets complicated once you run into opponents with the same ability, as they will actively use your previous attempts to beat them to predict what you’ll try to do.
It’s as mix of puzzle and action. I won’t say too much about the story, but it is worth engaging with the dialogue system, taking in the world building, and doing some thinking about what is going on. If you do, the story, and particularly the ending, is a lot more meaningful.
Oh hey, I didn’t realize. I like Olija, and thought that they were worked on by the same developer. They’re lumped together with The Messenger in a bundle and just assumed it was the same dev working their way through whatever vibe they were feeling. I don’t know too much about Devolver, but that’s for the 411. I was interested in this game because I like One Slash and Samurai Jazz and figured it could potentially have a similar vibe to it. I’m going to grab it, and give it a go. Thank you!
Anima Flux has a sick soundtrack! Caught myself playing longer just because those tracks are straight fire
If you like that you might also like vampire the masquerade redemption soundtrack that came out a few years earlier, and the deb of night radio show from bloodlines.
Deus Ex Mankind Divided.
Rain World.
Super Metroid.Nier Automata. There aren’t even any words in the lyrics, it’s amazing.
Except for the “final” track, “Weight of the World”, which is just amazing and chilling, especially in the context of the game and lore if you make it to the end of true ending e. Apparently the Japanese version uses a take where the vocalist started crying during it, and in the English version you can hear the vocalist struggling towards the end.
And there’s the one track that’s name escapes me with the robots chanting “become as gods”.
A lot of the other tracks have chanting, but it’s intentionally not in any language, despite every track having a pretty heavy emotional feel to it.
Is it cheating to say Crypt of the Necrodancer?
Must move to the music’s beat, and the music itself is by Danny Baranowsky (other works include the original PCl soundtracks for Super Meat Boy and Binding of Isaac)
Nah, that’s exactly the type of game that’s a right answer.
Terraria and Stardew Valley
My day gets 200% better whenever I hear that summer song
Doom 2016
Oh. Just actually read the body of your post!
I mean it’s a damn good pick.
Nier Automata
The soundtrack is integral to the experience.
The credits sequence, IMO, is the current high for games as a medium.
When the chorus kicks in on end of yorha, after you ask for help, still gives me goosebumps.
Not normally that kind of person, but the way all aspects of design, music, story, and user input collide make it the most impactful experience I’ve ever had in a game.
Genuinely my favourite gaming moment. Nothing before or since from the medium has made me feel as much as that sequence. It’s just fantastic. If you game at all you need to try it.
It’s a magnum opus, to be sure. I’ll be blown away if Yoko Taro finds a way to top it.
World of Warcraft vanilla had an amazing score. Still brings chills to my spine. But that might be nostalgia.
Diablo 1. I have a hard time playing the game anymore, it’s super clunky, but the guitar music from the overworld fucking slaps
Agreed. The Tristram theme has no business sounding as good as it does. I
Myth II Soulblighter.
RimWorld - see the YouTube comments for people telling stories of what each song reminds them of.
Shoutout to ‘simple’ music that works well in a game - Project Highrise, Shapez, or Outbound for example.
Breath of the Wild which also does dynamic music that shifts and changes as you play/encounter enemies
Most modern games do this. It’s a little different depending on implementation, but usually there are short loops of music which can transition into one another, and the game attempts to detect what’s going on and make smooth transitions to the appropriate new loops so that the music is seamless but still reactive to what’s going on. When it’s done well, it’s basically totally invisible that anything special is even happening, which I’m sure is irritating if you’re the one who had to do the ball-busting labor of getting it all to work.
Fun fact, LucasArts was already doing this all the way back in 1991, back when video game sound beyond the bleeps and boops stage was still bleeding edge technology. One of many ways in which they were ahead of the curve by about 20-30 years if not more.
Like good CGI. The best work is the one you don’t notice.
Wonder how they did that back then? Shifting the tones up and down?
The wiki article goes into it; the canonical example (if you know to pay attention to it) is walking around in Woodtick in Monkey Island 2, and you can hear how the melody that’s playing is continuous, but some of the backing instruments will insert or change depending on which buildings you go into. You can probably find Let’s Play of the game on YouTube or etc to hear it in action.
Thanks. Read it and yeah, that had to be hard with a limited set of sound channels.
The entire arrangement would have to be smaller chunks that are flowed one into another or swapped out when an event changed.
Considering the memory and code space limitations of the time that was no small feat.
From the top of my Head:
- Hotline Miami 1&2
- My friend Pedro
- OTXO
- FIGHT KNIGHT
- Savant Ascent Remix
All of those have certified banger OSTs that blend perfectly into the game
Wasteland 3’s soundtrack is full of bangers. The ambient music and generic combat music is good, but the game has a lot of special tracks that play over specific combat moments. They are religious or nostalgic songs being covered by modern bands, giving the soundtrack a kind of distorted feel. It’s very good.
The Battle Hymn of the Republic from Wasteland 3 is amazing
Tony Hawk Pro skater 2 (but probably many of Birds games)
