Top 10 Favourite Video Game Series Soundtracks

TOP 10 FAVOURITE VIDEO GAME SERIES SOUNDTRACKS
Hey, folks, janus-006 standing by with another top 10 list. This time around, it’s a magnificent musical treat for you - a selection of my favourite game series soundtracks. I think it’s essential for a video game to have a good soundtrack; you’ll be hearing plenty of tunes frequently, so it really helps to have music which is easy on the ears. It may or may not help if the music is catchy; it’s nice to have memorable music, but some do not consider it helpful if everything gets stuck in your head., Naturally, the soundtracks from a few of my favourite games will appear, but also some which didn’t make the list. Each series will be represented by a track I particularly like and the reasons why I like it, along with some other pieces I really recommend. I hope you’ll enjoy these as much as I do.

#10: DONKEY KONG - Frantic Factory
Great music was just one of the many strings to Rare’s bow during its peak. Several skilled composers have contributed to their games over time; among the most notable is David Wise. Together with Eveline Fischer and Robin Beanland, he crafted the impressive and varied soundtracks of the Donkey Kong Country series. Whether roaming the jungle, exploring a dingy cave, sneaking through a factory or swimming through a galleon, the soundtracks’ varied styles added extra character to the series.
When Grant Kirkhope took over for Donkey Kong 64, he had some pretty big shoes to fill. His work on Banjo-Kazooie had prepared him well, though, and he provided an amazing selection of tracks; techniques used in Banjo-Kazooie, such as transitions between soundtrack variants, were also used alongside the established ones.
The music I selected for focus is the level theme for Frantic Factory in Donkey Kong 64. It meshes well with the dark and gloomy atmosphere of the factory, providing a sense of foreboding as you venture through the first level housed within Crocodile Isle. The main melody is provided by a clockwork music box, and the twisting of the key is even worked into the piece.
The track shifts to a heavier, deeper brass-driven piece as you enter the main production facility, while venturing into the R&D section yields a more electronic piece accompanied by extra sound effects to simulate computer operations. Finally, Mad Jack’s boss battle variant is a more intense piece, mixed nicely with the monstrous toy’s insane laughter. Rare was in fine form for this title.
ADDITIONAL RECOMMENDATIONS
DK Island Swing - Effectively the series’ main theme. It has been remixed many times, but it remains an iconic piece of music. The powerful tribal drum-beat drives the track, making it fit perfectly in the series’ many jungle levels.
Cave Dweller Concert - A personal favourite, even if it is not one of the most memorable tracks. It’s a rather dark piece, focused on percussion which also creates the effect of water dripping from stalactites.
Forest Interlude - A beautiful and ethereal piece, primarily using flutes and other wind instruments. It’s very relaxing, so you’ll probably need all the calming influence you can due to the tough levels later in the game.
Stickerbrush Symphony - Known as Bramble Blast in Super Smash Bros, it’s another calming piece of music, crafted around a variety of instruments. Maybe Rare knew the hard levels needed the most relaxing tunes.
Hideout Helm - Simply perfect for storming the enemy’s base. The variant I prefer is the more intense initial form, which plays when the Kongs infiltrate the depths of Crocodile Isle in order to shut down K.Rool’s Blast-O-Matic before it destroys their home. It almost feels like something from an action movie.

#9: SHANTAE - Scuttle Town (Pirate’s Curse version)
The Shantae series has been a cult classic for some time, rising to prominence with the release of Shantae and the Pirate’s Curse, and recently Half-Genie Hero (and it should have been a Favourite Game honourable mention!). There is meant to be something of a musical motif throughout the series, given Shantae’s powers are focused around dancing; this is most prominent in the first game, which has a number of dancing mini-games.
The soundtrack for Shantae and the Pirate’s Curse is my favourite so far; my selections will generally come from there. My focal track, the theme for Shantae’s home of Scuttle Town, starts off with the familiar motif from the dance halls of the first game - a snippet the developers liked greatly and have re-used where able. There’s something of a Middle Eastern feel to the track, but also shows traces of rock and electronic music; these support the main motif quite well. In some cases, the music has a retro feel to it; regardless of where you are, the music will help set the mood and do so with some worthy tracks in need of extra love.
ADDITIONAL RECOMMENDATIONS
Journey Through Sequin Land - A piece full of enthusiasm for adventure, this plays in the area between Scuttle Town and the Sequin Land Palace. Whether you’re just setting off or working through a bigger adventure, its sound is perfect.
Risky Boots! - Every villain needs a good theme, and Risky’s no exception. The bodacious buccaneer sports quite a menacing motif, making you wonder if she’s on the level even when she needs your help.
Rottytops - A perky and bouncy track, fitting for Shantae’s mischievous but well-meaning zombie friend.
The Desolate Domain - The theme from the fourth dungeon, Oubliette of Suffering. In contrast to Mud Bog Island’s sombre main theme and the tension of the underworld’s music, this seems almost triumphant in a way, as if Shantae is storming through hell itself in order to succeed.
Boss Battle - Pirate’s Curse and Half-Genie Hero share the same boss theme (perhaps there are slight differences between games); it gets you psyched up and ready to battle against the many mighty foes encountered along the way.

#8: F-ZERO - Shotgun Kiss
While I probably have to admit there’s no real future for the F-Zero series, I still prefer this over Mario Kart, and I’m particularly fond of the soundtrack. F-Zero X had an energetic, rock-driven soundtrack, keeping in line with the intensity of the races. The original title had some memorable tracks, and X upheld the tradition while introducing its own signature themes. Of course, when GX rolled around it was well ahead; there was a broader range of style, encompassing some techno, a bit more metal, and in the case of my featured piece, some jazz influences.
Shotgun Kiss is the track theme for the Casino Palace (Vegas Palace in the North American version) races. It’s a kind of jazz fusion piece, mixing some powerful brass and woodwind in with the game’s signature guitar riffs. The resulting music sums up the intensity, danger and adrenaline rush of pursuing high stakes, be they at the casino tables or on the racetrack. I’m quite fond of jazz, so naturally this proved a favourite piece.
ADDITIONAL RECOMMENDATIONS
Fire Field - A great rock-style track from the original, remixed in an even more intense manner for Super Smash Bros. The GX Fire Field track, Feel Our Pain, is also worth a listen as it’s just as powerful, well-suited to blasting through a volcano at insane speed.
White Land - I’ve mainly listened to the Smash Bros remix, but I’ve found this one to be quite enjoyable. It may not strictly fit the intended theme, as White Land’s meant to be an icy area, but it’s a good track nonetheless.
Big Blue - Along with Mute City, this is the series’ other major theme, originating in F-Zero X. It’s really upbeat, but brings a slightly more subtle intensity in its original form, rather than the intense blast of other tracks. I also recommend the track from GX’s Big Blue races, Infinite Blue. It sounds like a techno/surf rock hybrid.
Driving Through On Max - This serves as the theme for Sector Alpha and Beta in X, as well as Rainbow Road. Since the latter is my favourite track, I had to put this one in here - plus, at one point, my brother and I misheard one of the lyrics as ‘Twenty-five Mr. EADs’, and it’s a bit of a running joke.
Climb Up! And Get The Last Chance! - The White Land theme from X, also played on one of the game’s most infamous tracks - Big Hand. This track also appears in Super Smash Bros, and is used for some important moments during Captain Falcon’s appearances in The Subspace Emissary.

#7: XENOBLADE CHRONICLES - You Will Know Our Names
Plenty of work was put into Xenoblade, and it notably shows in the soundtrack. I believe this is a fantastic example of how well music can influence emotions. As you step onto the Bionis’ Leg for the first time and realise the scope of your adventure, the area theme - titled Gaur Plains in Super Smash Bros 4 - motivates and excites you for the journey to come. You can find peace and relaxation back home in Colony 9, or get fired up for an intense battle. Even the main theme, a beautiful piano piece, is used to great effect during a key story event.
My focal piece is not quite my favourite, but since it’s essentially become the series’ motif due to Super Smash Bros 4, I’ve chosen You Will Know Our Names. It’s the battle theme for the various Unique Monsters scattered around the world. These are powerful enemies which require great might or clever tactics to bring down, and each one has its own title. The roaring brass and guitar kicking off the piece create a sort of warning siren effect, and the music never lets up from there, always reminding you that you’re in the middle of an intense battle and someone, hopefully you, is delivering a beatdown. It switches around during two key story moments, in pivotal boss fights - on those occasions, it’s Shulk and his friends etching their names in their foes’ memories.
ADDITIONAL RECOMMENDATIONS
An Obstacle In Our Path - The boss theme for the story, and thus often plays against powerful Mechon opponents. Not as intense as You Will Know Our Names, but nonetheless lets you know you’re in for a fierce battle.
Unfinished Business - Sadly, this only plays once during the entire game, when Shulk attacks Metal Face during a cutscene after you beat Xord aka Bronze Face in the Ether Mine. Such limited use is wasteful for a powerful and passionate tune, conveying Shulk’s thirst for revenge.
Central Factory - My favourite tune overall from the game. It’s a more sedate piece, with a militaristic drum-beat and orchestration that conveys a sense of awe, as the vast Mechon factory stretches before you.
Gaur Plains - As mentioned above, it’s one of the game’s more iconic themes and perfectly fitted to exploring a vast new world.
The God-Slaying Sword - The name does kind of give away what happens, but it’s extremely fitting for the situation. It uses a pipe organ and choir to give it a sort of spiritual aura among its intensity.

#6: ETRIAN ODYSSEY - Battlefield - Gale Force
The soundtracks to the Etrian Odyssey series have been well crafted to not only fit the areas in which the tracks play, but also the atmosphere of the game. The original’s tracks have a retro feel to them, paying homage to the classic style which inspired the series. Each game added its own twists, steadily building on the groundwork the original set, until IV came along and set an incredible new benchmark. Gone is the old-school style; in its place, an orchestrated soundtrack perfectly in harmony with the game’s locations. The style will shift depending on the area, too; the labyrinth soundtracks of the Scarlet Pillars have a Japanese influence, while the Sacred Mountain labyrinths focus more on woodwind.
Battlefield - Gale Force is upbeat and bold, pumping you up for your battle with a mix of guitar, brass and strings. It could fit any number of great fights, but in this game, it’s the first standard battle theme - so expect to have this blaring while you cut your teeth defeating weaker monsters. The soundtrack isn’t being mis-managed, oh no - it remains epic as the game progresses. Gale Force is simply the vanguard of an amazing orchestral army. While the first three games do have a great soundtrack, all my recommendations are from IV - its soundtrack really is brilliant.
ADDITIONAL RECOMMENDATIONS
The Burning Crimson Sword Dances - The theme for the major labyrinth bosses. It starts out relatively sedate, but still on edge, building up its instrumentation until it finally unleashes incredible intensity. Usually around the same time the boss starts kicking your arse.
Misty Ravine - Mentioned above, this is the second major labyrinth. Its theme uses Japanese instruments to create a spiritual and mysterious feel. You almost expect to be ambushed by ninjas.
Library of Puppets - Driven by electric guitar and a selection of strings, this is the theme from the fourth major labyrinth. Its style references the many mechanical adversaries within the dungeon, as well as reminding you things are a little tougher again.
The End of Raging Winds - A remix of The End of Raging Waves from III, this theme is used for special boss fights, often at the end of quests. These are dangerous bosses, so it’s a fittingly epic track.
The Bliss of the Twilight - Need to chill out for a while? This mellow and smooth jazz piece will play when you stop by the hub town, Tharsis, at night, or whenever you visit the Dancing Peacock Inn. It’s really laid-back and a perfect antidote to the game’s usual intensity.

#5: BANJO-KAZOOIE - Rusty Bucket Bay
It’s probably not surprising to see another Rare series on my list, given I think very highly of their composers. The soundtrack for the two N64 titles was composed by Grant Kirkhope; Banjo-Kazooie’s soundtrack is generally set in major keys, enhancing the bright and fun feeling of the adventure, while the somewhat darker Banjo-Tooie has most of its tracks composed in minor keys.
Banjo-Kazooie is my favourite of the lot, and my favourite level therein is Rusty Bucket Bay. I’m not sure why I took to it; all I can remember is, it seemed like a good challenge to the much younger me. It also helped that I found the level theme enjoyable. It has a somewhat jazzy feel to it, using instruments like the trombone, saxophone and tuba; these generally play lower notes in order to give the music a slightly grim atmosphere. After all, you are aboard Gruntilda’s cargo ship, and everything on board has a grudge against you.
ADDITIONAL RECOMMENDATIONS
Click Clock Wood - A gorgeous piece - well, four pieces, really. The original motif is given variants for each season; Spring’s is upbeat and cheerful, with a mix of flute and xylophone forming the main melody; Summer’s is slower, as if tired by the great heat, and focused on strings; Autumn’s is a little quicker, but still fairly relaxed and utilises a mix of instruments along with a greater focus on sound effects; while Winter’s melody is a bit more sparse for the most part, using the xylophone in addition to bells in the style of Freezeezy Peak.
Gruntilda’s Boss Theme - An extremely powerful piece, full of intensity and perfect for a final boss battle. Given the basis of the theme for Gruntilda’s Lair, and the series’ tendency to use area or level themes for boss battles, this is kicked off by what is pretty much The Teddy Bears’ Picnic. You might also note bits of Rusty Bucket Bay’s theme seem to appear as well.
Grunty Industries - Another minor-key jazz-style piece, Grunty Industries’ theme focuses on the tuba for its main motif. The variants which play inside the factory change based on the location; a more electronic one for the main factory floors, while a slightly eerie string-focused piece plays in the quieter areas of the building. It’s a good example of how well the series used music.
Hailfire Peaks - The two variants of this level’s theme actually work really when mixed together, but each one on its own conveys the separate and disparate environments of the level brilliantly. The Fire Side theme focuses on brass and is a bit more energetic, while the sedate Ice Side theme uses the xylophone in a style similar to Click Clock Wood’s Winter theme.
Bad Magic Bayou - While Grunty’s Revenge was a good if not great game, it still had some pretty decent music. Even though the regulars weren’t working on the soundtrack, they still created music which perfectly enhanced the atmosphere of each level. This one stands out as my favourite due to its style, although Spiller’s Harbour is pretty close.

#4: SUPER MARIO - Super Mario 64 Main Theme
It may seem a little odd for this series to miss out on the top 3 given how iconic it is, but I have given it a little bit of a penalty due to not having great variation in its soundtracks. However, even if those tracks were limited in overall number, they were still very, very good. The Super Mario Bros theme would have to be one of the most recognisable tracks in the gaming world - or even overall - while each title has produced a great many famous tracks, remixed and reused even now.
Due to the memories it evokes, the Main Theme from Super Mario 64 is my favourite. Hearing it will bring me back to the first time I experienced the vast world of adventure that was Bob-Omb Battlefield, and many more besides. This piece hasn’t often been remixed - it’s hardly needed one, really. It must be said, when it did receive one - for Throwback Galaxy in Super Mario Galaxy 2 - it was brilliantly done. It’s also my go-to track for Delfino Plaza in the Super Smash Bros series. If the Super Mario Bros theme was the herald for the resurrection of video games, Super Mario 64’s theme was the triumphant anthem for the birth of 3D gaming.
ADDITIONAL RECOMMENDATIONS
Gusty Garden Galaxy - This gradually became the focal theme for the Super Mario Galaxy games. It’s a really uplifting piece, and is pretty much there to show off the fully orchestrated soundtrack. With its grandeur, and blend of triumph and adventure, it’s not hard to see why it’s such a popular piece.
Rainbow Road (Mario Kart 64) - Yes, it’s a real surprise to see this given how much I hate Mario Kart, but this was too good to leave out. It’s really calm and peaceful, as if it’s not meant to be the score for a race, but rather a cruise around the stars. It’s my favourite race-track from the whole series, so for me to like it means a lot.
Bowser’s Road - Another iconic theme from Super Mario 64, this time the theme from the Bowser levels. It starts off with a rather ominous riff, signifying you’ve stepped into Bowser’s territory and things are going to be tough. It has the right amount of tension while still spurring you on, and the remixes used in the Galaxy games only enhanced its impact.
Delfino Plaza - Another relaxing piece, the sort of thing one might hear if you were able to stop off at an Isle Delfino cafe. There’s a slight ring of gypsy jazz through the guitar melody, which is something I greatly enjoy. That style, mixed with a strong accordion melody, makes it seem a bit more fitting for a place with French inspiration as opposed to a tropical island - but that’s honestly not a big problem.
The Final Battle - The title says it all, really. This is the theme for the last stage of the Bowser fight in Super Mario Galaxy 2. Sure, the fight is a bit on the easy side, but the music easily makes up for it with its incredible power and adrenaline rush. It’s used far more effectively on Super Smash Bros 4’s Mario Galaxy stage, which allows you to give the music the intense battle it deserves.

#3: POKEMON - Versus Champion Steven
As the Pokemon series has developed, its soundtrack style has grown as well. Being on handheld consoles somewhat limited what it could do, although Red and Blue did have a few standout tracks here and there. Gold and Silver used the medium a bit better, and everything gradually improved as the power of Nintendo’s hand-held systems grew. The home console entries generally picked up pretty quickly, and though few, they had some fairly memorable tracks.
Steven is my favourite Champion from the series, and his battle theme is one of my favourite tracks. Good battle themes are essential for Pokemon games, and this is spot on. It psyches you up for the battle ahead, while also giving you little hints that this will be a tough opponent. I don’t think it fitted Wallace particularly well, but that’s not the fault of the composers. In addition, the remix of Steven’s theme was one of the few tracks from the Hoenn remakes I really enjoyed. After Johto’s Elite Four proved a little underwhelming, this was just what the Pokemon League needed.
ADDITIONAL RECOMMENDATIONS
Final Battle Vs Rival - Easily one of, if not the, best tracks in Red and Blue. While it did receive a very good remix in FireRed and LeafGreen, I find myself enjoying the original version just as much, due to the nostalgia involved. In addition, the limits of the Game Boy’s musical styles made the original seem that bit more intense.
Versus Champion Diantha - X and Y really weren’t great games, though they did have a really outstanding soundtrack. Though Diantha herself is a fairly easy opponent, her battle theme has plenty of grandeur. It’s elegant, almost regal in its style, while still managing to convey the excitement and tension of a battle for the League Championship.
Pyrite Town - Colosseum’s soundtrack was pretty good, and I’ll admit Miror B’s Retro Groove nearly took this spot - it’s a lot of fun. My pick from this, however, is the theme from the rough and initially lawless Pyrite Town. Cool, jazzy and a little bit dangerous, it always adds to the feel the town is something out of a western, and Wes is the drifter strolling into the bad-guy bar, ready to clean up the place.
Ecruteak City (HGSS remix) - One of the great developments the Johto remakes provided was giving each city and town its own character. Ecruteak’s new theme pays homage to its traditional atmosphere, and the gentle, laid-back pace of life in a town full of classic legends. It seems to have a slight Japanese influence, accompanying the city’s new aesthetic.
National Park (HGSS remix) - Another piece which will make you want to sit back and relax. It really makes the park feel like the sort of place where people can gather to spend time with their Pokemon, and forget about the stresses of being a trainer.

#1 (Equal): LEGEND OF ZELDA - Spirit Temple
This series is easily deserving of being an equal title holder. Like the Mario series, the Zelda series started out fairly humbly in terms of music. In my opinion, the Zelda games developed quality and quantity in equal parts, faster than the Mario series. There has been a bit more variety in most Zelda games’ soundtracks when compared to Mario, but both of them still produce excellent music. Perhaps the development of unique themes for dungeons, along with its broad and varied landscapes, gave the Zelda series more options with which to work.
Since A Link to the Past was given the nod in my Favourite Games list, it’s only right that Ocarina of Time provides one of my favourite tracks from the series. The Spirit Temple’s theme is composed around a Middle East-style sound, in order to convey the full majesty of the temple. It sound exotic and mysterious, adding a bit more to the overall aesthetic of the Gerudo and their desert kingdom, and accompanies the level design perfectly.
ADDITIONAL RECOMMENDATIONS
I could add so many, but I picked a few at random. I might put one or two more in here.
Lorule Castle - A powerful and triumphant theme, growing in intensity as Link storms the castle. It’s apparently based on a backwards mix of Hyrule Castle’s theme, which makes perfect sense and works very well. Adding Ganon’s Theme as the piece reaches its crescendo is a nice touch, as it lets you know just what lies up ahead, while still managing to fit into the piece’s overall style.
Song of Healing - Easily one of the most beautiful songs in the entire series. Its piano version, which plays during the cut-scenes when Link uses the song to heal a troubled spirit, is elegant, peaceful and calming. Add it to the emotional impact of those scenes, and you’ll easily be forgiven if you get a bit misty-eyed.
Ballad of the Wind Fish - The signature song of Link’s Awakening, and by extension Marin, who teaches it to you. It’s a beautiful piece, but also connected to an emotional scene - it’s the melody which will awaken the Wind Fish and end its dreams. Sadly, a remix of this was cut from Smash Bros Brawl - it was a worthy tribute to the original.
Ballad of the Goddess - The music from Skyward Sword really stood out for me. Both the slow-paced, gentle harp rendition and the triumphant variant which appeared on the soundtrack CD, as well as in Super Smash Bros 4, are fantastic. The basic melody is drawn from playing Zelda’s Lullaby in reverse, again making sense as it’s the theme for the Goddess Hylia.
The Dark World - One of A Link to the Past’s iconic tracks, The Dark World has appeared in a number of Zelda, as well as the Super Smash Bros series. This is the theme which welcomes you to the true scope of adventure in A Link to the Past, ushering in a new world and its many dangers. The version used for Lorule’s overworld in A Link Between Worlds is a really special treat.
Ganon (OOT) - This is a great example of a final boss theme. The music is full of sorrow and despair, as if conveying the belief that the behemoth looming before you is invincible. Yet for all this, it’s still urging you to summon every ounce of your courage and fight, as the fate of Hyrule lies in the balance. Combine this with Zelda’s helpless shrieks each time Link is injured, and the fact the shading on the N64 often made Ganon seem like a giant shadow, only lit by his glowing eyes, and you had an incredible atmosphere set for one of the grandest final battles in gaming history.

#1 (Equal): FIRE EMBLEM - Id (Purpose)
The Fire Emblem series has an amazing selection of music, though you might have to do a bit of digging to uncover some of the hidden classics. The Japanese-only games have yielded quite a few memorable and emotional tracks, and the composers didn’t let up when the series hit Western shores. Like the Mario series, the Fire Emblem games have had a little more emphasis on quality over quantity, though I’ve found Fire Emblem’s music has had more impact on me than the Mario series. Hence, this is equal first with the Zelda series.
Id (Purpose) is probably my favourite piece from the series. It’s one of several remixes of Robin’s main theme - Id (Serenity) is the default version as well as his/her S Support theme - and plays during the final battle. In essence, the Id variants are technically themes for anyone who plays the game, and Id (Purpose) is very fitting. Its triumphant sound is basically saying that this is Robin’s moment. Their plans have come to fruition, and everyone they’ve fought alongside is ready to help them win the fight. I’m really annoyed this was cut short for Smash Bros 4, given similarly long songs were played out fully in Brawl, but that is probably because I really think the full grandeur of the piece needs to be appreciated.
ADDITIONAL RECOMMENDATIONS
Duty (Ablaze) - Another fantastic piece from Awakening. Duty plays during Chapters 3 and 4, as well as a couple of Paralogues. Its original version is fairly sedate, but still lets you know your adventure has begun in earnest. The Ablaze variant, played during combat, is especially fitting for spectacular fights and stylish moves. It feels as though it’s giving your warriors extra fire for battle.
Ike’s Resolution - While Brawl gave the name Ike’s Theme to Eternal Bonds, the Greil Mercenaries’ theme in Radiant Dawn, this is Ike’s proper theme music. It switches between an energetic, upbeat piece and a slower, more sedate section, reflecting Ike’s desire to lead and his thoughts on what he must do now that he is in command. It also forms a basis for Champion, Priam’s motif in Awakening and furthering their connection.
Dusk Falls - This track from Fates grew on me really quickly, as did a lot of the Nohrian path’s soundtrack. It’s probably my favourite piece due to the style used; it has a nice Celtic feel to it, using flutes and bagpipes as major instruments along the way. Like Duty, it has a somewhat relaxing feel to its standard version, but when combat starts, it becomes grand and powerful as it transitions seamlessly to the relevant place in its Fire variant.
Winning Road - Roy’s Hope - The ‘victory is near’ theme from Binding Blade, also remixed for use in Blazing Sword. The original GBA version does enough to present the sense of triumph over adversity, but the piece was really given the chance to shine in its Smash Bros remix.
Don’t Speak Her Name! - One of Awakening’s best pieces of music. It’s a primarily sorrowful piece, conveying the tragedy of Emmeryn’s sacrifice; however, intensity lurks beneath the surface, representing Chrom’s fury with Plegia and desire to exact revenge. This piece is the only music used during the entire battle of Chapter 10, and it’s used to great effect. It’s perhaps even more tragic in light of what you learn about your foes in the chapter.
Chapter 5 - Doors to Destiny - Another piece from an emotion-charged level. This time, it’s from Genealogy of the Holy War. This particular level is supposed to be one of hope, as Sigurd has finally defeated a conspiracy and cleared his family’s name. Yet fate has other plans in store, and the music conveys the weight of a dark destiny.

This was a bit of a long exercise, but we made it. I hope I’ve provided you with some extra listening along the way; there are many great game soundtracks out there, and the craft put into their composition is constantly getting better and better. If you like, share some of your favourites with me. Until the next list, this is janus-006, signing off.