Video Game Classics

My first RPG was A Legend of Zelda: A Link to the Past, on the SNES. The drama seethed in the opening theme--you could practically smell the moldy old tombs, the dank caves, and the evil that had permeated the land. It was at this moment that I knew music and word could make or break a game for me. More recently a beloved franchise, the Final Fantasy series has led me to complete disappointment. With the loss of Nobuo Uematsu, the chief composer for the music, I had nothing left but some fanboy glee that the 13th installment would revitalize my interest. No such luck.

In any case, I'd like to share a trip down memory lane with some tunes from a couple games. These aren't from in game. They are the original pieces of music and played by a full orchestra, sung by a soprano, etc. For anyone who truly enjoys something, I believe knowing something about the past about whatever you enjoy will only heighten your enjoyment and understanding of the given subject. Music, for example, comes in many genres and sub-genres. But they all come from classical music and even that comes from something older.

The first track, Horragath, by Matt Ulemen, who is of Diablo notoriety. The expansion for Diablo 2, The Lord of Destruction, featured an entirely orchestrated soundtrack. Horragath is the first that the player hears. It embodies the frigid heights of Mount Arreat--ripe with struggle, pain, but the sound also has a familiar tone of happiness and the hope for survival past the coming strife. The climax at 3:40, is without a doubt my favorite, meshing all of these emotions into one. It begins with a low guttural bassoon, coupled with light winds, and eventually ending with timpani ablaze and the brass breathing a sighed crescendo. Not found in this particular piece, but Ulemen takes influence heavily from Gustav Holst, especially from Mars.

Second is the theme from Castle Hyrule, from A Legend of Zelda: A Link to the Past, by Koji Kondo. The sound is very eastern--Japanese to be exact and regal. I'd go as far to say with slight Argentinean influence. The backing syncopation could easily be used in any tango. Either way, the combination is foreboding and interesting. Again, the ending is my favorite. Its loud and sounds as if some emperor is about to sit and everyone is waiting.

Everyone knows Mario. My personal favorite incarnation was Super Mario World, from which the next track is from. It was also composed by Koji Kondo. The music from this 90s classic, was influenced deeply by the 1930s-1950s swing music. The piece is just fun and a little over the top. The brass and the percussion dominate this track with very little need for the strings at all.

Switching back to basics, Secret of Mana 3 was never released in America. It was one of the first games to ever allow choosing party members. In addition to this, the characters would always face different obstacles depending on who was chosen, reacted to events contradistinctly, and grew in a unique way. The track titled, Meridian Child, is characterized with strong crescendoing of the brass ala Leonard Bernstein and tinged with bits of medieval decorum throughout. The middle and ending are without a doubt the best parts of the piece.

Chrono Cross was one really screwed up sequel to the much beloved Chrono Trigger, an RPG engaging in extreme time and dimensional travels. This piece isn't really classical, but just listen to that violin solo and you'll understand why I included this. Its breathtaking, even after ten years of listening to it. The track was composed by Yoko Shimomura.

Nobuo Uematsu in my mind is a great composer and worthy of any accolades that come his way. Anyone who can give a game a distinct sound throughout and mimic a period so impressively, is amazing. Aria de Mezzo Carattere or Aria of Half Character is an homage to Italian baroque opera. This piece is sung by Svetla Krasteva, a Bulgarian mezzo soprano. The strings are practically lulling to the harpsichord to keep the them in beat as it is the only essence of percussion available. The song really doesn't need an explanation. The sound speaks for itself--something I can't say of much I've heard lately.

An opening always needs to have something to grab you. Legend of Mana, has a great title theme. Starting with a foreboding piano and opening into an inviting psalm, just before releasing a passionate exhale into chaotic banging. That oughta get your attention. This piece is a little soulless compared to the others I've talked about, but it did catch me off guard. Again by Yoko Shimomura.

Organs. I've loved the sound of organs since I heard Bach's Passacaglia and Fugue in C minor. It was a real treat for me to go to morning mass in London and hear it played at Westminster Abbey. The stone halls reverberated with the bass of an age old instrument. It was astonishing.

Kryie, in muscial terminology is a "musical setting of sets of petition and response." It is also the title of the organ and soprano based track from Parasite Eve. The organ originally begins both the call and response in the piece, but as the soprano enters about midway, she begins to call. Although she only sings along in a rather breathy vibrato, there are no words.

Finally, I end with a real personal favorite. Fighting, from Final Fantasy VII and a real piano masterpiece, by Nobuo Uematsu. This is one of the most complicated sounding pieces. Imagining the fingers moving this quickly is simply too much of a conundrum for my mind to handle. So I'll show you how someone else does it.

The energy in this song in deniable. I love the drive behind the keystrokes, powerful and unabashed at any ounce of dissonance. Its about wiping the floor with whatever is in front out and the sound is direct at allowing you understand that.

I believe that'll do for now.