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Super Castlevania IV
In the case of the Castlevania series, most people in this current generation of gamers will most fondly recall Castlevania: Symphony of the Night. SotN was the first Castlevania game to introduce RPG-elements and a Metroid-esque world map and game layout to the series, while still retaining a great side-scroller feel. This successful change of pace resulted in an entire shift of the series to the same format, with loads of installments for both portable systems and home consoles. Although this caused a resurgence in Castlevania interest, it unfortunately also had a secondary effect on the series that saddened me as a gamer that grew up alongside the series; the classic, level-to-level, blisteringly difficult side-scrolling style was largely forgotten. Only a few new games came out that used the old style that the series had been born from, and a good number of those were remakes rather than original CV titles. Even the style of the characters changed...where there used to be a barbarian-style badass with a whip (Simon Belmont), there now stood an effeminate-looking teenager with a fluffy overcoat (Soma Cruz).
Many people will also state that Symphony of the Night had the best music of the series. Although I can appreciate the quality of the music and some of the really cool arrangements that were prepared for it, I have to strongly disagree. The best soundtrack in Castlevania history goes to Super Castlevania IV, the first CV installment on the Super Nintendo and a pseudo-retelling of the very first game, where you play as Simon Belmont and enter Dracula's territory in order to whip him in the head mercilessly until he dies (or whatever it is that a vampire does when you whip it in the head enough times). My reasoning for this selection is split up into a few different sub-thoughts, as I will explain.
First of all, the new music designed for SCV4 is really, really good...even by the standards of current MIDI based music. Every melody and instrument used in the soundtrack is deliberate and suits the feel of the Castlevania series. The first 10 seconds of the very first track you encounter involve a strong organ instrument playing a simple set of 4 notes as ivy actively climbs a rising fence in the background, and this immediately sets the tone for the game. It's somewhat creepy and foreboding, and would give people a sense of the supernatural and science-fiction enemy mishmash they would soon encounter, even if they hadn't heard of the game before. It resembles a sound you would hear in a horror movie, or perhaps part of a song played at a funeral...but then it becomes more upbeat while still incorporating that distinct organ sound every so often, and all of a sudden you want to move forward and slay some scum. This particular song is called Simon Belmont's Theme, and I believe it was made to reflect the character (simple as he may be). Here's a man who has been driven into action to destroy an entire league of supernatural forces to protect humanity...at first this task is daunting and would likely make anyone feel uneasy, much like the first few organ notes of the song. However, it's Simon's duty and desire to succeed in ridding evil from Transylvania, and this kind of inspiration comes across in the rest of the theme quite obviously. Once the arrangement of the song becomes quicker, it reminds you that you're playing an action game rather than an all-out horror, and you jump into it. The song really suits the very beginning of the quest, and also serves as part of the music during the final boss battle, effectively bringing the entire adventure full circle.
That's just one example...but the game is loaded with tracks that really sound like they belong in the world. A chaotic level with constantly moving backgrounds and platforms possesses a truly hectic and stressful musical theme that not only makes you uneasy while you try to figure out how to tackle the level, but also wedges itself somewhere in your mind and manages to be catchy at the same time. In another area, you're making your way through a cave with water droplets falling from the ceiling and numerous bats swooping overhead. This natural landscape comes with a very peaceful yet spooky melody that reflects the stillness of the landscape while also making you wonder what's up ahead. Not a single track in the game really feels out of place, and that says something on its own.
If you ever want a headache, stare at this level without blinking for 27 minutes.The second part of my reasoning has to do with nostalgia. Super Castlevania 4's soundtrack is mostly composed of new themes, but once you near the end of the game, some very familiar music pieces rear their heads. The first instance of this is in the Clock Tower level, which has a remix of the Bloody Tears theme that was created for Castlevania 2: Simon's Quest. This remade track, although mostly placed in the game to strike at the hearts of gamers who grew up with the series, still manages to suit its surroundings terribly well. The quick timing of the piece matches the animations of the gears in the fore- and background, while also giving the player the feeling that this particular level is not going to be easy. It's rather interesting that Konami managed to correctly place a nostalgic song within a nostalgic level for the series, and make them match up so well. After this level, you find yourself hearing two more remade themes: Vampire Killer (the song from the first level of CV1) and Beginning (from the first level of Castlevania 3: Dracula's Curse). As you hear these themes, you start to realize that you're near the end of the game...you've now heard music from all three of the previous console entries in rapid succession, which amps you up for the final battle that comes very soon after. Overall, my point about nostalgia is not simply that it exists within Super Castlevania 4's soundtrack, but that it is used to great effect as you play. More impact is lent to these particular tracks when you realize that the first 90% of the game was completely devoid of any recognizable tunes, and as a result they become more effective when they are finally incorporated.
The bottom line is that the soundtrack in Super Castlevania 4 is superb, and it's clear that there was significant work done to make complex and melodic arrangements that suit the current state of the gameplay, and to remind the player that they are in fact playing a Castlevania game in the end. At the time, it was the first of the Castlevania series on a brand new system. New techniques, spiffy graphics, and more possibilities were accompanied with completely new musical pieces to showcase the system's audio capabilities. At the same time however, incorporating those nostalgic melodies near the end of the game really helped to drive home the fact that, under all of the new features, this was still the same series that the fans knew and loved, right down to the core.
Samples:
Simon Belmont's Theme - I've already talked a lot about this track, so I won't dwell on it. The initial sound you hear at the beginning of this arrangement is the sound of a large gate closing behind you, reminding you that you're alone against Dracula's hordes. Overall an amazing piece that I still find myself humming to this day.
The Cave - Hopefully this track will give you an appreciation for some of the atmosphere that could really be captured by the Super Nintendo's sound system, something that was much harder to do in previous consoles. Rather than an action-heavy piece, this multi-layered melody uses numerous instrumental sounds that blend together to create a creepy yet peaceful theme.
Spinning Corridor - This is the "chaotic" track that I had previously mentioned. The first area you encounter this was a crumbling walkway within a huge, spinning cylinder which used Mode 7 effects, one of the Super Nintendo's technological advancements. When you first encounter this room, you literally have no idea what to make of it. Shortly afterward, you find yourself in a large room with a maze of stationary platforms between constantly shifting ones, peppered with spikes, crushers, and other deathtraps. In an area of the game that keeps you on your toes as much as this one, a musical theme as stressful as this one is a necessity.
Vampire Killer - For my nostalgic sample, I had to choose Vampire Killer. There really is nothing left to say about the purpose behind this track and its companions in Super Castlevania 4. They're simply there to be effective in their own rights as established throwbacks to earlier times, and to grasp at the heartstrings of longtime fans in the final moments before they finish a brand new chapter of their favourite series.
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Ecco 2: The Tides of Time
Bet you didn't think you'd see a game about a dolphin on this list, did you? I'll admit, I never had a single Sega system and always preferred Nintendo anyway so I had no desire to get one. However, I was always enthralled with the Ecco series...it was just so damn weird at the time it was released that it really captured me.
The Genesis had a very different sound to it overall, and if you look at games that were released on both the Genesis and the SNES you'll find that their soundtracks, while populated with the same basic tunes and notes, will sound very different from one another. Let me provide an example: Earthworm Jim was released on both systems, so we'll use the track for its first level, New Junk City in a comparison. You can find the SNES version here and the Genesis version here. If you listen to them, you can tell that the MIDI systems are very different between the two consoles...after all, if they were similar, the tracks would be the exact same. Emphasis is put on different instruments depending on what system you're listening to, and that's kind of interesting in its own respect.
Anyway, it was very rare that I liked a Genesis game because I found the music to be pretty grating in comparison to what I was used to on the SNES. I found that the Super Nintendo pumped out an overall smoother sound, and criticized the Genesis' abilities as a result. However, I was certainly wrong, and some Genesis games can have some very cool tunes and melodies, such as Ecco 2.
The game itself obviously takes place mostly underwater, since you are playing as a dolphin after all. The Ecco series was never a straight up action game, but rather one focused on figuring out how to progress through certain areas, whether it be by figuring out puzzles or acquiring new abilities to access new locations (perhaps one of the reasons I was drawn to it, as this is a very Metroid-esque quality). The music in the game reflects this by very rarely being too upbeat...instead, you are greeted with a majority of mysterious and floaty tunes that suit the play style of the game. It's one of those games that has an overall minimalist soundtrack, with the deliberate use of sounds to make the game feel like it should. There are only a few occasions where the music picks up and becomes more intense, but these are always in situations where the gameplay reflects that feeling. One example of this that stands out in my mind is the track for the Tube of Medusa level, but I will talk about that more in its respective sample.
Sure, it looks peaceful now...but just wait until you start running into aliens.It's difficult to talk about the soundtrack in portions of this game, because it all blends together quite harmoniously. The game moves fluidly overall, and mostly has a slow yet shifting soundtrack to complement it. At times it can be a little unnerving, and this effect is not only created by the environment, but by subtle instrumental use in the songs. The game is mysterious and when you first play it, it raises many questions such as:
What am I supposed to be doing?
What the heck am I going to encounter next?
Why am I playing as a dolphin, anyway??
You're constantly second-guessing yourself throughout the Ecco series, and that air (or water, I suppose...HAR HAR) of uncertainty really makes you nervous about making any sort of move. Add to this that the landscape is alien, a result of the whole game taking place underwater, something very unnatural to a human being; and also that you're constantly in danger of drowning, as you try to find packets of air to breathe throughout your long traversals under the sea in the convoluted level structures. What you get from this is a game layout that can be calm at some points, because it really is a beautiful game with a great feel to it, but also an air of tension, because if one wrong move is made, you could be destroyed by the very medium you use to travel. The soundtrack overall provides the player with that same feeling...the music tracks are calm, yet tense at the same time, and you tend to notice one quality or the other depending on your current situation. It's a very cool game that needs to be experienced on its own merits, and the samples I'm about to provide cannot do it justice without the accompanying scenery and feel of the game. Definitely check it out.
Samples:
Sea of Darkness - A perfect example of the minimalist style I mentioned. Tones are very quiet and flow into one another, with an almost heartbeat-like drum sound in the background. At about the 1:10 mark, strange and unsettling sound effects are introduced to the basic synth layers, giving the track a much more disturbing and mysterious feel to it. When you're exploring the deep, dark areas of Ecco 2, this track can really start to get to you.
Skyway - The Skyways of Ecco 2 are disjointed fragments of water floating in the air, which is strange and surreal on its own. This tune has a very weird yet intriguing sound to it, which I feel represents the level as a whole. You're technically keeping Ecco aloft in the air, but still submerged in water at the same time...a concept that is strange on its own and only made more mysterious by the track that accompanies the level.
Tube of Medusa - This particular entry is much more upbeat than the rest of Ecco 2's soundtrack. The level involves moving through one of the previously mentioned Skyways while trying to escape a giant Medusa jellyfish that will catch you and toss you out of the path, sending you back a couple of levels. With the narrow boundaries of the Skyway and a monstrous, red creature chasing you, it's no wonder the music picks up in this level.
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Donkey Kong Country 2: Diddy's Kong Quest
The Donkey Kong Country series overall is a very solid series of platform games. When Donkey Kong had not been seen for a while, Rare picked up the franchise and put it back on its feet. They made Donkey Kong into a very likable character and created a unique series of platformers, made special particularly by their use of pre-rendered models for characters and objects. This isn't to say that the game is loaded with actual 3D models...but rather the models were created and then had snapshots taken of them in different positions, which were then converted into frames of animation. It was a really cool technique and it made DKC really stand out amongst the remaining games of the SNES library. The same method of animation was later used in other games, such as Super Mario RPG: Legend of the Seven Stars.
However, we're not here to talk about the animation styles. The music of the DKC series was often top-notch, with the only exception (in my opinion) being Donkey Kong Country 3: Dixie's Double Trouble. The first game of the series had a great soundtrack, with plenty of memorable tunes that were nearly ALL refurbished and remixed for the recently released Donkey Kong Country Returns for the Wii. The second entry in the series, however, had not only the best gameplay and layout, but also the strongest ensemble cast of musical pieces in the entire series.
Donkey Kong Country 2: Diddy's Kong-Quest has a leg-up over DKC1 in that, in making the first game, Rare not only had to design the gameplay, but also figure out how they were going to go about the graphic design, the programming, and other features. Once DKC2 came around, they already knew they had a successful formula...it was simply a matter of refining it and creating a new game with the improvements. Not only did gameplay feel a lot better, with challenges and new obstacles constantly thrown at you without overwhelming the player, but the audio direction was clearly much more thought out than the previous game.
The last time I had bugs climbing around my mast, I had to use this special shampoo and...nevermind.In DKC2, Donkey Kong has been nabbed by the Kremlings and taken to their island stronghold called Crocodile Isle. Since the Kremlings are pirates, a distinct pirate theme is seen throughout your travels in the game and this is reflected in many of the musical compositions you hear. For example, the first entire world takes place on the Gangplank Galleon, King K. Rool's ship from the first game. The world is loaded with levels that take place on the deck, masts, and flooded cargo areas of the ship, and each type of level has a musical theme that suits it. You'll hear pirate-inspired drum rolls, shipboards creaking, and water splashing against the ship on levels that take place on the deck, while mast levels such as Mainbrace Mayhem have a similar themes, but with a more serene sound to them that gives the impression of being high in the air, complete with wind blowing in the background. It's very effective at complementing the graphical design of each level, and this pattern continues throughout the entire game.
I can provide many more examples, because the soundtrack is equally as varied as the locales of the game. Some levels take place on a roller coaster looming over a theme park, with fireworks shooting off in the distance. This is made complete with a very groovy, bass-loaded, almost disco track that has a distinct note that climbs and falls again to make the tune feel like a roller coaster itself, complete with synthetic screams hypothetically made by ride-goers. Levels that take place in mines have a percussive beat that is represented more by sounds resembling pickaxes hitting stone and gems rather than drums. Jungle-themed levels have distinct tribal inspirations, such as drum beats that sound like they're from conga drums, and the occasional OOH's and AAH's. Finally, the areas that take place high in bramble trees and bushes are complete with a peaceful, steady beat that sounds just as beautiful and odd as its relative location appears. It also happens to be one of the universally agreed-upon favourite tunes to ever appear in the DKC series.
Be sure to listen to a few of the following examples to really get a feel for what the soundtrack contains. Donkey Kong Country 2 is a very well-thought out platformer, which has a very distinct atmosphere created by each and every background in the game. These backgrounds are made doubly as effective due to their sophisticated and inspired musical themes.
Samples:
Klomp's Romp - Played in the ship deck areas, you can hear the distinct creaking of the ship and the pounding of the waves against the boards, along with the marching drum roll in the background. At the same time, a very simple tune plays that accompanies the rest of the noises, but isn't overwhelmed by them. It's a really good track to use that introduces players to the world of DKC2.
Mining Melancholy - Featured in the mine levels, you can hear the distinct percussive "mining" sounds used in this piece of background music. Chances are, that if you heard this without knowing it was mine themed, you would picture people slamming the sides of caves with mining tools anyway. Pretty cool tune!
Disco Train - In this example from the previously-mentioned roller coaster levels, you can hear the up and down notes I referenced starting around 0:14. You can actually picture going up and down a hill quite effectively to this part of the arrangement, making it a very suitable piece for its respective environment.
Stickerbrush Symphony - This is the track that plays in levels that take place in bramble bushes, high above the ground. As you can hear, it has a rather soothing sound to it overall, but it still maintains a really cool beat with certain instruments that almost sound as thorny as your surroundings...particularly the quick presses of a piano that you can hear around 1:36.
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That's it for this entry! Next time I'll finish up with the final four soundtracks and be on to something new!
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