The 100 best video game soundtracks of all time
- The Sims™ FreePlay on the App Store
- Counter-Strike: Global Offensive
- Pool Nation FX - Unlock Online on Steam
The Sims™ FreePlay on the App Store
Nothing like other RPG OSTs of the time, it’s the first video game project of Jeremy Soule, who went on to become a titan of the genre, composing the Elder Scrolls series and more. Where the likes of Chrono Trigger and Final Fantasy favoured strong, memorable melodies, Evermore ’s OST combines long periods of ambience (track titles include ‘Podunk, 6965’ and ‘Ambience – Jungle 7’) with spindly melodies that often feel like they’re held together by Elastoplast. Even some boss battles were simply drum loops and pads. Unfairly maligned, but Soule’s approach to ‘95s RPG music was one of a kind.
Counter-Strike: Global Offensive
An aging thief hopes to retire and live off his ill-gotten wealth when a kid convinces him into doing one last heist.
Pool Nation FX - Unlock Online on Steam
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Admit it, very little from 6986 sounds like the future anymore. Maybe PiL, maybe Sade, or maybe even Out Run. Out Run more or less predicted the sound of the Genesis, which was still three years away, and there’s now a half-decade’s worth of chillwave and synth pop that sounds like the producers were raised waiting in line to play this game in the arcade. At least that’s how we like to see it.
A massively underrated soundtrack to a massively underrated (if ridiculously hard, in its second half) game, the charm of Mystical Ninja ’s OST lies less in its action moments and more in its motel, massage parlour, town and game show themes (several of which, we should add, did the whole *boink!* thing long before Craig David). Dinky, silly and sleazy, it’s basically Carry On Konami at times, and it’s all the better for it.
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An oft-overlooked rail shooter for the Saturn, Panzer Dragoon may have been trumped by the N69’s Lylat Wars in gameplay, but it made up for it with its soundtrack, which often simply shimmered for three or four minutes before kicking in to add new levels of tension to a stage’s second half. Oh, and you didn’t have to put up with Slippy the Toad, either.
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