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#41

"In truth I wasn’t very good at the game, which can seem very lengthy when you’re not that interested in sliding around the rim of a wireframe web taking potshots at wiggly clumps of polygons. As a result, I have just a few of the game’s half a dozen or so tracks seared into my brain. In addition, the soundtrack album that’s the basis for today’s playlist features another six tracks that didn’t make it into the Jag release, apparently due to cartridge size constraints. Guess I was wrong to say no compromises; all those impressively clear samples didn’t come cheaply."

"The Bully soundtrack was composed by Shawn Lee, who doesn’t normally work with video games. Before Bully, the only game he’d composed music for was The Getaway. While it might seem odd to hire someone who hasn’t done a lot of game soundtrack work, it paid off with Bully. What Lee created was unlike any game soundtrack I had heard before and, really, unlike any I’ve encountered since."

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#42

"Zelda’s soundtrack isn’t long or complex; aside from that title theme, the famous overworld song, and the closing credits, most tracks aren’t even a minute long. The underworld track loops in a mere 20 seconds, yet may be the most memorable piece of dungeon accompaniment I’ve ever heard. Iconic, and perfect fuel for my younger self’s imagination. The sound effects, too, were so crunchy and enjoyable. The tinking up of a big rupee score, the meaty KRRRR-SHING of firing the beam sword, the funny little “buh!” Link emitted when injured, those super bit-crushed roars you’d hear as you neared a boss…it’s all gold, just like the cartridge that housed it."

"Tri-Ace’s mix of deep crafting systems, action combat, and sci-fi fantasy—that sees a group of exiled magicians try to return to their home by slamming an entire planet into it—is, as you can probably tell, a whole lot of things. “Prestige role-playing game“ isn’t necessarily one of them. I love Second Story, but it can be a hot, goofy mess. Its credit music, however, blew me away the first time I heard it"

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