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It is fascinating to think how far video game soundtracks have come, from the early era where there was a vital importance in creating a memorable little ditty, something players could easily hum to themselves after finding it had earwormed its way into their brain, to the modern era of swooping orchestral scores.
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(Game Rant is not responsible for any head-banging-related injuries while playing these games).
The soundtrack of a game is so important in creating the desired atmosphere for the player. It is there through the entire adventure, often going completely unnoticed and straddling a fine line of creating atmosphere and fitting the moment-to-moment gameplay, but without overshadowing the on-screen action. But in some instances, the music is put to the forefront and into the spotlight to make a section stand out among the rest. Sometimes, these instances become the defining moment and memory of the game for many gamers.
8 Borderlands – Intro Cutscene
No Rest For The Wicked by Cage the Elephant
Like the first sentence of a book, the first scene of a film, or a bite of a meal, the introductory cutscene of a video game is a vital tone-setter.
So when the first cutscene introducing players to the world and their very first character choices for Borderlands began to play, and it was this super-slick and stylish scene that played like a music video for the track Ain’t No Rest for the Wicked by Cage The Elephant, it both came as a surprise and did the perfect job of immediately settling players in for what kind of world and adventure they were in for.
7 Saints Row: The Third – Penthouse Takeover
POWER by Kanye West
Saints Row 3 might not be a favorite among fans of the series with its constant and indistinguishable ironies and ludicrous scale of quirky mayhem. However, there’s one crowning moment of glory that no fan can deny its cool factor, which is the Penthouse Takeover mission.
Launching from a helicopter high above the skyscraper, Power by Kanye West kicks in as they descend and is in full throttle by the time the player and their gang are blasting the remnants of their rivals from their new home. If there was one mission that encapsulated the fun and frenzy of the Saints Row series, then it was this one.
6 Control – Ashtray Maze
Take Control by Old Gods of Asgard
When all of Control‘s elements came together it could come pretty damn close! Floating through the geometric, ever-changing labyrinth as the power ballad, Take Control, just keeps kicking it up a notch every time it seems to have peaked, certainly felt like perfection.
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Actually, it’s just a little disappointing that more of the game wasn’t like the Ashtray Maze because it was such a quality slice of what Control had to offer. Ashtray Maze is one of the defining segments that shine through the enjoyability of Remedy Entertainment’s title.
Rules of Nature by Jason Miller
This moment would be pretty cool with only the sound of crickets chirping to accompany it. A list of cool things about this: finally getting to play as Raiden in his cool ninja form, that the first boss of the game is the most daunting of the Metal Gears, Raiden picking up said daunting Metal Gear by the arm and throwing it down the street.
That the thrashy, screamy full-on-track Rules of Nature is playing throughout the fight and intensifies as the fight does really is just the icing on the cake, but it’s the best icing on the best cake, and it’s being cut in slow motion with an electric samurai sword.
4 Red Dead Redemption – Going To Mexico
Far Away by José González
If not the first, it’s certainly one of the early examples of an open-world game employing non-diegetic music to great effect, especially with spaghetti Western flair. It comes in as such a gentle surprise when, around the halfway point of the story, the second half of the map is unlocked and on their way to Mexico to find Bill Williamson and Javier Escualla, the player is treated to the sweet singing of Jose Gonzalez, reminding them of how far from home they have come and how far still remains to go before they see their darling Abigail again.
Snake Eater by Cynthia Harrell
- ESRB
- M For Mature 17+ due to Blood and Gore, Intense Violence, Language, Sexual Themes
- Developer(s)
- Konami
- Publisher(s)
- Konami
- Platform(s)
- PlayStation 2
Yet another Kojima moment that changed how stories in video games are portrayed from that point onwards. In fact, MGS3 is full of such moments from beginning to end, but there is something special about the ladder. For one, it is slow, it could be excruciatingly slow, yet it is transformed into a brilliant build-up, a swelling in the heart of not quite-understood emotion as to why climbing this ladder brings tears to the eyes and a grandeur that most video games cannot approach.
It’s been meme’d to hell and back and mimicked and copied, but still, every time players come back to this moment, it all fades away, and it’s just pure feeling, especially when one considers that this is one of the best Bond songs that isn’t a Bond song.
2 Dark Souls – Gwyn
Gwyn, Lord of Cinder by Motoi Sakuraba
An instantly recognizable three notes to anyone who has finished Dark Souls. Much like the boss himself, the track too goes against expectations of the whole idea of a climactic finale to the grand fantasy adventure the player has been on with a gentle plin plin plon.
This is not the defiant, proud, and powerful king that players had been hyping themselves up to face, but a tired and withered shadow of the man who once was, and the somber and slow piano reflects this.
1 Max Payne 3 – Airport Shootout
TEARS by Health
- ESRB
- M for Mature: Blood and Gore, Intense Violence, Partial Nudity, Strong Language, Strong Sexual Content, Use of Drugs and Alcohol
- Developer(s)
- Rockstar Studios
- Publisher(s)
- Rockstar Games
- Platform(s)
- PS3, Xbox 360, PC
Max Payne 3 had an absolutely outstanding soundtrack, courtesy of Health. There are many moments where the soundtrack so perfectly complements the action and story during Max Payne’s final outing, but Tears during the climactic airport shootout has to take the cake.
The only track on the OST with lyrics, lyrics which give off the ghostly suggestion of Max’s dead family telling him it’s time to move on, this track bleeds in during the biggest and most difficult gunfight the game has to offer.
It’s Max versus a private army in the emptied lobby of an airport, pushing through one bullet and dead body at a time to dispense with his own very violent form of justice. Frankly, it is one of the finest moments in action games, and the music is undeniably the heart of the moment.
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