BE WARNED: THIS MIGHT SLOW BROWERS
Yes, it’s that time again, dear readers; time to once more step into the darker side of videogame music and give ourselves a right good spook and zook. Only, this time, we’re not focusing on a single videogame alone. Oh no, sir, this time, we’re taking a look at 20 of the (somewhat arbitrarily ranked) most unsettling, atmospheric, adrenaline pumping, and generally bleaker sounding music all our favourite (and some lesser well remembered) games from days since passed had to offer. Why 20? Why chiptunes? Because I’m indecisive enough that even just 20 was a tough bracket and because, let’s be honest, in the right context and with the right sounds, all these old sound chips could sound pretty damned evil when they wanted too, and god knows we love that classic aesthetic when it comes to spooks. As a general rule, I tried to stick to one game per franchise, and one song per game, and I tried to include a decent variety of tunes across varying platforms. I’ve also included a full playlist with all the songs at the bottom of the article, should you want to jam to these on your own time. I’ve also included a separate playlist featuring playthroughs of each of the games represented here, should you want to give them a curious once over and decide if you’d like to try them out yourself.
With all that said, let’s get cracking; here are my Top 20 Chilling Chiptunes!
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20) Boss Theme (composed by Tim Follin; from Plok! [SNES])
Our first entry proves that sometimes songs perfect for the Samhain season come from the most unlikely of places, with this one hailing from a fairly cutesy and imaginative SNES platformer Plok!, which is kind of what Rayman might look like after shooting up on a gram of Yoshi’s Island otherwise. When a song starts with a creepy laugh, big dramatic drums, organs and a theramin, you know you’re in for a good time, but around 30 seconds, the song shifts gears into a minimal techno track as rendered by the SPC700, with a gritty arpeggiated bassline, a pounding four on the floor rhythm, and some lovely spacy chords that not only sounds fantastically menacing and atmospheric, but technologically speaking is on a whole other level; every instrument sounds like the instrument it’s supposed to be, the quality of the instruments and sounds is incredibly high, and the amount of stuff going on at some points at the track is damned impressive and makes good use of every single channel on the chip. Plok!’s entire soundtrack is a technical marvel I’d love to one day do a whole SBP on, but really, it’s a Tim Follin soundtrack, so that more or less comes with the territory.
19) Dance Of The Snowy Barrens (composed by Yuki Iwai; from Demon’s Crest [SNES])
Capcom’s Gothic masterpiece comes loaded with an equally gothic and technically superb soundtrack, packed with minimal percussion, some chilling vocal samples and lots and lots of pipe organs. Picking a single song from Yuki Iwai’s amazing soundtrack was a damn difficult choice, but I went with this one on the basis that not only does it make great use of the aforementioned pipe organs (and show off how fucking GORGEOUS the sample is), but because it’s also extremely catchy and captures that grand, dramatic ballroom dance feel the song is going for perfectly; there’s something very grand about the arrangement and composition, something majestic even, without sacrificing the unsettling and chilling vibe in the process. That fact it achieves this mostly through organs alone (with a little bit of help from a slight choral, vocal affect) only escalates both the grand feel and the creep factor, for as we know, nothing is more dramatic nor as evil as a pipe organ.
18) Welcome To Slaughter Gulch (composed by Frederic Mentzen; from Alone In The Dark 3 [PC])
Alone In The Dark 3 may not be hailed quite as much as it’s two predecessors (and in fact seems largely forgotten in the grand scheme of things) but I feel it manages to get the balance between the first and second games’ vastly different moods just right, fusing the atmospheric, grim ambience of the first game with the action-packed-ass-kicking-whisky-gulping-P.I. fun of the second with equal measure. The soundtrack, too, is an interesting beast; it’s not a CD quality redbook score like some versions of the first game sported, but it doesn’t use general MIDI like the second either, instead using a (pretty high quality) chipset, blending some wonderfully creepy vibes with all the western fixings you’d come to expect, with this opening track being my favourite, from the twangy Banjo loop to the dissonant strings, and the airy synths to the metallic percussion, this song succeeds in capturing the feel of a figurative-and-literal western ghost town perfectly. And hey, let’s be honest, when was the last time a song with a friggin’ mouth harp in it genuinely menacing? Yeah, thought so.
17) In The Cave (composed by Takashi Suzuki; from Target Earth/Assault Suit Leynos [Mega Drive])
Target Earth is one of those Mega Drive games I missed out on hearing about for years, only recently discovered entirely by downloading it’s soundtrack out of pure chance, and now would very much like to give a go based on it’s fairly interesting looking gameplay. Known as Assault Suit Leynos in Japan (making it the first in the Assault Suit series), the game puts you in the role of a giant mech with a sizeable arsenal, the occasional NPC helper, and has you waging battle against “the earth’s outcasts who have returned from the darkest reaches of space.” Or, something. The soundtrack overall isn’t very big but is pretty damned good, although this song in particular stands out; while a few games on the SNES attempted some ambience or experimental audio, it wasn’t quite as common a practise on the Mega Drive, no doubt due to the lower tech, but this shows that if you know what you’re doing the results can be exceptional, with this piece in particular boasting a harsh, metallic bassline that changes and warps in intensity over the course of the track, some eerie sounding chords, and some fairly clever use of the YM2612‘s FM capabilities to make weird sound effects, and even employs a bit of stereo panning to add depth to the mix and the sounds; the result is a really off kilter and very unnerving sounding track.
16) Cross Your Heart (composed by Kenichi Matsubara; from Haunted Castle [Arcade])
It’s a tale as old as time; two star crossed lovers bound together under god’s law, walking off happily into the evening to celebrate this momentous occasions, and then Dracula comes in and steals your girl because we just accept that that’s a thing Vampires do. It’s part of the allure, I suppose. Refusing to let his dearly beloved wife Selena fall victim to the whims of the twisted count, Simon Belmont gears up and takes off, whip in hand, to battle the legions of darkness. ... So, yeah, it’s Castlevania, but for the arcade. Nowadays it seems like a bit of a black sheep in part due to it’s more “arcadey” visuals and some of the weirder design and gameplay choices, at the time Haunted Castle came out, Castlevania was still carving an identity for itself as an ongoing series, with only the original game and Simon’s Quest being released prior. One element that Haunted Castle has down pat, though, is that specific Castlevania vibe in its music; grim sounding but very melodic little ditties that stick with you for years after first hearing them, and many songs that wound up reappearing in future Castlevania’s got their start here. Hardly a surprise, given Haunted Castle’s score was done by Kenichi Matsubara, the same person behind the music in Simon’s Curse. Although all the music is catchy and memorable in its own right, this one has always been my favourite, no contest; in fact, it’s one of my favourite Castlevania songs period, specifically because of HOW it captures the gothic and creepy vibe whilst crafting a very memorable melody; a perfection of the Castlevania formula, if you will, from the detuned, warping arpeggios all over the intro, the little accents around the main melody, the booming tom drums arcade chiptunes became known for, it’s all there, painting the atmosphere for the game perfectly.
15) Round 4 (composed by Norio Nakagata, and Takane Okubo; from Zombie Nation [NES])
Zombie Nation is a well known little oddity of a game at this point, regardless of whether you’re more familiar with the original Japanese version or the truly bizarre western translation, and it’s multiple counts of Intent To Commit Insanity. What’s less talked about, however, is how good the music in the game is; being a 1990 release for the NES, it’s got one of the higher quality chipsets on the console, down to using some pretty spectacular drum samples (a downsampled orch hit, and I believe the bass voice is a sample as well) alongside some great use of the 2A03‘s PSG sound to create a perfectly off-kilter soundtrack to match the equally off-kilter game. This track is probably my favourite, making use of a 3/4 time signature, a good blend of bloopy melodies melodies, rolling drums and a driving bassline to carry the whole thing along. It’s the manic tone of the track that really sells it for me, though; the mixture of frantic notes, a quick BPM and the lingering sense of finality to the whole thing that just adds that little bit of extra character on top of the madcap sound design.
14) Weird Kids On The Block (composed by Joe McDermott; from Zombies Ate My Neighbors [SNES])
Oh come on, you didn’t really think I wasn’t going to include a track from Zombies At My Neighbors, did you? The quintessential b-movie videogame, Zombies At My Neighbors was one of those “cult-but-not-really-cult” sleeper hits that as time has gone on has only continued to garner interest thanks to it’s longevity, entertaining game play, most of all, enough charm and character to drown a man; it may have been a send up of cheesy horror fare, but it was never meanspirited, and fully embraced the ridiculousness with open arms and a wide smile. And that includes the soundtrack; the music in the game sounds exactly like you’d expect chiptune B movie music to sound like, with weird synthy nonsense, trill theramin riffs, and the odd bass or electric guitar pluck; there was also a very oddly human element to the compositions in that sometimes notes were very slightly delayed by only a millisecond or two, and the whole soundtrack has a very “rough around the edges” feel to it that I think was intentional. This song in particular captures all of the above, with a melody that sounds pure 50s drive in flick in composition, making good use of the aforementioned trill theramins, some strings, a short synth loop and some spacy chords that let you know exactly what you’re in for from the get go; pure shlocky fun.
13) Fuze (composed by Motohiro Kawashima; from Streets Of Rage 3 [Mega Drive])
Streets Of Rage 3‘s soundtrack gets unfairly shit on quite a lot by a lot of people due to it’s much more experimental and hard hitting edge compared to the previous games’ music (the first game especially), although at the same time I can understand why the reaction to the games soundtrack is so divisive; it IS incredibly experimental and very harsh in places, in part due to the supposed “Automated Composing System” Yuzo Koshiro programmed and used in the soundtrack likely some sort of RNG algorithm used to produce some of the more odd and chaotic sequences and sounds, making the soundtrack far ahead of it’s time given that became much more commonplace in years since. Much as I love the music from the first two games a lot, it’s the darker, twisted edge to Streets Of Rage 3‘s score that keeps me coming back to it, and this particular track- one of the first songs you’ll hear in the game, by the by- is probably one of the most triumphant examples of the harsher direction the series went in musically. The composition alone sounds demented, furious, frantically bouncing between arpeggiated rhythms and synth lines with no regard for repeating refrains or any sense of leitmotif, giving it an almost progressive element; add in the fact that some of the sounds actually change and warp in realtime and the actual tone of the piece is especially menacing and chaotic and you’ve got yourself one hell of a song to open a game with.
12) FETUS OF GOD (composed by Masato Kouda; from Vampire Savior: Lord Of Vampire [Arcade])
And hey, speaking of demented sounding sounds, take a gander at this ol’ chestnut from one of Capcom’s best fighters; the CPS2 sound chip is immensely popular with chiptune enthusiasts for reasons I don’t entirely understand (I think a number of the chipsets for it are kinda naff), but some soundtracks for games done using it are well and truly phenomenal, with Vampire Saviour’s easily being one of, if not the best in terms of sheer technical power; the samples on this shit are incredibly high quality, very crisp and clear and sound more or less like the instruments they’re meant to evoke. It helps, of course, that the soundtrack using these sounds, produced by Takayuki Iwai and Masato Kouda, is a well rounded and crafted beast; creepy where it needs to be, fast paced where it needs to be, and even upbeat where it needs to be. This particular track has always stood out to me though, largely because of the demented, almost egotistical air the composition carries, with bouncy synths offset by one-man wails and creepy organs, before breaking down into screaming synth chords and distorted guitars, and finally ending with a slight time signature change, raw tribal beats, and some more lovely organ chords; it isn’t quite as experimental as the above mentioned Fuze, but there is a very clear progressive element to the piece, and obviously evolution from start to finish, that goes hand in hand with the manic tone. Also, FETUS OF GOD is a pretty badass title. So badass it is law that it is always rendered in allcaps.
11) Rocket Hideout (composed by Junichi Masuda, and Go Ichinose; from Pokémon Gold/Silver/Crystal [Game Boy Colour])
I dunno why bad creepypastas everywhere are still hung up on Lavender Town’s theme from Gen 1 when we’ve got this shit. It’s been a long time since I’ve sat down with the Gen 2 Pokémon games and I can’t remember the plot note-for-note, but I do vaguely remember Team Rocket were considered a legitimate threat, and if you were to ask me what the theme song to a gang who at one point were cutting off Slowpoke tails en masse to sell as food items might sound like, yeah, I’d buy that it’d probably sound this vaguely unhinged. Although the melodies and the bassline are threatening enough on their own, it’s the detuned chords that really make this one for me; after a certain point, that stop sounding like chords and sound like the Game Boy itself is more or less having a panic attack at the mere thought of you running into a Rocket Grunt or, worse still, Giovanni himself. It’s a really interesting stylistic choice to go with, and it really elevates the theme into one that very much screams “get the hell out of here, nothing good can come of this” to the listener, which when you’re setting up you villains to be especially devious is always a good thing.
10) Death Egg Zone (composed by Masato Nakamura; from Sonic The Hedgehog 2 [Mega Drive])
You know, what with his rotund shape, all the wacky antics he gets into, and the hilarious voice acting on the part of Mike Pollock, I think we tend to forget that Robotnik, everyones favourite Teddy Roosevelt LARPer, is actually supposed to be threatening sometimes. I mean he IS a Mad Engineer obsessed with building his own mechanical dictatorship. While even the modern Sonic games tend to remind us using musical fare, the older Sonic games REALLY tried their hardest to let you know that this dude was bad news, and this nightmare inducing song from Sonic 2 is the one that goes above and beyond in that goal; we’ve got pitchbends, detuned waveforms, dissonant chords practically wailing at us, and it’s all neatly packaged in the form of a waltz, turning the damn thing into some kind of madmans dance anthem; goes hand in hand with someone so self motivated that they build their giant space fortress in the image of their own face, doesn’t it? You never really get to hear much of this theme in game, as the Death Egg in Sonic 2 is more or less two Boss fights strung together by corridors, which is a damn shame; the length of the composition has lead some to theorise that maybe, at one point, it was planned to be a full zone.
9) Stage 2: Clock Tower (composed by Hitoshi Sakimoto; from Devilish/Bad Omen [Mega Drive])
Devilish is one of the more obscure Mega Drive games, which is a damn shame, as it’s a mighty fine game. It’s effectively what Devil’s Crush was to pinball but to Break Out, by having you do battle against enemies inbetween block breaking, turning the paddle into a prince and princess (who are... turned into paddles- look, it’s a videogame, the story is going to get weird) adding scrolling and turning the fields into levels, adding boss battles, giving the general gameplay a kick up the arse, and using a gothic horror framework to work all of this around; it’s a very stylistic game, but thankfully not at the cost of good gameplay. And ALSO thankfully, the style extends to the music; Hitoshi Sakimoto brought his A game to this one, composing a soundtrack full of creepy flair, but my favourite is probably this one. It’s a solid coupling of a fairly subdued arrangement with few percussive touches, some meaty basslines, falling pitchbends, arpeggiated sequences and some gorgeously creepy melodies and chords; it’s one of those compositions that feels very grand without being overblown, well rounded without being too bloated, and really captures a sense of something otherworldly and mysterious amidst the creeps.
8) Title Screen (composed by Matt Furniss; from Alien³ [Mega Drive])
I can say outright why I adore this song without needing to get too flowery with my description; it sounds like an 80s b-movie theme song in terms of composition and sound, with it’s synth fusion vibes, spacy arpeggios, that lead synth riff, even the breakdown section with just the arpeggio and a harsh gurgling effect; it brings to mind a film like Zombi 3 to me, and there’s just a kind of charm to that general sound and style of composition that has always bypassed every cynical synapse in my head. It helps, of course, that the actual composition is very strong and extremely memorable; I’ve found myself humming or whistling this song many times over the years. It’s also technically very impressive, with some really well rounded harmonic tones that feel very warm and ‘full’ rather then the kind of plastic, grating tones that are often associated with bad (or western made) Mega Drive games, but given it’s a Matt Furniss composed affair, that’s hardly a surprise.
7) Boss Theme (composed by Naoki Kodaka; from Batman [Mega Drive])
From the first few seconds of this song, you knew you were down a certain creek without a paddle; the sudden stabs of melody and drums, the warbly arpeggios an that theramin always really stuck out at me as a kid and even to this day, I think it sounds kinda creepy, and very much sounds like something that would play when bad dudes who are up to no good walk through the door. The creep factor dampens a smidge when the song kicks in proper, but it holds on to that menacing edge that you expect from boss tracks, but that still manages to capture a sort of “Burton-esque” feel. I say “Burton-esque” rather then “Elfman-esque” because the compositional approach is very different from Danny’s, but Naoki Kodaka’s tunes still evoke that ageing, grim, foggy wasteland of debauchery and scandal we know as Gotham City. It’s also another technically impressive soundtrack, with awesome stereo-panned toms, that classic Sunsoft Bass™ that fills out the mix perfectly, and tones that actually evoke horns quite nicely, especially for a Mega Drive game.
6) Feeding Frenzy (Volume 9) (composed by Brian Schmidt; from Crüe Ball [Mega Drive])
If there’s one thing Iron Maiden taught us many times over, it’s that horror and heavy metal make for some very good bedfellows, and during the 90s, back when they were slightly less morally bankrupt and also made games that weren’t painfully generic or so tied to realism they barely entertain, Electronic Arts decided to jump on this bandwagon by adding yet ANOTHER element to that trio; Pinball. But this wasn’t your granpappy’s mint Millionaire table, heaven’s no; this was Pinball with a levelling system made of nine three-tiered tables, chock full of creepy enemies to kill and tasks for you to perform so you could advance, shit, they even had Pinball music legend Brian Schmidt come down and Black Knight 2000 the shit out of the music, and then somehow for reasons nobody really fully understands Motley Crüe kind of went “yeah, we’ll have a game licence, please”, and that Pinball game became a Motley Crüe tie in where the only Crüe aspects were the name, and the inclusion of YM2612 renditions of Dr. Feelgood, Live Wire, and Home Sweet Home arranged by Brian Schmidt. Marketing...? Whatever. The point is, this game ROCKED, even in spite of the ties to a now hilariously out of touch hair metal band, and the music was a big part of that appeal, with gritty FM synth guitars and some killer riffs, but none more killer then this little jam that played over the final table (and the most mysterious table to me as a child, as it was the only one that never appeared as a potential table in the demo reel). I mean, just... Listen to that 16bit shredding, man. Not even the Devil himself could compete with licks like these.
5) Neuropath (Boss Theme 1) (composed by Keisuke Tsukahara; from Alien Storm [Mega Drive])
Alien Storm was an absolute gem of a Ghostbusters inspired beat ‘em up/run ‘n gun with oodles of imagination and fantastic visual design oozing from every gross, puss filled pore, something that’s obvious even just from the first few in game moments, and the music is just as imaginative as the visuals; I can only thing to describe it as “if synth funk and hair metal had a baby and it started dropping LSD”, mixing some killer riffing with weird synth chords, and a fair bit of eclectic sound effect sampling- the composer, Keisuke Tsukahara, really did like using that one polaroid camera sample. You know what else they liked using? Meaty bass riffs, which are all over this soundtrack- and a good thing, too, because if there’s one thing FM synth is good for, it’s thick, twangy basslines that cut through a mix like a knife, and the bass in this tune still gets me hyped whenever I hear it. Well really, all the elements do, from the driving rhythm to the metallic synth chords, this is a tune that blends a menacing air with a very danceable vibe that really gets the blood pumping the second it fills your ears, and it’s one of those songs I can recall leaving an impression even when I first encountered it around the age of about 6 or so. If busting doesn’t make you feel good, then this song probably will.
4) The Place (composed by Hirokazu Tanaka, and Keiichi Suzuki; from MOTHER 2/EarthBound [SNES])
I mentioned earlier that composers working with the SNES’s SPC700 chip were often a bit more ambitious when it came to doing experimental tracks, and one of the most triumphant examples of that is the soundtrack to MOTHER 2, which I could wax lyrical about and praise until the heat death of the god damn universe, but today I want to talk about this song specifically; this song only uses a single sample for every single element within it’s mix, and it’s a sample taken from the Beach Boys song Deirdre. And it is the single most disturbing song in the game to me- don’t get me wrong, the multiple ambient/harsh noise tracks that play during the confrontation with Giygas aren’t far off, but something about the minimal approach to this song, the low bitrate of the sample, the ways in which the sound is used (sometimes as a chord, sometimes warping and pitchbending all over the place) and the general horrible vibe coming off of the track come together to make something that just sounds “wrong”; not only that, but something with a real sense of finality, or the ending of something, that goes hand in hand with that wrongness. The song just perfectly captures that “this is it; the final battle” feeling that you feel in the pit of your stomach as you anxiously approach the metaphorical throne room at the end of the final dungeon, despite every instinct telling you it’s a bad goddamn idea.
3) Perspective (Boss 7: Medusa) (composed by Tokuhiko Uwabo; from Space Harrier II [Mega Drive])
One of the moments that really stuck out to me as a part of my childhood, and in particular my early experiences with the Mega Drive, is the end of Stage 7 in Space Harrier II; the sky darkens and lightning strikes (which is how every boss encounter is announced in the game), and this long THING slides in from the horizon, and once it gets close enough, you can see it has the face of a woman with her eyes closed; slowly, it opens its eyes, and then BAM, it’s face suddenly turns monstrous, and the entire time that’s happening, this music is playing. I don’t know if it necessarily frightened me as a child, but I do know that it stuck out in my mind and I remember it clear as day, even after long stretches of not playing the game, more then any other boss, that one sticks out, and it isn’t just the disturbing imagery alone that did it; it was the combination of that imagery and this genuinely unsettling little loop. It’s pretty clear the dev team had a lot of love for this boss, as not only is it’s entry is one of the more cinematic ones in the game (if not THE most cinematic), it also appears (in much higher detail and with it’s human face) on the box cover, so they were clearly trying to make the boss stand out in a game with some fairly cool bosses to begin with, and this offputting little ditty goes a long way to helping that; not only is it very creepy sounding, but it even gets a bit hypnotic as it goes on, the melody climbing up and down scales repeatedly, high chords offsetting the melody and the bass without much variation, and the very cold FM tones all make for a really unsettling combination. It’s one of the better songs on a soundtrack that has some kind of iffy compositions, and has to deal with being one of the first soundtracks done on the console and made with the chip.
2) Main Play Theme (composed by Paul Heitsch; from Bram Stoker’s Dracula [Pinball Table])
Oh, the memories this song brings back. There’s a little social club at the end of my street that we used to frequent much more in the past (back in simpler times, if you’ll pardon the cliche) and, during it’s hayday, it used to swap out the occasional arcade machine; at one point, though, they had the Bram Stoker’s Dracula Pinball table, and man, I tell you, 5 year old me was OBSESSED with the damn thing. I’d never seen the movie adaptation it's a tie in with (still haven’t), but I was completely drawn in by the imposing thing, with it’s digitised voice clips, blood red LED display, genuinely challenging gameplay, and really creepy FM synth music. The sliding and pitchbending notes serving as ambience, the metallic crashing of the chords, the stabbing bassline and that creepy melody really come together to make a really memorable track that burrows its way into your brain and never leaves; god knows it’s never left mine, anyway. The fact that it somehow manages to add that much atmosphere to a bloody PINBALL TABLE of all things speaks volumes about how effective the sound in this game is. Shit, the only thing I remember more then this song was the little soundbyte of Dracula saying “Aren’t you forgetting something?” if you pulled the ball launch plunger without inserting any coins.
1) Opening (composed by Milky Eiko; from Splatterhouse 2 [Mega Drive])
I imagine most of you are surprised that my number 1 track wasn’t one from The House Of The Dead, and there’s a reason for that; good luck finding any trace of the arcade version’s music anywhere on the ‘net, it’s not easy. Besides, I wanted to be a bit less obvious with my final choice. ... I probably could’ve tried harder, but hell, there was no way this wasn’t gonna make number 1; I first played Splatterhouse 2 when I was probably about 14 or 15, and the opening cinematic- which this song plays over- completely grabbed me from the get go, to the point that even the words “She doesn’t have to die, Rick.” are enough to send a shiver up my spine, and this absolutely fantastic piece of music goes a long way towards making that intro cinematic so weirdly powerful; I make no bones about the fact that the first Splatterhouse has my favourite soundtrack in the series, but the composer known as Milky Eiko took the b-movie soundtrack vibes the first game was going for, and b-movie things even more, ramping up the grind and the cheese to truly phenomenal levels, but in the process, carved a really unique identity for the two Splatterhouse sequels on the Mega Drive; the warbly tones, the melodramatic melodies, the cheesy horror vibes gave so much personality to the already fairly imaginative grindhouse visuals of the games, giving them a feeling that was somewhere between 50s b-movie, 70s grindhouse, and 80s splatter flick in terms of tone and style in a way that could gross you out, make you laugh, make you cry, and somewhere inbetween all that, shit your pants, and the increased emphasis on both the b-movie vibes and the cinematic approach to compositions that went a long towards that; this song is especially movie-like in it’s progression, evolving and changing but keeping a leitmotif or two that it always goes back to and builds upon. I absolutely adore this song, and I think it perfectly captures that sense of why we like horror to begin with; that love of being scared, of opening yourself up to let something scare you for laughs.
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Well, that sure was a trip and a half, wasn’t it! I hope you enjoyed this look at some of gamings finest spooky jams as much as I did writing it~
If you would like to play these songs as part of a playlist, please click HERE. Entries are listed 1-20, from top to bottom.
If you’d like to see some of these games in action, please check out this playlist HERE. Entries are listed 20-1, bottom to top.
~ Decon (25/10/14)