First Pick: Final Fantasy XIV: Heavensward
Like last year, my first pick of the year goes to
Final Fantasy XIV: Heavensward. The game's story continued hard and strong this year, and with it SOKEN's talents.
1.
Exponential Entropy is the song I choose as the best example of his work. It's honestly hard to choose among the trove of amazing works in the patches that came out this year, but Exponential Entropy manages to be both catchy and applicable to the fight it's in. It's a confrontation between the player and an updated version of a robot from one of Square's first games. It perfectly fits into Alexander's techno-metal theme musically, and I confess it's hands down the ear worm of the year for me.
2.
Revenge of the Horde plays in what is perhaps one of the single greatest moments of the entire franchise. Final Fantasy XIV builds upon its story continuously, and the confrontation with Nidhogg is the culmination of every adventure the player has been in: in terms of story, battle, and music. As the player calls upon every mechanic they've learned in fights against dragons, SOKEN conjures a new version of one of the major themes of Heavensward. It's the
Heroes of the patch storyline.
3.
Equilibrium muscles out Alexander's Rise for a singular reason: Where Alexander's Rise is the pinnacle of 12 floors of music, Equilibrium manages to stand next to it without building upon that. It's a haunting, beautiful melody held isolated to a single battle in the entire game. It is, to me, everything that makes Final Fantasy XIV's Primal Battles so special: their unique, enthralling songs, combined with an engaging team effort to topple an enemy whose might should be beyond the player's comprehension.
Second Pick: Hyper Light Drifter
Heart Machine's little game that could came out of nowhere to me, and remains one of the best games of last year. It's a story without words, a tale told through image and sound alone. Disasterpeace's score for the game manages a considerable amount of range, from the upbeat, poppy boss music to the atmospheric, dread-inducing themes of the harrowed habitats of the game. As snappy, snazzy and fun as it was to play, I really cannot get past how much the game was improved by this sound track.
1.
The Last General was the first boss I faced in the game, and is demonstrative of precisely the sort of song I'm referring to. It feels somehow laid back, yet it's over-powering, with a frantic undercurrent that I think speaks to the immense struggle of this battle.
2.
Cult of the Zealous is another personal favorite of mine, its slow, ponderous pace speaking to the cold, desolate and foreboding nature of the Mountain Zone. When all that tension bursts in the confrontation with the Hierophant, it's hard not to feel nearly cathartic about it.
3.
Panacea is another I'm a big fan of. It plays at the game's ending, and is noteworthy in that, unlike so much else of the game, it's a piano piece. The transition from synthesized instruments to a more natural sound is, I think, indicative of the game's conclusion. Something I won't spoil here, but I really love this piece, and the way it cuts so stark a contrast with the rest of the score, despite still carrying some of the same motifs.
Third Pick: VA-11 Hall-A
Sort of an out-of-nowhere game for me this year, but I think VA-11 Hall-A is easily as worthy of mention as Hyper Light Drifter. The game's music really helps to breathe life into the wacky, sexualized cyberpunk dystopia the creators were trying to depict. And I can completely dig that.
1.
Karmotrine Dream is my favorite track in the whole game. Mostly because I would dump karmotrine in everyone's drinks at every turn to get them boozed up as fast as I could. But also cuz I think it's a good song to open the nights on in the game.
2.
All Systems Go, similarly, happens to be a favorite opener of mine. Not a lot to say beyond my unabashed love for it.
3.
Your Love is a Drug is Kira*Miki's number 1 hit jam and how dare you let her down
