Hello everyone and welcome back to another blog post. I know, I know—these games are not indie. Not even close. This is a list of AAA, big-budget, corporate-backed behemoths that probably had more people working on their sound design than I have followers on social media. And yes, this is officially my fourth post about video game soundtracks. At this point, I should probably just rename the blog “The Soundtrack Corner” and call it a day. But look, I couldn’t resist. I like regular games too, alright? Sometimes you need to put down the pixel-art platformer and appreciate the fact that a multi-million dollar orchestra was locked in a room to make noises for a game about a man with a cardboard box. Sue me.
So, here’s my completely objective, definitely-not-controversial list of the top 10 Japanese video game songs. Get your headphones on and prepare for some sarcastic commentary
1. The Legend of Zelda: Ocarina of Time – “Gerudo Valley” (Koji Kondo)
Oh, look, the obvious choice—but not the one you expected. Everyone talks about the main theme or “Song of Storms,” but “Gerudo Valley” is where Koji Kondo’s genius truly shines. That flamenco-inspired guitar riff is so catchy it should be illegal. It makes sneaking into a fortress full of angry desert women sound like the coolest thing you could possibly do. It’s upbeat, it’s adventurous, and it has no business being this good for a game with N64 graphics that look like melted clay.
2. Chrono Trigger – “Corridors of Time” (Yasunori Mitsuda)
When you have the guy from Final Fantasy and a hungry newcomer team up to make music for a time-traveling RPG, you get magic. Yasunori Mitsuda apparently worked himself to the point of getting a stomach ulcer for this, and honestly, you can hear the passion. “Corridors of Time” is the song that plays when you first arrive in Zeal, an ancient floating kingdom, and it’s ethereal. That synth melody floating over the harp and strings? Pure bliss. It’s better than 90% of the music on the radio today.
3. Final Fantasy VI – “Dancing Mad” (Nobuo Uematsu)
Sure, people will argue about “One-Winged Angel” from FFVII, but this is where Nobuo Uematsu peaked. “Dancing Mad” is a 17-minute progressive rock symphony that serves as the final boss theme. An actual multi-movement opera that spans four distinct sections. You’d think it would be a meme, but it’s genuinely one of the most ambitious, complex, and beautiful pieces ever composed for the SNES. It makes you feel things for characters that are literally just a few dozen pixels.
4. Persona 5 – “Last Surprise” (Shoji Meguro)
Do you like jazz? Do you like acid jazz? Do you like your acid jazz with a side of “You’ll never see it coming”? Of course you do. This is the definitive battle theme of the modern era. It’s so stylish that the game itself basically oozes swagger. It makes running a high school life and fighting monsters in a parallel dimension sound like the coolest thing you could ever do. It’s impossible to listen to this without tapping your foot or, let’s be honest, trying to mimic the bassline badly.
5. NieR: Automata – “Weight of the World” (Keiichi Okabe)
Alright, let’s get sad. This is the song you put on when you want to stare out the window dramatically and contemplate the meaning of existence. “Weight of the World” is the ending theme that ties the entire emotional gut-punch of a game together. The mix of ethereal vocals, melancholic piano, and the way it changes in each ending? Pure genius. It’s the kind of song that sticks with you long after the credits roll, which is appropriate, given that the game has about 17 endings. Bring tissues. If you like heavy metal like me, there’s an amazing cover, if you want to check it out, click here.
6. Shadow of the Colossus – “The Opened Way” (Kow Otani)
The best songs are the ones that make you feel like you’re in a grand, epic movie. Kow Otani delivered an orchestral masterpiece for a game where you fight giant, towering stone beasts. “The Opened Way” is the track that plays when you’re galloping across the forbidden lands toward your next colossal target. It’s dramatic, it’s sweeping, and it makes you feel both powerful and incredibly insignificant at the same time. The brass section alone could wake the dead.
7. Castlevania: Symphony of the Night – “Dracula’s Castle” (Michiru Yamane)
This is the song that made classical music cool for goths everywhere. “Dracula’s Castle” is a perfect blend of creepy organ, rock guitar, and baroque melodies that plays the moment you step into the game’s iconic opening area. It’s the definitive “I’m entering a big spooky castle” track. It’s a vibe, and Michiru Yamane absolutely understood the assignment.
8. Sonic the Hedgehog 2 – “Chemical Plant Zone” (Masato Nakamura)
Okay, we have to give the blue blur some credit. The early Sonic games had music that was pure, unadulterated “go fast” energy, and “Chemical Plant Zone” is the absolute peak. That catchy, groovy bassline and the upbeat synth leads are the audio equivalent of a sugar rush. It makes running through a toxic pink factory somehow feel fun. This song will not leave your head for days, and honestly? You won’t want it to.
9. Pokémon Gold & Silver – “Vs. Champion” (Junichi Masuda & Go Ichinose)
Listen, I will fight anyone who says the original Pokémon tracks are better. This is the definitive battle theme of my childhood. The perfect progression, the dramatic melody lines, the sheer hype of knowing you’re about to face Lance (or Red, if you know, you know)… it’s perfection. It elevated the Game Boy Color to new heights and still gives me chills to this day. If this song doesn’t get your heart racing, check your pulse.
10. Metal Gear Solid – “The Best Is Yet to Come” (Rika Muranaka)
You knew this was coming. “The Best Is Yet to Come” is the haunting Irish-language song that plays over the ending credits of the original Metal Gear Solid. It’s a bizarre choice for a stealth action game about nuclear weapons, but it works so, so well. This track was composed by Rika Muranaka and performed by Aoife Ní Fhearraigh. It’s just so out of place and yet so perfect that it easily earns a spot on any serious list of iconic gaming music. It’s proof that even the biggest, most serious AAA games can have a soft, weird, artistic side.
Honorable Mentions (Because 10 Spots Isn’t Enough)
Look, I couldn’t fit everything. There are dozens of legendary Japanese game songs out there, and cutting some of them hurt my soul. So here are a few that almost made the cut—and one two that definitely deserves a shoutout..
Metal Gear Solid 3: Snake Eater – “Snake Eater” (Norihiko Hibino)
You thought I’d forget? Please. “Snake Eater” is the James Bond theme that never was—except it’s better because it’s about a guy in a tiger-stripe suit sneaking through a jungle while eating literal snakes. The orchestral swells, the dramatic vocals, the sheer audacity of having a full-blown 60s spy ballad in a stealth game about Cold War politics… it’s glorious. It’s ridiculous. It’s perfect. If “The Best Is Yet to Come” makes you cry, “Snake Eater” makes you salute dramatically in your living room while pretending you’re not embarrassed. You’re welcome.
Other Quick Shoutouts (Because I’m Nice):
- Kingdom Hearts (Yoko Shimomura) – Utada Hikaru’s “Simple and Clean” lives rent-free in everyone’s head. You know it. I know it. Don’t lie.
- Street Fighter II (Yoko Shimomura again) – Guile’s Theme. That is all.
- Xenoblade Chronicles (Yoko Shimomura yet again—seriously, this woman is everywhere) – “Gaur Plain” is literal ear candy.
Closing thought (because every list needs one):
Alright, that’s it. Ten songs that have no business being this good. Now go back to your lovingly crafted indie games with their chiptune bangers—I’ll be over here, crying to “The Best Is Yet to Come” for the 47th time. And hey, if you disagree with this list, good. That means you care. Leave a comment, yell at me, tell me I forgot your favorite. I’ll probably make a fifth post about this anyway, because apparently that’s my brand now.