Super Metroid's soundtrack proves the value of chiptunes

230340423
Friday, November 09, 2012

Super Metroid

Beginning with the original NES title, the music in the Metroid series has been about more than just catchy compositions.

The first game's composer, Hip Tanaka, specifically wanted the sounds of Planet Zebes to evoke a sense of organic life, even (or especially) if that life was terrifying. You can hear his intentions in much of Metroid's ambient sound effects and melodies.

For the Super NES sequel, Super Metroid, new composers Kenji Yamamoto and Minako Hamano maintained that feeling...except this time they had a broader audio palette to choose from. The SNES's improved hardware allowed for some of the most evocative, even chilling, sounds ever heard in a game.

These days, videogame culture seeks to remake and improve everything we loved as kids, many times to great effect. But the unnerving electronic tones of Super Metroid fit the game's aesthetic better than a modern orchestra ever could.

Take a listen to the tracks below for a few good examples:

 

You can certainly hear specific, synthesized instruments here -- the melody-carrying trumpet stands out most prominently -- but that's not the point. The point is the lurking, alien-sounding menace of the bass line, along with the keening wail of the minor second synth choir. The chiptune sound of the SNES actually augments this feeling; a modern orchestra would sound too safe and known here.

This sparse track plays when Samus first arrives on Zebes, and it's incredibly ominous. Even the digitized sound of the thunder in the background feels alien and strange in a way that real sounds could not have managed.

This is my favorite track in the game, so I had to include it. Again, all the instruments are largely identifiable -- piano, flute, choir -- but the SNES's rendering of these sounds creates a much more foreign atmosphere.

Playing Super Metroid is such a solitary experience; you're one silent hunter against a planet of unknown dangers. Any touchstone to something familiar would make you feel safer. Instead, you're forced to explore and defeat Zebes on your own, with nothing but these haunting tunes for company.

I'm a big fan of game-music remixes, and the Metroid series has produced a few doozies. But Super Metroid's soundtrack is perfect just as it is.

 
Problem? Report this post
LAYTON SHUMWAY'S SPONSOR
Comments (12)
Default_picture
November 09, 2012

Interesting take, Layton. For me, Super Metroid remains the pinnicle of immersive game experiences -- in large part because of the sometimes sinister, sometimes propulsive, always gripping soundtrack. Would it have had the same impact with a full orchestral arrangement? Just playing it through my head, I think you're on to something. The synthesized tones and textures certainly didn't detract from the otherwordliness of the game. The voices and instruments are just off enough to add to the unease the game induces. The simplistic 8-bit melody of Kriad's Lair theme in the original game still sends chills up my spine -- something I couldn't imagine happening with a piano- or violen-based performance.

With the Prime trilogy, as enjoyable as it is, I found the music couldn't match up to its predecessors, and that the overall experience subsequently fell short of those early masterpieces. Would Retro have done themselves a favor to have composed a chiptune-y soundtrack? How bizarre would it be to have a modern 3D game that strives for realism set against an 8- or 16-bit soundscape? 

230340423
November 09, 2012

Maybe the Prime games didn't have to be "chiptune" per se; maybe I'm just extolling the virtues of electronic sounds in general. 

And you're right: Kraid's theme is creepy. 

Default_picture
November 09, 2012

I feel that era in general produced some of the most memorable soundtracks I've experienced in gaming.

230340423
November 09, 2012

Agreed wholeheartedly. 

Default_picture
November 10, 2012

One reason for this is the concentration on ambient, as opposed to thematic scores. The formula for music in most games today is one that mirrors the cinema -- music that invisibly props up the action.

Unfortunately, that has resulted in a lot of bland scores in both mediums. Gone are the days when John Williams (and his imitators) created one memorable theme after another. To return to my former comment, this seems to have been the approach with the Prime games.

Also, in a time when cart sizes were limited, so too was the space alloted to music, as were even the number of channels; remember how some games had to spontaneously strip an instrument out of the BGM to accomodate an effect? The tunes also had to loop regularly, so they had better have been enjoyable and catchy. Not only that, but most games of the 8- and 16-bit era were based on dying and do-overs, meaning the themes of certain levels were often drilled into our subconscious minds. Finally, it stands to reason that music had to be more of focal point to hook the player at a time with the graphics of games were far from photorealistic.

This is definitely a topic worth exploring further. I don't think the nostalgia many of us have for chiptunes will be replicated for youngsters weened on today's games. The factors that gave us those classic soundtracks simply no longer exist.

230340423
November 10, 2012

You should write a whole article on the topic, Brian! I'd love to read more.

Default_picture
November 10, 2012

I'll second that!

Default_picture
November 10, 2012

Considering my love of chiptunes, I'm sure I'll get around to it. Thanks for the vote of confidence, guys.

Default_picture
November 10, 2012

I am so happy someone wrote about the music is Super Metroid.  The game really left a mark on my childhood and the music was a central part of the experience.  I cannot express my joy and the stirring nostalgia when I was playing Metroid Prime and heard the Norfair music in Magmoor caverns.  

Ragnaavatar2
November 10, 2012

Even with the production values and cinematics offered by games like Halo, Super Metroid remains to this day one of the most haunting and immersive experiences ever in the history of videogames, and the soundtrack greatly contributes to that. Thanks for writing about it. Maybe people who never got to play it will give it a chance. :)

Justme
November 10, 2012

Great post, Layton! I've always held that Super Metroid had one of the best soundtracks ever. Glad to see others agree.

Default_picture
November 11, 2012

I always though the most impressive soundtrack I've ever heard in ANY game was the original Donkey Kong Country. The composer probably only had concept art to work off of and he made DKC into an atmosphereic platformer.

I don't believe for a second that  cinema or games experiences need music to "invisibly" prop up the action. Music exists to speak to our souls, not pacify our eardrums, like most game devs seem to think. If you've ever played an undewater level in DKC (the most fun levels btw), and listened to "aquatic ambiance" then you know what I'm talking about.

You must log in to post a comment. Please register if you do not have an account yet.