VGM Entry 36: Mother, Batman, Goemon


VGM Entry 36: Mother, Batman, Goemon
(Thanks to Tish at FFShrine for the banner)

A lot of solid Nintendo soundtracks were released in 1989, and I can’t touch on all of them, but here are a few other noteworthies I can’t justify passing over.

Ganbare Goemon 2 (Konami, 1989) added a lot to the sound of the original 1986 Goemon titles (Legend of the Mystical Ninja series in the west), maintaining the same style but adding a percussion track and much more complimentary and varied tone selections. I’ve not managed to find a satisfactory answer as to who composed it though. Tomoya Tomita, Koji Murata, and Michiru Yamane have all been credited here an there without any explanation as to their different rolls, and I’m pretty sure at least the latter two were definitely involved in some capacity, but I can’t be sure.

Konami has a long history of botching the names of their video games, and the Goemon series is no exception. For instance, I have seen sites unattentively list authorship credits as: “Goemon: Satoko Miyawaki. Goemon 2: Michiru Yamane”. But not only was there no game in the Goemon series actually titled Goemon or Ganbare Goemon, there were two games titled Ganbare Goemon 2. Different sub-titles sort this out, but I don’t trust the creators of massive composer compilation lists to have attentively adhered to this.

In so far as the original Mr. Goemon was released on arcade and the third Ganbare Goemon title was an MSX port of the first NES game (I’m not sure why it’s listed separately), calling the 1989 instalment Ganbare Goemon 2 was a fair move. The confusion in this instance did not arise until Konami decided to release Ganbare Goemon 2: Kiteretsu Shogun Magginesu in 1993. (If you add them all up, the second “Goemon 2” was the tenth Goemon video game.)

At any rate, you’re hearing Ganbare Goemon 2, no subtitle, and it was released in 1989. Enjoy.

Nobuyuki Hara and Naoki Kodaka composed Batman (Sunsoft, 1989) in the wake of Mega Man 2, when the bar for NES action game soundtracks was through the roof. I certainly don’t think it’s as good as Takashi Tateishi’s historic work, but it demands an honorable mention. Its most famous track, first in this compilation, feels straight out of a Castlevania game, whereas the second song here kicks off with more of a Mega Man vibe. All the while it is consistently driven by a forceful bass which really best defines the soundtrack. It is in large part the consequence of Hara and Kodaka landing on highly complimentary bass and drum tones which seem to mutually emphasize each other. The bass track is also much more complex in a lot of these songs than was typical for Nintendo music, and the dark, punchy vibe is perfectly suited for a Batman-themed action game.

Similarly, the frequent employment of Castlevania-style melodies is less a ripoff than a completely appropriate sound for the game. I mean, it could be a total coincidence that they sound alike at all. What is our hero here supposed to be again? Oh yeah, a bat.

Or it could be the case that Hara and Kodaka were avid fans of contemporary video game musicians and incorporated the best of every world with conscious intent. A lot of amazing works have derived from calculated stylistic fusions, and I would not rule out either possibility.

And then there is Mother (Nintendo, 1989). If you ever played Earthbound on the SNES, its music is etched into your memory whether you like it or not. Earthbound was the sequel, and Mother has still yet to be released outside of Japan today. I was a cool little middle school computer nerd who managed to get his hands on a fan-translated ROM, but having succeeded in acquiring it, I promptly lost all interest in actually playing it. It’s a shame, because now I am completely perplexed as to how these two games overlapped. The gameplay is literally identical to the SNES sequel, and I’m not wholly convinced that the plot is not as well. Likewise, quite a number of the songs of Earthbound first appear in Mother, including a lot of the battle themes. Keiichi Suzuki and Hirokazu Tanaka remained partners for both titles, and there is hardly any break where one lets off and the other begins. The original was certainly one of the most unique compositions on the Nintendo, but the same can be said for its sequel on the SNES despite the music really not changing much.

This compilation is really one of garudoh’s weaker efforts, and I can’t easily provide you with many alternatives, so I may leave most of the Mother discussion for Earthbound when I get to it.

But on a final note, here is one of the revisited battle themes in its original form, just to give you an idea of how effective Keiichi Suzuki and Hirokazu Tanaka’s drum and bass emphasis was even on a system as limited as the NES.

Song of the Day: Transcending Love (by Michiru Yamane, Takashi Yoshida, Masahiko Kimura, Keiko Fukami)


I am what you would call an avid gamer. I’ve been playing video games since I was a wee lad and marveled at the Atari 2600. I moved from that system through the many systems after it to my current one which is my Xbox 360.

I’m an equal opportunity gamer in that I will play any type of game at least once no matter the genre. In the end, the one  genre which I will always gravitate towards and I consider my first gaming love are role-playing games. I especially have a special place in my heart for Japanese role-playing games. It’s music from one of those Japanese role-playing games where I have chosen the latest “song of the day”.

The latest song chosen is from the Konami-published role-playing game series called Suikoden. This particular song comes from the third game in the main series, Suikoden III, and is the opening theme for the game. The song’s title is “Transcending Love” and is one of my favorite piece of game music ever produced. The song even gets a well-animated anime opening sequence which shows characters and events from the  game but doesn’t show too much about who they are and what the plot of the game is all about.

The song is part of a soundtrack which includes several Japanese game music composer that figuring out who was responsible for this particular song would be difficult to do. I’ve decided to just credit all of them for what I consider one of the best game opening themes and music ever composed.