This article was originally published on 16 April 2024.

The bread and butter of any gaming adventure is surely its access to a wide variety of themed levels. You’ll often recall “the desert level”, or bemoan “the water level”, or spend all your money at “the brothel level”, with their unique features and distinct aesthetics.

With this in mind, I wanted to pit them against each other on an auditory front, and determine which of them has the very best musical score. As time goes on and my tastes shift, these rankings will perhaps ebb and flow. But for now, they represent an excellent starting point in anointing the finest of music in video games.

To clarify some inconsistency on my previous statements (numerous as they may be), the following is based on a combination of theme suitability as well as personal preference. And hey, maybe a bribe or two — just to keep you guessing.

Best water stage music: Dire, Dire Docks

Super Mario 64 (Koji Kondo)

This was going to be a big one, so it’s best we get it out of the way right from the start. Dire, Dire Docks is not only one of the finest samples of water stage music — tracks that are typified by their tranquil vibes — but amongst the best musical pieces of all time, courtesy of Nintendo’s in-house legend, Koji Kondo.

It is truly hypnotic, eschewing the playful notes of the previous stages Mario has explored. Though it’s named after the ninth stage in the game, you’ll more likely associate it with stage three, Jolly Roger Bay; a tiny, enclosed location that houses a monstrous eel at the bottom of the lake. It’s an iconic pairing of peaceful music with eerie, even terrifying gameplay that remains one of my core memories as a gamer.

Obviously, there’s a wealth of other options that deserve mention, such as David Wise’s Aquatic Ambiance from Donkey Kong Country, or even Kondo himself with Zora’s Domain in The Legend of Zelda: Ocarina of Time. To me, Dire, Dire Docks was our (literal) sink or swim introduction to the untamed world of 3D platforming itself.

Best lava stage music: Flare’s Stage

Panel de Pon (Masaya Kuzume)

As controversial as it may be to crown a semi-obscure puzzle game as the winner for fire or lava stages, I am just downright obsessed with this electric rock piece from Panel de Pon.

Better known to western audiences as the Blaze Stage from Tetris Attack (curiously branded as a Yoshi game despite having no Yoshi themes, and branded as a Tetris game despite having no Tetris themes), the slow build-up displays delicious restraint before unleashing a simulated guitar that showcases the SNES soundchip’s strengths.

It’s not as lively as your average fire stage, which often evoke Middle Eastern instrumentation to really bring the heat, and yet it’s no less suited to a location that will make you sweat.

Best sewer stage music: King of the Spill

Teenage Mutant Ninja Turtles: Shredder’s Revenge (Tee Lopes)

Sewer stages are often gritty, grungy, and industrial, and I went back and forth between two powerful contenders for the throne. The Undergrounds from Streets of Rage 4 (Olivier Deriviere) is so mean and foreboding while still remaining catchy, and yet, I just couldn’t overlook Tee Lopes’ absolute banger, King of the Spill.

Between the percussive sounds of dripping and a synth that sounds like its spitting literal ooze with every note, it just embodies the spirit of those dank tunnels perfectly. Also, the final refrain around the 1:45 mark is simply exquisite. It has a certain desperation to it, as if it’s begging for an escape from the murky depths.

Shredder’s Revenge may have ultimately fallen short of the lofty standards set by Turtles in Time when I compared their soundtracks, but it is no slouch in its own right, and even managed to leapfrog Sewer Surfin’ in this instance — not easy to pull off!

Best desert stage music: Gerudo Valley

The Legend of Zelda: Ocarina of Time (Koji Kondo)

Right from the opening notes, you can recognise this one. When discussing the magnum opus of Koji Kondo, Gerudo Valley will surely enter the conversation before long. It is a champion of atmospheric immersion; even if you have never played Ocarina of Time in your entire life (you heathen), you can glean that this track has spicy Spanish influences.

It comes as no surprise that it handily takes the award for the best desert stage music, as its impact on the industry has been longstanding. Its distant successor, Dragon Roost Island, recaptures that same spirit, though it doesn’t qualify here as its place in The Wind Waker is in no way desert-like.

In actuality, not a lot of desert themes jumped to mind for me while I was assembling this list. It could be my general aversion to this type of stage; I wonder if there’s perhaps an obvious one that slipped my mind?

Best pirate stage music: Jib Jig

Donkey Kong Country 2: Diddy’s Kong Quest (David Wise)

With pirates being a central theme of Donkey Kong Country 2, it was perhaps academic that one of its musical tracks would take the top spot here. Klomp’s Romp and Snakey Chanty are both a lot of jaunty fun, but there is not much out there that comes close to the pure whimsy of Jib Jig.

Set atop the precarious sails of a ship, its Celtic themes are powerfully juxtaposed against a roaring wind that threatens to send us tumbling at any moment. It’s neither the first musical track of DKC2 nor its most iconic, and yet it is perhaps its most definitive; THIS is Diddy’s Kong Quest.

The depth of the field wasn’t quite as broad as previous entries (considering pirate stages are a bit more niche), though as always Turtles in Time gets a look-in for the otherworldly, methodical melody of Skull and Crossbones.

Best ice stage music: Ice Cap Zone (Act 1)

Sonic the Hedgehog 3 (Brad Buxer)

Much of the music from Sonic the Hedgehog has gone down in legend for its unmistakable sound. Few have risen to quite the level of Ice Cap Zone, however, which has claimed its place amongst the industry’s most iconic tracks.

The synthesised sound is effectively chilling, with a chorus that is downright unmatched. There’s a reason why this is so popular for remixes across the internet. It’s hopeful, catchy, and magnetic. Many look to it as being emblematic of Michael Jackson’s involvement with the Sonic 3 soundtrack, and though they’re not entirely wrong, the truth is a little more surprising than that.

The first time I heard the unreleased track Hard Times from 80s new wave band, The Jetzons, my jaw practically dropped to the floor. It was a note-for-note facsimile, and rather astounding that it never hit the airwaves in its era. Obviously, Jetzons keyboardist Brad Buxer was able to exact a measure of revenge 10 years later when he brought it back to life on the Sega Genesis.

Best space stage music: Space Junk Road

Super Mario Galaxy (Mahito Yokota)

This category was, of course, Mario Galaxy’s to lose. Despite some stiff competition from compositions that carried that cosmic sense of grandeur — including DuckTales’ iconic Moon theme — no game has ever captured the public’s imagination quite like this one.

How best, then, to anoint only one of its many galaxies as the best space theme? Technically speaking, each and every level in this game would qualify, but for ease of use, I focused solely on the stages predominantly set amongst the stars.

And when it boils down to it, one track in particular felt like it had to be the winner. Space Junk Road is a transcendent piece of music that evokes feelings of absolute joy from within. Not only is it beautiful, but it is playful and mysterious: everything that we see reflected in that big black universe up above. This piece is a triumph, not only of gaming, but of musical theory in general.

Best factory stage music: Fear Factory

Donkey Kong Country (David Wise)

It’s a general rule of thumb in gaming that industry is evil. Unless you’re playing Palworld, in which case it’s openly encouraged, but the caveat there is that Palworld is evil. So you end up right back where you started.

Throughout Donkey Kong Country’s duration, you witness the dapper gorilla depart the familiar safety of his jungle home towards increasingly foreign destinations. By the time you reach the factory stages, you realise the sheer enormity of the Kremlings’ corruption.

Fear Factory is an outstanding piece of music. It feels intentionally manufactured and mechanical, but with the faintest reprieve that rings through before ultimately being stamped back out. The musical genius of David Wise is such that his pieces tell a story, and even still, Fear Factory practically warrants a novella.

Best sky stage music: Flying Battery Zone (Act 1)

Sonic & Knuckles (Howard Drossin)

Though these stages don’t reach the heights of space in the literal sense, they’re no less memorable in their own right. So I wanted to dedicate a section to levels that take place amongst the clouds.

Even so, I was tossing up whether Flying Battery belonged here or in the factory music section. It has elements of both, but the fact that there are outdoor sections where you must prevent a fatal fall from the skies was my deciding factor. It’s one of the most lauded tunes in the greater Sonic 3 catalogue, and really should have made the Smash Bros Ultimate soundtrack.

In fact, it was my most enduring ringtone for roughly a decade, until it got replaced by Sami Zayn’s entrance theme — and I will accept no judgement, Worlds Apart is a fucking bop.

Best opening stage music: Corneria

Star Fox (Hajime Hirasawa)

Although they don’t necessarily qualify as themed stages, per se, a game’s first level is one of the most important, and as such, you’ll want it to deliver the goods with a catchy tune.

Again, I go back and forth on this, because there are two tracks in particular that are each thrilling ear worms that never fail to get me pumped. The former, Yuka Tsujiyoko’s Garam, is the perfect display of why you need a Super Scope, and you need Battle Clash. But damn, I just had to go with the timeless classic, Corneria.

Considering that Star Fox was unlike anything else we had seen on a Nintendo home console up to that point, we were thrown right into the fray in the best way. As our last stand against the forces of Venom, Corneria’s soundtrack ought to be triumphant and defiant; a perfect militaristic melody that makes you want to fight back (as a particularly talkative furry).

Best final stage music: Id (Purpose)

Fire Emblem Awakening (Hiroki Morishita, Rei Kondoh)

From the start, we then jump straight to the finish (because fuck the middle of the story).

Reaching the final stages of Fire Emblem Awakening was an emotional experience for me, insomuch it had become my favourite game of all time, and I did not want to see it end. Once I steeled my courage to take on Grima once and for all, I was downright floored by the musical track that began to play.

Id (Purpose) is the kind of track that motivates you towards success; a culmination of your efforts to make it this far, and the inspiration to fight one last battle. The fact that it features a rousing chorus is the icing on the cake, and it has staked its claim as one of the franchise’s most indelible tracks.

Best bonus stage music: Bonus stage (Cool Spot)

Cool Spot (SNES) (Tommy Tallarico)

Back in the days of Blockbuster Video, you would often walk in without a single expectation of what you were going to end up grabbing. Maybe you had a rough idea, based on the hottest new releases, but more often you would rent whatever movie or game sported the coolest box art at a glance.

Cool Spot is one of those games that I never owned, and didn’t necessarily enjoy playing all that much. It’s a standard 2D platformer in an era oversaturated with them, noteworthy mostly for the fact that it starred a sentient 7 Up logo.

But holy shit, does this bonus stage music go hard. It makes bouncing around that goddamn bottle feel like the most badass thing in the world, and the only drawback is that eventually you’ll have to return to the mundane main game itself. Let me stay in the bottle, please let me stay!!

Best town/hub world music: Tristram

Diablo (Matt Uelmen)

Again, we’re straying from themed stages here, but I just wanted to voice my appreciation for one of the most haunting, tragic scores in gaming.

Generally speaking, hub worlds are intended to be an inviting, safe place where you can retreat from the stress and violence of the outside world. For those unfortunate enough to reside in Tristram, however, there is no reprieve. As this tiny hamlet is placed right next to the gates of hell, it’s only a matter of time until its doomed populace meet a grisly end.

This theme is so menacing, it really cuts deep into my soul. And yet, there’s this faint little glimmer of hope that surfaces here and there, practically drowned out by all of the misery… but it’s there, and you’ll have to grab a hold of it if you want to see the light of day ever again.

Best boss music: Club Master Duel

Pokemon Trading Card Game (Ichiro Shimakura)

Of all the boss themes to choose from, I doubt you would have expected me to go with a Game Boy entry. With all of the Pokemon games to choose from, I doubt you would have expected me to go with a trading card spinoff.

And yet, here we find ourselves, with a boss theme that is unfathomably cold. Underscored with a sinister snare, this is a majestic tune that builds, then reduces to a simmer, and then builds even more towards a grand finale. Once again, it’s a damned shame that it hasn’t been immortalised in Smash.

Admittedly, it may rub some the wrong way to claim that gaming’s most intimidating baddies are ultimately outdone by a bunch of nerds playing with their cards. But this is the kind of music that gets me hyped. So suck it up.

Best final boss music: One Winged Angel

Final Fantasy VII (Nobuo Uematsu)

If you’re a rabid Uematsu stan who felt slighted that his boss track came runner-up to the damned imaginary card game, consider this your payment in full. Of all the final boss fights in gaming history, there is only going to be one One Winged Angel.

The introduction of a full chorus singing in Latin was absolutely insane for a video game in 1997. It made this feel different and significant, as if we were truly facing down against the world’s greatest evil to save humanity itself.

One Winged Angel may not have been the first gaming track to sound like this, and it most certainly would not be the last, with many other noteworthy imitators. For the foreseeable future, however, they’ll be playing for second, because this right here is untouchable.

Best safe room music: Save Room

Resident Evil (1996) (Makoto Tomozawa, Koichi Hiroki, Masami Ueda)

Maybe one of these days, I’ll be up to the challenge of properly ranking the safe room themes of Resident Evil. They’re all so lilting and nourishing, but by virtue of being the one that started the trend, the 1996 original is getting the nod here.

Your first time entering a safe room can be unexpected on your initial playthrough, as the idea of complete solitude might not have entered your mind. Once you understand their purpose — a reprieve from the madness beyond that door — you’ll feel a sense of catharsis the moment you next hear it.

Also worth mention is the gorgeous version from Resident Evil Zero, and the chilling rendition of Resident Evil 7: Biohazard, which is practically an acknowledgement that your safety is only temporary.

Best map screen music: Waterworld Map screen

Waterworld (SNES) (Dean Evans)

As with several Ocean titles, the soundtrack of Waterworld is the only reason you would ever even consider looking into this game. I mean, it’s appropriate considering the developers are called Ocean and all, but my goodness, Dean Evans was onto something else with these tracks.

There’s a lot of great stuff on offer here, but the main event is almost certainly the map theme. It’s an ambient, trance-like piece with an electric guitar cutting through the silence like the last bastion of hope in a dark, dreary world.

Fortunately, the rise of the internet has allowed Evans’ work to receive the adulation it deserves, but even then, it doesn’t feel like enough. If this had been in a DKC entry, for example, it would be even more iconic.

Best title music: RoboCop Title Theme

RoboCop (Game Boy) (Jonathan Dunn)

Moving away from in-game music entirely, we come to a creative crossroads.

Even before you arrive at the first stage of a game, you will almost surely be introduced to its distinctive vibe at its title screen. This is its calling card, its anthem, its badge of honour… and considering the stakes, you might be second guessing my decision to crown the title theme of RoboCop on the fucking Game Boy.

But I cannot help it. I simply cannot. Thematically, it is a complete mismatch, scarcely resembling its gritty, nasty source material beyond the underlying misery of Murphy’s lost humanity. This music does not make me pumped to start playing this video game, or indeed any video game.

What it does, however, is stick with you long after the game itself had been forgotten. What was your favourite part of RoboCop? For a sizeable number of people, it will be this theme tune, yet another instance of Ocean soundtracks far outclassing Ocean gameplay.

And for the record, I initially gave the win to Buck Bumble, so at least we dodged that bullet.

Best character select music: Showdown

Dead or Alive (Makoto Hosoi)

Picking your favourite character select theme is like picking your favourite child: you’re not going to win no matter who you choose, so you may as well swing for the fences and settle on the one that’s in your heart.

It was fairly obvious that fighting games would be the preeminent genre, but my favourite character select theme is from an unlikely contender in Dead or Alive. One of this franchise’s most charming aspects is its exaggerated melodrama, presented without a hint of irony, and it all started in the original entry’s fighter select theme.

The cheesy pairing of guitars gives it the vibe of an almost James Bond-type epic, presenting a pristine time capsule of the arcade scene of the mid-90s. This screen shouldn’t just be about shuffling through the lineup, but a precursor to a titanic battle yet to come. Thanks to the backing track of Showdown, these brawlers all feel like devastating martial arts masters.

Best menu music: Mode Menu

Marvel vs. Capcom 2: New Age of Heroes (Tetsuya Shibata, Mitsuhiko Takano)

In the same vein as a character select theme, menu themes are intended to set the stage and accompany you while you’re scrolling through a myriad of mundane options. Why, then, these themes so often go so fucking hard is anyone’s guess.

If you bring up Marvel vs. Capcom 2’s soundtrack, doubtless most minds will gravitate towards the wonderfully dated fighter select theme, “I Wanna Take You For a Ride”. And don’t get me wrong, it’s a lot of fun… but to me, it doesn’t hold a candle to the smooth riffs of the menu music.

It feels a lot more laidback and groovy, with bass licks that wouldn’t feel out of place in a ToeJam & Earl game. If I were to anthropomorphise this music, it would be a dude in his 30s with greasy, long hair, no discernible career prospects, and a banged up guitar that he pulls out while he’s on the road. It kinda sounds like me, but cooler.

Best end credits music: Bubbles

Fire Emblem Fates (Takeru Kanazaki, Hiroki Morishita, Rei Kondoh, Masato Kouda, Yasuhisa Baba)

End credits are another incredibly competitive field for obvious reasons. This is the game’s final chance to convey what it’s all about, and it can go in one of many directions: will it be upbeat and jovial? Triumphant and boisterous? Quirky and familiar?

In the case of the Fire Emblem Fates trinity, you are actually treated to multiple themes. After the conclusion of its main theme, Lost in Thoughts All Alone, this sombre, lovely little tune begins to play from out of nowhere. It’s humble and understated, but the way it accompanies the on-screen events — a final recap of your units’ exploits on the battlefield — is downright haunting.

Fire Emblem games don’t shy away from the brutality of war, but rarely do they quite capture the tragic beauty of a victory. That’s what this is: the calm following an agonising campaign, marked with violence and loss. At last, my friends, we can rest.