Recording a track with vocals is a bold choice to make for a game. Videogame songs inevitably become synonymous with the game itself, a marker of tone and, at times, a signifier of its cultural impact. For this reason, it’s actually a lot less common than you might think; many include covers of pre-existing songs or even licensed music, but few developers task composers with making a wholly original vocal composition for their games.
In recent years, some games have experimented with centering their soundtracks completely around vocals, which creates a mix CD effect that feels appropriate for the rapidly modernizing industry, which increasingly recruits pop artists for often strange promotional material.
So here’s what we could consider the most impactful, memorable, or otherwise notable original videogame songs that feature vocalists.
“A Love Suicide”—Rule of Rose
Rule of Rose’s haunting soundtrack features only organic sounds performed by the Hiroshi Murayama Trio, who dominate the game with string-based arrangements. For the game’s main theme, though, Murayama recruited his wife Kaori Kondo to sing while he deferred to piano. Kondo’s androgynous voice sings of masochism and innocence, a torch song for the downtrodden and bullied. You can easily imagine the song performed before a ballroom of ghosts—it takes you to an era and a place, but also removes you from it, like a song remembered or plucked from out of time.
“Baba Yetu”—Civilization IV
Sung in Swahili, “Baba Yetu” is the only entry on this list that won a Grammy. Though its lyrics are a simple translation of the Lord’s Prayer, Christopher Tin’s composition is lush and thrilling, a perfect encapsulation of the globe spanning 4X game it represents. Tin cites not only the song’s catchiness but also the game’s main menu, a beautiful shot of the globe as clouds speed across the atmosphere, as building up the anticipatory experience of listening to “Baba Yetu.”
“Escape from the City”—Sonic Adventure 2
I don’t care who you are, there’s absolutely a song from the Sonic Adventure duology that you have, at minimum, a bitter love-hate relationship with. My personal favorite has always been 2’s “Escape from the City,” arguably the only ska song I can tolerate. 2’s philosophy on background tracks still stands as a maverick of the 3D platforming realm; each song reflects the character you control as much as the locale, allowing for a smorgasbord of popular Y2K genreplay. “Escape from the City”’s quintessential San Francisco sound is a prime example, but you don’t have to look far to find more oddball examples. Rouge’s levels feature jazzy lounge funk, Shadow’s are laden with breakbeats and UK garage signifiers, and Knuckles, well… his rap tracks are famous for all the right and wrong reasons!
“EXEC_with.METHOD_METAFALICA/”—Ar Tonelico II: Melody of Metafalica
Ar Tonelico’s neo-classical hymns and fleshed out constructed language supersede the relative obscurity the series has fallen into. Developer Gust has been an unsung workhorse in the RPG world since the ‘90s, with consistent achievements in music and sound. The games center around female vocalists who create magical effects with their voices, and perhaps the series’ most enchanting tune is “EXEC_with.METHOD_METAFALICA/,” which plays during Ar tonelico II’s final battle. Also called the Song of Creation, it’s canonically sung by II’s two female protagonists. Their harmonies flit into inhuman octaves and lurch in tempo while dizzying percussion and mystic flutes herald them—it’s a deeply religious sound for a God that doesn’t exist.
“Eyes on Me”—Final Fantasy VIII
Securing Faye Wong for Final Fantasy VIII was a big deal. By 1999, Wong was Chinese pop’s biggest vocal diva, a fashion icon known for sporting Vivienne Westwood and avant-garde makeup during her massive arena tours, and a veritable film star for her appearance in Chungking Express. Pop music may have not reached videogames, at least not in the same way, without “Eyes on Me.” For all of FFVIII’s weirdness, “Eyes on Me” follows in adult contemporary and Cantopop tradition, being an openhearted ballad that deftly avoids sugary emotion. It will long be remembered as one of gaming’s most essential love songs.
“Jump Up, Super Star!”—Super Mario Odyssey
Mario’s first 3D outing in four years was heralded by the giddy swing-inspired “Jump Up, Super Star!” Emphasizing easy to sing-along-to lyrics, the vocal track was a first for the franchise and became a near instant hit. The song is performed within the game after finishing the last mission in New Donk City by Pauline, the only one of which you’re able to repeat. It’s a very sweet in-game event that never seems to get old.
“Last Surprise”—Persona 5
Several songs from Persona 5 easily qualify for this esteem, but it’s the game’s battle theme, “Last Surprise,” that stands above as an achievement in music—not only is it damn catchy, the seamless melodic transition from exploration to combat keeps players hyped and engaged, eager to battle every Shadow they encounter. “Last Surprise” is crucial for Persona 5’s cool atmosphere; it’s style as substance.
“Memories of You”—Persona 3
“Memories of You” is your reward for making it through a year of school in Persona 3, a coming-of-age odyssey that certainly doesn’t pull any punches. The game may be known for its funky hip-hop tracks, but “Memories of You,” a breezy and wistful J-Pop tune, is the game’s most thematic, a reminder of the fleeting encounters and metaphoric “death” that occurs near the end of one’s high school career. It’s the beloved franchise’s signature tearjerker.
“Moving On”—Street Fighter III: 3rd Strike
Few games carry the legacy of coolness, style, and cultural cache the way Street Fighter does, of which 3rd Strike holds the distinct honor of being the series’ finest outing. 3rd Strike’s credits theme lies in contrast to the rest of its soundtrack, which is mostly dominated by acid breaks and high BPM Drum and Bass tracks. Instead, game composer Hideki Okugawa opted for a lax, jazzy rap anthem. “Moving On” features rapper Infinite’s personal musings, transposing scenes from his own life onto the game as if he were a participant in the World Fighting Championship himself. It’s a moody send-off for Street Fighter’s sprite-based era.
“Que Sera Sera”—Katamari Damacy
It feels wrong to single out any one Katamari Damacy song as exemplary over the rest. Few games outside of the rhythm genre rely so heavily on music as Katamari, and it’s only better for it—its simple gameplay, endless replayability, and warm, kooky visuals pair seamlessly with Yuu Miyake’s dynamic Shibuya-kei. Katamari’s earwormiest song is assuredly “Que Sera Sera,” however, a Bossa Nova inspired scat-jazz number grounded by lazy xylophones and frantic drumming. In game, “Que Sera Sera” is hypnotic and intoxicating, a sonorous vintage to match the rich main course that is Katamari Damacy.
“Radical Dreamers”—Chrono Cross
Chrono Cross is well-known for its beautiful soundtrack, an amalgamation of musical traditions from around the world including “ancient [sounds] of various lands like Finland, China, Mongolia and Greece.” This global perspective gives Yasunori Mitsuda’s score a feeling like no other, displaced in time yet universally understood. Cross’s ending theme, “Radical Dreamers,” is a lonely folk song featuring Noriko Mitose’s incredibly moving voice. It’s such a lovely song that even the game’s director Masato Kato can’t hold back tears when he hears it.
“Ring a Bell”—Tales of Vesperia
As far as anime openings go, few crystallize the surge of joy, excitement, and sense of adventure like Bonnie Pink’s “Ring a Bell,” a pop rock anthem that highlights the singer’s silky vocals. Tales of Vesperia marked the first time Bandai Namco were brave enough to include a vocal track for a Tales of game, previously stripping their theme songs down to instrumentals such as in the case of Bump of Chicken’s “Karma” for Tales of the Abyss. “Ring a Bell” set a standard going forward, with Tales of Graces f’s “Mamoritai” being another banger for the series.
“Room of Angel”—Silent Hill 4
If you’re even a casual fan of anime or videogames, you’re probably a fan of Mary Elizabeth McGlynn as well (whether you realize it or not). She’s one of the most iconic dubbing directors still working today, with her extensive resume including Cowboy Bebop, Naruto, and the Silent Hill series. She’s also a noted voice actress and singer; since Silent Hill 3, McGlynn has recorded a vocal track for every game in the series. She’s stated her personal favorite is Silent Hill 4’s “Room of Angel,” an enigmatic and arresting dark ambient track that captures the dread and dissolution of the franchise’s oft forgotten little brother.
“Simple and Clean (PLANiTB Remix)”—Kingdom Hearts
Utada Hikaru’s recordings for the Kingdom Hearts franchise have become synonymous with the series and even transcended the medium in its own right. “Hikari,” the Japanese language version of “Simple and Clean,” debuted on the Oricon singles chart at number one, a major stepping stone in Utada’s path to international stardom. Though “Simple and Clean” ‘s R&B balladry is stunning on its own, it’s PLANiTB’s trancey remix that opens the first game and introduced the magical crossover series to the world, immediately setting the tone for one of Square Enix’s most enduring franchises. The London-based producer and Utada continue to collaborate to this day.
“Snake Eater”—Metal Gear Solid 3: Snake Eater
Arguably the most iconic (and controversial, for whatever reason) sequences in the Metal Gear series, Snake Eater’s ladder scene would be nothing without Cynthia Harrell’s fervid vocals centering the game’s eponymous Bond theme. Harrell is also known for singing the ending song for Castlevania: Symphony of the Night, marking her as an indelible and underappreciated legend in videogame music history.
“Song of the Ancients”—Nier
Two renditions of “Song of the Ancients” are heard throughout Nier—one as a diegetic folk song played for the village’s children, and the other as a background track in the library. Sung in a forgotten language, each track is placid and kind in its own way; Devola’s version features handpicked guitar, while Popola’s twinkles like a gentle lullaby. One of the game’s most shocking moments is paired with a more intense arrangement of the song, completing a sort of aural arc hidden within the game. Perhaps most arresting is Emi Evans’ twinned vocals, creating harmonies with individual vocal quirks.
”Still Alive”—Portal
Did you know Portal’s closing track is often used as a wedding song? The song is performed by Ellen McLain, the legendary voice actor of Portal’s villainous supercomputer GLaDOS, and isn’t quite romantic in actuality—it’s a bit bone chilling the first time you hear it. “Still Alive” is nevertheless legendary and one of the funniest sequel hooks in gaming.
“Suteki da ne”—Final Fantasy X
Inspired by Final Fantasy X’s South Asian and tropical-themed setting, Uematsu became fascinated with Okinawan folk music as he planned the game’s central love theme. The result was “Suteki da ne,” a melancholy chamber song with quivering violin and saccharine vocals courtesy of Japanese singer RIKKI. “Suteki da ne” ‘s melody permeates the game’s soundtrack, being featured in the folk guitar track “Spira Unplugged,” “Yuna’s Theme,” and even the Game Over fanfare, hilariously arranged with mournful harpsichord.
“TEARS”—Max Payne 3
Max Payne 3 was a major pivot for the noir-ish crime series, previously operatic and sleek; 3’s titular detective is much grimier and worse for wear, with combat leaning into guerilla cover shooting. This radical departure for the series only became more acute with California-based industrial band HEALTH was recruited to supplement the game’s original composer. They later would become the game’s sole composers thanks to their eagerness. HEALTH cite much of their success to their inclusion in the game, particularly their song “TEARS,” which plays during the game’s climactic airport level.
“Too Late to Love You”—Kentucky Route Zero
Vocal themes are rare enough in games, but even rarer is the elusive insert song—a track that plays mid-game, not as the opening or during the final credits. Kentucky Route Zero’s teary synthpop track “Too Late to Love You” comes suddenly and consistently bowls players over with its fragility. “Too Late to Love You” is also unique in its interactability, allowing the player to select the opening line for each verse. This is a perfect parallel with what the song represents in the game—its singers first heard the song performed by another artist, so the version they sing live is their own rendition.
Austin Jones is a writer with eclectic media interests. You can chat with him about horror games, electronic music, Joanna Newsom and ‘80s-‘90s anime on Twitter @belfryfire