Top 5 BEST Video Game OSTs (Showdown)

Edgelord meets Kojima meets metal, you’ve gotta love it. For the longest time, this soundtrack contained what I believed to be some of the best songs in gaming, at least as far as lyrics went. The hype surrounding tracks like “Rules of Nature” cannot be understated, and while I feel it has since been dethroned, the entire OST holds up magnificently well. “The Only Thing I Know for Real,” “A Stranger I Remain”, “Red Sun”, “Stains of Time,” “The Hot Wind Blowing”, there really is no shortage of bangers here. Though they’re all eclipsed by the personal theme of Senator Nanomachines Armstrong himself – “It Has to Be This Way.” What a beast.

By taking Mario into space, “Super Mario Galaxy” let the mascot explore exciting new worlds. That feeling of discovery wouldn’t be the same without the enchanting soundtrack from composers Mahito Yakota and the legendary Koji Kondo. Nintendo used a symphony orchestra for the first time in Mario’s history. And you can tell every time you hop into a new level. The buoyant theme of Rosalina’s Obervatory greets you with a warm embrace on every return. “Space Junk Galaxy’s” echoing piano notes impress the emptiness of space while the final fight with Bowser is made more epic by a powerful choir. However, the crème de la crème has to be “Gusty Gardens Galaxy,” whose beautiful melodies carry you high into the skies like our hero. Each piece is injected with appropriate levels of wonder, peril, and pure magic.

Recency bias be damned, this thing is every metalhead’s dream project. The game itself was ridiculously fun, with rhythm-based combat that even enticed a newcomer like myself to the genre. But what really sold me was the compilation of legitimately incredible songs blasting out across every level. Doesn’t hurt that they're performed by some of the heavyweights in the metal scene. Standouts are obviously “This Devastation” and “Stygia”, because why wouldn’t they be - Matt Heafy and Alissa White-Gluz are legends. Then there’s the cherry on top – No Tomorrow performed by Serj Tankian! Perfection.

I only just got around to playing “Persona 5” for the first time. That its soundtrack still makes it into my Top 5 should tell you all you need to know. The game is bursting with an unmatched level of style, and nowhere is that more true than within its music. Composer Shoji Meguro relied on acid jazz for inspiration, giving it unique flair to match its insanely catchy melodies. Tracks like “Layer Cake” and “Butterfly Kiss” are impossible not to groove to as soon as they come on. However, Meguro also worked with vocalist Lyn Inaizumi for the songs that are undoubtedly the most memorable. “Last Surprise,” “Rivers in the Desert,” “Life Will Change,” “Beneath the Mask.” There are simply too many bangers to name.

Not enough good things can be said about this game – about how it elevated what the medium could do in terms of atmosphere, boss battles, and especially music. Given the themes of the narrative, melancholy plays a huge part in the OST’s extensive track list, though there’s also beauty, serenity, dread, and even exhilaration. “End of the Battle”, “A Violent Encounter” and “The Farthest Land” are amazing by themselves, but the two tracks that cement it as a masterpiece are “A Despair-Filled Farewell” and “Demise of the Ritual”. One is pure hype and yet also majestic in its delivery, while the other is this beautiful, macabre, climactic anthem that stirs up feelings of horror as you face down a monolith of a boss. It’s a classic for a reason.

I love the old school chiptunes, but I can’t deny how beautifully modern composers have adapted that style to fit the modern era. In “Undertale,” Toby Fox took what could’ve been simple hooks and expanded on them in incredible ways. It still blows my mind just how well every boss theme fits its character. “Spider Dance’s” breakneck speed and sharp notes actually sound like spiders dancing while the bouncy nature of “Bonetrousle” couldn’t be used for anyone but the lovable and goofy Papyrus. Meanwhile, “Death by Glamour” is a dancy bop to match Mettaton’s eccentricity while the fight against Asgore is both epic and tragic as it blends his theme with Toriel’s. And I don’t care how tired you are of hearing it: “Megalovania” is a flawless boss theme with plenty of head-banging bravado.

You’d think between the gorgeous art style and exquisite worldbuilding, Team Cherry wouldn’t have felt the need to deliver on an awe-inspiring soundtrack, but then they went and brought on Christopher Larkin, and the man was able to craft magic. Each song is brimming with beauty, with “Greenpath”, “City of Tears” and “Resting Grounds” in particular displaying how, despite being ravaged by corruption, Hallownest’s glorious history can still be uncovered. Of course, when it wants to switch it into high gear, it busts out boss tracks such as “Mantis Lords” and “Radiance”. A track for every tone, and each is glorious!

Just like the tense gameplay and thoughtful narrative, Lena Raine’s score carries an equal amount of weight in delivering the “Celeste” experience. Like “Undertale,” it offers a catchy chiptune style explored more fully with modern hardware. Yet, what makes it so special to me is how intrinsically it moves along with Madeline’s journey while providing some of the most intoxicating synth I’ve ever heard. “First Steps” is both hopeful and cautious, “Scattered and Lost” is anxiety-inducing, and “Quiet and Falling” is lonesome and dejected. Raine’s score charts Madeline’s ark wonderfully, showcasing a knowledge of when to pull back with quiet piano or let the synth blare with tension. The best songs on the tracklist encompass all of these qualities, like “Resurrection” or the climactic, determined “Reach for the Summit.”

The Divinity franchise has always had incredible music to go alongside its sprawling, high fantasy narratives, and while I certainly agree Original Sin 2 had an amazing score, in my heart of hearts I can’t help but adore the soundtrack belonging to the black dragon of the franchise. It comprises tracks that range from sweeping epics, such as “March to War” and “Soaring High”, all the way to more contemplative pieces a la “The Bastard Son Foretold” and “Watching the Clouds”. But for me, the pièce de résistance comes in the form of the angelic, almost sorrowful “For the Hand of a Princess” and “Ophelia’s Lament”. RIP Kirill Pokrovsky, your compositions won’t be forgotten.

A “Zelda” game topping my list should come as no surprise to our viewers. But I couldn’t help it; “The Wind Waker” soundtrack is just too good. Nintendo worked with a group of composers, including Koji Kondo, whose classic “Zelda” tunes were adapted with new, island-faring style. However, the new tunes outshine those, which is saying quite a lot. “Dragonroost Island” is a fan favorite for good reason with its snappy beat and infectious melody. The “Title Theme” combines both Sage songs into one delightful concoction with Irish inspirations. The “Great Sea” theme is fittingly adventurous, the “Windfall Island” theme is vibrant and cheerful, and “Grandma’s Theme” is just the right mix of sweet and sorrowful to make a lump form in my throat every time I hear it. Every “Zelda” has good music, but “The Wind Waker” is on another level.

Naturally, every single player is going to have a different list of their favorite OSTs. But whose list do you prefer? And what game soundtracks make up your personal Top 5? Share them with us, as well as what Showdowns you want to see us do next, in the comments below!