Boss battles are designed to test all the things the player has learned. If they do well, they will force games mechanics and think outside the box. Of course, another proposition that cannot be ignored. A great and appropriate musical score can make all the difference in the final games.
Some final boss themes try to show how scary the baddies are, while others try to give players a sense of what they can do. Whether they’re made to make gamers feel helpless or the ultimate hero, these are the best tracks to accompany the fight to the finish line.
10 D. Ossa – “Endos”
Mr a dark hybrid of board games and mini-games released on the short Sega Saturn. Ronnie Montrose is an acclaimed composer and guitarist who has worked with artists such as Van Morrison, Herbie Hancock, and countless others.
“Los Endos” sees the affable Mr. Bones preparing the power of the stone to resist Count DaGoulian and his evil desires. It’s a fitting guitar riff, a heavy final beat to cheer the arrival. It’s just too bad that the level itself doesn’t allow most players to hear the tracks.
9 Sonic Rush – “Black Wrapped”
Many lauded composers have embellished their titles with songs and memorable tunes of this fast-paced genre. However, Hideki Naganuma contributes to freedom; controlling sonicis often criminally neglected. Naganuma’s music boasts a distinct style that can be seen in other works such as Jet Set Radio and Praesent Bomb Rush Cyberfunk.
What Naganuma managed to pull off with the limitations of the DS cartridge is nothing short of serious. “Wrapped Black”, like Naganuma’s other works, contains heavy use of sampling, with this track featuring the voice of the famous “Too Black, Too Strong” civil rights speech by Malcolm X.
8 Shadow of the Colossus – “Dismissal Ritual”
In Shadow of the Colossusplayers are tasked with locating and killing 16 giants to bring Wanderon’s bride back to life. In no other title would this rain-soaked finale of the show with a giant monstrous creature be combined with an epic and bombastic orchestral piece.
However, Kow Otani’s “Release Ritual” feels more like a funeral song. It’s a much slower and more polished piece that aims to make players question the true cause of the noble and just Wander. It’s also a sobering reminder that the actor is essentially committing genocide on creatures that were otherwise completely docile.
7 Fury – “8:02”
Fury’s eclectic mix of bullet-hell shooting and melee combat is backed up by a phenomenal presentation. The cel-shaded visuals mixed with the high-octane electronic score made for an action title that just continued in style. The game has become a boss fight with some sections of the story serving as a minor criticism.
Artists such as Toxic Avenger, Carpenter Brut, and many others set the tone in their footsteps. Jeopardy provides a fittingly heroic and melancholic cap when the outsider is compared to his ultimate enemy: Star.
6 The Legend of Zelda – “Dark Beast Ganon”
Wild Spirit was widely believed to be revitalizing the decade-old The Legend of Zelda by reducing the freedom and aggression that was previously found to be lacking. If so inclined, players can skip the quests all at once and proceed straight to the final boss: Calamity Ganon.
No matter when the players want to take him back, the last conflict with his last form is accompanied by a satisfying and epic orchestra called Manaka Kataoka and a long time. Zelda composer Koji Kondo. It is a critique of the orchestral theme that incorporates Ganon’s satellite synths.
5 Castlevania: Rondo Of Blood – “Saint of Illusions”
Rondo of Blood he was the first Castlevania label to be released on a CD-based platform. I hear with increasing fidelity; Rondo Vivaldi boasted that he would use redbook audio. Unfortunately, it would take a decade before this title made its way.
It appeared to many Castlevania since the games Rondo, Tomoko Sano’s “Dance of Illusions” is pretty much Dracula’s “March of Caesar.” For Western players, it is most likely remembered from the opening battle Symphony of the Night. Wherever it is heard, this haunting organ track is the perfect accompaniment to the endless battles between the Bellomontan clan and the dark count.
4 Dark Souls – “Gwyn Lord Cinder”
At the end of Ex Software’s Dark Souls lies Gwyn Lord Cinder. A millennium before the events of the game, this once-proud hero killed himself with the bond of the Prime Flame. The battle between the players and this tragic figure determines the ultimate fate of this dying world.
A similar example in Shadow of the Colossus, Motoi Sakaruba’s writing for Gwyn is much more understated and contemplative. It is a sober piano song that only symbolically uses white keys. It serves as the perfect cap to the bittersweet and almost nihilistic world of Hidetaka Miyazaki.
3 Donkey Kong Country – “Gangplank Galleon”
Donkey Kong countrya classic sound combination from the trio of Eveline Fischer, Robin Beanland, and David Wise. The latter of which contributed to the most iconic modes from the game such as the theme of the final boss “Gangplank Galleon”. Wise is known for pushing the limits of the SNES sound chip to deliver atmospheric and melodic tunes, and this entry is no exception.
What starts out as a nautical shooter piece gradually becomes a hard rocking track fitting for the final showdown between Kong and the dreaded King. K.Rool. Finally got over these bros he also gave this part a heavy brass remix incorporating the vocals.
2 Final Fantasy VI – “Dancing Mad”
Final Fantasy VII boasted an impressive operatic score by the legendary composer Nobuo Uematsu. After hearing these sublime pieces, it’s hard to believe they came from the 16-bit Super Nintendo. Although “One Angel” from VII gets all the attention, “Mad Saint” gets it in almost every way.
It is a long four-part symphony in which the players come up and change the final line of Kefka’s form. It’s a wonderful feeling when the players finally reach the top and an organ piece from the title role of the play, signifying that everything has led to this moment.
1 Undertale – “Hope and Dreams”
It was honestly hard to choose between “Meglovania” and “Hope and Dreams,” but the latter because of the emotional resonance and edged exposition of the former. It is a strong track that plays in the last exercise between humans and Asriel Dreemur in Pacifist Journey.
Creator and composer Toby Fox credited Anamanaguchi as a major influence on the piece and considered it one of his personal works. The song is the culmination of several literary leitmotifs, a memory of all the friendships formed along the player’s journey.
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