As promised, I’m continuing yesterday’s post with another game music fest to introduce you to the joys of some soundtracks you might not be familiar with.

Today, it’s Cavia/Square Enix’s strange, wonderful and rather depressing action-JRPG Nier.

Nier

Nier wasn’t particularly well-received by critics upon its release due to a variety of factors. Having played it (and adored it, I might add), I can see why it was criticised, but equally I feel it was treated a little too harshly. Not only was it doing some fascinating things with the way it told its story and what its story was about — I’ll leave the spoilers out of the discussion for now — but it was also doing some really interesting things with its gameplay, too. What initially appeared to be a relatively conventional third-person character action game/RPG subsequently revealed itself to have elements of visual novels, text adventures, farming sims, 2D platform games, isometric-perspective dungeon crawlers, bullet hell shooters and numerous other genres. It really was a massively interesting game in almost every way.

And then there was its soundtrack, which even if you don’t like the game is indisputably amazing. Let’s look at some standout tracks.

This track, known as Hills of Radiant Wind, is one of the tracks you’ll hear most frequently in the game, since it typically accompanies your jaunts across the countryside surrounding the small settlement where the title character Nier and his daughter Yonah live. This track is hugely memorable both for having a catchy melody and capturing the atmosphere of the game world beautifully. The pounding drums at the bottom of the mix give a sense of adventure and driving forwards, while the vocal line atop the relatively simple accompaniment gives a suitable air of melancholy to the experience. Nier is not a happy game, and this track, while one of the more “upbeat” ones from the soundtrack, reflects that nicely.

This song, simply called Grandma, is beautiful, and is, to me, probably the most representative piece of music that illustrates what the Nier experience is all about. A simple accompaniment accompanied by a mournful voice provides a massively atmospheric backdrop to some of the most emotional story moments in the game.

And then we move on to a few tracks that use the “leitmotiv” technique I’m so fond of, where a number of different pieces make use of similar melodic or harmonic sequences to reflect various things happening to different characters and/or places.

Let’s start with Emil, who, without spoiling anything, gets fairly consistently screwed over throughout the course of the whole game, through no fault of his own. Poor kid.

Anyway, here’s Emil’s “Sacrifice” theme, which accompanies some heartbreaking, sad moments:

And by contrast, here’s his “Karma” theme, which comes shortly after a heartbreaking, sad moment when you’re venting some aggression on the perpetrators:

The addition of the pounding drums and the urgent piano line in this one always gives me shivers, particularly when I remember how it was used in context.

Then we have Popola and Devola, two characters who are extremely important to the overall narrative in ways I won’t spoil right now. When we encounter them, we hear various versions of the “Song of the Ancients” theme, beginning with this acoustic guitar-centric version:

…and moving on to this… I’m not sure how to describe this, really. Plinky-plonky version?

Well, if you’re going to do two different versions based on the two characters who sing it, you might as well do a third version where they sing it together, mightn’t you? Yes, obviously. This, along with Devola’s theme above, are some of the only examples of diegetic music in the game — the rest is there to evoke a mood rather than actually be “present” in the world.

And, hell, if you’re going to do that, you may as well go the whole hog and have a battle theme based on their (by now) iconic song, right? Of course.

The latter one, like Emil’s “Karma” theme, still gives me shivers because I can remember it in context. Gobsmacking.

Then we come to Kainé, possibly one of the most fascinating characters in any game ever for a whole host of reasons, many of which aren’t made entirely explicit in the game. Kainé has two main versions of her theme: a slow one, which goes like this…

…and a fast one, which goes like this.

Those who know their Nier lore will be familiar with the fact that Kainé is intersex. If you weren’t familiar with your Nier lore, now you know too — don’t worry, this isn’t technically a spoiler in terms of the game’s overall plot, and in fact knowing it beforehand brings a whole host of hidden meanings to a bunch of sequences in the game to the fore. I like to think that the markedly different character of these two pieces reflects Kainé’s “masculine” and “feminine” sides, because she is most definitely in possession of both. She is, it’s fair to say, a very angry person — and with good reason — but not afraid to express her feminine side in some rather… flamboyant ways.

One of the most interesting things about the vocal-heavy tracks in Nier are that they don’t use a language from this world. Instead, vocalist Emi Evans was encouraged to make up words in a “futuristic language” — Nier is set in the far, far future — and used elements of Scottish Gaelic, Portuguese, Spanish, Italian, French, English and Japanese to create something with a very distinctive sound, but which doesn’t “mean” anything in and of itself. Instead, the vocal sounds are simply intended, for the most part, to evoke the overall feeling of sadness that pervades the whole game without distracting the player with recognisable words.

So that’s Nier. Easily one of my favourite game soundtracks of all time, and a score which adds a huge amount of emotion to what is already a game rammed to the rafters with heartbreak.