Show Them Who's Boss

Released in 1994 for the Super Famicom, Live A Live was an ambitious JRPG that was split into eight chapters. Each chapter had a unique setting and was focused on an equally unique protagonist. One chapter was set in prehistoric times, for instance, while another took place in the distant future. The music reflected each respective era perfectly, and Yoko Shimomura deserves tremendous credit for arranging a soundtrack with so much variety. Although each chapter had thematically appropriate music, the bosses all shared the same theme. Whether you were in the wild west or the twilight of Japan’s Edo period, Megalomania was the final exclamation mark that ended each chapter. The song is largely defined by its simple melody, but the composition becomes increasingly complex after the first chorus. It has tremendous energy, and I appreciated the song a little bit more each time I heard it. Although I admire the original version, I actually prefer the remixed version from the 2022 remake. The original version of Live A Live was released exclusively in Japan, so Megalomania never got a lot of attention. The song did resonate with at least one video game developer, however, and it inspired Toby Fox to compose Megalovania.

No character in Sonic the Hedgehog is more ridiculous than Doctor Ivo “Eggman” Robotnik. The mad scientist is defined by a spherical body, a walrus moustache, and a cartoonish obsession with taking over the world. Even though he poses a legitimate threat, it’s hard not to laugh at the guy whenever he’s on screen. His theme song from Sonic the Hedgehog 2 perfectly encapsulates his erratic eccentricities. It wouldn’t be out of place in a Laurel and Hardy film, and I could imagine it being played while a dastardly villain was tying a damsel to railroad tracks. Robotnik’s original theme from the first Sonic game was a little to ominous for my taste, and I appreciate how zany the sequel sounds in comparison. Robnik is a legitimate genius with surprising physical prowess, but he’s also buffoon who’s prone to childish outbursts when things don’t go his way. His theme from Sonic 2 captures both sides of his personality, and it’s straddles the line between playful and threatening. His theme from Sonic Adventure 2 is also worth a mention, but I’m partial to the classics. His second theme occupies a permanent place in my mind, and it’s often accompanied by the sound of falling rings.

Kirby’s Dream Land is a delightful adventure with a whimsical soundtrack. The music is as upbeat as Kirby himself, and literally every track in the game brings a smile to my face. The music that plays during the final fight with King Dedede is just as playful as the rest of the soundtrack, and Jun Ishikawa deserves praise for composing a track that creates a sense of urgency without feeling too stressful or overwhelming. Although King Dedede is usually painted in an antagonistic role, he’s not especially maleficent. His theme is the perfect fit for his mischievous personality, and it never feels too foreboding. King Dedede’s theme was relatively simple in its first outing, but the track has become increasingly more complex in subsequent games. Different iterations use different keys, time signatures, and instrumentation, and the theme has been rhythmically modified on multiple occasions. Entirely new sections were introduced in Kirby Super Star and again in Kirby Star Allies. The musical core has remained largely unchanged, however, and the main melody is unmistakable.

In an era where JRPGs were becoming increasingly complex, Octopath Traveler made you feel like you were stepping into a time warp. The game is most notable for its “HD-2D” aesthetic, which essentially combines SNES-era pixel art with modern lighting and texture effects. In a similar vein, the soaring soundtrack reminds me of some of my favorite 16-bit JRPGs, but the instrumentation is miles ahead of what you’d expect from a 1990s sound chip. There’s a lot to love about Octopath Traveler and its sequels, but the music is easily my favorite aspect of the series. The franchise has given us numerous boss themes, and none of them would seem out of place on this list. The aptly named Decisive Battle II reminds me of some of my favorite Final Fantasy themes, and it’s one of those songs that somehow feels nostalgic the first time you hear it. The song uses a similar melody as the game’s main theme (albeit in a different key), and this contributes to its familiarity. The heavy drums at the onset feel like a call to action, and I love how seamlessly the individual character themes blend into the intro. The opening bars do a great job of hyping you up, and things stay interesting for the duration of the battle since the brass and string sections compliment each other so beautifully. Nintendo shared a video of this track before Octopath Traveler even had a formal title, so I’ve technically been a fan of the song longer than I’ve been a fan of the series.

The Persona series has been delivering great boss themes since its first entry, so it’s impossible to single out one track from the series that everyone will agree on. Rivers in the Desert never fails to hype me up, and it’s the type of song that makes you instinctively bob your head to the music. The song beings with heavy guitar riffs to get the adrenaline flowing, and it sounds like a full-blown disco anthem by the time the chorus kicks in. The track plays during the battle with Shadow Shido, who has been leading a criminal coalition to overthrow the government. It’s clear that Rivers in the Desert isn’t Shido’s theme, however, and he’s the one most likely to ask why boss music is playing. It wouldn’t be a stretch to say that the theme belongs to Joker and his friends. As soon as the lyrics start, poor Shido has to realize that he doesn’t stand a chance. Even though I enjoy the song on its own, it’s much more effective in the game itself. When the cast shouts out their attack lines, they feel like they’re a part of the song itself. I could make an list comprised entirely of Persona tracks, but Rivers in the Desert is a worthy choice to represent the series.

Although it’s still a great game in its own right, Xenoblade Chroicles X is my least favorite game in the series. My biggest issue pertains to its uneven soundtrack, and most of the hip-hop tracks felt completely out of place. The game featured over 90 songs, however, so there were be bound to be some bangers in the mix. Uncontrollable – which plays during most Tyrant battles – is a true standout. The epic anthem is defined by energetic guitar riffs and soaring vocals from Mika Kobayashi. It’s the perfect way to get your adrenaline pumping, and it would make a great anime opening. This is a fitting observation, given that the track was composed and arranged by Hiroyuki Sawano, who is known for his work on anime soundtracks like Attack on Titan and Mobile Suit Gundam Unicorn. Uncontrollable was apparently too monumental to be confined to a single game. It was later used in the Xenoblade Chronicles 2 DLC, and it plays in Tetris 99 when there are 10 or few players remaining. The Tyrant battles in Xenoblade Chroicles X could be overwhelming at times, but Uncontrollable is the type of song that motivates you and drives you forward.

Choosing the best Nier boss theme is like choosing a favorite flavor of ice cream. There are any number of choices that could be considered the best, depending on what you’re craving at any given time. Song of the Ancients is a recurring theme that plays on multiple occasions throughout the series, and each iteration is perfectly suited to the specific scenario its applied to. The song – which is sung in a forgotten language – seems like a peaceful ballad when we first hear it. It’s first performed by twin sisters, Devola and Popola, and it would be hard to imagine the serene song being used for a boss encounter. The Fate iteration that first plays during the fight against Grimoire Noir is decidedly more intense despite retaining the tranquil undertones. The battle in question is against a sentient book, and the scenario might seem ridiculous or inconsequential if the music wasn’t so monumental. The song is purported to be an ancient hymn from a bygone time, so it’s well-suited for a battle against an ancient spell book. The Fate version is used again during the battle with Devola and Popola, and it has even more emotional weight this time around since the twin sisters were the ones who introduced us to the song in the first place. I might like the Atonement version from NieR:Automata even more, but that’s another can of worms altogether.

One-Winged Angel isn’t necessarily my favorite boss theme from Final Fantasy, but it’s being recognized on this list because of how well it reflects Sephiroth’s character. The piercing sounds that ring out during the opening bars are intentionally reminiscent of the main theme from Alfred Hitchcock’s Psycho, and they paint a clear picture of Sephiroth’s broken psyche. The song is used during the game’s final battle, and it makes you feel like everything is building to something monumental. The operatic vocals are downright epic, and One-Winged Angel has the distinction of being the first theme in the series to feature proper vocals. (I sometimes feel compelled to sing along even though I can’t understand most of the lyrics!) Composer Nobuo Uematsu wanted to do something unique with the song, and he intended for it to sound like 70s rock music played by a full orchestra. This unusual approach paid off, and Uematsu has noted that the theme consistently garners the loudest reactions when it’s played in concert. One-Winged Angel has become one of the most popular tracks in the series, and it has been remixed countless times for various games, albums, and live performances.

The Double Dragon and Kunio-kun games are essentially intertwined at this point, but there wasn’t much connective tissue when River City Ransom was first released. Although the respective franchises were developed by the same company, they weren’t yet tied together from a narrative standpoint. That’s why the battle with the Dragon Twins was so surprising. Brothers Randy and Andy join forces in the penultimate boss fight in River City Ransom, and they are clearly inspired by Billy and Jimmy Lee from Double Dragon. (The martial arts experts even have familiar whirlwind kicks at their disposal!) The references would have likely slipped under the radar if it wasn’t for the epic boss music that plays during the encounter. Incidentally, their music is the very same track that plays during the opening stage of Double Dragon! This track was an effective theme for Double Dragon, and an excellent choice for the first level since it was immediately catchy. Against all odds, it feels just as appropriate when it’s used near the end of a game. I’ve loved pretty much every iteration of the track, but my absolute favorite rendition is from the enhanced PC CD port. The instruments in this version sound much more convincing than the previous chiptune iterations. It sounds like hyperbole, but I think it should be regarded as one of gaming’s greatest guitar anthems.

Megalovania is a rare example of a video game track that transcends the video game medium. I was familiar with the track long before I played Undertale, and it’s the only track on this list that was deemed relevant enough to warrant its own Wikipedia entry. The high-tempo song is used as the final boss theme in Undertale‘s “genocide” route. Sans is a formidable opponent despite his laidback demeanor, and Megalovania amplifies the intensity of the battle. The easy-going skeleton spends most of the game making bad puns, and he goes out of his way to be lazy. From the opening bars of Megalovania, it’s apparent that Sans is no longer playing around. Although the track rose to prominence after the release of Undertale in 2015, it should be noted that Toby Fox composed an earlier version for a 2008 EarthBound ROM hack called Radiation Halloween Hack. (As previously noted, Toby originally planned on using Megalomania from Live A Live. He found that the track was too difficult to transcribe, so he decided to compose an entirely new song instead!) Megalovania has since appeared as a bonus track in many other games, including Pop’n Music and Dance Dance Revolution A3. Toby also composed a special arrangement for Super Smash Bros. Ultimate, while Gitadora High-Voltage features an amazing guitar-driven iteration. The track has truly taken on a life of its own, and it has spawned countless memes and remixes on the Internet. Megalovania might seem like a pedestrian choice for the top spot on this list, but its popularity is deserved.