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medicine can make or break aPokémongame . If a song give out to capture the air of a realm , it can leave alone players feeling as if the setting is exanimate . It is for this ground that thePokémonseries has strong music across the board . But for the same reason , the game match each other powerfully in the rival of which has the best soundtrack .
Music is fundamental to the quality of a generation inPokémon . GameFreak clearly site their soundtrack on a pedestal in this style : Composer Junichi Masuda was one of the last mass to confirm a Pokémon ’s design in earliest games before becoming a director at the party . Even after claiming this place , Masuda still composes for the series , showing just how highly GameFreak view themusic of thePokémonseries .
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#8: Pokémon X & Y Have The Most Forgettable Soundtrack
Gen 5 was meant to serve as a reset for thePokémonseries ; however , Gen 6’sX and Yfulfilled this role advantageously because the upgrade to the Nintendo 3DS ’s graphics and audio frequency has come to define how later generation look and reasoned . One of the issue that came by serving as a series reset is that the music in Gen 6 sounds like aclassicPokémongame ( which can be expensive ) . Rather than create themes unequaled to the Kalos neighborhood , chase after like " Route 4 " and " Cylage City " emulate the iconic panache of the originalPokémongames but use the enhanced technology of its console to produce clearer sound with distinct instruments .
While examine to vivify some of the iconic tracks from older game is not a problem , the want of a unequaled phone inPokémon X and Yis . Gen 6 lacks memorable musical numbers ; part of the cause being that the soundtrack feels disconnected from the biz ’s setting . X and Y ’s Kalos is supposed to be based on France , but none of the plot ’s music conveys this . The only song that sounds cheer by Gallic music is " Professor Sycamore ’s subject . " This is a true pity when turn over some of the Romani Jazz and swing music that could have been fiddle in Lumiose City .
That being read , Pokémon X And Ystill deserve remakesand some realization for their music . " Snowbelle City " enchant the magic of snow , and " Battle ! ( Champion ) " brings a playfulness , brilliant braid to the contemporaries ’s Champion battle that suits Diantha well . Still , Gen 6 ’s soundtrack could have make out advantageously had it used its setting as brainchild for its music .
#7: Pokémon Gold & Silver Lack In The Music Department
The Gen 2 games got to share Gen 1 ’s region and , therefore , its euphony . While this has madePokémon Gold and Silverfavorites among fans , the direct human relationship with Gen 1 ’s music highlights how Gen 2 ’s soundtrack is miss . Red and Bluecreated the classic subject that are in everyPokémongame , but Gen 2 ’s music output is for the most part forgotten in comparing .
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This is not to say that Gen 2 has nothing to declare oneself . " Azalea City , " " Ecruteak City , " and " National Park " are particularly strong song that serve key out Johto ’s identity from Kanto . Nevertheless , Gen 2 is lacking in originalPokémoncontent , let in music , which take in it feel as if Johto relied on Kanto to make the Gen 2 games more memorable .
#6: Pokémon Red & Blue Have Iconic Music That The Series Has Moved Beyond
Pokémon Red and Bluelaid the foundation for the what the rest of the biz would become , and this admit their medicine . Tracks like " Title Screen " and " Victory ! " have become staples in the series , make their path into much everyPokémongame . On top of this , some of the euphony from Gen 1 is genuinely compelling : the skittish vibes of " Lavender Town " scared kids so much they make spectre theories aboutRed and Blue .
That being said , thePokémonseries has move beyond Gen 1 . Newer games may utilise " Title Screen " fromRed and Blue , but they also enhance it by adding more tracks and musical instrument . Additionally , newer games can well centre their music toward specific ends . Pokémon Red and Blue ’s many unlike versionshad to start from scratch and make themes for a series that did not be yet ; in contrast , newer games can expend Gen 1 racecourse as tools while making new 1 for specific locations or moments . Consequently , the music ofRed and Bluecan feel more one - dimensional when compared to the rest of the series .
#5: Sword & Shield’s Soundtrack Is Strong But Lacks An It Factor
Generations beyond Gen 5 can have a strong metre winning fans over with their euphony because they have lost the charm of the 8 - bit strait that come in with older consoles . However , Gen 8 did a stand - up job at re-introduce unique music back into thePokémonseries with its diverse soundtrack . Thebest ofPokémon ’s Gen 8includes songs like " Route 6 " and " Professor Magnolia ’s Laboratory " use bagpipe , fluting , and harp to reflect the Galar region ’s UK influence . Others stand out for their peculiarity : " Slumbering Weald " sound like a backtrack from the 80 ’s , while " Glimwood Tangle " could have fare from aHarry Pottermovie . But the overall effect ofSword and Shieldis that it and its soundtrack have a deal to put up , which is a arrant message for the first Nintendo Switch main series deed to send .
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Sword and Shield ’s soundtrack can get because of its size of it , however . While it does have its substantial here and now , much of the music sounds derivative of previousmusic in thePokémonfranchise . Parts of even " Postwick , " the melodic theme of the hometown , are lifted instantly from " Littleroot Town " inRuby and Sapphire . While reusing asset is all fine , rehashing old ideas in crucial moment of the game like with " Postwick " can really hurt the persuasiveness of the soundtrack .
#4: Pokémon Sun & Moon Had An Excellent Tune For Its Goon
Pokémon Sun and Moonbrought the most out of the Nintendo 3DS in term of gameplay and euphony . The Gen 7 games had an excellent loan-blend of genres and cultures represented in their soundtrack . On one hand , players had their gelt - and - butterPokémonbattle themes ; on the other , players got to hear Hawaiian Luau music with " The Festival in Iki Town , " country medicine at Paniola Ranch , and even some classical revulsion with " Lusamine ’s retaliation . " This breadth of genre and culture not only voice adorable but also situates actor in the Alola Region ’s tropic , divers ecosystem .
AlthoughPokémon Sun and Moon ’s Lillie deserved easily , its estimable melodious facets are the tracks designed for Team Skull . The song for Team Skull are explicitly inspire hip hop and rap , which are quite rarefied to find out in the series . Getting to experience these musical style in aPokémongame was exciting when Gen 7 launched , which excuse why " Guzma ’s Theme " became pop in meme culture . That people saw humor in it also speaks to how perfect the choice to admit pelvis hop mold forSun and Moon , as the pelvic arch hops music introduced the goof ball that is Guzma .
#3: Pokémon Black & White’s Music Is Underrated Like The Games
Gen 5 was different from all of the game that came before and after it , and its soundtrack is no unlike . The scotch ofBlack andWhite , despite their release day hatred , is really peculiar in that it captures the eccentricity of Unova . The swinging speech rhythm of " Route 1 " lets the audience know that the path that lay before them is quirky , foreign , and a lot dissimilar than what ’s come before in otherPokémongames .
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The generation that first employ seasons also contribute out this facetin its medicine . " Route 2 ( Spring / Summer " is fast , pollyannaish , and filled with exultant Department of Energy of the warmer seasons ; on the other hand , " itinerary 2 ( Fall / Winter ) " bulge out off ho-hum and relaxed but slowly builds into blissful cut that captures the magic of fall leaves and nose candy sheets .
Perhaps the unspoiled aspect of Gen 5 ’s soundtrack is its dedication to the region and its brainchild . Pokémon Black and White ’s Unova Regionwas influenced by the United States , and the games do an first-class job at recognizing this influence through its music . " Gear Station " dial players in to some Delta Blues , and " Battle Subway " fathom like a pelvic girdle hop - R&B backtrack from the 90’s;Black and White 2also land in house medicine with " Nimbasa City Gym " and folk euphony with " Floccesy Ranch . " All of this captures the cultural diversity of not only Gen 5 ’s influences but of Unova itself .
#2: Pokémon Ruby & Sapphire Have The Most Epic Soundtrack
The Gen 3 games really upped the ante when it came to the stakes of its story . The high-risk guy rope inPokémon Ruby and Sapphirewant to destroy the world by catastrophically altering its mood . The euphony forPokémon ’s Gen 3 storythus needed to catch the direness of the situation . Gen 3 used the advancements the GameBoy Advanced made on the GameBoy Color and filled its soundtrack with discrete brass sections . Electric trumpets , trombones , and baritone ring in unison in what is believably the near and most epic rendering of " Main root word " in the serial publication ' history .
However , that does n’t entail Gen 3 ’s music does n’t bed when to settle down . " Oldale Town " uses an electric flute for its melody to create a calming effect , for illustration . Still , Ruby and Sapphirealmost always opt for electronic lot instruments , which pee-pee the soundtrack cohesive and self - contained . It speaks to the quality of Gen 3 ’s compositions that each brass - fill song sounds perfect for its setting and moment even though the setting is Hoenn , a region so tropical that even afish could beatPokémon Ruby and Sapphire .
#1: Pokémon Diamond & Pearl Are Junichi Masuda’s Masterpieces
Prior to joining the add-in of directors at Game Freak , Junichi Masuda primarily work as a composer at the company . Here and there , his experience playing the trombone for nothingness and classical music would crop up . It ’s notable that the firstPokémongames Masuda directed wereRuby and Sapphire , which had a soundtrack filled with trombone segment and felt like an acute classical euphony composition .
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Gen 4 is really where Masuda total into his own as both a director and composer , and it demo in the plot ' music . Pokémon Diamond and Pearlhave a clearly malarky - inspired soundtrack that utilizes a portion of its subgenres . " Route 216 " is an awing bad dance band piece , filled with pacing and time signature tune alteration that mirror the shifts in the snowfall ’s intensity level ; " Jubilife City " has a more metropolitan , café feel that capture the happiness that is the city ’s namesake . Pokémon Diamond and Pearl ’s genre referencesand musical complexitymake it feel as if Masuda had as much fun composing the soundtrack as his interview does hear to it .
But what makes Gen 4 ’s soundtrack the best is that the music reflect the part . The Sinnoh Region is a sleepy little place pucker into the mountains where the stock of thePokémonuniverse set about . make a score for such a realm thus requires a difficult reconciliation act in which the music must capture the spiritual grandness of Sinnoh while also recognizing its present state as a intimate hamlet tucked in the mountains . Masuda did this expertly with the beautiful " Lake Verity " and the demonic " Distortion World " forGiratina inPokémon Platinum(andBDSP ) . But there is perhaps no greater music moment in thePokémonseries history than walk through Eterna Forest into Eterna City . The themes of these two locating absolutely encapsulate what makes Gen 4 ’s euphony the best : They ’re jazzy , beautiful , complex , and meaningful to the experience ofPokémon .
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