And so, as the Germans say, wir sind so weit. It is my greatest pleasure to present/remind you about what may very well be the most memorable game soundtrack of all times. Biohazard 2 OST. What might be the reasons of my complete and unwavering adoration of Resident Evil 2, from the credits-roll font to the sound of climbing the ladder in the main hall? Well, up until 1998 I didn’t even seem to notice there was any music in video games. Yes, there was something playing in the background, but usually it was too mundane and insignificant for me to care. Let’s face it – apart from some exception, there was hardly any good game soundtrack before RE. Maybe some good intro tune here, some fitting boss battle theme there, but nothing really exceptional. But then came RE2 – the legend among legends, the game where I could do nothing for long minutes, just listening to the music, dazzled by its beauty. The tracks didn’t just provide atmosphere to the locations – they gave them life and personality. They made the 2D pre-rendered backgrounds four-dimensional (if not five). I can still remember the lights illuminating the gloomy main hall of Raccoon City Police Department seeming to vibrate along the powerful bells and piano strikes soaking from the speakers. I could spend ages talking about how I fell in love with the sound of RE2, but there is a neat way of putting it: this game has simply opened my ears.
It seems that Capcom thought about the order of the tracks in a practical way and so placed them in two groups, the first one being the FMV soundtracks. I guess there isn’t much to say about these, as they directly reflect the movies: the introductory sequence, the fall of William Birkin, the both ending sequences – thus it’s hard to talk about them as separate entities. Yet, it’s hard not to notice their quality – miles ahead of the first Resident Evil. The group ends with
Credit Line of Whole Staff – the hard-rockin’ head-thumpin’ tune we all know and love, one gets to hear after finishing the B-scenario. This is an odd place for this particular track, but, oh well...
The second group is the actual ingame soundtrack and it is commenced with
Prologue. As in the game itself – it is a taste of things to come: violins, pianos, snare drums, even trumpets; all locked in the great sequence of chords, forming a nice, emotional melody.
Raccoon City accompanies us through the initial stage of the game. It introduces us to the town itself: the fire, the debris, the zombies staggering around. However, it’s not about panic and terror. It’s more about sadness and tragedy.
Just before we move on to the next track, which is
The Front Hall, I would like to point something out. As you may have noticed, they missed a few tracks – the inside of the bus, Kendo’s gun shop, the zombies attacking Kendo’s gun shop, the entrance to the R.P.D. – prolonging the more significant ones instead. It is evident that they learned something from the flawed Biohazard OST and actually took some time to think before they mindlessly placed every single piece of music on the CD, in single loops one wouldn’t have time to sink in. Thank God for that. And for those of you who miss the deleted tracks – keep reading, we’ll get to them eventually.
So there is
The Front Hall, crushing us with its weight of the whole three-storey building, opening the cascade of R.P.D. soundtracks, familiarizing us with what the exploration of the museum-turned-police station is going to be like. Now dormant and deserted, but having been witness to some cruel, violent events.
Opening a door is all it takes to find yourself in
The First Floor. The thing I absolutely adore in this track are the random sounds thrown in: the cracking floor and the crushing doors. When I’ve first played the game, I didn’t even know if they were a part of the music or actual sounds of zombies breaking in somewhere at the other end of the station and I didn’t even care. The track is so unnerving (the violins and the basses) and at the same time relaxing (the piano notes flying somewhere high beyond me) I was in a complete trance.
Ah, but the station is a wicked place and the next track
The Second Floor is here to remind us about it. The unsteady, almost nauseating low sounds, a little like the underground laboratory in RE1... That sickly-yellowish corridor with the barely visible silhouettes of the three statues standing silently in the distance... We go downstairs, we open the door next to the two green herbs and we are in the...
Secure Place, or the save-theme, is one of the things that amazed me while I’ve first played the game. Just imagine – having to write one track repeating itself over and over throughout the game, fitting for no matter where you are, what you have so far seen and lived through, what they would see and live through in a moment, always portraying the place to catch your breath and regroup, always suggesting that there is a typewriter and a reddish item chest resting silently in the room. For me, the save-themes are always the best tracks on the Resident Evil OSTs, because they represent the overall spirit of the games. There is no better way to remember what each Resident Evil felt like than listening to its save-theme, even if may be due to fact that we all spent countless hours saving the game of managing the inventory with the tune carving itself into our minds.
The next track is very emotional -
Leon With Claire meeting in the S.T.A.R.S. room which takes place in the LeonA-ClaireB timeline. The feeling of relief as the two finally meet after having been separated is accompanied by the knowledge of what had happened with Chris and that Claire’s trip to Raccoon City was for nought. Yet, in spite of the hopelessness of the entire situation they decide to move on and fight. You may notice that the track for their meeting in ClaireA-LeonB (in the corridor next to the library) is different – it represents the slight relief and uncertainty of what will happen next and how this is going to end.
The Library and the famous library puzzle. The standard heavy violins and the curious piano suggesting something hidden, a little like
More Rooms in RE1. It always reminds me of zombies breaking into the two corridors on the first floor.
Another emotional theme -
Sherry’s Theme. I don’t particularly like Sherry, but I do like this piece of music. Notice how the everlasting low gloomy violins has been altered for this track – playing a different melody, not altogether scary, but still somewhat maintaining the mood, not letting us forget where we are and what we are doing. The high sounds complete the theme reflecting the fact that we are dealing with a little child.
The Basement of Police Station is another example of how impeccably the tracks blend with the locations. Dark, empty, concrete corridors with dust obscuring the vision. Dim lights barely illuminating the labels above doors.
The Tyrant tune returns! This time with more instruments, an expanded melody and gorgeous chorus. Like most of the enemy-encounter tracks, the loop is rather short and repeats itself multiple times, yet it’s never boring! Just who doesn’t love the sturdy bald guy and his heavy boots crushing the carpet underneath? The
"T”-A gets especially powerful during the camera cutscene next to the large elevator shaft later in the game.
Ladies, and gentlemen, it’s our first boss battle! The first version of William Birkin,
The First Malformation of “G” is big, bloated and very dangerous. My favorite breathing-like sounds and the low groans in the distance, all make their appearance and the vibrating violins at the top represent the fast and violent chemical reactions happening within. Watch the pipe.
Next comes the strong but lonely woman’s theme, or
Ada’s Theme. A mixture of piano and flute talking about bad experiences, forgotten hopes, hopeless future, much like the ill-fated love of Ada and Leon. Let’s forget about her being a spy and about her strange appearances in some European village six years later. Right now, she’s just an ordinary woman, a businesswoman perhaps, looking for her boyfriend, named John. Will her coldness mix with Leon’s fire and will they survive to live happily ever after? Only time can tell...
Of the three factory themes, only two made it to the soundtrack (the missing one being the small tune which plays immediately after leaving the sewers, the place where the dirt drops down from the ceiling), but they are both outstanding.
The Marshalling Yard (The First Half) introduces us to the bowels of a dead factory, with all the machines cold and standing still, covered in dust and all the workers dead. The main sound resembles wind howling through the empty corridors and the chorus is mixed with a complete breathing sound – inhaling then exhaling of some dormant, evil spirit lying somewhere at the core of the place.
Out of the bowels, we climb to the surface level to face the moon shining through the dirty windows. We are not out yet. Far from it. We step out of the save-room to see the dark shape of the elevator standing before us like a statue of some primeval monster. Behind it, is a endless horizon of pipes and chimneys with small red lights blinking here and there, warning the dead workers of some hazards.
The Marshalling Yard (The Second Half) has a very different feel than the first one. We no longer feel the terror of the unknown as we have already threaded the path through the dead factory. Now we see the vast area around and that there’s a long way still ahead of us. The RE2’s factory may not be the largest location in the game, but in terms of sound, it is by far the richest. Reluctant, we take the elevator down, not knowing that we are not alone.
The Second Malformation of “G” is probably the most recognizable version of G-virus carrier encounters and the one of the most recognizable Resident Evil 2 tracks. It doesn’t include the vibrating violins anymore; there’s no need to. We know our enemy. We don’t need to have it described to us anymore. This time, it is a war-song. We clutch the gun and take aim, feeling the sweat running down our face.
The Underground Laboratory is one of my favorite tracks on the album and that’s because of it;s multi-dimensionality. We stand at the mouth of the long steel corridor (for example, right at the door at the lower level of the plant-infested pit, the one with the door that required a System Disk). Immediately before us, there’s a feeling of dread and metal (one of the first sounds we hear, something like a gentle thunder), then, in the distance, we hear some distorted sounds – the echoes of experiments running, scientist walking, glass test-tubes being picked up and put away, the beeping of the computers. Every now and then, a loud wind comes at us from the depths of the corridor and facilities behind it, carrying a stench of rotten blood, terror and pain. And in the end, there’s a sound, something like a howling flow of water, the stream that will make us take another step and delve deeper into the core of the horrors and white gowns.
We have already met Annette, the broken woman, we have learned some unpleasant things about Ada and what really has been going on in Raccoon City. The doubt of who to trust is perfectly exposed by the leading sound of
Is Ada Spy!? (what’s with these articles?), which I am unable to recognize.
Escape from Laboratory is the greatest evacuation theme ever, period. With or without the alarm sounds and the computer voice hurrying us to the exit, the track is pure energy. The seemingly irregular drum-beats makes our feet want to run (while next playing the game, try to walk while this theme plays – you’ll see how unnatural it feels), but there’s also a melody, which helps a lot while preparing the G-vaccine in Claire-A scenario. The melodic line upheld by the sound resembling a bass guitar constantly thumping in the foreground and the length of the loops are the two things behind the sheer perfection of this track and the reason of why none other Resident Evil evacuation tune can’t even come close to this one.
We go back to Ada and this time, she is aiming a gun at us. This is the time of reckoning, of cards being shown. The first tune representing the feeling of fear and betrayal is quickly replaced by panicked rush to try and save the woman from falling. Then, it’s sorrow, similar to the music accompanying Barry’s death in RE1, but so much deeper and greater. But wait, there’s more.
Good Bye, Leon... might have been good but
Mother seems to be even better. The actual instruments sound poorer and, excuse me for using this word – cheaper, yet they play a melody which is richer and more original. Not to mention the fact that this time it’s Sherry who’s crying, so the music is lighter, gentler somehow.
It’s Ada again, this time not trying to shoot Leon but saving his life in Leon-B scenario. Nice theme for ####One More Kiss, but also a great track on its own, featuring the violins from
Good Bye, Leon... and the atmosphere of
Mother. I absolutely adore the final chord, which suggests the fear is not over. I guess
One More Kiss would make a nice ranking-screen tune for every Resident Evil.
“T”-B is so much different than the predecessor. After a brief violin introduction, the combat begins, implemented with the bass guitar thumping, just like in the evacuation theme, because we’re not only fighting against Tyrant, but also against time. A great, tragic war-song.
It’s time to meet with Birkin for the final time.
The Third Malformation of “G” is definitely more chaotic than the previous two, because the thing we are fighting is far more violent. Whether the four-legged form in scenario A or jelly tank in scenario B, it is a spectacular enemy, demanding a strong, fitting music. As such, the track does not contain any logical, recognizable melody, it simply provides the right mood for the fight, as if the creators knew the player would be too absorbed to listen to it.
We’ve already listened to the outro sequence, so it’s time for ranking screen theme.
And after that... is the only track on this album with no tension at all, just gentle little piano and quiet violins. A small melody for the single screen.
Ah, the beautiful
Credit Line... God, I feel like crying every time I listen to it... It appears after we finish any of the A-scenarios, the endings of whose are very emotional. Claire hugs little Sherry and Leon says one final “goodbye” to Ada. Overall, I find the “double-ending” idea extremely enjoyable as well as innovative. In scenario A, we take a look at the sad story, of everything we’ve been through, all the people who died and perceive Resident Evil 2 as a great, emotional game. In scenario B (sounded by
Credit Line of Whole Staff) we take a look at the future, think about all the action and gore and perceive Resident Evil 2 as a great, kick-ass game. Either way, a great game. A milestone. And that’s exactly what the soundtrack leaves you with.
But, as before, it’s not over yet. Remember all those tracks which didn’t make it to the album? Well, apparently I wasn’t the one who claimed tracks like the locked up east-area laboratory room tune should have been there as well, so Capcom released another album called Biohazard 2 Complete Track, whose cover you can see on the banner. It contains as much as 42 tracks, some of them great, some of them just for the “complete track” sake (mostly very short tracks like Sherry
Dropping into the water).
It begins with the classic initial intro movie tune (the one before the game’s main menu), truthfully named
The Evil Eye. Then comes the introduction of scenario B as well as all the missing tunes from the Raccoon City passage. (My favorite is
Drove the passengers to be the living dead, which is the bus tune.) There are the sudden attack tunes, much better than the RE1 ones (
Screaming Target and
Above the blood pool) – mostly involving lickers and the great track playing when we enter the east office and find Marvin has turned zombie (
The buildup of suspense). There is the alternative S.T.A.R.S. office tune, when we explore it all by ourselves (
Nothing more to do here) and the alternative Leon and Claire meeting in the hallway (
Who’s that lady?).
Later on, in the sewers, there’s the great
Wandering Alone track, when we explore the underground room as Sherry – great clarinet (or is it bassoon?) and piano melody to stress the child-factor;
The gigantic alligator theme; the nice soundtrack to the Ada/Annette encounter with curious metallic sounds echoing in the background -
Women squaring off.
Even further, are the four lovely laboratory tunes. They start with the moth room theme -
This is my nest – a silent, yet unnerving track, perfectly exposing the tension which we might feel facing some abominable insect, trying to shoo it off but being afraid to touch it. This time, however, the insect is bigger than we are... Next,
Like a shadow, a very deep and heavy tune reminds us about the scene where Annette tries to shoot Leon but is interrupted by the Tyrant. Notice how this track has been constructed with trumpets – sometimes they are silent and unsteady, sometimes they sting, like drum cymbals. Speaking about the Tyrant, the scene immediately preceding him falling to the lava pit is sounded by the
The shadow is gone? – at the very end, it features moments of silence interrupted by loud drum beats.
Wreckage of the mad experiment speaks for itself. Computer beeps suggest technology and computers. Then the violins and chorus arise – to suggest something frightening and evil, like raising the curtain or opening a box to see what’s inside... Then the shock of seeing something truly disgusting. One brief moment of not believing our own eyes, then another shock at understanding and conceiving what incredible nightmare we are witnessing. And the computers still beep in the background, continuously monitoring the whole thing, making calculations, relentlessly keeping the failed experiment running.
Towards the end of the album, we get to listen to the themes of The 4th Survivor and Extreme Battle Mode – everything, including the briefing and result screens. But there’s also something special at the very end -
”The ultimate bio-weapon” Medley. Oh boy, what a gem this is. The 8 minutes worth of Resident Evil 2 music, slightly remastered for our listening pleasure.
It begins with
Prologue, moves on to
Raccoon City, then a little fill-in which hasn’t been featured anywhere before and
The second malformation of “G”, quickly followed by
Escape from Laboratory – sounding faster and smoother, better than ever before. A very brief interlude and the relentless grip tightens – the mad
“T”-B comes, only to crush us again with
The third malformation of “G”. Then, there’s finally some piece... And finally, the
Credit Line to sooth us...
Together, the two albums form a complete audio Biohazard 2 experience, which I recommend for anyone with a taste for music. There are some compilations, including the
Biohazard Sound Chronicle Best Track Box, which some features tracks from both CDs, as well as the awful
Ten Years of Resident Evil – The Official Soundtrack which tries to place the soundtracks of 6 games onto one disk, a futile attempt if you ask me.
Last, but certainly not least, I think you ought to try and listen to the live-versions of some of these tracks on Biohazard Orchestra Album, played by real musicians on real instruments. The true highlight is the remastered
Credit Line of Whole Staff, with astounding violin intro, even if the actual rock sounds a little poor compared to the original (there should be at least one additional guitar and the drummer should have used the snare drum a little more, in my opinion).
You remember Leon saying “Hey, it’s up to us to take out Umbrella!”, you remember the anticipation you felt of how the franchise would evolve from there, what wonders were awaiting us is the unknown future... Then you remember all those Biohazards and Resident Evils which appeared, including the worthy sequel RE3, the three-dimensional Code: Veronica, the REmake, the splendid RE0, the atmospheric Outbreaks and of course the revolutionary RE4. And you may smile for a second and think that the world is not such a bad place after all. I sure do.
