Awesome Music / Fate/Grand Order

Both the original tracks and music borrowed from other Fate works are enough to have the player stop farming just to listen to it all the way. Later on, in the game's first story cycle in particular, once they had a larger budget, the music got very good. Here's a playlist with (most of) the game's songs. For specific examples, see below:

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Promotional songs

• Maaya Sakamoto gets to sing all opening themes, and they're all inspiring.
  • "Shikisai" ^note Literally "Colors", the very first opening song, is recognizable with its chorus being incorporated in most of the TV commercial spots.
  • "Gyakko" ^note Literally "Backlight", the opening song for the first part of Cosmos in the Lostbelt. Just like "Shikisai", the chorus portion of the song is heavily featured in the TV commercials for the arc's story chapters.
    On the banks of despair, I shout out a nostalgic name, and it is like distant thunder.
    That I am still fighting, that I am on the other side of the storm – let it carry my message to only you.
  • The second part of Cosmos in the Losbelt features "Yakudo" ^note Literally "Impetus", forging a path forward with renewed courage even with the odds stacked against you; considering all the sacrifices made in the first part of the story arc, this song is so much more meaningful.
    I believe only in impetus, in its clear, honest truth
• Heretical Salem's PV theme, "Seirennaru Heretics", is a haunting power metal song.
• "THEST" is the primary song for the third Lostbelt and a powerful lament for the events unfolding in its story.
• The TVCM song for the "Imaginary Scramble" event, "Genjitsu" (composed by KOHTA YAMAMOTO and sung by Hannah Grace), is a solemn dirge reflecting the Nautilus's descent into the abyss and Chaldea's struggle to fight off Eldritch forces haunting the deep sea. The second time the chorus comes around, a powerful electric guitar riff adds itself to the violin vibrato, completing the tragic and tormented imagery that's painted by the event's main star, Van Gogh.
• The Memorial Movie 2023 short featuring the song "flowers" as sung by Hana Hope (Japanese version of the animation, English version of the song in full) feels like a celebration of both the game itself over the years and the history of humanity's heroes, all animated beautifully by CloverWorks. The lyrics blends both the despair the Heroic Spirits can feel at their lowest points, yet at the same time the bright hope humanity can aspire to from being inspired by their stories and histories. As two YouTube comments put it:
  xawes6032: This is not a love letter from Fate to the fans. This is a love letter from Fate to the historical and fictional characters, the inspiration for this franchise and this game. Even if they're stories from the past, even if the world changed, we didn't forget them.
  aareez3435: There is a bit more to it. The pv shows the relationship is something that goes both ways. The stories of heroes and the legacies they leave behind are the hope to inspire humanity to continue on beyond the tragedies of war, a figure to place faith in to give themselves the strength to endure the suffering. In exchange, this faith humanity places on them is what saves heroes. Within the dark space of regrets where they can only look back on their failings and regrets, watch as humanity falls to itself, this faith is like a helping hand, a light to illuminate their darkness and ask them to continue watching over humanity.

Arc 1: Observer on Timeless Temple

• The Grand Battle theme, "Fate", only plays during Grand Battles and when it plays during those times, it's a signal that these fights are going to help save humanity's future.
• Some of the most iconic music pieces from Fate's other works return as theme music power-ups. Saber and EMIYA (Archer) have their Leitmotifs from the visual novel, "Excalibur" and "EMIYA", Nero and Tamamo have their NP themes from Extra (Nero Bride has a rearrangement of her NP theme from CCC), and Gilgamesh has "Cosmic Air" from the same game.
• London's final boss music and its map theme, giving an air of danger and foreboding, respectively.
• America introduces a whole new slew of awesome music, including a new Fatal Battle theme "Unleashed Power" that just captures an epic feeling.
• The Final Battle against Demon Pillar Halphas, a transformed Cu Chulainn (Alter), is set to an awesome remix of the main menu theme.
• Camelot has a new Fatal Battle theme for battling the Knights of the Round Table. Appropriately enough, it's a dark rearrange of "Sword of Promised Victory". Several of the new music tracks in Camelot were lifted from the Garden of Avalon drama CD, composed by Hideyuki Fukasawa.
  • Camelot also introduces the "Crisis theme", which plays during major battles during Camelot and Babylonia, particularly in Babylonia when the Urukian Army and Servants of Chaldea fight against the monster horde of the Three Goddess Alliance.
  • The theme of the final battle against the Lion King, AKA the goddess Rhongomyniad made flesh in the form of Altria.
• Babylonia has a slew of new, amazing tracks:
  • The first map theme of the chapter excellently captures the feel of high adventure and camaraderie in the Age of Gods, when mankind was just finding its feet.
  • Gilgamesh gets a remix of his original theme from Fate/stay night, "Golden King" during Babylonia.
  • When you fight Tiamat in Gorgon's body, this amazing theme kicks in.
  • Once the true Tiamat has manifested and begun to fill the world with her Chaos Tide, advancing toward Uruk, the first map theme is replaced by this theme, which perfectly captures the feeling of dread that comes with the rest of the chapter. The Chaos Tide filling the map more and more as you advance the story helps the effect.
  • And then, when all is said and done, Tiamat is capable of dying, and sacrifices have been made to ensure this? It's time for Childhood's End.
  • The orchestrated version of Tiamat's music is taken in a Sad Battle Music direction, affirming the necessary tragedy of having to take down the original mother in order for humanity to grow.
• The final battle against the Demon Pillars in Grand Time Temple Solomon gives them each a remix of the map themes from the previous singularities. Flauros, Forneus, Barbatos, Halphas and Amon all borrow from the singularities they debuted in, while Naberius borrows from France, Sabnak borrows from Babylonia, and Andromalius borrows from Fuyuki (which itself borrows from "Into the Night", the main theme of Fate/stay night itself). Then there's the amazing map theme for Time Temple Solomon itself.
• When the Heroic Spirits find a way to come help you in their multitudes during Solomon, alongside Jeanne finally giving her first-trailer Rousing Speech in-game at long last, as well as each time a Demon Pillar is defeated for good, we get an unbelievably good full orchestra rendition of "outbreak" from Hollow Ataraxia.
• The final battles each have awesome remixes of the game's main themes:
  • Solomon gets a climactic remix of the menu theme.
  • Devil King Goetia gets an orchestral mix of the opening PV's song, Shikisai.
  • The Grand Last Battle gets an orchestral mashup of the title theme and Grand Battle theme, "Fate/Grand Order".
  • And in a whole different way, the orgel version of the main theme is amazing, as it's the perfect music for Mash's apparent goodbye when she makes her Heroic Sacrifice. Your kohai did her best to the very end.
• The orchestrated version of "Fate/Grand Order" goes even harder than the original as the final boss theme; it starts out with an Ominous Pipe Organ as an excellent replacement for the game's Recurring Riff before launching into a jaw-dropping orchestral arrangement.
• The scene right before the end credits has Azure Future, which Fate veterans will recognize as a rearrangement of "New Dawn", the song that plays during the ending of each route of the original visual novel.
• And finally, there's the ending theme, "Eternity Blue" by Sachi. It's a little cheesy, sure, but it's absolutely perfect for getting Mash back, realizing you actually pulled off the impossible in stopping Goetia from destroying humanity, and can now step outside Chaldea alongside Mash and that Mash can now see the world she helped save. Sure, the jerks at the Mage's Association will have a million questions and give you a rank not quite commensurate with your accomplishments, but who cares, this victory is yours. And the song is perfect for all this.

Arc 1.5: Epic of Remnant

• In Shinjuku, we get a new Grand Battle theme, "The Proposition". Timing Moriarty's line with the opening notes just made it even better. This theme is also used in the final battle of other EOR chapters; the battles against Scheherazade and Phenex in Agartha, Amakusa Shirou in Shimosa, and Abigail in Salem.
  Moriarty: Alright then, a final battle it is. Culprit or detective, who shall win? LET'S GO!
• The Fate/Extra CCC collab chapter includes a number of themes directly from the game, and also includes remixes and original pieces inspired by the previous soundtrack (and needless to say, a lot of it is amazing):
  • This update finally gave Lancer Bathory her much-needed Theme Music Powerup!
  • The event map theme for the front side is "Inner Core Harmonics" from CCC, as catchy as it's ever been.
  • The music for the other map, the SE.RA.PH back side, is "Iron Maiden Princess". Which, as the theme for the first area in CCC where Meltlilith came into prominence, is very fitting.
  • And just before the confrontation with the final threat of the chapter, the map theme changes to the driving and intense "Sesshouin Paradise", just like in CCC. Which, given the situation, is completely fitting.
  • "Reminiscence", previously the title theme of CCC and used for some scenes with Sakura, is repurposed as Meltlilith's Leitmotif. It fits perfectly with her Character Development, the tragedy of her situation and weakness, and her developing relationship with Fujimaru.
  • The jazzy "Backyard of Eden", the theme of the first strata of the Sakura Labyrinth in CCC, returns as the "general cutscene while walking around SE.RA.PH" theme for story events.
  • A totally new theme, based somewhat on the battle theme for CCC but using more classic instrumentation and a more regular tempo, serves as the standard battle theme for the chapter/event.
  • There's also a short but sweet new piece based on "Reminiscence" for the victory fanfare! This caught many players off-guard, since even Shinjuku uses the usual victory fanfare.
  • A subtle remix of "Spinal Roller Coaster" serves as the Sentinel battle theme, particularly when fighting them in the depths of their hearts.
  • BB gains a whole new, dedicated boss theme (that is not "Bottom Black Moon Gazer", her CCC boss theme) for the chapter, which is a dark remix of the BB Channel theme.
  • Bottom Black Moon Gazer does play, however, when you face down BB/GO at the end of the extra chapter. A second it remains goddamn awesome.
  • When confronting Beast III-R in battle, "Goddess Metamorphosis", itself a remix of "Anima Ataraxia", the final boss theme of CCC, plays. This is, of course, not remotely surprising. A whole new (and face-meltingly awesome) orchestral version (beware, video has spoilers) of "Anima Ataraxia" plays when confronting Beast III-R for real in the Advent Beast battle.
  • During the climax of the entire plot, when Meltlilith uses Virgin Laser Palladion in her attempt to finish off Sesshouin once and for all, a new Triumphant Reprise remix of "Spinal Roller Coaster" plays (split into two different parts), and it is every bit as awesome as you'd expect it to be.
• Shimosa Province has "Unsigned (Unsourced) Blade Works", a brand-new EMIYA remix with traditional Japanese instruments included. It is the leitmotif of Senji Muramasa, and plays during his Noble Phantasm.

Arc 2: Cosmos in the Lostbelt

• The first Lostbelt, "Eternal Frozen Empire - Anastasia - The Princess of the Land of Beasts", already has a few:
  • The Map Theme is a quiet and elegant, yet foreboding and tense aria, like a haunted lullaby.
  • The Fatal Battle theme, "Wandering Survivor". A perfect tune to face the Servants of the Lostbelts as Chaldea struggles to survive in this new status quo.
  • "Howl: From the Day of Wrath", the theme when you face Ivan The Terrible on his giant elephant with the aid of the giant golem Adam. So who wants to play the piano?
  • "Destiny" is suitably epic as a Grand Battle theme for taking down the Crypters, with a slow build-up into an incredible orchestral theme that's bound to get you pumped up, especially once the choir kicks in and those familiar notes from the title theme start playing.
  • "In the Air", the battle music for the Fantasy Trees, is suitably alien EDM for enemies this bizarre and incomprehensible.
  • When the Lostbelt comes crashing down, Salieri plays "Twinkle Twinkle Little Star" for all those Yaga who were listening until they fade out of existence. Yes, you are hearing it right. Thanks to the story, the feels are so strong that even listening to the most childish nursery rhyme known in history wouldn't make you feel ashamed one bit regardless of age.
• The Götterdämmerung battle theme is ominous and foreboding, fitting the area where very few allies are around to support the protagonist against thousands of giants and valkyries.
• "Rebellion" has been stated by the game's composer to be this arc's equivalent of "Outbreak". It's not hard to see why, as it's a heroic anthem for Pan-Human History and its representatives' great stand in their dying world. It really helps sell the awesomeness of moments like Napoleon overclocking his cannon against Surtr and Spartacus taking just one great jump to stop a meteor.
• SIN introduces a slew of amazing tracks for the player to listen to.
  • The field map has a pumping melody as Chaldea prepares to tackle the next big obstacle.
  • The battle theme is appropriately Chinese-themed and fits perfectly with the wuxia atmosphere the story's going for.
  • The emperor's theme, "True Human", is somehow both off-putting and grandiose synthwave, hinting at a greater power unlike any foe encountered before. It also has an amazing, albeit very short, rearranged version as his Theme Music Power-Up.
  • The Fantasy Tree battle theme gets a more serious-sounding remix as "Hypothesis Cosmos" to accompany the Super-Empowering it got in-story.
• Olympus is the epic conclusion to Chaldea's fight with the Crypters and has a lot of amazing music to serve as the score.
  • The Olympus map music is an electrifyingly tense theme to ram it home that this is the threshold for Chaldea's biggest battle yet. It is also a remix of the Mare Carcer theme from Fate/Extella, relating to the fact that the Lostbelt diverged when Zeus defeated Sefar.
  • Likewise, the normal battle theme for Olympus is equally heart-pounding with its use of electric guitar and violin as Chaldea gets closer and closer to their goal of dismantling the Olympian pantheon.
  • Olympus heralds the introduction of a new Beast, and with it comes an amazing new remix of the first four Lostbelts' map music combined with Tamamo's Leitmotif, "Nine Drive ~Koyanskaya's Lostbelt Travelogue~". The music rearrangements are particularly poignant as the first Lostbelt is where the Beast's cruelty really came into play and Tamamo's theme is a reminder of its origins. It also shifts with each Bar Break after that, showing just how much of a menace this bitch has been though your journey. So like the character it serves as a theme to, it's a well-done remix yet is distant enough from the originals to stand on its own.
  • "Advent of True Mechanical Gods", first heard in Atlantis, plays whenever you fight the Greek gods. An otherworldly, yet imposing theme fitting for the deities that you face off against.
  • Zeus gets his own theme, "Starbust Thunder", when you battle him, and it's just as powerful, if not more so for battling the King of the Gods.
  • "Slash the Void ～Beyond Zero～" plays during the poignant cutscene where Musashi sacrifices her entire existence to seal off Lostbelt Chaos. Solemn and mournful, this intense theme is the perfect sendoff for a companion who lays down their life so that you may continue your journey and see it through to the end.
  • Kirschtaria's theme is fully expanded into an absolutely amazing orchestral rendition of the Tree Battle theme for his final duel to remind the player that he is one of the most top tier mages just by sheer dint of being so easily able to go toe-to-toe with Servants.
• Heiankyo has an excellent mix of Japanese and rock music for players to enjoy.
  • The main theme song, "The Golden Path", is a light-hearted and optimistic rock song that sums up Sakata Kintoki's character arc as a hero who fights to protect the people. The Engrish is charmingly in-character for Kintoki as someone so enamoured with the idea of using bits from western culture.
  • The regular battle theme is a serious rock track that doesn't become too overbearing, similar to how the story itself has dark undertones but never gives into despair as Kintoki fights by the protagonist's side.
  • Heiankyo's duel theme eschews the methodical melodic consistency of Shimousa's duel theme by going for a slow escalation into a dramatic string crescendo, reflecting how Kintoki's fighting style is a lot more roughhouse than Musashi's practiced swordsmanship.
  • Ushiwakamaru's theme from Babylonia was given a dark and exciting rearrangement worthy of someone filled with overflowing hatred for humanity.
  • The Final Boss music is an epic slow-paced orchestral remix of "Bloody Wind" from Shimousa, as a reminder of how this all started in that arc and culminated in fighting Ashiya Douman with no shikigami in the way of the protagonists giving him a good old-fashioned beatdown.
• Avalon le Fae was several months in the making and the music team went all out with the background music.
  • The first map theme is light and ethereal in its use of piano and violin, which gives the impression of a fascinating land to be explored in Faerie Britain.
  • The third map theme is a slow acoustic arrangement of the established theme to mark it as remarkably different, reflecting how Mash has been thrown into a land just a bit off-kilter compared to the Britain she's been exploring up to that point.
  • The fourth map theme is an absolutely heartbreaking slow arrangement of the map theme to underscore Gareth's final stand in Londinium as she refuses to yield in the slightest to the enemy.
  • The very start of the sixth map theme with those pronounced drum beats serves to set the mood for how the player knows there's no turning back and Faerie Britain will fall one way or another.
  • Players actually get to spend extended time in Avalon for the first time in franchise history and its map theme, "Land of Hope", is a cheerful bop that showcases its idyll nature in contrast to the chaotic Faerie Britain the player has been spending time in.
  • The standard Fatal Battle theme for this Lostbelt, "Spear of Selection", is a fast-paced remix of the faerie theme and is indicative of the high fantasy action that players get throughout the story. True to its name, its prominent use in the story is being played for Percival sealing away Woodwose's powers with his spear as they come to blows.
  • "Black Prominence" has "Sword of Promised Victory" used once again as an excellent ominous battle theme for the antagonistic Knights of the Round; this iteration uses far more brass to emphasize their even greater power than the previous knights faced by Chaldea.
  • Morgan is one of the strongest Lostbelt Kings in the story so far and her theme, "Tonelico", is appropriately strong as an amazing ethereal string piece with One-Woman Wail, an absolutely fitting track for the Queen of Faeries.
  • "Horizon", the Calamity of Flame's boss theme, is an intense rock track perfect for a High-Altitude Battle with a part of the oldest dragon in existence.
  • "Demonic Dog", the Calamity of the Beast's boss theme, is a frenzied and distorted version of "Black Prominence", intentionally veering towards a lack of resemblance to the source material to reflect the tragedy of the Black Dog's inability to maintain chivalry.
  • "Fantasia", the Calamity of Curses' boss theme, is fitting BGM for one of the chapter's most notorious bosses with overwhelming symphonic rock as he unleashes curse upon curse on the party. Notable is the almost jarring shift to joyous choir around 1:34, which reflects Word of God that this is meant to be music for a certain someone's happy dream.
  • The Final Boss music for the Insect of the Abyss, simply titled "The End", is remarkably different from the orchestra and rock used in the prior boss themes, dispensing of any rock elements like guitar completely, in favor of serene yet tense piano and strings. This instrumentation choice reflects how the boss essentially has already won with his initial goal and this is a no-holds-barred fight to the death between him and the protagonist's Servants to stop him from getting any further with his next goal. As an extra touch, this song is a dark altered version of the fairy theme, fitting for someone who was given the name of the King of Faeries, and who ultimately ended them. It gets even better with the live version, with emphasis on the violin which weaves in seamlessly with the piano to tell a beautiful yet tragic fairytale.
• What would go on to become the standard Fatal Battle music post-Avalon le Fae is an intense symphonic piece that says this is Chaldea's last stand to save the planet, with everyone they've picked up or lost along the way giving their all for this long bloody struggle.
• The final Lostbelt once again delivers incredible music in spades to accompany one of the last stretches of the story for Grand Order.
  • Nahui Mictlan's first map theme is enigmatic and adventurous, much like the world it represents.
  • The standard battle theme, "Spectacle Age", is a well done remix of the map theme with a notable epic drop at 1:10 as the party makes their way to the furthest ends of this world.
  • The battle theme, "The Last Brave" for the Beast of Oblivion is a joyful remix of the Nahui Mictlan theme to convey how the King of Braves Camazotz will finally find his rest after millennia of isolation and insanity following the unbelievable amounts of sacrifice made to help him.
  • The second map theme starts out with the Tree theme to represent the Lostbelt being hijacked by Crystal Valley and converted into a massive Forest of Emptiness before segueing into a mix of ORT's theme and the Nahui Mictlan theme to represent the imminent threat of its approach to the Lostbelt's surface.
  • It's a good thing all of ORT's themes are amazing, as the player will be hearing them throughout the entire third act of this Lostbelt and that's not even accounting for all the loading that'll lengthen their playing time even longer.
    • ORT's first theme, "Expanding Sun", sets the stage as an imposing electronic track as player and cast alike realizes the true might of this alien entity in its Final Boss Preview.
    • ORT's second theme, "Invade Spider" is a much harsher and faster arrangement of the first, as Chaldea has to contend with the fact it's legitimately woken up and it's pissed.
    • ORT's third theme, "Invade Star Cell", adds choir and becomes orchestral even as the electronic music comes and goes as everyone is forced to contend with a sudden second phase to the alien chasing down its heart.
    • ORT's final theme, "Virtualized Earth History", shifts the choir into major key, dispenses the electronic elements entirely, and adds piano to demonstrate that the end is absolutely in sight as long as they get through ORT's last ditch attempt to cling to life.
  • The final confrontation with the Master-Servant duo of Daybit Sem Void and Tezcatlipoca is accompanied by a stellar ballad that scores the mood of the Post-Final Boss of the Lostbelt.
• U-Olga Marie was absolutely robbed of a unique boss theme... but not her first resurrected E-Olga fragment, Flare Marie, who brings with her a menacing and incredibly hard-hitting new style of battle music that starts off subdued and even somber as the heroes get a good look at what has become of their Director... only for the piece to ramp it up with further and further intensity, adding more instruments each time as Flare Marie shows off more of her tremendous power until she's burning up the entire Presidential Singularity with the same level of heat as a star.

Events

• The Honnouji event introduced a wonderful mix of Sonic Barrage from Realta Nua, which would become the battle theme for several events afterward.
• The Garden of Order event came with some of The Garden of Sinners's most epic music from the fifth movie, "Paradox Spiral", composed by beloved Yuki Kajiura. Ryougi (both of them) also has her own music theme in their NP animation.
• The Journey to the West event introduced a new Fatal Battle theme which is a remix of "Myth Revived", Heracles' theme from Realta Nua and Fate/unlimited codes.
• The Rashoumon event introduced three new tunes to the game.
  • A remix of "Outbreak" from Fate/Hollow Ataraxia, using Japanese instrumentation to create an atmosphere of excitement and wonder.
  • A remix of "Wars", also from F/HA, is tense and fast-paced, befitting the battle against Ibaraki-douji. It's used again for the final battle with the Count of Monte Cristo's Big Damn Heroes moment.
  • The shop theme, a simple and catchy melody that's bound to get stuck in your head. This one's been very well-received by the fandom.

• The Prisma Illya collab event features Prisma Illya season 1's fun, fast-paced battle music. The World End Battle against Kuro is set to "Shoujo Shinka" which is the Prisma version of the "EMIYA" theme. Kuro has "Young Girl, Become a Star!" as her NP's theme.
• Onigashima brings us its own Grand Battle theme, a tense, frenetic song underscored by Japanese instruments that drives like a raging storm before slowing to a shakuhachi lull that matches the power and grace of Raikou.
• Halloween 2016 provided a couple of really nice tracks:
  • As part of the event's classic JRPG throwback themeing, the shop theme is an adorable 8-bit rendition of Elisabeth Bathory's theme.
  • The general combat theme for the event is a driving strings-and-synth version of the same theme that'll get your blood pumping.
  • The map theme is also great, as it sounds like it came straight off a Ghosts 'n Goblins symphonic album and captures the feeling of old, "spooky" games like it and Castlevania perfectly.
• The Meiji Ishin event introduced a new Grand Battle theme ("Fate: Dance of Blades") for the Final Boss of the storyline, the Demon Vice Captain of the Shinsengumi, Hijikata Toshizou. One of the best iterations of the song to date, it hits hard with its heavy Japanese undertones and gives the impression that a decisive battle between samurai is unfolding. This theme is also used in the final duel between Miyamoto Musashi and Sasaki Kojiro in Shimosa.
• As part of the transition into EoR, stupendous remixes of "Colliding Spirits" and "Light and Darkness" were used as new event battle themes, having heavier undertones than previous event battle themes.
• For the battle theme of Dead Heat Summer Race, you'd expect a mix between a whimsical tune reminiscent of Wacky Races and a tropical beach theme, right? NOPE! It's an intense rock guitar/violin duet that sounds like it would be more fitting for a final dungeon battle theme.
• The battle theme and Grand Battle theme for the third GUDAGUDA event are amazing orchestral rock pieces with oriental elements. Its PV theme, Nisha Senitsu by Rokka, has an intense, urgent, and dramatic feel to it that in a weird way would fit the Fate/KOHA-ACE setting.
• The Battle in New York event introduces the third set of event battle remixes, "Burst Up" and "Last Strength", anchoring the sheer escalation events have been going through.
• Shuten's theme, "The Legendary Onicure", is an energetic Japanese-themed piece that both works for Shuten's oni hijinks and the magical girl parody it's paired with.
• "Abyss of Decadence" is a frenetic song, inviting the listener to the wild and disturbing world of its corresponding event.
• "Karma Ataraxia" is an ominously tranquil piece as a stark contrast to the frenetic atmosphere of "Anima Ataraxia".

• From the "Échiquier de l'Apocalypse" Event, both the Field and Battle themes both sound calming and lighthearted on the surface, but have an underlying tension in them. This lets them give the impression that something's off about the setting which, considering the Event's story is themed after board games and gives the overall message that neither the World of Fate/Requiem nor Chaldea are as innocent as they seem, is fitting.
• Gudaguda's fifth event has a special rock remix of its vocal theme that serves as its first Grand Battle theme, the medley of fast-paced rock and light piano serves to emphasize how Himiko is both a kind ruler who led her country and someone absolutely willing to pulverize someone's face in if she thinks they deserve it.
• The battle theme of the third Gudaguda event was given a one hell of an upgrade for its full-blown remix as Gudaguda 5's second Grand Battle theme. It now serves a Bootstrapped Leitmotif for the Shinsengumi as the remaining Shinsengumi members confront one of their comrades and put an end to his misery, with a bittersweet triumph in the music's tone for being able to get so far for this final clash.
• At the Tunguska Sanctuary event, we were given the theme of Beast IV:L, a haunting remix of Tamamo's theme that is jumbled with Koyansaka's previous Beast theme in Olympus. A fitting theme for a disaster given form.

Other

• A special medley meant to bring players through memory lane was produced for the 5th anniversary with an absolutely gorgeous and thrilling performance from the special 5th anniversary band. Ayasa's violin work in particular elevates Grand Order music to an even higher level than before and leaves listeners wanting for more as they look back to all the whirlwind events they've played through for the last five years.

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