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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:


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.
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  • 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.
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    • 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:
  • 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 Future in the Azure, 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, "This Thesis". 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 spoiler: 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 Sengo Muramasa.
  • Heretical Salem's PV theme Seiren Naru Heretics is really beautiful.

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. A perfect tune to face the Servants of the Lostbelts.
    • 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 EDM which is suitably alien 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.
    • "THEST" is the primary song for the Lostbelt and a powerful lament for the events unfolding in its story.
    • 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.
    • 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.
    • This battle theme, first heard in Atlantis, that 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, "Starburst 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.

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 Kara no Kyoukai'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.
  • 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.

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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