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Awesome Music / Fire Emblem Gaiden

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Among the refined elements from its predecessor, Fire Emblem Gaiden ups the score with a myriad of action-packed, emotionally sound, and overall legendary music tracks so well-crafted that it's hard to remember they are created using the Famicom's sound chip.

Although for most of its existence the game was pretty much unknown to the rest of the world, a tease of its soundtrack made it to Super Smash Bros. Brawl, which kept long-time fans expectant and newbies interested. When the remake was announced, one of the most hyped aspects was its remastered soundtrack, and it didn't disappoint.


  • The game's title screen omits the usual Fire Emblem themenote  and instead opts for an ominous track that shines a backlight on the backstory as it scrolls over the titles.
    • In the remake, the scrolling backstory is replaced with a cinematic cutscene and a brand new track called "Omen", which is a heavily retouched version of the last level's theme.
    • Following the cinematic, the new title screen appears, and this theme plays. A very short and quiet theme, but quite solemn and very powerful in setting the tone for the game you're about to play.
  • Alm's "Map 1" is considered by many to be one of the series's quintessential heroic themes, with a very uplifting and invigorating cadence that contrasts Marth's more relaxed theme. In Echoes, this theme becomes "March to Deliverance", and WOW.
  • On the other half of the game, we have Celica's "Map 1", otherwise known as "With Mila's Divine Protection". Another noteworthy hero theme in the series, and thanks to its inclusion in Brawl it can be argued to be what put Gaiden on the map for international audiences.
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  • The first "Battle" theme has gained iconic status by being unique among its peers, with time signatures that are uneven enough to stir a sensation of anxious furor as you dive in to attack your enemies head-on. Globally, this theme also appeared as a Colosseum battle theme in FE8, but it was not until the remake where the theme was truly remastered, with a version for Alm's party and one for Celica's. The final chapter kicks this theme up a few tones in the original game to emphasize the endgame status, but in Echoes it is completely reverse engineered to an even greater effect.
  • The "Enemy Attack" theme seemingly takes cues from its previous incarnation, with a spin of its own. Its remastered version takes on a more tribal-like personality in concordance with the themes of more recent titles while still sounding heroic and energetic.
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  • Likewise, the "Boss Battle" theme seems to be a rather small variation from the first game's iteration, while the version in the remake has every possible instrument explode inside your eardrums.
  • The remake also adds a few boss tracks that give some personality to certain battles:
  • As the game finally kickstarts itself up, Alm/Celica are finally thrust into the world map with this jolly-sounding theme, one of the only pieces of music in the entire game that directly reference the Fire Emblem theme. In the remake this track is known as "Undiscovered Horizons" and it comes off as a more triumphant march.
  • "One Star by the Next" is a beautiful piece with a flute and strings melody, giving some calmness at the Sluice Gate and Sage's Hamlet before the inevitable storm.
  • In Act 4, the world map theme shifts into a tone of emergency and anxiousness as the parties set foot inside the Rigelian Empire. The remastered version in Echoes, "A Song for Bygone Days", slapped in a choir for good measure.
  • The map themes for each Lord also change from here on after, with Alm's sounding more dutiful and Celica's sounding more hopeful. Made much more impactful in the remake, with "What Lies at the End" for Alm's map theme and "The Sacrifice and the Saint" for Celica's.
  • When Alm reaches the Rigelian palace and Emperor Rudolf prepares his soldiers for his Last Stand, "Lord of a Dead Empire" plays, overriding the battle music and seemingly foreshadowing how Rudolf knew his death was coming. Both a choir and a single male voice sing a poignantly somber but nonetheless intense chant riddled with Incredibly Long Notes. Finishing the map, Alm ends up killing Emperor Rudolf, who promptly reveals that Alm is his only son. The scene cuts to a bewildered Alm and a dying Rudolf, and then "Truth" comes on to drive home the sad revelation. In Echoes, the theme is beautifully redone in piano and cello, to a much deeper and lasting effect.
  • The Game Over theme in Echoes, "The Afterglow Fades", is a heart-wrenching Adagio for strings that starts off somber and builds up to dramatic. Therefore, it is rather fittingly used in-game during the scene where the dying Emperor Rudolf reveals the truth to Alm.
  • "Parting". Merely a few steps into Duma's Temple at the start of the Final Act, Alm encounters a dying Fernand, who immediately falls into Clive's arms as the theme begins to play. Fernand is full of regret for having doubted Alm, and now that his own superior Berkut has done the unthinkable in his quest for power, he can only beg him to slay Duma for the good of mankind. Afterwards, he shares a touching moment with Clive, his one remaining friend, as he silently dies. Both Clive and Clair take Fernand's death very hard, and with this song you might too.
  • "A Distant Promise", usually known as the two protagonists' love theme, plays during Alm and Celica's fateful but unfortunate reunion in Duma's Temple. Even though each is glad the other is okay, Celica is distraught and blames herself for all the suffering Alm has endured, and Alm himself refuses to accept the choice Celica has made for the fate of Valentia, to give her soul to Duma. When they are promptly separated once again, Alm is severely shaken.
  • "Dayspring" plays almost immediately after, when Alm delivers a speech about how he would rather have a kingdom without the grace of gods than to have a land succumbed in the darkness of Duma, justifying his determination to destroy Duma and save Celica. The rest of the party pines in the conversation and speaks their wishes for the world as well.
  • Further into Duma's Temple, the party finally encounters Berkut, but when Alm requests his aid, Berkut dispenses all courtesy and unleashes his new dark power in a mad fit of laughter, all while showing off what became of his lover Rinea, all to the pompous, terrifying sound of "Praise This Despair", which also bleeds into the ensuing battle.
  • "In a Silver Garden With You" plays during Berkut's death, as the spirit of Rinea appears unto him, forgiving his lust for power and professing her eternal love for him before offering to walk with him in the afterlife. Berkut finally forgives himself and gives Alm a memento of his mother before reassuring himself that Alm will be the one to deliver Valentia from the gods. Alm promptly cries his hardest for him, as with Berkut gone his family is now lost.
  • After Alm's ordeal in the Royal Vault where he almost kills a brainwashed Celica but saves her at the last second with the Falchion, the track "Revelations" cues Mila's final appearance in the game. She explains the reality of both her nature and Duma's, and by entrusting Alm with the Falchion she restates why he must rid the world of them both. It plays once again after the battle to herald the death and final words of Duma, who sounds tired of his own madness and implores Alm to learn from his and Mila's mistakes as they move on to create a new world.
  • Entering the final dungeon, we get "Unity", a glorious reprise of the game's recruitment theme as Celica is reunited with her party, and together with Alm's they all make their stand against Jedah, who finally challenges them and see if they can prove that men can live without the gods.
  • As soon as you're given control of both Alm and Celica's parties, "Preparations: Reunion" begins to play in the pre-battle screen. Alm and Celica have come a long way from the peaceful Ram Village, and now is the time to end the madness of the gods once and for all.
  • And now, the "Final Map" theme, a track that has become so memorable that when Echoes was announced the track was one of the first things the crowd was excited about. Sure enough, once the remastered version was released, fans were swept off their feet with a combination of greater instrumentation and choirs aplenty with a hell of an extension to an already intense track. And if that wasn't enough, the track's name? Twilight of the Gods!.
  • Duma's battle theme, a battle track like no other. It creeps the hell out of anyone by frequently jumping off-tempo and changing style, but throughout the song there is an unmistakable sense of despair as you fight a mad god in the form of a hideous decomposing dragon. Come to the remake, and the track devolves into a deranged composition that eventually takes the original theme and turns it over its head in a mad but awesome frenzy. Duma's battle theme even includes a sly reference to "Last Revels", the enemy phase theme for Fire Emblem: Shadow Dragon's final map. This link even existed in the NES versions of both songs, suggesting a connection between Medeus and Duma. While Echoes made it explicit that Duma was a dragon, Gaiden's Duma was a more abstract, slime-like monster. This theme might have been a hint that Duma was once an Earth Dragon like Medeus.
  • To close the entire experience, Echoes takes a page from the previous games and gives us "The Heritors of Arcadia" to evoke one of the most satisfying closures in the series.


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