Summary
Villain songsare commonly associated withmediums outside video games.They usually tend to appear in musicals, where the performers are, by necessity, trained, talented singers. However, some especially ambitious video games refuse to start and stop at a simple leitmotif. On occasion, villains will be given a song with lyrics that, if not explicitly performed by them (or their VA), will still be written from their POV, communicating aspects of their character.
The logic behind this song is often not fixed. Usually, it will be more for the benefit of the players than any sort of greater narrative. But no matter how it’s worked into the game, there’s no doubt that the following villain songs are certified bangers.
Hadesis no stranger to featuring sung pieces in its exquisite, often instrumental, soundtrack. Characters like Orpheus and Eurydice are commonly seen singing, even having separate voice actors from their typical ones who specifically perform their musical segments. However,Hades 2introduces full-on villain songs to the series.
Scylla, the sea monster, is a rock musician who fronts a band called Scylla and the Sirens. Her bandmates are Jetty on the guitar, and Roxy on drums. Despite being sirens, neither of them have any vocal input, an ironic fact that Melinoë notes in certain interactions. Scylla and the Sirens make up the boss of the game’s Oceanus level. In line with their occupation, each boss fight doubles as a concert. Unlike Orpheus and Eurydice, Scylla’s voice actress, Erin Yvette, performs the vocals for the songs in addition to the dialogue.
There are multiple songs that can play during a boss fight. One of the best is “Coral Crown,” a siren song urging all who hear it to offer themselves up as food to Scylla. The game gives special attention to the extent to which the song plays. If an accompanist is taken out, then their part of the song is no longer performed. Additionally, Scylla’s singing is muffled when she hides in her shell. Another noteworthy song from her set is “I Am Gonna Claw (Out Your Eyes And Drown You To Death),” which Melinoë interprets as a diss track aimed towards her.
Known for its challenging difficulty and classic cartoon motif,Cupheadis one of the most memorable games of the late 2010s. One of its major villains is King Dice, the apparent right-hand of The Devil and the game’s secondary antagonist. Despite being a major boss, King Dice’s villain song plays not when he is fought, but rather in between levels at the various Die Houses.
In order to continue traversing levels, the player must first enter a Die House, where King Dice will allow them to pass, in exchange for soul contracts from certain bosses, who are apparently also in debt to The Devil. It is in the Die House that the eponymous song plays, reiterating his affiliation with The Devil, his demands for soul contracts, and generally the idea he should not be messed with, which is reiterated by backup vocalists. The jazzy, controlled feeling ofDie Housedoes a good job encapsulating the character’s slick, charismatic demeanor, especially when paired with the vocals of Alana Bridgewater.
Conker’s Bad Fur Dayis known to revel in its explicit sense of humor. With this in mind, it makes sense that one of the game’s most famous bosses is a gigantic sentient piece of fecal matter. While virtually every male character inConker’s Bad Fur Dayis voiced by Chris Seavor, who is also the game’s director, designer, and co-writer, this memorable boss is the sole exception.
The Great Mighty Poo is instead voiced by Chris Marlow. To make use of Marlow’s singing talents, the Poo is given a song which is broken up into verses across his fight with Conker. Starting off somewhat slowly and relaxed, the song builds in intensity, even hitting operatic notes as the Poo threatens to shove Conker “up [his] butt.” Despite how short the “Sloprano” level is, it is perhaps the most widely remembered portion of the game, with the song’s opening lines being frequently quoted by fans.
2It Has To Be This Way
Metal Gear Rising: Revengeance
Senator Steven Armstrong is the main antagonist ofMetal Gear Rising: Revengeance. He is a senator for Colorado who was also a presidential hopeful for the year 2020. His over-the-top mannerisms, memorable dialogue, and clear satirization of American politics were all contributing factors to his continued popularity as an internet meme. Boss themes fromMetal Gear Rising: Revengeanceare much closer tovideo game villain themesthan certain other villain songs. They begin as instrumentals, but evolve into songs as the final phase of each fight begins. They are not performed by the voice actors for the respective characters.
Armstrong has two “songs,” each of which has vocals by Jimmy Gnecco. The first Armstrong fight features “Collective Consciousness,” a nationalist anthem. This reflects Raiden’s views of Armstrong more than his actual agenda, as Armstrong has not yet revealed his hand to Raiden. In truth, Armstrong wishes to reorganize America into a country where the correct ideals are determined by survival of the fittest. This is reflected in his second song, “It Has To Be This Way,” where violence is viewed as a tragic but necessary fact of life, insofar as it determines the laws followed. The song has no conception of right from wrong, viewing war as a rebirth period from which “new life will be born.”
GLaDOSis one of the most iconic villains in video games, debuting inPortalas a passive-aggressive voice who guides the player through levels in the Aperture Science Laboratories Enrichment Center. She is eventually revealed to be a gigantic AI-powered computer network, who tortures Chell (the main character) for her own amusement under the thin veneer of “science.” After being defeated, she performs a song for the credits sequence called “Still Alive.” Written by comedic singer-songwriter Jonathan Coulton, the song is a bitter and sarcastic tune, taunting the player and vowing to perform more “science.” The vocals of the song are provided by Ellen McLain, the voice of GLaDOS, and a frequent presence in Valve games.
Portal 2adds a bit more depth to GLaDOS, examining her history, temporarily removing her from power, and even having her team up alongside Chell. The game features a similar song for the credits, “Want You Gone,” once again written by Coulton and sung by McLain. It has the same sort of bitter sarcasm found in its counterpart, but with a new wrinkle. Even amidst her insults and professed dislike of Chell, GLaDOS now can’t avoid feeling some level of affection for Chell. This is punctuated in the chorus, where she states that instead of wanting her dead as she once did, she now only wants Chell to leave the facility.
