The 10 Greatest Video Game End-Credits

How do you stop gamers from slipping into a catatonic stupor during those dreary endgame credits? Simple. Keep ‘em entertained. Here’s how it’s done…
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How do you stop gamers from slipping into a catatonic stupor during those dreary endgame credits? Simple. Keep ‘em entertained. Here’s how it’s done…

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Admit it. When the end credits roll you instinctively hit the skip button. And who can blame you? The sluggish crawl of scrolling text was never intended to set the heart pounding with excitement. Even the prospect of a ‘secret ending’ or an additional cut-scene is paltry reward for the tedious name checking you’re made to endure.

Developers have had to up their game to keep us entertained, in some cases eschewing the traditional credits-accompanied-by-music for an interactive mini-game. As a consequence of this dedication to detail, gamers have been blessed with some truly memorable end credits. Below are ten of the best.

Rogue Warrior

Forget his Oscar nominated performance in The Wrestler. Mickey Rourke’s most memorable moment is to be found after completing Rogue Warrior. Composed entirely of phrases taken from in-game dialogue, Mr Rourke’s gruff voice lends itself surprisingly well to ambient rap. Typical line: ‘I’m over here fuck face/There’s gonna be fucking asses bleeding all over the place’. Genius.

Zelda: A Link To The Past

Those beautiful 8-bit synths never fail to send a prickle up the spine. Only those with the hardest of hearts remained dry-eyed as the camera panned over the eclectic cast of characters encountered on Link’s epic quest to secure the Triforce and restore peace to Hyrule.  Nintendo, always keen to imbue their core titles with a sense of familiarity and history, used A Link To The Past to establish the musical core of the Zelda series. While the very first Zelda game originated the "Hyrule Overture", many recurring motifs of the Zelda scores come from A Link to the Past.

Flower

Snooty film critic Roger Ebert dismissed Flower as nothing more than a glorified ‘greeting card’. If the sour-faced curmudgeon had actually played the game he so confidently criticized, his views may have been given some credence. Thankfully Ebert’s poisonous drivel has had no impact on the game’s deserving success. For the uninitiated Flower uses the PS3’s Sixaxis motion control to guide an airborne petal through the fledgling fauna that grows on the game’s beautiful grassy vistas. The interactive end credits are simply a seamless continuation of the game. Perfect.

‘Splosion Man

It’s fun to blow shit up, right? It’s a sentiment that developer Twisted Pixel has taken to heart. ‘Splosion man, the game’s endearingly psychotic hero, has but one ability at his command: the power to explode at will. Chasing down evil scientists and turning them into sizzling hunks of charred meat is just one of the game’s many twisted charms. Despite the game’s ludicrously simple one-button control set up, ‘Splosion Man is a rock hard platformer. And that self-cannibalising end-boss is a quite simply a total bastard. It’s only fair then that we’re rewarded with such a barmy end credit video.

Silent Hill 2

Cor blimey. You really have to hand it to the Silent Hill team. They come up with the most out-there shit on both ends of the spectrum. True masters of the bizarre. To unlock the legendary ‘Dog ending’ players are required to play through the game a patience-shredding three times, while snagging specific items in the process. Those who took up the challenge were rewarded with what is surely the most unexpected conclusion in videogame history.

God Hand

Any song that contains the line “God power keeps my pimp hand strong” automatically qualifies for this list. God Hand was directed by celebrated Resident Evil designer Shinji Mikami, which would explain the game’s inelegant controls, likened by one reviewer to a “Sherman tank trying to manoeuvre through San Francisco's twisty Lombard Street”. Despite the criticism, the game gained a cult following for its hardcore sensibilities and intentionally cheesy script. Oh yes, and that ending.

Katamari Damacy

I’m going to let you in on a very personal secret. I love big sticky balls. Balls so big they’re able to plug rifts in the fabric of the universe. If you share my shameful fetish, you’re in luck. I’ve got just the thing you need: Katamari Damacy – the undisputed king of the end credit mini-game. The aim of this clinically insane offering from Namco is to roll your adhesive orb – or Katamari – over every object in your path, thus creating a ball big enough to please the King Of All Cosmos. I've chosen Katarmari Damacy’s end credit mini-game for this top ten because it takes ball rolling to its ludicrous conclusion.

Portal

How do you end one of the most unique games of 2007? Well, in Portal’s case with a song; a pitch black ditty as sinister as it’s funny. Sung by GLaDOS, Portal’s ominous, disembodied, antagonist, the hard part for developers Valve was finding someone who shared an affinity with psychotic robo-women to write the lyrics. Step forward Jonathon Coulton the lunatic genius who penned the words to Still Alive. When asked why he was the man for the job JC said, ‘I generally write about misunderstood monsters anyway, so it wasn't that much of a stretch for me to channel GLaDOS’.

You  Have To Burn The Rope

Despite the game lasting approximately 40 seconds, Burn The Rope was a finalist for the Innovation Award at the 2009 Independent Games Festival. With tongue firmly in cheek, Joystiq praised the game for its "stunning character design and addictive gameplay". The true star of the show is, of course, the sublime end credit song, surely the ultimate feel-good finale. Altogether now, ‘you burned the rope and saved us all!’

Mass Effect

A suitably epic end credit song performed by a band called Faunts (http://www.allmusic.com/artist/faunts-p744146/biography). The catchily-titled M4 Part II was originally released as a five song EP in 2007 and was only available via a digital download service. If you’ve ever wondered what Part I sounds like, click here (http://www.youtube.com/watch?v=1B0wxjnmwOg) – a word of warning though: the track is even longer than its follow-up at over 9 minutes, and that wonderful riff doesn’t kick in until 3.05.

Alan is the Editor of Digital Gigolo. Click here to read more of his work or here to follow him on Twitter

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