PC Archives - The Greatest Game Music

99 Levels to Hell Soundtrack – Review

99 Levels to Hell Soundtrack, Dalle Oldman, 2013

Dalle Oldman‘s 99 Levels to Hell soundtrack release could have only happened in the age of self-distributed digital albums. Few music labels would have been willing to release a 78-minute album for a game of 99 Levels’s low profile. Unfortunately, the album’s second half is a collection of cliché-ridden, bland sound collages filled with little more than eerie noises. These dark ambient level tracks inspire boredom much more than they suggest tension or anxiety.

But we’re not here for the glacial second half of the 99 Levels to Hell soundtrack. What makes this score a must for any heavy metal fan are its first 40 minutes. Remember, this is a game that takes you closer and closer to the Horned One’s realm. What better musical accompaniment for this scenario than a very, very heavy dose of death metal? (with some sprinkles of thrash metal thrown in for good measure).

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Age of Pirates: Caribbean Tales Soundtrack – Review

Age of Pirates: Caribbean Tales Soundtrack, Yury Poteyenko, 2005

It would be easy to assume that with their quartet of pirate games, Russian developer Sea Dog simply surfed on the coat tails of a certain Hollywood franchise and its (initially) humongous success. But Sea Dogs saw the light of day in 2000, three years before Johnny Depp made pirates cool again. And again one might assume that the title of its sequel – Age of Pirates: Caribbean Tales – was an attempt to find a name that was as close as possible to Pirates of the Caribbean, without breaching copyright rules.

But then again, Sea Dog had published the official Pirates of the Caribbean game a couple of years before. In other words, this was a team of developers that just really liked pirate games. What was more problematic was that they reprised the same – potentially very attractive – mix of action, RPG and trade elements in all of their games, without refining it much between titles or remedying its various issues. The result was a handful of intriguing, but flawed games that with a bit more fine-tuning could have achieved greatness.

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Aquaria Soundtrack – Review

Aquaria Soundtrack, Alec Holowka / Ian Holowka, 2007

By 2009, the indie game resurgence had already begun to make its mark on the gaming market at large. However, indie games’ impact on game music took longer to materialise. Existing digital distribution channels like iTunes and other online music stores didn’t cater to these often tiny projects. In this environment, the release of the Aquaria soundtrack was a watershed moment for Western indie game music. At the time, a 2CD album release for a Western indie game soundtrack was unheard of. Publisher Infinite Ammo’s courage was duly rewarded. Like the game, the Aquaria soundtrack met with an enthusiastic response from critics and gamers alike.

One thing that helped the Aquaria soundtrack break through is that the game placed music front and centre. It all starts with the ‘verse’, a twelve-note melody that the game’s developer and composer Alec Holowka came up with. Using the verse theme throughout the soundtrack, Holowka realised it was actually well suited to become a major plot point and gameplay mechanic.

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Battlefield: Bad Company 2 Soundtrack – Review

Battlefield: Bad Company 2 Soundtrack, Mikael Karlsson, 2010

Battlefield: Bad Company’s soundtrack had turned heads through the involvement of classical composer Mikael Karlsson. As a successful writer of modern (sometimes avant-garde) classical music and with an impressive body of well-received orchestral works, ballets and operas under his belt, Karlsson seemed like an unusual choice to score a first-person shooter. The link between Karlsson and the Battlefield franchise was Stefan Strandberg, sound director at game developer DICE. Friends during their study years in Stockholm, they reconnected when Karlsson moved to New York and a demo tape of his made it into the hands of Strandberg.

Ultimately though, the Battlefield: Bad Company score album felt underwhelming. Its compositions were usually too short to develop meaningfully. Additionally, the music wasn’t as adventurous and refreshing as the references that Karlsson and Strandberg quoted in interviews (Rachmaninoff, Schnittke, Bartok) would suggest.

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Catacomb Snatch Soundtrack – Review

Catacomb Snatch Soundtrack, C418 / anosou, 2012

Delivering under intense pressure can be a great conduit for creativity. For proof, look no further than the Catacomb Snatch soundtrack. The game itself came about as part of the “Humble Bundle Mojam”. This was a 60-hour event that saw indie developers creating a new game from scratch. To determine Catacomb Snatch’s theme, developer Mojang AB combined the most and least voted categories in an online poll they ran. That way, Catacomb Snatch turned out as an RTS/Shoot’em up game with an unlikely Steampunk-Ancient Egypt theme.

That sort of combination would pose quite a challenge for any composer – even if you ignored the fact that the music had to be delivered in less than three days. And it’s probably safe to assume that the composers wouldn’t have had the luxury of seeing much concept art or other indications of the game’s style before starting to pen the game’s music. On the other hand, maybe this relative lack of guidance proved liberating. That would explain how the Catacomb Snatch’s soundtrack turns out to be such a creative, at times intoxicating experience.

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