PC Archives - The Greatest Game Music

99 Levels to Hell Soundtrack

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

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

It would be easy to assume that with their quartet of pirate games, Russian developer Akella 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, Akella 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

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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Atlantis: The Lost Tales Soundtrack

Atlantis: The Lost Tales Soundtrack, Pierre Estève / Stéphane Picq, 1997

By the second half of the 1990s, French developer Cryo Interactive had found its niche: lavishly produced, Myst-style adventure games. The reception of these titles amongst critics remained somewhat ambivalent, but there’s no denying that Cryo’s approach was effective. Their most significant success might well have been Atlantis: The Lost Tales. Reviewers praised Atlantis’ visuals and intense atmosphere, bolstered by panoramic 360-degree first-person views of the pre-rendered environments and significant amounts of pre-recorded speech. At the same time, perceived gameplay flaws once again often resulted in average scores. That didn’t stop the game from selling more than 300,000 copies by late 1998, starting a franchise that would generate four more titles in future years and outlast Cryo itself.

Scoring duties for the Atlantis: The Lost Tales soundtrack went to Pierre Estève and Stéphane Picq. Picq had been Cryo’s main composer since the company’s very beginning, writing the entrancing music for its breakthrough hit Dune. Estève was a more recent addition to Cryo’s musical team, approaching the developer in 1995 after working as a rock musician and composer for French television and radio. His first project with Cryo turned out to be Dragon Lore II: The Heart of the Dragon Man. Estève would create the music and sound effects for several other Cryo titles in the years to follow, even remaining with the Atlantis franchise after the developer had closed its doors in 2002. His anthropological interest in a vast range of musical cultures – witnessed by his solo albums Bamboo and Metal – was a perfect match for Picq’s eclectic composition style.

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Battlefield: Bad Company 2 Soundtrack

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

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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Cook, Serve, Delicious! 3?! Soundtrack

Cook, Serve, Delicious! 3?! Soundtrack, Jonathan Geer, 2020

What do you do if you have delivered two successful instalments of your cooking simulation franchise and are wondering where to take things next? If you are developer Vertigo Gaming, the answer is: don’t change your winning formula, but have some fun with the premise. In other words: the core loop of clicking on the right ingredients at the right time while juggling multiple food orders didn’t change much. Reviewers did point out issues with the game’s UI and occasionally punishing difficulty level, but by large and enjoyed Cook, Serve, Delicious! 3?! (and its appetising art style). Where things took a left turn was with the game’s narrative. Set in a post-apocalyptic USA, your restaurant empire has been blown to pieces and now you’ve hit the road with a couple of helpful robots who’ve let you turn their van into a food truck.

Less surprising was the game’s choice of composer: Jonathan Geer returned after delivering solid work on the previous two CSD games. However, this was easily his most ambitious franchise entry so far, sporting significantly longer compositions than previous CSD titles – with the soundtrack clocking in at a whopping 102 minutes. And it’s not just the scope of the Cook, Serve, Delicious! 3?! soundtrack that impresses. Geer’s most creative work yet in his already eclectic discography is impossible to swiftly sum up and label with a genre tag. If one had to find easy descriptors, Cook, Serve, Delicious! 3?! might well be dubbed game music’s most ingenious easy-listening score.

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Dead Space 2 Soundtrack

Dead Space 2 Soundtrack, Jason Graves, 2011

“The Same. But Different. Yet Better.” According to Jason Graves, those were the words that he stuck above his monitor when composing Dead Space 2. Considering the success of Dead Space’s aural aspects – two BAFTAs and a degree of media attention few game scores ever achieve – Grave’s goal was no doubt an ambitious one. Then again, no matter how ferocious Dead Space’s soundtrack was, there was room for improvement. Graves’ breakthrough work was the equivalent of a horror movie that tries to scare its audience with jump scare after jump scare. And at some stage, watching monsters leap at the protagonist for yet another “boo!” effect gets old.

Fortunately, Graves fixes this and other issues on the Dead Space 2 soundtrack. It is still unmistakably the soundtrack for a very scary game. But at the same time, through a more varied approach to creating unease and immersion, Dead Space 2 clearly surpasses its predecessor. It delivers a surprisingly multi-faceted exploration of the dark corridors of both a haunted space station and of its protagonist Isaac Clarke’s disintegrating mind.

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Dear Esther Soundtrack

Dear Esther Soundtrack, Jessica Curry, 2012

It seems fair to say that it’s usually indie video games that push the boundaries of the medium and have gamers and audiences asking “But is it a game?” (“Is it art?” being a close second). One of these games, Dear Esther, was initially a research project at the University of Plymouth. Players find themselves on a barren island in the Hebrides and are left to explore the surroundings. Meanwhile, a male voice-over reads out random letter fragments to a woman named Esther. With no threat of death and no tasks to be fulfilled, Dear Esther instead aims to capture gamers’ intrigue simply by letting them figure out – or just interpret – the fragmented narrative, hinting at a tragedy that precedes the events in the game. Encouragingly, this experiment in digital storytelling received significant critical acclaim and was a commercial success as well.

Dear Esther also launched the game music career of composer Jessica Curry. Curry’s body of work before Dear Esther included arts installations, film soundtracks and cross-media projects. A co-founder of Dear Esther’s developer The Chinese Room, Curry was closely involved in the game’s creation from its inception. Her aim was for the music “to add an emotional dimension” to the game. That was a crucial task, given that Dear Esther‘s challenge-free gameplay doesn’t reward the player with a sense of odds overcome, but instead must satisfy gamers by delivering a memorable experience.

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Diablo Soundtrack

Diablo Soundtrack, Matt Uelmen, 1996

When Blizzard announced Diablo III at the 2008 Blizzcon Worldwide International, they chose a simple way to do so. All guitarist Laurence Juber had to do was to play the first few chords of the original Diablo’s signature tune. Of course, the piece in question was Matt Uelmen’s immortal “Tristram”. And according to Diablo III’s lead composer Russell Brower “over 10,000 people in the room knew EXACTLY what was coming”. Such is the power of a truly classic soundtrack composition that it can become the most memorable and thus quickest reference to the game or film it accompanied. That makes it all the more remarkable that it took 15 years for this composition – and the rest of Diablo’s music – to get a soundtrack release.

No wonder that “Tristram” is still fondly remembered by millions of gamers. In short, Uelmen’s composition is a masterpiece of subtly evoked atmosphere. Those opening strummed guitar chords herald a piece that still remains fascinating for its ambiguous, multi-layered atmosphere.

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