I recently completed Clair Obscur: Expedition 33, or, I should say, saw it through to an end, and of all its excellent qualities, I remain summarily in awe of its soundtrack. Every song created for it just works, from its gorgeously epic main theme to some wildly jazzy tunes (Monoco’s theme is my new jam) to stunningly hunting melodies, Clair Obscur’s soundtrack is so perfectly baked into the game itself that it simply would not be the same without it.

While I don’t know how widely practiced it may be, I am aware that some players prefer to listen to their own music (streaming, radio, records, or even audio books) while playing. I’ve never been one of those players, someone who’s able to compartmentalize the actions of boss battling against the sounds of Taylor Swift. I like to connect to a game’s soundtrack, though I’ll admit it can be a disappointing venture.  It’s one thing when a soundtrack creates and invites immersion. It’s another when it’s simply just…there.

Game development is a long and arduous process, and sure, maybe music is the last thing on a dev’s mind. I’m not going to sit here and say that I’ve stopped playing a game simply because it had a forgettable soundtrack. I couldn’t hum a single tune from Neverwinter, for example, save for that of its main hub, Protector’s Enclave, in which I spent far too many hours idling. But music does matter. I’m currently trying to make my way through GreedFall, which I’m finding to be a fine and serviceable game. I don’t dislike it, but it’s generic “adventure game” soundtrack doesn’t get me pumped to play.  I have sometimes returned to games simply to interact again with their soundtracks, to hear favorite songs while revisiting favorite scenes.

When a game perfectly melds music with gameplay, it can make all the difference in terms of attention and engagement. South of Midnight is a great example of this. Had it not been for its soundtrack, which focused on a genre of music that’s not heard in many games, I wouldn’t have been as interested in its story. The game’s soundtrack compelled me to play. Yes, here’s an argument to made that it should be the other way around – gameplay is paramount. But, as I said before, when a soundtrack is made to be an integral part of a game, and not just an afterthought, it can mean the difference between releasing just “a game” and a game to remember.

I’ve been taken in by many a game soundtrack; Clair Obscur is just my latest draw. Those of Super Metroid and the Fable series remain in first and second place as far as my own list goes. After them…well, how much time do you have? Because I could go on and on…and on.  But I won’t. Tell me some of your favorite soundtracks, and let’s chat.

Lede image captured by author during Xbox gameplay of Clair Obscur: Expedition 33 (© Sandfall Interactive).