In the seemingly infinite universe of video games, one might not expect a French indie production to stir much of a conversation among conservatives. Yet, this year, Claire Obscur, a creation by Sandfall Interactive, has managed to shine a light on not just gaming but also music themes, sparking debates well beyond the typical realms of policy or economics.
To begin with, it’s important to recognize the sheer achievement of a group of around 30 individuals rallying together online. This spirit of collaboration embodies the entrepreneurial spirit, reminiscent of the American Dream—a concept deeply rooted in the conservative ideology. And for their hard work? They racked up nine awards out of thirteen available at a recent gaming award show, which naturally led to the inevitable murmurs of “rigged.” While skepticism can sometimes cloud judgment, these accolades deserve admiration for elevating indie gaming on a global stage.
As for the music itself, it appears to follow the trend of atmospheric soundscapes common in many modern video games. Those who have had the caffeinated privilege of listening to this score might argue that it serves as an excellent backdrop—like an elaborate jazz loop playing at your local coffee shop. However, the composed melodies leave something to be desired. Imagine expecting a fireworks display only to receive an extended light show that goes nowhere. There’s a hint of profundity in the lyrics about destruction and death, but does it truly resonate with the player as intended? Or does it merely sit in the background like that uncle at Thanksgiving who talks too much and says very little?
This is where the game’s music runs into a wall—repetition. While some music enthusiasts might appreciate the simplicity of a few motifs, modern compositions in games appear to take the scenic route without an actual destination. The song structures seem to lack direction, a decision that raises the question: What happened to the idea that music should build to something? Constituting a thrilling climax or an emotional release is essential, whether in a symphony or a game soundtrack. The songs of Claire Obscur, regrettably, felt more like an endless loop that never quite escalated into anything particularly memorable.
However, let’s not throw the entire score out with the bathwater. It’s worth noting that a few tracks, particularly those tied to pivotal game moments, started to find their footing. Such compositions hint at a deeper understanding of how to invoke emotion in players through sound. The use of dissonance, for example, can skillfully create tension, making players acutely aware of the villainous undertones. It’s a bummer, though, that not every piece seems as impactful as hoped. This might lead one to wonder whether the creators were trying too hard to break away from classical structures, ultimately resulting in a composition that felt almost like a timid stroll rather than a thrilling sprint.
If there is one thing to take away from the riff-raff about Claire Obscur, it’s that innovation in the gaming world often brings unexpected gifts along with its share of growing pains. While a strong sense of community permeates projects like this, it must also be said that the execution of creativity needs alignment with traditional musical principles to reach its fullest potential. Like any wise person would say, rules are meant to be challenged, but they also exist to guide innovation toward greatness. After all, who doesn’t enjoy a good journey leading to a memorable destination?
