Hellblade: Senua’s Sacrifice
Worthy sacrifice
We accompany her and experience a story that is rarely told in this form. Senua, however, is not a fighting machine like Aloy from the Horizon-series, for example, but a vulnerable young woman whose sword is of little use against the demons in her head. I don't want to say any more at this point, it's a journey that you should experience for yourself if you want to.
In addition to the great storytelling and the outstanding graphics for an indie game, the sound design was also a key selling point of the game. The developers made sure to deepen the immersion acoustically as well, which is why voices are constantly coming at us in 360° from the headphones during our journey. They whisper to us, sow doubts or reinforce Senua's worries and fears. Can we trust them? Do they want to help us or drag us into the abyss?
This auditory experience is reinforced by a soundtrack that lies somewhere between dark ambient and Nordic folk. For long stretches, the music by American David García Díaz and Norwegian Andy LaPlegua (actually Ole Anders Olsen) can be imagined as a blueprint for the usual Norse sagas such as in the TV series Vikings or Assassin’s Creed Valhalla:
User SamuraiMujuru has a similar opinion on the GOG product page:
A brilliant fusion of dark nordic folk and oppressive grinding industrial is the perfect backdrop for this emotional meat grinder of a game and it manages to hold up as excellent ambient listening on its own.
SamuraiMujuru
Samurai Mujuru is referring to the track “Hela”, which breaks out of Hellblade's familiar, supposedly contemporary soundscape and combines female vocals, techno beats and piano for a stereotypical credits feel. Two other tracks that break out of the mold are “Druth” and “Shadow”, both of which feature different male narrators - a no-go for me in a soundtrack, but well, it's part of the game and probably belongs to the OST too.
Meanwhile, 'Belongs to the Game' is an excellent and unplanned transition to a point of criticism about the soundtrack that has jumped out at me in various comments. Apparently, two particularly outstanding tracks didn't make it onto the album: “Just Like Sleep” by Passarella Death Squad (“Hela” is supposedly a remix) and “Nation” by VNV Illusion. The fact that tracks are missing is unfortunately in the nature of an OST. If you want everything, you have to look for a gamerip, which, however, harbors the danger of a lot of uncurated garbage.
Meanwhile, the two tracks aren't trash and they probably didn't make it onto the album due to licensing rights. While “Just Like Sleep” is a little too spherical for me, I think “Nation” is really good. A bit melodramatic, a bit sentimental, but somehow also fitting for the end of a journey to oneself, after fighting one's own demons and the search for one's own will to survive.
But my favorite in the actual OST, however, is “Surtr”. About this, Szafraniec writes very appropriately:
"Surtr" is an amazing piece that menaced the hell out of me, deafening me with its drums, anvils and of course Andy LaPlegua’s voicework, and ultimately made me feel belittled. Just like "River of Knives" or "Sea of Corpses", this piece creates the atmosphere of fighting numerous foes towering over you, threatening you with fluked 'permadeath' as more and more waves slowly charge at you.
Jan Szafraniec on "Surtr"
Nostalgia warning
Nr. | Title | Interpret(en) | Ratings |
---|---|---|---|
1 | Helheim | David García Díaz; Andy LaPlegua | |
2 | Surtr | David García Díaz; Andy LaPlegua | |
4 | Valravn | David García Díaz | |
5 | Druth | David García Díaz | |
6 | Shadow | David García Díaz | |
7 | River of Knives | David García Díaz; Andy LaPlegua | |
8 | Ray of Hope | David García Díaz; Andy LaPlegua | |
9 | Dillion | David García Díaz; Andy LaPlegua | |
10 | Trials of Odin | David García Díaz | |
11 | Gramr | David García Díaz | |
12 | Sea of Corpses | David García Díaz; Andy LaPlegua | |
13 | Hela | David García Díaz; Passarella Death Squad |