Dead cells shake longer

I will probably forever associate my student days with Dead Cells. Not because I played the game excessively back then instead of focusing on my academic education - that was with League of Legends, Overwatch and of course Skyrim. No, I actually remember the game so much because we featured the early access version in the first edition of our Game One imitation, called WohnGameinschaft (a pun with 'shared apartment' and 'game'). If you're interested, here's the link to the video.

My friend Noel was quite harsh at the time, claiming that the game was not worth playing in its current state and had little potential to be a hit. What may have been true at the time (after all, it was Early Access) should now be proven a lie by the large fanbase of the roguelike matroidvania. In fact, Dead Cells regularly lands on top lists and is still being developed further through DLCs and content updates ... so he could have just been wrong.

In my opinion, the soundtrack should also win a few prizes, as composer Yoann Laulan, also known on the net as 'Valmont de Ragondas', presents himself as a competent music maker in 25 tracks. It is not exciting motifs or unique compositions that make the OST for Dead Cells worth listening to, but the feeling. As is necessary for a fast-paced Metroidvania, where only quick reflexes and lots of practice save us from the death on the screen, the music is also pleasantly driving.

Not unlike a Bastion Laulan uses a mixture of percussion and acoustic guitars. Tracks like The Castle, Prisoner’s Awakening or Elite Fight hit the perfect sweet spot between upbeat tempo and positive optimism, suggesting that we are a mighty badass bludgeoning our way through the masses. This classic soundscape is supported by synths that emphasize the cyber-like aesthetic of the game and suggest depth / massiveness.

Other instruments such as flutes (Promenade of the Condemned), strings (The Village, Hand of the King) and the piano (Credits) add variance to the composition and are sometimes reminiscent of other genre representatives such as Diablo II or The Incredible Adventures of Van Helsing (particularly evident in Ossuary). However, the combination of faster rhythms and electric components gives Dead Cells a more modern and action-packed feel. I like it!

Consequently, I have very little to criticize about the quality of the soundtrack. One possible point of critique could be the arbitrariness that is introduced due to the lack of real motifs. But Dead Cells doesn't want to dwell on the same thing for long. It wants to be fast, captivate and chase us from level to level. This works brilliantly and even the more 'trivial' ambient themes still have enough pizzazz to keep us from getting bored. So a clear recommendation from me, so much so that it even made it into my Top 10 best indie scores . If you want to read more about the making-of, you can also find an interview with Yoann Laulan on lacedrecords, in which the inspirations and intentions are revealed a little.