10 Video Games That Didn't Deserve Their Amazing Soundtracks

Composer(s): Bear McCreary.

Dark Void – a third-person shooter about jetpacks – should have been incredible, but was mostly just forgettable. In the game, players control a cargo pilot tasked with escaping a literal void, as well as foiling the sinister plot of a mysterious alien species in the process. Gameplay is divided between conventional cover shooting, and a more unique aerial combat, forcing players to alternate their playstyle as they make their way through the campaign.

Despite this, the game was fairly unremarkable, underutilising its central gimmick, and introducing comparatively little to the genre, borrowing the vast majority of its ideas from other, far superior games. In the end, its biggest crime was failing to stand out from the crowd – and seeing as how virtually no one remembers it – the game ultimately paid the price for its inconspicuousness, slowly fading further into obscurity ever since.

With that being said, there was one aspect that managed to stand out – the soundtrack, which honestly sounds as though it was composed for an entirely different game – a way more interesting one. It’s varied, exciting and vigorous, perfectly encapsulating the dynamic aerial sequences, creating a sense of impulsiveness, or unpredictability.

Unfortunately, it completely oversells the ground sequences, which are characterised by the complete opposite.