Soundtrack Review: Dear Esther

Dear Esther began life in 2008 as an experimental Source engine mod, and its popularity led to a full-fledged commercial remake released earlier in 2012. The Dear Esther experience is perhaps more aptly described as an "audiovisual journey" than a true "video game," and the pivotal role of the "audio" in this is difficult to overstate.

Table of Contents

• Game Information
• Creativity
• Implementation
• Replay Value
• Notable Tracks
• Final Score

Game Information

Release Date: February 14, 2012
Consoles: PC
Developers: thechineseroom
Publisher: thechineseroom
Composers: Jessica Curry

Creativity

Dear Esther's soundtrack is like few others I've ever heard. A blanket statement like that should be taken with a grain of salt, especially because it's not necessarily a good or bad thing. But the truth of the matter is, I can't really name another soundtrack to serve as a point of comparison for Dear Esther. It really is that unique -- and let's mark that down as a good thing for now.

I certainly won't do justice to the music of Dear Esther with a mere description, but I'll try my best. The music is beautiful and hauntingly so, yet at the same time, there's often a lingering sense of wrongness (in the emotional sense) to it. There's also a quality about the tracks that make them feel almost surreal, as if it were pulled from someone's dream. (How's that for a confusing description?)

Oh, you wanted a screenshot where something actually happens?

Melodically and texturally, the music in Dear Esther is actually quite simple. The songs are typically scored for solo piano or string ensemble, sometimes with other voices that make brief appearances. Four or five main themes recur in the short soundtrack, and they're pretty simple as well, often with fairly static harmonies and repetitive, astinato-like melodies. But what sets composer Jessica Curry's music apart, however, is the prominent use of open fifths, intricate countermelodies, syncopation, and modal mixture, lending her music the otherworldly feel it exudes.

I'd also like to mention Ms. Curry's use of effects in her music. In a few cases, the tracks in Dear Esther are interspersed with small audio interjections -- bits of chant, strange sound effects, and fragmented bits of other melodies. It's sometimes subtle, but it introduces a lot of the "surrealness" and "feeling-of-wrongness" I mentioned earlier. I apologize for those terrible adjectives.

Ah, screw it. Let's just listen to the first piece of the soundtrack.

Dear Esther -- Jessica Curry


For me, this track epitomizes everything I've just discussed regarding the soundtrack. The main melody here is beautiful but simple and astinato-like, and the harmony alternates between major and minor modes (but not in the typical sense). At around 0:30 or so, a corrupted, fragmented version of the "Always" melody enters, grating against the serene piece and adding a distinctly spooky flavor. Meanwhile, the melody is soon complemented by a very syncopated countermelody that reinforces the harmonic structure. The piece concludes in a more typical fashion, supported by a foundation of strings, but Ms. Curry's clever thought process has already been made evident by this point.

My overall thoughts? Color me impressed.

Creativity Score: 9/10

Implementation

I've certainly gushed a great deal about the soundtrack by now, and I'm sure you can imagine how well it supports the gameplay. Interestingly, however, the majority of Dear Esther actually takes place in silence, with music popping up only in brief segments throughout the entire two- or three-hour experience. Let's watch a gameplay clip, shall we?



In case you didn't finish that clip (and I don't really blame you), I'll just tell you that there was only about 4 or 5 minutes of music in that entire 15-minute segment. Music in Dear Esther is typically triggered when the player reaches a particular area in the environment, often simultaneously with narration, and plays until the end of the track, regardless of where the player navigates to after that. However, the silence actually works quite well, allowing the ambient sound effects like the wind and waves to take over. This configuration also has the effect of emphasizing the portions where music is present, though the music is never prominent enough to be obtrusive.

When it is present, however, the music in Dear Esther does really, really well in supporting the other aspects of the game. I mentioned earlier how Dear Esther's music is hauntingly beautiful and a bit surreal, but with a nagging sense that there's something wrong -- those descriptors are even more valid for the game itself. The game is quite the visual journey, and you're constantly surrounded by beautiful, detailed scenery: sunsets, overgrown paths, moonlit beaches. Glowing, watery caves filled with luminescent chemistry formulas and circuit diagrams add a sense of the surreal, and scattered relics hint at a dark past of which you're not fully aware. In all of this, the music supports the visual imagery perfectly, enhancing the beauty and deepening the mystery. Take my word for it.

Dear Esther certainly doesn't break new ground with its in-game music use, and I'd argue that the implementation strategies aren't even particularly creative. But I'll be damned if the music doesn't work so incredibly well with the game. Well done, Ms. Curry, well done.

Implementation Score: 8/10

Replay Value

There's certainly a lot of fantastic music in Dear Esther, and it's music that works exceedingly well in the context of the game. But -- and perhaps this is just me -- it's not music that I find myself listening to much outside of Dear Esther. I can certainly appreciate a slower, deliberately beautiful piece, but for me, the context is a big part of why I enjoy those pieces so much. When I need a quick fix of music, though, I tend to gravitate toward the faster, more upbeat songs.

Still, the music Dear Esther is clever and thought-provoking enough that I could see myself revisiting it, particularly on days where I'm feeling intellectually curious. Whenever a song from Dear Esther makes it to my Now Playing list, I always discover something new about the music that I hadn't noticed the last time I'd listened to it. Just recently, for instance, I was walking home from the train station when the track "Always (Sanford Mix)" came on.

Always (Sanford Mix) -- Jessica Curry


While enjoying the serene, soothing tone of the piece, it suddenly hit me: those chant-like tones from the singer were, in fact, words! Everything finally clicked into place: the lyrics "always dreaming, always wanting," in the context of what I knew about the game, made so much more sense. By the time I reached the beautiful resolution of the piece, I was shivering. Now, maybe I'm just a bit slower at these things than the typical person, but it's moments like these that keep me coming back.

For those interested in the soundtrack, check out Jessica Curry's website here, or just buy the game & soundtrack package on Steam -- talented freelance composers like Ms. Curry deserve our support. Also, I'm sure the soundtrack would be the perfect companion for a rainy day. :)

Replay Value Score: 6/10

Notable Tracks

I Have Begun My Ascent -- Jessica Curry


Twenty One -- Jessica Curry


The Very Air -- Jessica Curry


Ascension -- Jessica Curry

Final Score

Dear Esther's soundtrack is one of the most unique soundtracks I've listened to, and it adds so much depth and emotion to the game. The tracks are well-written, creative, and pleasant; it's clear that the composer put a great deal of thought into the music. If you're feeling adventurous, or have an affinity for somber, atmospheric music, give this soundtrack (or game!) a shot -- you won't regret it.

Final Score: 7/10