South of Midnight and the Power of Sound

Critics get very excited about visuals, and sometimes even story. It rare we talk about one of the most impactful areas of design: the power of sound. South of Midnight proves why it’s so important.

South of Midnight is a fantastic game. It’s understated, reminding me of a PS3-era game in many ways. That’s good and bad, coming with it a touch of jank that we don’t necessarily expect from a publisher like Microsoft. But, like back in the 2000s, the jank is part of the fun. I’m tired of games that feel so polished that you barely feel like you’re playing them.

The world and its characters shine, going to the rarely used well of American South mythology for inspiration. I’m not alone in thinking South of Midnight is a great game. Daniel gave it a 9.5.

But the way it uses music and sound is something special, and deserves a little extra attention brought to it. If you’ve not played it yet, don’t worry. I’m not going to spoil anything. All I’ll say is that when the time comes, play with some decent headphones. You’ll appreciate it even more.

Sound design is rarely given the appreciation it deserves. Ever. But it’s the first thing you’d notice if it was bad. If the bullets in Call of Duty weren’t lined up correctly or if the screech of a car going round a bend sounded off, there would be real complaints. But when those things not only work but hit in just the right way? Usually silence.

South of Midnight doesn’t just get the sound effects in the right places. The sound team created a soundscape that enhances the mythology and sense of location too.

Listening to South of Midnight

Obviously, to do something special, you have to get the basics right too. The voice work is beautifully performed and directed, and incidental music can get your heart thumping as easily as it cane bring you down. They’re not easy things to do and many games get them wrong, but still, they’re the basics. Harsh but true.

How South of Midnight builds on this is by making the music (and sound overall) a character in and of itself. We hear the stories of bosses told through locale appropriate tunes. When we use the waypoint system, voices call our character’s name towards the goal. As we fly through the air, different musical stings give us a slightly different feel each time. Voice lines play around you as you explore, eerie and distant.

It’s not grounded in realism, and that’s something that’s in vogue right now. But it shouldn’t be. It’s a celebration of the cultures and ideas that the game explores, and is so much a part of its character. It’s the perfect example of how sound can truly enhance the feel of something,a nd how it can impact so heavily on the storytelling and world

That’s not something we see very often at the top end of the gaming scale. Developers are usually more interested in getting their thuds, crashes, wallops and bangs right. Sometimes that’s enough, but sometimes we need more. South of Midnight – I appreciate it. Thank you.