South Of Midnight: Turning Trauma into a Musical Journey
Video game soundtracks often go unnoticed unless they’re tied to significant moments that evoke strong emotions, whether it’s joy, sadness, or sheer excitement. *South of Midnight* by Compulsion Games masterfully blends its narrative with music and audio design, creating a wealth of unforgettable experiences throughout its 10-12 hour journey. Set in a fantastical version of the American Deep South, the game is populated with characters and creatures shaped by tragic histories. You step into the shoes of Hazel, a Weaver who can perceive ghosts and learn from the past through memories. Hazel uses a mix of magic and empathy to help others heal from their emotional scars. As the backstories of the characters unfold, their traumas manifest as music that reinforces the game’s themes, lingering in your mind long after the game ends.
In conversations with lead composer Olivier Derivière and audio director Christopher Fox, I delved into the creative process behind *South of Midnight*’s impressive music and sound design. Interestingly, neither Derivière nor Fox hails from the American South. When I brought this up, Derivière recalled his initial surprise at being chosen for the project. “At first, I was like, ‘Why are you hiring me? I’m French. This is not my culture,'” he said. “But they explained, ‘We know that. We want you to be authentic, not accurate.’ That made sense to me. This is a fantasy inspired by the South, not a direct representation.”
While both Derivière and Fox are European, creative director David Sears is from the South, as are many of the musicians and vocalists featured in the game. Derivière emphasized that Compulsion wanted him to create something genuine within their fantasy world rather than mimic reality. “We collaborated with incredible musicians from Nashville and even some Americans in Paris, along with an orchestra in London,” he explained. “I would present my version of a song, and the local musicians would bring their cultural insights, transforming it into something truly artistic.”
Fox added that he initially curated a playlist of Deep South music for Derivière but ultimately decided against sharing it to foster creativity. “My role was to create an environment where he could be free to innovate,” Fox said. “If I had given him that playlist, it might have stifled originality. You have to be willing to take risks, and with Olivier, I felt it was worth it.”
Fox also noted that many people from the Deep South have remarked on how authentically the game captures its essence. He attributed this to the sound recordings made in swamps and mountains across Tennessee and Kentucky, which grounded the audio design and allowed for more creative freedom in the music.
The game’s creativity shines through in its use of children’s voices, both in gameplay and the soundtrack. A standout audio moment occurs when you use the Guiding Strand, a ghostly line that leads you to your next objective, accompanied by a child’s voice whispering “Hazel.” The presence of singing children throughout the music adds a supernatural element that guides and supports you on your journey. “We didn’t want to label them as spirits or ghosts,” Derivière explained. “We aimed for something free of clichés—an energy surrounding you. The children’s voices were key to making those strands feel real.”
Derivière often referred to the children as “the stars of the show,” emphasizing their constant presence throughout the game. Fox elaborated on how five girls from a Gospel church in Nashville contributed to the audio design, recording a variety of sounds, from giggles to whispers. “They were an incredible group, and Olivier’s genius lies in how he used their voices to enhance the experience,” Fox said. “When players approach something powerful, the audio intensifies, creating a palpable atmosphere.”
Initially, the project didn’t include songs, but as discussions progressed, it became clear that music was essential. “David Sears initially said he didn’t want music,” Derivière recalled. “But as we talked, it became evident that songs were integral to the Southern culture and the narrative.” The narrative team contributed lyrics, and the songs were developed early in the process, even before other game elements were finalized.
The unique approach to integrating songs into the gameplay allows players to experience them in fragments as they progress through levels. As you uncover a character’s trauma, lyrics are gradually added to an incomplete song, culminating in a powerful moment when the full song plays at the end of the level. This method explores various themes tied to different characters, such as guilt and anger, and the music evolves alongside the story.
“We didn’t want the songs to be overly literal,” Derivière said. “Instead, we aimed for an abstract connection to the characters’ experiences.” He explained that the children’s voices represent a distorted version of the song during gameplay, while the full, uncorrupted version plays at the end, reflecting the darker themes of the game.
Fox shared insights on the balance between light and dark in the music, emphasizing the importance of revealing the trauma of each zone or creature as players progress. “We wanted to create a sense of mystery at the start of each level, gradually unveiling the melody as players engage with the narrative.”
Discussing the standout moments in *South of Midnight* led to a conversation about what makes game music memorable. Fox acknowledged that impactful soundtracks often accompany significant events. “If music is constant, it loses its specialness,” he noted. “We aimed to create something that remained fresh and engaging.”
The musical diversity in *South of Midnight* keeps it from becoming repetitive, as each song is tied to distinct hardships and backstories. “The music reflects the trauma of each creature,” Fox explained. “Main themes were established early on, and we hoped the music would embody those experiences.”
Some of my favorite tracks, like “Huggin’ Molly,” “Rougarou,” and “Altamaha-Ha,” beautifully enhance the stories behind their respective creatures. The latter, in particular, tells the poignant tale of an enslaved woman who lost her child while escaping captivity, with vocalist Stacy Subero delivering a haunting performance. Fox expressed similar sentiments, noting that many players find themselves moved to tears by the emotional weight of the song.
Derivière praised the performances for both “Rougarou” and “Altamaha-Ha,” recalling the powerful studio sessions. “Joey Richey’s performance for ‘Rougarou’ was incredible, especially when he belted out, ‘I break my bones!’ It was just him and the piano, and I knew he had to give it his all,” he said. “Stacy’s performance for ‘Altamaha-Ha’ was equally stunning, and the choir added a dark warmth that resonated deeply.”
Compulsion Games has crafted a soundtrack rich with soulful performances and meaning that not only enhances *South of Midnight* but also stands on its own. The music reinforces themes of loss, hardship, and hope, combined with innovative audio design, creating a remarkable auditory experience that deserves wider recognition. I look forward to more players experiencing this auditory journey when *South of Midnight* arrives on PS5 and Switch 2 in Spring 2026.
