After the amazing score for this studio’s Get Even (by Olivier Deriviere) I have expected something more than simply background music. Furthermore, while the player is under attack, the same pretty irritating track is being played. games had their unsettling vibe both through visuals and audio, here the game leaves us with the feeling that something is being missed. Almost nothing happens when we explore the Zone and since S.T.A.L.K.E.R. Again, the game has high level visuals, this time thanks to the photogrammetry technology, but the soundtrack seems quite disappointing. Sad to say that, but the highly anticipated by me Polish game Chernobylite from The Farm 51 shares the similar problem. This is not a flaw since it adds a lot to the overall immersion and does not disturb us during exploration, however, in terms of scoring there is nothing to review. The soundscape becomes more lively through the diegetic music like occasionally heard radio tunes or when the stalkers play the guitars. The Zone makes its own ambiences and noises through the gusts of the wind, metal screeching, leaves rustling, animal sounds. There is almost no music in them apart from some mild synth ambient while we explore. So graphically and in the terms of gameplay and storyline those games were stunning but unfortunately I cannot say that about the music. The fans wanted to compare the real landscapes of that place with the in-games images which turned out to be pretty accurate since the developers recreated many locations from the photos they took during their trip to the Zone. The trilogy set in the Chernobyl Exclusion Zone many years after the catastrophic power plant’s reactor explosion earned lots of fans and started the trend of commercial tours into the Zone.

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