EARTHLOCK: Festival of Magic - Soundtrack (DLC)

Let me be upfront about something: soundtrack DLCs are a niche purchase, and this one is no exception. The Earthlock: Festival of Magic OST is a 34-track collection tied directly to Snowcastle Games' old-school JRPG set in the world of Umbra, where a tidally locked planet splits life between scorched desert and frozen dark. If that setting sounds like your kind of thing, the music is worth your attention, because it genuinely earns its keep in context. The bulk of the composition comes from Eiko Ishiwata Nichols, a multi-instrumentalist whose work draws frequent comparisons to classic Square composers. The design direction she described during development is easy to hear in the finished product: synths for the energy of Umbra's magitech undercurrent, traditional orchestral instruments for the quieter, more romantic story beats, and what she called ritual instruments to keep things grounded in the world's earthy mythology. The result sits somewhere between late-90s JRPG comfort food and something slightly more personal. Contributions from Hiroki Kikuta (the opening track, notably) and Frits Olsen round out the roster, lending a couple of tracks a distinctly different feel from the main body of work. Reviewers of the base game consistently highlighted the music as one of Earthlock's most reliable strengths, with the world map and boss battle themes drawing particular praise. That checks out: the piano-led dungeon pieces are the kind you leave running after the game is closed. Who is this for, realistically? If you played Earthlock and the music stuck with you through the grind-heavy mid-game and the occasionally frustrating difficulty spikes, this DLC is a clean way to own it. If you never played the base game, the soundtrack alone is a harder sell, though fans of Kikuta's earlier work (you know exactly which game I mean) will find the opening track worth investigating on its own terms. The OST doesn't arrive with any liner notes, bonus arrangements, or composer commentary, which is a missed opportunity given how intentional Nichols was about the sonic palette from the start. Bottom line: the music is probably the least controversial part of Earthlock's legacy. The base game got split opinions on its writing and pacing, but the audio side of things held up across nearly every review. This collection is a quiet, solid artifact of a game that cared more about its atmosphere than its dialogue. If you already love the game, this belongs in your library. If you don't, start there first. Monika, Scout Team