The soundtrack to the roguelike Mewgenics, composed by Ridiculon (Matthias Bossi and Jon Evans), is proving to be a surprisingly significant element of the game’s appeal. Beyond the often-crass humor and chaotic gameplay, the music consistently elevates the experience, offering a unique blend of quirky compositions and genuine artistry.
As noted in a recent review, Mewgenics doesn’t always land its comedic tone. The game’s early 2000s internet culture sensibilities can feel jarring to some. However, the commitment to silliness—a refusal to self-censor or temper the absurdity—is ultimately what wins many players over. And according to PC Gamer, nothing exemplifies this commitment more than the game’s soundtrack.
Ridiculon’s work isn’t simply background music; it’s integral to the game’s storytelling. With limited dialogue, the soundtrack often carries the emotional weight and narrative context. Each area features a looping instrumental track that sets the mood, from the spooky atmosphere of the Graveyard to the tense feel of the Desert. But it’s during boss fights that the music truly shines, transitioning into fully realized songs with lyrics that amplify the drama and uniqueness of each encounter.
The songs themselves are remarkably catchy, and often humorous. Tracks like “Chumbucket Kitty” (“Where’s that smell coming from? So stinkily disgusting, so delightfully dead / A decomposing rodent somewhere near the baby’s bed”) and “Eatin’ Rats” (“All of my nights I’m chasing rats / All of my days, I’m taking naps”) demonstrate the playful, often bizarre lyrical content. Even more unsettling is the song accompanying the fight against a giant spider, which details exactly what the creature intends to do to the player. The soundtrack doesn’t shy away from the darker, stranger elements of the game’s world.
The sheer volume of music is also noteworthy. Mewgenics is a lengthy game, and as players progress through increasingly surreal locations, Ridiculon consistently delivers new tracks that fit the evolving atmosphere. Even after over 115 hours of gameplay, players are still discovering previously unheard songs, adding another layer of reward and discovery to the experience.
This sense of discovery extends beyond simply unlocking new music. As players revisit areas, the songs become familiar, almost like old friends. The in-game radio DJ adds another layer of depth, offering commentary on the tracks and further enriching the experience. The DJ’s musings on the meaning of a “chumbucket kitty,” for example, add a meta-commentary that enhances the game’s overall absurdity.
The soundtrack functions as an auditory trophy case, a permanent reminder of the player’s achievements. Each song earned represents a challenge overcome, a bizarre encounter survived. The fact that these songs are not simply pleasant background noise, but rather the result of dedicated effort, makes them all the more satisfying to unlock and revisit.
Ridiculon’s work on Mewgenics isn’t just about creating catchy tunes; it’s about crafting an immersive and unforgettable sonic landscape that perfectly complements the game’s unique brand of chaos. It’s a testament to the power of music to elevate a game beyond its technical merits and into something truly special. The 60-track OST, available on platforms like YouTube Music, is a testament to the depth and breadth of their contribution.
