The Grammy Awards continue to spotlight video game music, but this year’s shortlist is already sparking heated debate.
A Ceremony Still Firmly Rooted in American Traditions
For several years now, the Grammys have attempted to acknowledge the growing cultural weight of video game music. Yet, despite this progress, the nominations continue to focus heavily on American composers and major entertainment licenses. This year is no exception, and reactions have been strong.
Many fans hoped for a more diverse representation, especially after last year’s win by Winifred Phillips for Wizardry: Proving Grounds of the Mad Overlord. But expectations for renewed momentum have been tempered by this latest selection. The debate invites listeners and players alike to weigh in on what a more inclusive and representative category should look like.
The 2025 Grammy Nominees for Best Score in a Video Game
As in past editions, major Hollywood-linked franchises dominate the list, notably productions tied to Disney’s expansive portfolio. Here are the official nominees for Best Score in a Video Game:
- Avatar: Frontiers of Pandora – Secrets of the Spires (Pinar Toprak)
- Helldivers 2 (Wilbert Roget)
- Indiana Jones and the Great Circle (Gordy Haab)
- Star Wars Outlaws: Wild Card & A Pirate’s Fortune (Cody Matthew Johnson & Wilbert Roget II)
- Sword of the Sea (Austin Wintory)
A few details are important to understand this selection. DLCs are eligible, explaining the presence of Avatar: Frontiers of Pandora. The eligibility window spans from August 2024 to August 2025, capturing some earlier releases. Meanwhile, Helldivers 2 qualifies because the Grammys consider the release date of the standalone soundtrack, which was published later than the game. These clarifications do little to quiet the debate, especially among players who follow the industry closely and expected a broader range of nominees.
Major Absences: The Case of Clair Obscur: Expedition 33
One of the most notable omissions this year is Clair Obscur: Expedition 33, whose soundtrack left a strong mark on audiences. Despite Kepler Interactive campaigning for a nomination, heavyweight Hollywood properties once again prevailed, along with well-established composers such as Austin Wintory.
This is far from the only deserving title left out. Last year, Final Fantasy VII Rebirth faced similar hurdles. Non-American and non-English productions consistently struggle to gain traction at the Grammys, raising questions about the ceremony’s criteria and international openness. This ongoing pattern fuels broader reflections on how global the category truly is and how future reforms could enhance diversity, fairness, and recognition across the industry.
Also learn about the Major Update and Plans for the future for Clair Obscur!
ZEVENT 2025 – Ochestre Curieux feat. @expedition33 Dim dim dam~~ pic.twitter.com/RX6I2EdsVv
— ZEVENT (@ZEVENTFR) September 4, 2025
In Conclusion: A Unique Additional Perspective
Beyond the annual controversy, the growing attention paid to game soundtracks highlights an undeniable trend: video game music now plays a central role in cinematic-style storytelling. As studios push for ever more immersive experiences, the Grammys face increasing pressure to evolve and better reflect the global nature of the medium.
What do you think of Clair Obscur: Expedition 33 Soundtrack? What’s your opinion regarding videogames soundtrack over typical scores from hollywood franchises? Let us know in the comment below!
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