On November 8, 2025, the Recording Academy pulled back the curtain on its nominations for the Best Score Soundtrack for Video Games and Other Interactive Media at the 2026 Grammy Awards. But what should have been a celebration of musical achievement in gaming quickly turned into a firestorm of debate. Fans and industry insiders alike were left scratching their heads over one glaring omission: Clair Obscur: Expedition 33, composed by Lorien Testard, was nowhere to be found on the list of nominees.
For those who’ve followed the meteoric rise of Expedition 33’s soundtrack, the absence feels almost surreal. The score, lauded by critics as one of the most evocative and innovative in recent memory, enjoyed a ten-week reign atop the Billboard Classical charts—no small feat for any album, let alone a video game score. Just last month, Testard’s work clinched the World Soundtrack Award for Best Game Music, a testament to the composition’s global resonance and artistry. So, what happened?
The nominees that did make the cut are anything but lackluster. According to the official announcement, this year’s Grammy contenders are 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), and Sword of the Sea (Austin Wintory). Each has its own legion of fans and a strong musical pedigree. Still, the omission of Expedition 33 has cast a long shadow over the proceedings.
Kepler Interactive, the publisher behind Clair Obscur: Expedition 33, didn’t just sit on the sidelines. They submitted the game’s score for consideration in two Grammy categories: Best Score Soundtrack for Video Games and Best Song Written for Visual Media. The publisher even organized three sold-out concerts in France, where Testard’s score was performed live to rapturous audiences—a rare achievement for any video game soundtrack. As reported by Sandfall Interactive, tickets vanished within minutes, underscoring the music’s wide appeal.
Online, the reaction was swift and passionate. As quoted by Sandfall Interactive, one fan vented on X, “The GRAMMYs snubbing Clair Obscur: Expedition 33 is arguably the biggest fumble of all time.” Another frustrated gamer posted, “No Expedition 33 is ridiculous. I guarantee half of these people didn’t even listen.” Others took a more sarcastic tone, with one user joking that the selection committee “should be jailed” for overlooking what many consider a modern masterpiece.
It’s not just Clair Obscur that’s been left out in the cold. Death Stranding 2, featuring the musical talents of Ludvig Forssel and Woodkid, also failed to secure a nomination despite widespread acclaim for its atmospheric compositions. The snubs have ignited a broader conversation about the selection process and what criteria the Recording Academy uses to determine excellence in this still-young Grammy category.
Some of this year’s nominees benefitted from technicalities. Helldivers 2, for example, was able to qualify for the 2026 Grammys despite its game launching before the eligibility window. The key detail: its soundtrack was officially released on September 20, 2024, which neatly fit within the Academy’s window of August 31, 2024, to August 30, 2025. That timing allowed it to compete, even though the game itself had been out for some time. As noted by Sandfall Interactive and other sources, this wrinkle in the rules has raised eyebrows and fueled debates among fans and composers alike.
This is only the fourth year since the Grammys introduced a dedicated category for video game music—a move that was widely celebrated as overdue recognition of the medium’s artistic value. The inaugural award in 2023 went to Assassin’s Creed Valhalla: Dawn of Ragnarök, with Stephanie Economou’s score beating out high-profile contenders like Marvel’s Guardians of the Galaxy and Call of Duty: Vanguard, according to the Recording Academy. The following year, the honor went to Star Wars Jedi: Survivor, composed by Stephen Barton and Gordy Haab, which triumphed over God of War Ragnarök, Hogwarts Legacy, and others. In 2025, Winifred Phillips took home the prize for her work on Wizardry: Proving Grounds of the Mad Overlord, outpacing scores from Avatar: Frontiers of Pandora and Marvel’s Spider-Man 2 among others. These wins have helped raise the profile of video game music, drawing attention from both classical and mainstream audiences.
The Recording Academy’s official description of the category is clear: it “recognizes excellence in score soundtrack albums comprised predominantly of original scores and created specifically for, or as a companion to, a current video game or other interactive media released within the qualification period.” Yet, as this year’s nominations demonstrate, even a precise definition doesn’t always translate to consensus. With so many high-quality scores vying for a handful of spots, some worthy contenders are inevitably left behind.
For fans and industry veterans, the snub of Expedition 33 is particularly hard to swallow given the game’s critical and commercial success. Not only is it the second-highest rated new game of the year, but its music has also achieved rare crossover success—bridging the worlds of gaming, classical music, and live performance. As reported by multiple outlets, including Sandfall Interactive, the soundtrack’s impact has been felt far beyond the game itself.
Kepler Interactive’s dual submission of the soundtrack, both for Best Score Soundtrack and Best Song Written for Visual Media, signals the company’s confidence in the music’s broad appeal. Yet, despite their efforts, the Recording Academy’s choices have the final word—at least, officially. As the 68th Annual Grammy Awards approach, scheduled for February 1, 2026, the debate shows no sign of cooling off. For many, the real winner has already been decided in the court of public opinion, even if the golden gramophone will go to someone else.
In the end, the controversy surrounding this year’s video game score nominations highlights both the progress and the growing pains of an industry still fighting for mainstream recognition. As more eyes—and ears—turn to video game music, the stakes (and the passions) will only get higher. And while the Grammys can only honor a select few each year, the conversation about what makes a truly great score is far from over.
