398 réponses à ce sujet

[Undead Han]

The ballroom where Celene stands and everyone dances. In that room where literlly everyone dance, its Zur's music dude. 

 

He is talking about this track:

 

 

...written by Trevor Morris.

[Undead Han]

Anyone else dig this one?

 

[The Baconer]

Another favorite:

 

 

That part at 58 seconds, the Inquisitor's entrance theme... Honestly I think this is far and away the best score in the franchise.

[CronoDragoon]

Anyone else dig this one?

Yep, this and the variant that plays when Morrigan takes you to the Crossroads.

[TK514]

I enjoyed DA:O and 2's soundtracks, and for the most part found DA:I's either forgettable or unappealing. I outright disliked every vocal track in DA:I. I thought they were varying levels of terrible.

[Sifr]

I liked DAI's soundtrack, but I missed that a lot of the musical cues from DAO and DA2 were absent. Aside from Hawke's theme, there seemed to be little returning music from the previous games included, which was a shame because it'd have been nice to see the Trevor Morris' take on them? I'd have loved to hear the signature riff from the main theme from Origins and DA2 show up at least once in the game?

 

That said, "Orb of Destruction" is pretty epic... I like to refer to it as the "There Can Be Only One" moment of Inquisition;

 

[ioannisdenton]

Fact:
Both games have some pretty RAD tracks.
Personally i prefer Inon Zur, his work in Da2 : hawke's family theme, mage pride, rogues heart, i am not calling you a liar (best credit song ever along with faunts m4 part1 in me1), qunari on the rise, CALLENHAD DOCKS  (WHY THIS WAS NOT ON DA:i), origins theme, leleiana song.

but then DaI has some pretty great great tracks too! Lost temple themes gave me shivers.

[Aren]

Inon zur for me ,the hanged theme of DAII is amazing.

 

 

[Sifr]

Even though I know that Inon Zur had to rush DA2's score, the incidental music was a lot of fun and gave Kirkwall a nice atmosphere that made the city feel far more alive and vibrant than the game was able to depict. Origins and Inquisition had a more epic sounding to be sure, but a lot of the themes weren't nearly as memorable as those in DA2?

[Zered]

I liked the most the Qunari themes in DA2. Gave them exotic feel. I could just join the Qun just for the music.

 

[Revan Reborn]

Without a doubt, it's clear this community is divided between the DAO/DA2 musical score and DAI. I think part of the reason for this is because DAI was such a large departure from what came before, so fans either love it or hate it. This is without a doubt one of those catch 22 moments where BioWare should have realized heading into such a drastic, new direction would definitely cause a split between the old and new. My question is will Trevor Morris be asked to return, or was this a one time thing?

[Undead Han]

I'm hoping he'll be asked to return. I'm a fan of the work he's done for film as well.

 

 

 

Surrey Found Guilty

 

Wolsey Commits Suicide / Finale

 

Do Not Forsake Mankind

 

The Borgias - Main Title

[Revan Reborn]

I'm hoping he'll be asked to return. I'm a fan of the work he's done for film as well.

 

 

 

Surrey Found Guilty

 

Wolsey Commits Suicide / Finale

 

Do Not Forsake Mankind

 

The Borgias - Main Title

BioWare generally doesn't make it a habit for composers to return. Jeremy Soule did the soundtrack for KotOR. Jack Wall did the soundtrack for JE and collaborated with Sam Hullick and others on ME1/2. Inon Zur did the soundtrack for DAO/DAII. Clint Mansell was the primary composer on ME3. Mark Griskey was the composer on KotOR 2 and SWTOR (BioWare did not develop KotOR 2).

 

Inon Zur could have easily reprised his role, given he was the only sound in Dragon Age up until DAI. BioWare obviously wanted to go in a new direction. The answer to whether Trevor Morris will return or not will likely depend on where the new story goes. With David Gaider stepping down as the lead writer and moving on to the new IP, I'm under the impression we'll get a soft reboot of sorts with Dragon Age.

 

I won't be surprised if BioWare goes with a new composer for a new direction.

[TheRevanchist]

They better not do a reboot. I am not ashamed to say that imo ME was ruined by their "soft reboot". Granted the planned ending was awful too, but at least it would have been consistent. I'm sure they worked with Gaider long enough to know where he was going with it. 

[ioannisdenton]

Inon zur for me ,the hanged theme of DAII is amazing.

 

 

Oh man!
I totally forgot about this Despite the fact that i acrually spent time in the tavern only for this song in every playthrough. Especially the night theme is better.
listening to it now!!! Oh my god the memories!! Isabella where are you! i love you, i want to hoist the mainsale with you!

[Beregond5]

I like both... except when it comes to one particular track. I prefer Morris' Love Theme over Inon Zur's Love Theme in DA:O - the latter was kind of... over the top-ish.

[Handsome Jack]

Inon Zur was superior. His Fallout tracks are better though.

 

[Walker White]

BioWare generally doesn't make it a habit for composers to return. Jeremy Soule did the soundtrack for KotOR. Jack Wall did the soundtrack for JE and collaborated with Sam Hullick and others on ME1/2. Inon Zur did the soundtrack for DAO/DAII. Clint Mansell was the primary composer on ME3. Mark Griskey was the composer on KotOR 2 and SWTOR (BioWare did not develop KotOR 2).

 

Clint Mansell did only two songs for ME3: Leaving Earth and An End Once and For All.  

 

If you count credits on the soundtrack, it is essentially a tie between Sam Hullick again, and Cris Velasco & Sascha Dikiciyan who did much of the DLC for ME2. They came back to Sam a lot.

[devSin]

Clint Mansell did only two songs for ME3: Leaving Earth and An End Once and For All.

Clint Mansell composed only the title track.

An End is based on that piece (Sam tried to mimic Clint's composition, with little success to be honest), which is why Clint is credited for it.

Jack Wall was the lead for ME and ME2. He did most of the scoring for the critical path for both games.

[dreamgazer]

DAO and DA2's scores hit higher highs, but they've also got a lot of clumsy and downright bland material.

Inquisition's score is consistently strong and engaging throughout, but doesn't have the upper-level hooks of the previous two's themes and a few of the pieces within.

[Walker White]

Jack Wall was the lead for ME and ME2. He did most of the scoring for the critical path for both games.

He was the lead on ME2, but he delegated out a lot of the scoring. It is hard to see this on the soundtrack, because it just credits Jack Wall. But on his website at the time, he had the breakdown of actual scoring responsibilities. Essentially, Jack only composed the themes for the main story missions, not the characters.

[devSin]

He was the lead on ME2, but he delegated out a lot of the scoring. It is hard to see this on the soundtrack, because it just credits Jack Wall. But on his website at the time, he had the breakdown of actual scoring responsibilities. Essentially, Jack only composed the themes for the main story missions, not the characters.

Like I said, the critical path.

The cohesiveness of ME2 (again, speaking of the critical path) was especially absent from ME3, with its patchwork of random and oft contradictory themes. I'm hugely thankful DA has always selected a single composer to do all their scoring.

Whether Inon or Trevor (or Jesper—be still, my heart!), I hope this continues in future.