Bitter-serious fantasy

One could almost accuse me of currently going through the game library of BioWare for chosing my next review subjects, as after Mass Effect and Star Wars: Knights of the Old Republic , I now dissect the last link in the chain of success. In truth, Dragon Age: Origins only found its way into my list by chance, thanks to Shuffle Mode. I'm not complaining, as this allows me to talk about the soundtrack of a game that for many still stands as one of the best role-playing games of the past decade and a half.

Despite initial hype, I personally had some difficulties getting into the dark and bloody universe, needing two attempts before it truly grabbed me. Similar to my experience with the Game of Thrones series back then... seems to be a Mattis thing. In typical BioWare fashion, Dragon Age: Origins offered top-notch role-playing in a new and interesting game world with well-written characters and a twisty story that brought both fantasy clichés and new elements while breaking some conventions.

The score

To make this construct tangible, Inon Zur was entrusted with composing the soundtrack. With his previous works, such as his contribution to Baldur‘s Gate II: Throne of Bhaal and Fallout 3, he already brought role-playing knowledge that needed to be transformed for a new IP. He also had prior fantasy experience, not least through the score for the TV series Mystic Knights of Tir Na Nog – a fun fact that should at least amuse the editor of this review.

The production process for the OST is thankfully well-documented and can be read about on various websites (not least Wikipedia). By the way, there is also an interview on YouTube with Zur about the sequel, Dragon Age II. One can almost feel nostalgic when remembering how Electronic Arts treated their (new) IPs back then...

For me, Dragon Age: Origins was not only content-wise but also musically the antithesis to the Elder Scrolls-series for a long time. While Oblivion treats us to the equivalent of flowery landscapes and honorable duels, Dragon Age is dirty and raw. Zur's goal to illustrate a darker fantasy world is easily achieved and becomes apparent in the choice of instruments.

Dominant brass instruments and ancient drums make many pieces feel archaic and brutal. However, this demonic face is not only reserved for the evil of this fantasy world, known as 'Darkspawn.' With a few exceptions, hardly any track is purely positive; each is linked to a certain weight and longing. For me, this was uncharted territory at the time. Even the undead faction in Heroes of Might and Magic V had a morbid, fascinating tonality, standing in stark contrast to the 'good' side's happy attitude.

Above the music of Dragon Age hangs a fog-like seriousness, representing the gravity of a world where emotions are taken from mages so they don't become too powerful, where elves face racism, and where a lot, a lot of blood is shed. This seriousness is only broken when the almost cliché ballads, like in I Am the OneInon Zur5 or Lelianna’s SongInon Zur4 are sung in some fantasy language. I used to find that cool; nowadays, it bothers me a bit, like the goth phase we all went through.

I can still overlook the vocals in the fantastic main theme, Dragon Age: OriginsInon Zur5, which begins with an elvish litany before being displaced by drums and trumpets, heralding war and death. They, in turn, are interrupted by a lonely flute, which briefly wafts over with the voice before sinking again. But once again, the war drums are driven away as the orchestra plays and presents the catchy main motif: heroic, powerful, and resolute. It may be a cliché, but I like it.

Speaking of cliché: Through this motif of bitterness, a uniformity arises, especially in the combat tracks. Battle the Darkspawn HordesInon Zur3, The Endless Wave of HurlocksInon Zur3, Attack on DenerimInon Zur3, Dungeons and DungeonsInon Zur3, To Kill an OgreInon Zur3 and even the track for the final boss fight, Challenge an ArchdemonInon Zur3 – they are all cut from the same cloth, lacking the final polish and, in my opinion, falling short behind a Neverwinter Nights zurück.

At the same time, there are a few positive exceptions that stand out from the sameness of battle accompaniment: Battle for the UrnInon Zur4 and Battle the BlightInon Zur4 have more similarities to God of War and Prince of Persia auf, HoweInon Zur3 birgt dagegen Might and Magic-Feeling. Richtig gut gefallen mir darüber hinaus die drei Tracks, die sich etwas mehr Zeit für das Erlebnis nehmen: The Battle of Lothering VillageInon Zur5, Ferelden at WarInon Zur5 and The Deep RoadsInon Zur5.

The Battle of Lothering VillageInon Zur5 is about the battle for the town of the same name, which we prepare for the invasion during the story. The accompanying track takes just as long with a lengthy intro before things really get going: drums sound, trumpets screech before order is brought to the chaos. A melody emerges, accompanied by the ruckus of the orchestra. The positive note plays itself forward more and more clearly before briefly sinking, suppressed by the drums, and then, like a sunrise, the main theme is intoned with feeling and power - evoking memories of Howard Shore's compositions for the The Lord of the Rings-series.

The other side of the coin gives us Ferelden at WarInon Zur5. Here, too, we get a longer intro that, however, fails to prevail against the darkness. A deep male choir usher in our demise while, in moments of uncertainty, memories of Zur's Crysis-OST briefly emerge. Again, the drums start, rhythmically and unrelenting. Danger is at the door, and there's nothing that can stop it. "Abandon all hope", one might shout – but then, the euphoric main theme breaks through the fear, inspiring and motivating. That's how world-building works, that's how identity is created!

As the last member of the triumvirate, The Deep RoadsInon Zur5 is again more of a classic battle track, but it works with the instrumentation of the dwarves (clearly, as they are often in their deep mine shafts). They are thrown against the usual combat motifs. We feel both confined and small before a trumpet loudly demands attention, letting a beautiful melody waft over the skirmish. Even without the main theme, the battle is not lost!

Beyond the battlefield, Zur also succeeds in delivering the necessary diversity for the introductions of the different races and classes. Elves at the Mercy of ManInon Zur4 shows the fate of city elves, who are ostracized and sometimes persecuted as second-class beings. A sad bassoon announces their misery before the track rears up in its middle, just enough to suggest a trace of sublimity before ultimately sinking back into the pitiable.

Their counterparts, The DalishInon Zur3, fare only slightly better in the forest. Their theme swells like a chest, but it's not the liberating breaths one enjoys during a walk in the woods. Instead, dark and threatening, they herald constant danger. The Dwarven NoblesInon Zur4 and The Common DwarfInon Zur4 sound stereotypically dwarfish, dominant brass and clanging anvils suggest both the regal and the stoic nature of their race. However, there is as little carefreeness to be expected like for the spiky-eared: something is awry.

If anyone thinks that humans have it better, they are proven wrong. Although the main theme has another appearance in The Chantry’s HubrisInon Zur4 (for the entry of the mage class), it's not the final note. In fact, only Human NobilityInon Zur3 comes off somewhat positive, seeming almost indifferent except for the middle part. Coincidence or an acoustic commentary on the game world?

Before I delve into the remaining tracks, let me come to the conclusion, which I thought would be more critical with my matured years. The usual fantasy schmaltz that sounds like the same old Kingdoms of Amalur: Reckoning . However, the music of Dragon Age: Origins still manages to captivate me today, and this closer examination has once again opened my eyes to the many details and nuances that I missed as a gamer back then. Sure, it's not The Lord of the Rings, but it ventures into a similar compositional direction with its world-building. Therefore, I align with the judgment of the Hollywood Music in Media Awards & Conference show, which awarded the game two awards in 2009, and say: worth listening to!