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Bitter-serious fantasy

This is the music review of
Leliana’s Song (2010) | Awakening (2010)

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.

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 One or Lelianna’s Song 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: Origins, 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 Hordes, The Endless Wave of Hurlocks, Attack on Denerim, Dungeons and Dungeons, To Kill an Ogre and even the track for the final boss fight, Challenge an Archdemon – they are all cut from the same cloth, lacking the final polish and, in my opinion, falling short behind a Neverwinter Nights.

At the same time, there are a few positive exceptions that stand out from the sameness of battle accompaniment: Battle for the Urn and Battle the Blight have more similarities to God of War and Prince of Persia, while Howe harbors a feeling of Might and Magic. I also really like the three tracks that take a bit more time for the experience: The Battle of Lothering Village, Ferelden at War, and The Deep Roads.

The Battle of Lothering Village 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 War. 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 Roads 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 Man 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 Dalish, 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 Nobles and The Common Dwarf 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 Hubris (for the entry of the mage class), it's not the final note. In fact, only Human Nobility 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!

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Nostalgia warning

The rating of the individual tracks is purely subjective and clearly colored by my own experience with the game. You can find out more in the article About Nostalgia.

Dragon Age: Origins

No.	Title	Artist(s)	Ratings
01	Dragon Age: Origins	Inon Zur	5
02	I Am the One [High Fantasy Version]	Inon Zur	5
03	The Chantry's Hubris	Inon Zur	4
04	Elves at the Mercy of Man	Inon Zur	4
05	The Dwarven Nobles	Inon Zur	4
06	Mages in Their Chantry	Inon Zur	3
07	The Common Dwarf	Inon Zur	4
08	The Dalish	Inon Zur	3
09	Human Nobility	Inon Zur	3
10	Ruins of Ostagar	Inon Zur	4
11	Enter the Kocari Wilds	Inon Zur	2
12	Darkspawn in the Wilds	Inon Zur	3
13	Join the Grey Wardens	Inon Zur	3
14	The Betrayal	Inon Zur	4
15	The Party Camp	Inon Zur	4
16	Battle the Darkspawn Hordes	Inon Zur	3
17	The Endless Wave of Hurlocks	Inon Zur	3
18	The Dalish Elves' Encampment	Inon Zur	3
19	The Urn of Sacred Ashes	Inon Zur	4
20	Haven!	Inon Zur	2
21	Battle for the Urn	Inon Zur	4
22	Attack on Denerim	Inon Zur	3
23	The Dungeons of Landsmeet	Inon Zur	3
24	Dungeons and Dungeons	Inon Zur	3
25	Howe	Inon Zur	3
26	The Battle of Lothering Village	Inon Zur	5
27	Ferelden at War	Inon Zur	5
28	Lelianna's Song	Inon Zur	4
29	King Edrin	Inon Zur	4
30	The Deep Roads	Inon Zur	5
31	Battle the Blight	Inon Zur	4
32	To Kill an Ogre	Inon Zur	3
33	Challenge an Archdemon	Inon Zur	3
34	The Coronation	Inon Zur	3
35	I Am the One [Dark Fantasy Version]	Inon Zur	3

Dragon Age: Origins [Collector's Edition]

No.	Title	Artist(s)	Ratings
01	Dragon Age: Origins	Inon Zur	5
02	Ruins of Ostagar	Inon Zur	4
03	Elves at the Mercy of Men	Inon Zur	4
04	The Dwarven Nobles	Inon Zur	4
05	The Circle Tower	Inon Zur	4
06	Mages in Their Chantry	Inon Zur	3
07	Human Nobility	Inon Zur	3
08	Rise of the Darkspawn	Inon Zur	4
09	Tavern Brawl	Inon Zur	4
10	The Grey Warden Legacy	Inon Zur	3
11	The Realm of Orzamar	Inon Zur	3
12	The Urn of Sacred Ashes	Inon Zur	4
13	Lelianna's Song	Inon Zur	4
14	The Deep Roads	Inon Zur	5
15	The Nature of the Beast	Inon Zur	4
16	Ferelden at War	Inon Zur	5
17	I Am the One	Inon Zur	5
18	I Am the One [Djkilla Remix]	Inon Zur	3

Dragon Age: Origins [Gamerip]

No.	Title	Artist(s)	Ratings
01	Dragon Age: Origins	Inon Zur	5
02	I Am the One [High Fantasy Version]	Inon Zur	5
03	The Chantry's Hubris	Inon Zur	4
04	Elves at the Mercy of Man	Inon Zur	4
05	The Dwarven Nobles	Inon Zur	4
06	Mages in Their Chantry	Inon Zur	3
07	The Common Dwarf	Inon Zur	4
08	The Dalish	Inon Zur	3
09	Human Nobility	Inon Zur	3
10	Ruins of Ostagar	Inon Zur	4
11	Enter the Kocari Wilds	Inon Zur	2
12	Darkspawn in the Wilds	Inon Zur	3
13	Join the Grey Wardens	Inon Zur	3
14	The Betrayal	Inon Zur	4
15	The Party Camp	Inon Zur	4
16	Battle the Darkspawn Hordes	Inon Zur	3
17	The Endless Wave of Hurlocks	Inon Zur	3
18	The Dalish Elves' Encampment	Inon Zur	3
19	The Urn of Sacred Ashes	Inon Zur	4
20	Haven!	Inon Zur	2
21	Battle for the Urn	Inon Zur	4
22	Attack on Denerim	Inon Zur	3
23	The Dungeons of Landsmeet	Inon Zur	3
24	Dungeons and Dungeons	Inon Zur	3
25	Howe	Inon Zur	3
26	The Battle of Lothering Village	Inon Zur	5
27	Ferelden at War	Inon Zur	5
28	Lelianna's Song	Inon Zur	4
29	King Edrin	Inon Zur	4
30	The Deep Roads	Inon Zur	5
31	Battle the Blight	Inon Zur	4
32	To Kill an Ogre	Inon Zur	3
33	Challenge an Archdemon	Inon Zur	3
34	The Coronation	Inon Zur	3
35	I Am the One [Dark Fantasy Version]	Inon Zur	3
36	The Circle Tower	Inon Zur	4
37	Rise of the Darkspawn	Inon Zur	4
38	Tavern Brawl	Inon Zur	4
39	The Grey Warden Legacy	Inon Zur	3
40	The Realm of Orzammar	Inon Zur	3
41	The Nature of the Beast	Inon Zur	4
42	I Am the One [DJ Killa Remix]	Inon Zur	3
43	Leliana's Song [Instrumental Version]	Inon Zur	4
44	Character Generation	Inon Zur	4
45	Ostagar	Inon Zur	3
46	Lothering	Inon Zur	3
47	Lothering Chantry	Inon Zur	2
48	Dwarven Merchant	Inon Zur	2
49	Redcliffe Village	Inon Zur	2
50	Redcliffe Village Combat	Inon Zur	3
51	Redcliffe Castle	Inon Zur	2
52	Redcliffe Castle Combat	Inon Zur	4
53	The Gauntlet	Inon Zur	2
54	Calenhad Docks	Inon Zur	2
55	Calenhad Docks Combat	Inon Zur	3
56	Mage Tower	Inon Zur	2
57	The Fade	Inon Zur	2
58	The Fade Combat	Inon Zur	3
59	Brecilian Forest	Inon Zur	2
60	Brecilian Forest Combat	Inon Zur	3
61	Mad Hermit	Inon Zur	4
62	The Proving Grounds	Inon Zur	4
63	Deep Roads Explore	Inon Zur	2
64	Anvil of the Void	Inon Zur	3
65	Caridin	Inon Zur	3
66	Denerim	Inon Zur	3
67	Tavern	Inon Zur	3
68	Wonders of Thedas	Inon Zur	3
69	Arl of Redcliffe	Inon Zur	3
70	Dungeon	Inon Zur	2
71	Morrigan's Ritual	Inon Zur	2
72	Army March	Inon Zur	3
73	Drunken Dwarf Song	Inon Zur	1

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Leliana’s Song

Just a few words about the OST of the DLC Leliana’s Song. This prequel revolves around the backstory of our group's bard, Leliana, although the actual plot has been completely erased from my mental hard drive. If you've ever been in a high-fantasy cosmos, you won't be surprised by the content of the eight-track score; after all, it's about a bard. And where do you usually find bards? Right, in the tavern.

Consequently, unlike the main game, the music is more 'urban' and mostly avoids its melancholy tone. We are already familiar with the theme Leliana’s Song with its harp strumming and singing from the main game. Apart from that, the remaining songs all feature the guitar as the dominant instrument. Day in a Life, Evening and Night and Leliana’s Dance could easily stem from Skyrim or other genre representatives. In Sorrow the sadder tones are struck. In the Dungeon is dramatic, while Market Place as well as Street Fight bring us back to daylight. Nice if you're looking for some background music for the next pen-and-paper round.

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No.	Title	Artist(s)	Ratings
01	Dragon Age: Origins: Leliana's Song	Inon Zur	5
02	Day in a Life	Inon Zur	4
03	Evening and Night	Inon Zur	3
04	Leliana's Dance	Inon Zur	3
05	Sorrow	Inon Zur	3
06	In the Dungeon	Inon Zur	3
07	Market Place	Inon Zur	4
08	Street Fight	Inon Zur	3

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Awakening

With Awakening, it went back to the world of Dragon Age a year after the main game's release. The add-on (yes, they still existed back then) picks up right after the events of Origins and once again allows us to assemble a party of Grey Wardens to fight against the evil in the world. So, in terms of content, everything remains the same, but musically, composer Inon Zur is exploring new paths.

While Dragon Age: Origins ' score is generally very dark and melancholic, the main theme for Awakening immediately introduces more positive notes. The threat seems to be lifted, and the healing process can begin. This sounds much more like the typical high-fantasy tropes and doesn't quite fit for me.

The rest of the gamerip also differs significantly from the main game and unfortunately never reaches its level. While Vigil’s Keep, Vigil’s Keep Combat, and Varel could still be from Origins' OST, Lair is horror in the style of Dead Space. Here, the violins scratch uncomfortably over the imaginary board, keeping us in suspense.

The Mother and The Architect , on the other hand, are more melodramatic and reminiscent of the grand encounters in a game like Dark Souls. Unfortunately, these tracks are not particularly gripping, even though one should appreciate Zur's departure from the soundscape of a vast world to a smaller, more confined space.

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No.	Title	Artist(s)	Ratings
01	Dragon Age: Origins - Awakening	Inon Zur	3
02	Vigil's Keep	Inon Zur	3
03	Vigil's Keep Combat	Inon Zur	4
04	Varel	Inon Zur	4
05	Lair	Inon Zur	3
06	The Mother	Inon Zur	3
07	The Architect	Inon Zur	4