Into the Woods I go

In 2021, it was the turn of Blackwood, the region between Cyrodiil and the Black Marsh. This is not only the home of the lizard-like Argonians, but also the setting for the main story. In this story, players had to fight against the machinations of the Daedric Prince Mehrunes Dagon and uncover a conspiracy 800 years before the events of The Elder Scrolls IV: Oblivion. Musically, this is accompanied by twelve tracks of the usual high quality.

Brad Derrick may not be on top form, but the score is definitely not a snore-fest like Elsweyr . The main menu theme, Through Gates of Flame skilfully adapts Nerevar Rising as usual, while Moss on the Cobblestone is both dramatic and conspiratorial in keeping with the story. In general, the combination of fantasy and mysticism reminds me in places of the score for the first season of The Lord of the Rings: The Rings of Power – which wasn't so bad, by the way.

Games from the The Elder Scrolls-series

The Elder Scrolls: Arena (1994)

The Elder Scrolls II: Daggerfall (1996)

The Elder Scrolls III: Morrowind (2002)

The Elder Scrolls IV: Oblivion (2006)

The Elder Scrolls V: Skyrim (2011)

The Elder Scrolls Online (2014)

Back to the Blackwood-score and the question: what's it good for? As is so often the case: plenty, if you like it - which I do. Zenithar’s Anvil is a heroic departure, A White Stallion Rampant is thoughtful emotional chaos, while Memories of the Marsh brings back memories of Inon Zur's contemplative exploration accompaniment for Fallout IV . Anguish Beyond the Veil even has some horror flair, but predictably doesn't reach the class of dedicated thrillers like Dead Space or the The Dark Pictures-series. Overall, a clear recommendation from me!