Graue Vorzeichen

After the previous expansions to The Elder Scrolls Online transported us to the ashy Morrowind, the subtropical Elsweyr and the summery Summerset Isles, we land in Greymoor in the west of the Nordic Skyrim. We already know this from the last installment of the series of the same name, and the story is similar - at least if you have played the DLC Dawnguard . There, as here, a bloodsucking menace threatens Tamriel and must be defeated by the MMO's tens of thousands of players.

Unlike the story, however, the soundtrack does not follow in the footsteps of The Elder Scrolls V: Skyrim. Instead of a magical fantasy furor, Brad Derrick's composition is cloaked in a minor key that masks any euphoria or enthusiasm: dominantly gloomy strings, plaintive vocals and a constant feeling of sadness weigh on the composition, which is of course due to the thematic premise.

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)

Meanwhile, the 15-piece score conveys this regret excellently and the music is of the usual high standard. However, the depri-dullness can get on your nerves at some point, especially when there is no emotional connection to what you are hearing. Even more 'exciting' tracks such as Skyrim’s Dark Secret or Thirst in the Deep don't help, although they do add some movement to the strolling of the OST, which wanders through the fog-shrouded alleyways with its head down. I like the horror in the A Plague Tale-series better, for example.