The next Dragon Age game has been out for a month after a lot of anticipation and outrage. It’s also unofficial Dragon Age Day today, which we chose waiting for this fourth game. So, let’s talk about its music a little because it’s on-brand and because this one involves a lot of Hans Zimmer. But before we dive into the tracks, let’s get two things out of the way.
- I’m as outraged as the next gamer about Bioware disregarding most of the choices we made in the previous games. You’d think they’d have learnt from Mass Effect: Andromeda to run a couple of polls and decide on some canon, but apparently not. I believe that moving to Tevinter for a “little bit of a clean slate” as John Epler put it was as much of a mistake as it was in Andromeda. However, after a completionist playthrough and starting it for the second time, I do believe that The Veilguard isn’t as much of a disaster!
- This article features no spoilers for the game, assuming that you know who the companions are. (Or don’t care and are here just for the music!)
With all that said, the soundtrack has amazed me for the most part. I’ll explain why and invite you to listen to a couple of tracks, starting with a review of the music up until The Veilguard.
Changing Composers… Yet Again?
So far, the protagonist has changed for every game. And with all the possible issues we may have with The Veilguard, is it really wise to change composers for every game, too?
Let’s see how Bioware has done so far.
Dragon Age: Origins & All Its Musical Glory
Inon Zur set the musical tone for the entire Dragon Age series, and what a tone it was! Everyone I’ve talked to agrees that the soundtrack for Dragon Age: Origins was impressive from the main theme to “I Am the One” (both featuring Aubrey Ashburn) to almost every other track.
Even Dragon Age: Awakening, if hastily put together and never officially released, had the chilling, on-brand battle theme. (Remember that one with elements from the DAO main theme and darkspawn chanting? It was never officially released, but we did kill a lot of darkspawn with it.)
Dragon Age II: Still Passable (Music-Wise!)
Even Dragon Age II had some memorable tracks. I know, most of us hate it! Still, “Love Scene”, and “Hawke Family Theme” were memorable for me.
I even like the main theme, although it lacks in the grandeur we got used to in DAO. It set the tone for the game pretty well. Hawke wasn’t a noble Grey Warden facing a Blight, so I wouldn’t expect the same level of glory. Ironically, the game didn’t reap as much glory either!
Dragon Age: Inquisition: The First Change
Then came Dragon Age: Inquisition. I’ll admit, I was extremely skeptical of Trevor Morris. Even listening to the main theme, I thought to myself that this was too different and not very Dragon Age. With that prejudice, I listened all the way through and wasn’t impressed.
Then I got the chance to play the game, and saw it all in a very different light. The music suddenly made so much sense, and track by track, I rediscovered the brilliance that Trevor Morris brought to the project. I can’t think of a lot of other people who were up to the task.
Dragon Age: The Veilguard, Zimmer, & Balfe
Now, The Veilguard. I’d always dreamed of Hans Zimmer, my favorite composer of all-time, scoring for my favorite video game. And magically, it came true! So, I listened to the main theme as quickly as I could and…
Gamer alive, was I disappointed.
Still, I remembered how my skepticism of Morris initially tainted (wordplay intended) my experience of the soundtrack for DAI. So, I decided to listen to the rest of the album with an open mind. That was November 1, and I couldn’t unplug myself from the music until November 7! (And even that was for Mass Effect Day.) I absolutely love the music from this game, and it gets even better when you play it.
How Dragon Age Music Has Evolved
I know Dragon Age for its orchestral, moving, and epic music. We’ve previously heard both Hans Zimmer and Lorne Balfe compose pieces in the same area. (Think of King Arthur and Gladiator for Zimmer, and Assassin’s Creed Revelations for Balfe.) Still, I’d argue that keeping to this same musical identity was not the job they were hired to do in The Veilguard.
Remember how Bioware decided to shake things up in Mass Effect 3, like with not continuing the music with Jack Wall? Mass Effect 3 had a much more animated combat system with stakes higher than they had ever been in the two previous games. For me, that screams all-electronic music. On the other hand, experimenting with electronic music in Mass Effect 2’s DLCs had proven successful. So, Brioware decided to go for it. And if you ask me, Mass Effect 3 music would win the year’s BAFTA if not for Austin Wintory and Journey.
The concept is similar here with The Veilguard. You don’t disregard most player choices to keep everything the same; you do it to do things differently! And while I don’t like the former, I think the latter has worked out. The gameplay is a huge improvement from DAI (and that’s really saying something), the characters (including Rook) are different but still likable, and the stakes are as high as ever. The music has also evolved to include considerably more electronic beats and even more eruptive pieces, be it literally or empotionally.
Let’s listen to some tracks!
The Veilguard Main Theme
I’ll be talking about everything I love in the soundtrack for the rest of the article, so let’s get the theme out of the way first. Honestly, I’m not a big fan of this one.
My main problem is with the length. I have a 21-minute piece on my Most Played playlist, so I have no problem listening to long tracks. Still, this one bugs me. The composers must’ve had a good reason for it, but I can’t relate to it as a gamer.
I used to leave Dragon Age: Origins on the main menu so that I could hear the theme all the way to the end. For Dragon Age: The Veilguard? Well, not so much. It’s more than a little generic as some have already pointed out, and it doesn’t seem to tell a coherent story or even conclude well.
To be fair, it does play a role in the beginning and end of the game. It makes more sense then, when you’re scrambling to get to somewhere and just don’t seem to get there. But what’s wrong with a to-the-point theme that you extend for one or two quest? As with every other track, don’t take my word for anything and listen for yourself! If you like it, definitely let me know in the comments.
Character/Mission Themes
As expected, the album features a number of tracks that are for characters, particular missions, or both. I’d listen to any of them any day, but I like some more than the others.
I’d like to emphasize that I’m talking about the music, not the characters! Bellara’s actually my favorite character, but the theme closest to her, “In Entropy’s Grasp”, is not featured here.
The Dread Wolf
Let’s start with someone we already know. Almost. Maybe not at all.
This is theme for Fen’Harel, the ancient god of lies, treachery, and rebellion “depending upon the story”. You’re not alone if you find the track to be a little out of character for the Dread Wolf upon first listen. After all, we were led to believe that they were much more dangerous. If you make enough progress into the game, you will find this one to be nothing short of legendary. I felt like that, anyways.
Not The Chosen One
The heroine of Ferelden, Hawke, and the Inquisitor were all in the right place at the right time. (Or the wrong place at the wrong time. Your pick!) Among these protagonists, only the Inquisitor could be deemed someone deliberately “chosen” and even they made it up as they went.
I think Rook is even more of a wild card. There’s not much of a reason that Rook would fit the role at all, regardless of race and background. It’s also very much emphasized in the story and the theme.
Sea of Blood
Ah, the Venatori and their damned love of blood magic. You remember them from DAI: despicable fanatic cultists who would do literally anything to see Tevinter’s old glory.
This is the theme played during most fights involving the Venatori. It’s also used for some other foes, but the name comes from those fanatics. It’s extremely well-composed, in that it chills your blood, like it should. In particular, listen for the play with the motif!
Dragon Hunter
This is the theme for Taash, the team’s dragon hunter. It plays in the critical companion quests for Taash, and when fighting certain enemies that Taash would feel strongly about. A foreboding variation of it also appears in a quest for Davrin.
I chose this one not because of the build-up, but for the pure explosive nature of the fight theme. It fits both the character and the enemies!
Eyes of the Storm
The darkspawn, formidable opponents that have been there since the first game. They have always had a theme that makes you want to charge at them with everything you’ve got, and this one doesn’t disappoint.
Imagine hearing this on end while fighting the Blight! What’s most impressive for me here is that even when the clamor dies down, the motif keeps playing. Ominously.
Story Themes
The game is an RPG, so the album naturally features some tracks that are tied to specific events in the storyline. I have three of those for you here.
From a Trickle to a Flood
I don’t know about you, but I’d truly missed Varric’s narrations. No spoilers, but this one also features beats from another track which, to me, makes the music stick together.
The track title is also part of a sentence he says, and the main part of the track (1:12) keeps playing at just the right times to fill you up with dread up to the throat.
One Battle at a Time
This one’s title is also based on another line of dialogue from Varric. You should take things one battle at a time. (That’s good advice, even for life.)
The let-down motif suits the track, and the orchestral and heavy rendition in the middle suits the looming responsibilities on your shoulders.
You Have Everything That You Need
I wept when I first heard it, and cried my eyes out when it played in-game. I think it’s also the track from this game that’s most true to the previous Dragon Age musical identity.
This effect may be because of the prominent use of cellos. Right before the last movement, the rhythm gets so relentless that it almost commands my every nerve. I guess that’s what a lot of the magic in-game would feel like.
The Love Theme
All previous Dragon Age games had intimate, touching, and warm love themes. To refresh your memory, these are “Love Theme”, “Love Scene” (both featuring Aubrey Ashburn), and “Thedas Love Theme” for each game.
The Veilguard also has one: “Love and Ashes”, but it’s neither as short nor as warm as the previous ones. I argued that the main theme was too long. This one is also considerably longer than the previous themes, but this time, it does a wonderful job of expressing the gravity of the story. I know the previous games also had to do with the entire world ending, but this game somehow feels different, like I really don’t know if I’ll survive another battle.
So, the love theme is fragile before anything else. It takes you with it through every possibility and everything it took you to get to this moment of peace, like the story itself. I think I’ll be listening to this one for quite some time, and possibly shedding a tear or two every so often.
TL;DR
I believe the music from The Veilguard is extremely well-done. You’d enjoy it more if you were in on the story, but it’s a great listen on its own.
I’ve included some of my favorite tracks in the article, but there’s more where they came from! So, feel free to go up and listen to these, or get the album and listen to everything.
I’d also love to hear what you think, so feel free to drop comments below.