Dragon Age: Origins was Canadian role-playing game developer BioWare’s massively successful attempt to begin an original series of fantasy role playing games, free from the licensing constraints of their previous fantasy works like Baldur’s Gate or Neverwinter Nights. Less than sixteen months later, in early 2011, the developers followed it with Dragon Age II. While financially successful, the sequel had a disastrous reception among fans, who balked at the game’s stripped-down mechanics, frequent re-use of environments, far narrower scope, and wanderingly unfocused storyline. With many of the game’s issues laid at the feet of its short development time and seeming anxiousness to ape Bioware’s hit Mass Effect 2 from the year before, the developer was forced to let the series lie fallow until 2014 in order to take a more leisurely approach to developing a follow-up that wouldn’t alienate so many of the fans they had made with the first Dragon Age.
Israeli composer Inon Zur had written a stately but dull score for the first game, albeit one with occasional flashes of color and beauty, and he was asked to return for the sequel as well. As one of the only consistent elements between the two games–which otherwise featured completely different characters, settings, plots, and themes–Zur returned to work using many of the same tools. He retained singer Olivia Orr (replacing Aubrey Ashburn) for vocal portions of the score (though there was no mention of the Northwest Sinfonia Orchestra in any of the available materials) and tackled the task of tying together the vastly disparate games and glossing over the sequel’s weaknesses.
Zur’s main theme from Origins returns, appearing in the “Main Theme” at the beginning of the album, though it is secondary to an expression of the next major theme that is introduced, the “Hawke Family Theme” that appears there and in the next track. The titular Hawkes are given music that seems like a mutation of the stunning “I Am the One” from the original game, played mostly on strings, and it’s attractive music. The vocals are somewhat lacking in “Main Theme” compared to the resounding ones in the prequel, but they suffice; at their best in “Rogue Heart,” the music approaches the heights of the best pieces of the original.
If his original themes are not as extensively employed as they might be, Zur at least keeps the building blocks of his music rather similar: a full orchestra and choir and sparing use of wordless vocals. Solo violin and guitar have a more prominent role, while, the vocals have been dialed back considerably, with the result that “Love Scene” seems like a paler version of the original with a slight Latin lit to it. Blaring but aimless brass continues to be a mainstay as in “Arishok,” with the instrumental depth and choral aspects failing to compensate for the music’s drab lack of engagement, especially during battle.
The lively “Tavern Music” provides a bright spot, as does the innovative use of string technique and vocals in “Fenris Theme.” But the feeling of drab greyness from the original is oppressively present throughout many of the tracks from “Viscount” to “Kirkwall Nights.” Once again, Zur seems content to provide music that seeks to remain firmly in the background despite its thematic strengths. The complex album history of Dragon Age II doesn’t help: while customers who bought the special edition of the game were treated to an album rivaling the length of the original E.A.R.S. release of Dragon Age: Origins, everyone else had to make do with a mere 30 minutes of music on the official album. Two supplemental 30-minute releases came later, but other than triple-dipping Dragon Age fans, there seems to be no rhyme or reason for the decision, as the subsequent albums feature the same problems (or worse) that the main release does.
Inon Zur succeeded in bridging the gap between the vastly different settings and gameplay elements of the first two Dragon Age games, but at the expense of continuing to write music that, despite some high points, is still frightfully anonymous as a listening experience on its own. Like Origins, it is a missed opportunity with all the pieces in place but the composer unable or unwilling to combine them into an engaging whole. EA and BioWare evidently felt the same way, and they parted ways with Zur for Dragon Age: Inquisition, choosing instead to employ Trevor Morris from Hans Zimmer’s Remote Control studio to bring his sound from The Tudors and The Vikings to the table. There are probably enough highlights in Zur’s work for the first two games to make a decent 30-minute compilation, but neither album is able to stand well enough on its own to go toe-to-toe with many other fantasy scores for video games, and that fact has to be regarded as a disappointment.