![]() Talking the new stuff, French Fog goes along They Shall Not Pass DLC music with its dark, militaristic and somber mood of uneasy sacrifices. It lacks this end-of-2-hour-round war-anarchy with people dying all around and music being there to overwhelm you and depict an epic battle. Spitfires is a better example of rearrangement as it livens up BF1’s Knight’s of the Sky, giving it more action-heroism while taking away some of the seriousness – a notion that regards the entire game. Quite popular among the playerbase, Under No Flag is a track that stands out as the main lyrical theme of the game but it shares a lot of similarity to Howard Shore’s Lord of the Rings score. Tirailleur is a wonderful piece, albeit being a copy of BF1’s Prologue with slightly more strings to it. Personally thinking that it’s far from perfect and way too short to fully explore complicated ideas, I applaud them for choosing unexplored places and battles, like the Senegalese campaign across France, which shares both the humanizing ideals and music from BF1. It lacks stylistic coherence since it is very eclectic with its many inspirations (sacral music, Hollywood balls-to-the-wall action music, BF1 music) and ultimately has no distinguishable identity.īattlefield V continues the War Stories, DICE’s attempt at campaign showing the conflict in different theatres and perspectives. It really just leaves me longing for something I am not hearing with each visit to cinema while seeing a movie scored by one of his students or associates, using the same techniques and samples. It’s a shiny and cool action piece written alike many Hans Zimmer’s trademarked scores. Legacy Theme is a rearrangement BF1’s famous main theme (along some others) including pulsating electronics and rushing strings, Inception-like BRAAAAAM and very modern vibe to it, almost too modern. After some turbulences regarding the image of World War 2, the game resided somewhere between live-serviced modern FPS of many attractions (at least on paper, for now) and an effort to depict humanity in those challenging times (for better or worse). So, to what extent have they managed to do it again?Ĭompositionally, Söderqvist and Andrén went through the same artistic shift as the game. Seeing BF:V follow BF1’s footsteps, I was excited, especially hearing about unknown battlegrounds that DICE chose to show. Their music for BF1 allowed the player to better understand the bloody tales of WW1, humanizing the soldiers leading life in shell-bombed hell. It’s not only because of the natural progression from First to Second World War or bringing in similar mechanics to Battlefield V, but also thanks to Johan Söderqvist i Patrik Andrén returning as the main composers. Battlefield V can be considered a direct continuation of Battlefield 1, not just an another iteration of EA-owned series of first person shooters – those were my initial thoughts after completing the campaign and sinking a lot of hours in the multiplayer of BF:V. ![]()
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