» Mon Mar 14, 2011 7:11 pm But I do agree that Skyrim needs far more diversity in its tracks, and certainly a lot more subtle, atmospheric ones as you could find in Daggerfall. A good example (and a personal favorite of mine) is http://www.youtube.com/watch?v=iKZ8P4wkguI, which tends to play in cities as the sun's rising. Very uplifting and mysterious at the same time.
Also, I'll just shamelessly leave a treatise I wrote on the game's combat music here:
If they use combat music, it should transition more smoothly and be chosen from predetermined categories based on a number of factors, like:
Risk
[LOW] - The player is in combat against a low-levelled enemy. Tracks are light, melodious and somewhat "playful". Or perhaps not present at all.
[MED] - The player is in combat against a relatively challenging enemy. Tracks have a deep, "tactical" feel about it like the tracks in New Vegas.
[HIGH] - The player is in combat against an enemy they've little chance of defeating. Tracks here can be as dramatic and dire as necessary.
[SPECIAL] - Any specialized tracks would go here, probably for use in scripted sequences or against certain unique enemies.
Engagement
[DIRECT] - The player is the one to attack the enemy first, or at least willingly charges into battle. These tracks are more "heroic" as in MW/OB.
[STEALTH] - The player is not aware of an impending threat and they're attacked suddenly by an enemy. Music should start up suddenly (like, with a flat note) and open with a frantic rhythm.
[APPROACH] - The player or the enemy begins combat with a distant ranged attack or spell. Music would build up slowly, so that it would sound fitting both within the context of the two combatants approaching one another or the player fleeing.
Other variables could perhaps be the time of day, whether or not you're in a public place, and your own character's health. But already this system would require an absurd amount of music tracks to sound appreciably different from the other games. :shrug:
Risk
[LOW] - The player is in combat against a low-levelled enemy. Tracks are light, melodious and somewhat "playful". Or perhaps not present at all.
[MED] - The player is in combat against a relatively challenging enemy. Tracks have a deep, "tactical" feel about it like the tracks in New Vegas.
[HIGH] - The player is in combat against an enemy they've little chance of defeating. Tracks here can be as dramatic and dire as necessary.
[SPECIAL] - Any specialized tracks would go here, probably for use in scripted sequences or against certain unique enemies.
Engagement
[DIRECT] - The player is the one to attack the enemy first, or at least willingly charges into battle. These tracks are more "heroic" as in MW/OB.
[STEALTH] - The player is not aware of an impending threat and they're attacked suddenly by an enemy. Music should start up suddenly (like, with a flat note) and open with a frantic rhythm.
[APPROACH] - The player or the enemy begins combat with a distant ranged attack or spell. Music would build up slowly, so that it would sound fitting both within the context of the two combatants approaching one another or the player fleeing.
Other variables could perhaps be the time of day, whether or not you're in a public place, and your own character's health. But already this system would require an absurd amount of music tracks to sound appreciably different from the other games. :shrug:
I love in game music, it can make or break the feel of a game to me 