We spent a lot of time in the Deadlands and in dark and nasty places, so I got to explore that a good amount. Of course, we’re expanding on what’s come in the previous games, so musically, it was sort of a parallel path to where the soundtrack for this chapter sits with a lot of the “classic” Elder Scrolls music. SPIN: Some of the expansions really let you take the music of the Elder Scrolls universe in different directions, so what was your approach to changing things up for Blackwood?īrad Derrick: Unlike some of the others that have been greater departures from the classic Elder Scrolls style, this one is a little more rooted in some of the traditional elements of Oblivion, the Deadlands, and things like that.
Now that the Blackwood chapter is officially out, SPIN sat down with the game’s long-time Audio Director, Brad Derrick, to discuss what’s gone into the latest additions musically, the massive scale for a score of a game this size, and what it’s been like to compose for the same title for over a decade. It’s a demonic adventure from another world, and serves as the perfect counter to much of Elder Scrolls Online’s more traditional high fantasy setting. While it might not be quite as reminiscent of The Elder Scrolls IV: Oblivion as the Morrowind chapter was of its predecessor, the central piece of the Gates of Oblivion year-long storyline brings players square into a confrontation with the Daedric Prince of Destruction, Mehrunes Dagon. But while the first glimpses of the Blackwood chapter were available back then, the full package wasn’t released to the public until recently.
As SPIN o riginally discussed with Elder Scrolls Online’s Creative Director, Rich Lambert, back in February, the latest expansion for the massively multiplayer online role-playing game (MMORPG) sends players straight to Hell - or at least the Elder Scrolls version of it.
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