Taylor Davis’ violin is first heard during the track The True Hero Comes Reluctantly from the soundtrack album, even before the motif appears for the first time. With the Hero coming into their own, the Hero Motif rises once again to become a dominating force in the music. The Arberrang storyline is led by the Hero and their efforts to keep their caravan and the people inside the city safe from the impending Darkness and the siege from the Dredge. Otherwise this can quickly balloon out of control with excessive plot descriptions (and trust me, this is long enough as it is). What this all means is that I will keep the discussion of details in the story to a minimum as much as possible, unless the story and decision-making influence the direction of the score. However, given the myriad of choices that were already made by the player in the previous installments, Saga 3 can begin at very different places for different people (much more so than 2 did after the first game). The Banner Saga 3, in keeping with the previous two games, is divided into two storylines, both of which I’ve already mentioned. Affectionately referred to by Wintory as the Naigus Quartet, this instrumental coloring appears throughout the third game in various guises and for different purposes, the most important of which will be discussed later.
It’s worth pointing out the statement at 0:24 because it features the first appearance of a new instrumental color that will recur throughout the score– four woodwind instruments playing in unison, the English horn, bass flute, alto recorder and xaphoon (an instrument of similar timbre to the saxophone), all of them played by multi-instrumentalist Kristin Naigus.
This is presented as Steps, into Memory on the soundtrack album. It debuts during the menu screen, the score introducing the final game with a heavily distorted and dissonant variation of the theme, embellished in the Dredge and Darkness textures. Still soldiering on at the forefront of it all is the Main Theme. There are a couple of areas where he expands, in keeping with the needs of the story.
THE BANNER SAGA 1 FIGHT ON BRIDGE SERIES
His final score in the series is still very much an extension of the sound already developed during the previous games. Meanwhile, Iver, Juno, Eyvind and the Ravens race across the lands already consumed by the Darkness towards the tower of Ridgehorn in order to set things right and stop the ending of the world before it’s too late.Īustin Wintory comes back to conclude the trilogy of music he started with the first game.
Moreover, an increasingly large army of Dredge fleeing the Darkness have put the city under siege, wanting to take refuge inside. Arberrang is on the brink of civil war and the Darkness is closing in on the city every day. Click here to read last week’s installment, focusing on the second game, or here if you haven’t caught up and want to read the first part, focusing on the first game.ĭISCLAIMER: Contains MAJOR spoilers for the entirety of the trilogy.Īs with the second game, The Banner Saga 3 picks up right after the events of the previous game. This is the conclusion of the series The Thematic Depth of The Banner Saga Trilogy. It’s The Banner Saga month in Game Music Hub! This article concludes a four-week coverage on Austin Wintory’s stunning trilogy of scores for the tactical, turn-based RPG series of games.
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