It’s lightly hinted at in “A Part of Their Story”, through collections of three or four notes in a more relaxed setting – the solemnity of the melody isn’t as present in this piece, which instead favors a few wind instruments and the occasional vocal line playing alongside an acoustic guitar. The melody returns multiple times on the score – “Symphony of the Void” has it playing on low brass, with a harsh and dissonant string accompaniment. However, right out of the gate, Slavov demonstrates the fact that he was up to the challenge of creating a musical successor. I was very glad to hear this melody – it’s immediately engaging and sets the score apart from Pokrovsky’s score to the first game, which also had a very dynamic opening. Slavov has written a new melody that permeates the game’s soundtrack – it’s a simple, easily recognized melody in compound meter that lends itself well to new iterations on the score. ![]() The tone of the new soundtrack is established very quickly in the opening track, “Divinity – Original Sin 2 (Main Theme)”. Slavov, the former in-house composer at Crytek known for his work on games like Knights of Honor and Crysis 2, composed an extensive 36-track soundtrack to the game, which saw a more widespread release this year on major storefronts (and was followed by a console release for the game itself). How does the soundtrack measure up? Body For Divinity: Original Sin II, released on PC last year to high praise, Borislav Slavov stepped up to the plate. ![]() Kirill Pokrovsky passed away in 2015 after an extensive discography for the Divinity series. Divinity: Original Sin II Original Soundtrackĭivinity: Original Sin 2 Original Soundtrack
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