Might and Magic VII: For Blood and Honor Soundtrack, Paul Romero, 1999
By the time of Might and Magic VII: For Blood and Honor‘s release, Paul Romero and Rob King had firmly installed themselves as the Might and Magic franchise’s go-to composers, thanks to Heroes of Might and Magic and its exceedingly ambitious sequel. They had also written the music for Might and Magic VI: The Mandate of Heaven. That score was a curious if not entirely successful hybrid of fantasy and science fiction elements.
The Might and Magic VII: For Blood and Honor soundtrack continues this inclination for experimentation and eclecticism. It turns out to be the best Might and Magic score (excluding Heroes I-III). Interestingly, Might and Magic VII ran on its predecessor’s engine and didn’t make many changes to the gameplay formula. For Blood and Honor‘s music, on the other hand, is a quantum leap over The Mandate of Heaven. In fact, in its seductive lushness, Romero’s score almost feels like a mismatch for the game’s blocky 3d graphics.
Music as sensual as the Might and Magic VII: For Blood and Honor soundtrack lends itself to descriptions via imagery. To borrow a track title from Chance Thomas’ Quest for Glory V: Dragon Fire, labelling For Blood and Honor a dance of mystery and intrigue does a good job at summing up the music’s particular and irresistible appeal. Following Romero down the dimly-lit maze that is this score does feel like a journey. It’s a trip through a demiworld of lights flickering on the decadently gold-encrusted walls of an ancient underground temple. Everything is cast in flitting half shadows – and then seemingly out of nowhere, blinding white light fills the halls and grants visions of a strange, great beyond.
Indeed, For Blood and Honor fuses two very different moods into a coherent whole. What stylistically unites the album is the sense that Romero casts it all as one big expression of otherworldliness. There’s a real sense that this is adventurous music underscoring unknown realms, creating a unique musical world in the process. Arguably, For Blood and Honor is a more original work than Romero and King’s Heroes of Might and Magic scores.
What will initially strike listeners most about For Blood and Honor is how glowingly seductive it sounds. As his foundation, Romero uses luxurious string textures and decadently chromatic melodies. Within this stylistic framework, he fuses the sensibilities of tonal early 20th-century classical music with middle-eastern scales, waltz rhythms, tasteful hand percussion and drum kit inserts, and an occasional serve of electronica. The result is a heady brew that’s in equal parts mysterious and bewitching. Throughout its running time, For Blood and Honor bathes listeners in the elusive, golden glow of its compositions. In their chamber music-like orchestrations and surprising intimacy, these pieces play like a more luscious version of Secret of Evermore.
Amongst other things, it was the first three Heroes of Might and Magic scores’ gorgeous melodies that made these works stand out. Thankfully, Romero brings the same instinct for delectable tunes to the Might and Magic VII: For Blood and Honor soundtrack. True, his melodies here are more repetitive, but this only adds to the music’s hypnotic spell.
On this foundation, Romero builds a colourful construct that’s impressive in its versatility. For example, acoustic guitar and wordless, siren-like solo soprano lines join the orchestra on “Bracada Desert, Deyja”. The score’s beguiling rhythmic lilt intensifies with the inclusion of the light drum kit and hand percussion sounds. And the chromaticism of the melodies isn’t limited to the strings, but also extends to the woodwind soli. They often turn out to be mischievous, cunning creatures that destabilise the harmonic structure of a piece just enough to make the listener wonder where the composition might be headed next. Take “Tularean Forest” and its cheeky woodwind melodies. They interfere with the soft waltz rhythms and wild, jagged string figures, keeping the piece’s atmosphere fascinatingly ambivalent.
But at times, Blood and Honor‘s shadows retreat and allow for a surprisingly eerie vision of yet another world. That realm is brighter and more distant, gleaming with choir vocals and electronic sounds. What makes this music so fascinating though is that it’s too uncanny to be an elating image of celestial fields. Just listen to “Light Theme (Celeste, Castle Lambent)”, where tinkling and swooshing sound effects open up a vast spectral space that is filled with the electronically manipulated sound of a male choir and deep string chords. A soaring violin solo and glistening string textures complete this ethereal, yet slightly surreal soundscape. It all creates an unearthly atmosphere of impressive emotional fervour that contrasts with the soundtrack’s usually dark-hued atmosphere.
“Emerald Island” ends For Blood and Honor on a tentalisingly open, perfectly judged note. With its nervy string jabs and agitated melodies, it hints at answers and allows glimpses. Ultimately though, the composition retreats from view to preserve its mysteries, still hidden away in subterranean twilight – and entices listeners to repeat the trip.
Purchase on Good Old Games.
This playlist is a curated selection of music from the soundtrack album.
- 01 - Bracada Desert, Deyja Paul Romero 2:15
- 02 - Dungeon Theme Paul Romero 2:57
- 03 - AvLee, Harmondale, Tatalia Paul Romero 2:24
- 04 - The Barrows Paul Romero 3:23
- 05 - Evenmorn Island Paul Romero 2:56
- 06 - Dark Theme (The Pit, Castle Gloaming) Paul Romero 2:43
- 07 - Arena, The Lincoln Paul Romero 2:02
- 08 - Shoals Paul Romero 2:08
- 09 - Light Theme (Celeste, Castle Lambent) Paul Romero 2:13
- 10 - Mount Nighon Paul Romero 2:21
- 11 - Barrow Downs, Eeofol Paul Romero 2:22
- 12 - Temple Theme Paul Romero 2:02
- 13 - Castle Theme, Title Screen Paul Romero 1:59
- 14 - Credits Paul Romero 1:57
- 15 - Stronghold Theme Paul Romero 2:06
- 16 - Erathia Paul Romero 1:40
- 17 - Tularean Forest Paul Romero 2:17
- 18 - Castle Harmondale, Stone City Paul Romero 2:47
- 19 - Emerald Island Paul Romero 2:02