The music in DOS2 was good, and Boris Slavov is really talented so I'm not that worried about the music. Could there be more specialized or context-specific tracks for narrative/characterization purposes? Probably. But I don't think the quality of the soundtrack is in question, just its breadth and usage. Having tracks at major story points which are variations of a track at another similar story point is a good idea for unifying the two moments musically (In the words of George Lucas: It's like poetry. It rhymes). DOS2 did this to some extent. Having music tell a story is also cool. Giving characters and locations their own themes is also good, and having major locations associated with certain character's backstories borrow motifs from those character's themes could also be a good idea. All in all though, I think the music folks have it handled, but it would be nice if they worked with the writing team more to musically unify characters, themes, and events a bit more. But don't underestimate the power of silence. Sometimes, a moment surrounded by soundtrack can be punctuated by a single point of dramatic silence. On the other hand, given this is BG3, having a soundtrack that resembles its predecessor's era of CRPGs is a good idea, giving musical references to the styles of BG, BG2, Icewind, Planescape, and Neverwinter.

Also think there's a bit of rose-colored glasses for DA2 in the forum. Let's remember what initial impressions were like, with the outrage at simplified mechanics and recycled assets. There's a lot to love about that game, but I wouldn't point at it and say, "Hey Larian! That's the kind of game we want!" On the other hand, Sozz has a good point in that looking at games centered around a city or a few cities might be wise for designing a major city in the game (Baldur's Gate, or whatever the last act is, depending on if it's an urban setting).


Remember the human: