Situated within similar digital fantasy environments, The Elder Scrolls V: Skyrim and The Witcher 3: Wild Hunt share numerous aspects of design, including geographical formations, architectural design, and cultural indicators. Music cues are also implemented in similar ways in both games, with either layered stems or complete tracks dynamically adapting to the players’ actions. While both their non-diegetic scores aim to support landscape and emotion within the gameworld, differing musical approaches see various utilizations of orchestral, vocal, and folk music elements. It is in fact the diegetic music found in each gameworld, predominantly performed by characters throughout the environments, that share the most musical commonalities in approach yet differ vastly in output. This in-game music espouses approximations of fourteenth-century and neo-mediaevalist traditions, but as creations of fantasy these musical endeavours are often historically inaccurate. This presents a compelling musical dichotomy of fantasy tropes and historical depictions, and it is these differing musical approaches that this article aims to explore.

中文翻译：

---

从天际到骷髅：新媒体迷思范式中的幻想视频游戏音乐

《上古卷轴5：天际》和《巫师3：狂猎》位于相似的数字幻想环境中，它们共享设计的许多方面，包括地理构造，建筑设计和文化指标。两种游戏中的音乐提示也都以类似的方式实现，其中分层的词干或完整的曲目可以动态地适应玩家的行为。尽管他们的非非音乐性得分都旨在支持游戏世界中的风景和情感，但不同的音乐方法却看到了管弦乐，声乐和民间音乐元素的各种运用。实际上，在每个游戏世界中发现的重音乐，主要由整个环境中的角色演奏，在方法上具有最大的音乐共性，但输出却大不相同。游戏中的音乐支持大约十四世纪和新媒体迷的传统，但是作为幻想的创作，这些音乐努力在历史上常常是不准确的。这提出了引人入胜的幻想比喻和历史描写的音乐二分法，而本文旨在探讨的正是这些不同的音乐方法。