Veteran video game composer Sam Hulick has released his custom re-scored version of the leaked Mass Effect: Universe trailer, offering fans a glimpse into what might have been for the storied sci-fi franchise. Hulick, who helped define the iconic sonic identity of the original Mass Effect trilogy, originally announced in October that he was reimagining the teaser to reflect his own musical vision for the project. While the original trailer utilized an edit of French 79’s track "Quartz," Hulick’s newly completed version leans heavily into the atmospheric nostalgia and evolving soundscapes that defined humanity’s first steps into the interstellar community.
For fans of the franchise, the music of Mass Effect has always been more than just background noise; it is an emotional anchor. Hulick’s career-defining work on the series began when lead composer Jack Wall recommended him to BioWare during their search for co-composers on the first game. Over the course of the original trilogy, the musical style evolved significantly. According to Hulick, the earliest tracks relied on raw analog synthesizer blended with orchestral elements, creating a subdued, "vibey" atmosphere. Mass Effect 2 pivoted toward orchestral bombast, highlighted by Jack Wall’s unforgettable "Suicide Mission," while Mass Effect 3 successfully fused both approaches, offering epic orchestral arrangements alongside sparse, moody synth tracks like the ones Hulick composed for Mars.
Revisiting the universe for the Universe trailer required a careful balancing act between honoring the past and exploring new territory. Hulick noted that his re-score heavily favors the sonic signatures of the first and third installments. Furthermore, the passage of time has changed how he approaches production. Since working on the Citadel DLC for Mass Effect 3 in 2013, Hulick has shifted away from relying on standard synth presets, opting instead to build his own custom sounds from scratch. This evolution, he explained, results in a more polished production quality that still respects the established aesthetic of the franchise.
The brief trailer features sharp stylistic shifts designed to showcase ambient, cinematic, and combat music. Near the end of the teaser, during a tense fight scene, Hulick allowed his synthwave influences to take center stage, while the rest of the composition remains tightly bound to the traditional Mass Effect identity. Had he been officially brought on to score a new entry in the franchise, Hulick’s ambitions extended even further. He revealed that his ultimate "pipe dream" for the soundtrack would have involved incorporating lyrical songs to elevate emotional narrative moments, much like Faunts’ memorable end-credits track from the original game.
What makes Hulick’s project particularly poignant is that his involvement with a new Mass Effect project was not entirely a flight of fancy. BioWare had previously reached out to the composer to collaborate on an internal demo for a new Mass Effect title. While no formal promises were made and the studio had not yet begun the process of selecting a permanent composer for the full game, Hulick eagerly accepted the chance to brainstorm and write with the team to establish a new musical direction.
Unfortunately, that creative journey was cut short. Hulick was just beginning to build a sonic palette for the project when he learned, alongside the rest of the gaming world, that BioWare was facing closure. Reflecting on what could have been, Hulick noted that his vision for Mass Effect: Universe would have leaned toward heavy analog synths combined with synthwave elements, while strictly retaining orchestral and acoustic elements like solo piano. To remove orchestral arrangements entirely, he believes, would have stripped away the emotional peaks that have always formed the soul of the franchise.
In the wake of BioWare’s shutdown, Hulick has taken time to pay tribute to the studio that launched his career, sharing his thoughts on Patreon and social media platforms like Bluesky. He emphasized that BioWare took a chance on an unproven composer years ago, an opportunity that allowed him to discover his musical voice and build the skills required to work on major industry projects. He also expressed deep concern for the developers affected by the studio’s closure, urging industry connections to help the talented staff land on their feet.
The closure of BioWare follows the confirmed end of the Dragon Age franchise in 2025, marking the conclusion of an era for one of role-playing games’ most influential developers. Former BioWare senior writer Sheryl Chee previously remarked that while Electronic Arts may own the intellectual property rights, they cannot own an idea, noting that the worlds BioWare built ultimately belong to the fans. For Mass Effect, Hulick’s re-scored trailer serves as both a celebration of a legendary musical legacy and a bittersweet reminder of the enduring passion of the community and the creators who shaped it.
