RPGPlanet has conducted an interview with Inon Zur [archive.org backup], the man behind the music for many top-selling computer games, including Baldur’s Gate II: Throne of Bhaal and Icewind Dale II. Check it out:
Q: Did you create any music for the game that ended up not being used?
A: Actually, I wrote and rewrote the main theme several times. We tried to create a piece that would preserve the sound of the first Icewind Dale. However, this game is different in many ways, so we made great efforts to convey the new elements also. Capturing all of this in 30-45 seconds was not easy however I believe that we eventually found the right path for this game’s soundtrack.
As the original interview is no longer online, we’ve reproduced it here for posterity’s sake:
Inon Zur Interview The composer of the Icewind Dale II score speaks his mind. By Bruce ‘Gwog’ Ladewig | Oct. 11, 2002
Appreciation for game music can range pretty wildly. One one hand are the players who shut off the soundtrack completely because it makes the rest of the game “hard to hear”. On the flipside are the gamers who love the music and even go so far as to purchase soundtracks. For most games I fall somewhere in the middle, although if you knew how often I’ve listened to Alex Brandon’s score for Deus Ex you’ld probably be a little creeped out.
Anyway, the point is that there are players out there who love and treasure their game music quite a bit. We’re probably a ways off from game music composer trading cards and action figures, but the musicians still are starting to finally get their fair share of press and attention.
One such composer, who has been around the block more than a few times, has a brand spanking new game out that even has it’s own collector’s edition with separate soundtrack CD. The game is Icewind Dale II, and the composer is Inon Zur.
We recently got the chance to speak with Inon regarding his work in gaming, and also in film and television. He has scored several hundred television episodes and several films, along with such game projects as Star Fleet Commander II, Fallout Tactics, Baldur’s Gate II: Throne of Bhaal (among others).
Speaking of Icewind Dale II…
RPGPlanet: How much nuts and bolts, hands-on input from the Icewind Dale II developers did you experience? What kind of direction were you given at the start of the project?
Inon Zur: I met with the producers prior to the beginning of the project. Together we discussed the musical issues of this game. Obviously, I had to follow the musical style of the first Icewind Dale (created by Jeremy Soule). During the writing process, I worked closely with Adam Levenson, Interplay’s audio director. Adam and I worked on a few other titles prior to this one so we know each other very well. Adam’s musical sensitivity and huge experience guided me throughout the project. This, no doubt, made the whole process of composing very pleasant and rewarding.
RPGPlanet: Did you create any music for the game that ended up not being used?
Inon Zur: Actually, I wrote and rewrote the main theme several times. We tried to create a piece that would preserve the sound of the first Icewind Dale. However, this game is different in many ways, so we made great efforts to convey the new elements also. Capturing all of this in 30-45 seconds was not easy however I believe that we eventually found the right path for this game’s soundtrack.
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RPGPlanet: Describe a random workday during the time you were creating the music for Icewind Dale II.
Inon Zur: The morning will usually be a continuation of work from the night before, sometimes with no break (deadlines ahead…). Red eyed and head blown with melodies and ideas I sit in front of my computer, and attempt to turn all these ideas into well formed and performed music. After learning the storyboard and getting additional insight from the producers\music supervisor I’ll start to compose. The thematic idea (main melody or rhythmical groove) comes first. Then comes the accompaniment followed by the orchestration. Each piece should have it’s own unique flavour so every step is carefully examined. I have to make sure that the main idea of the piece is reflected in all these steps, and that it is a coherent and well-constructed piece. I listen to it again and again to find and fix any weak links, and then I’ll give it a rest for some time before listening for the final time. After composing each one of these cues I’m pretty drained and usually take a little break before embarking on the next one.
RPGPlanet: I assume that the individual game score and budget dictates live instrumentation versus synth work. In a perfect world, with infinite time and money, would you have changed the creative process at all?
Inon Zur: The truth is that, for me personally, plenty of time is not always a great benefit. People know me to be a very fast composer. In fact, very often, I actually prefer the sense of urgency in order to warm up my creative juices!
As for live orchestra verses synth, there is no doubt that nothing electronically could equal the sound of a real orchestra. Conducting a real orchestra is a dream that has been realised several times for me. In a perfect world, I would like to see the possibility of a live orchestra in every project.
RPGPlanet: Did you have to address any details relating to the technical side of the music engine in the game?
Inon Zur: It is extremely important that the composer has sufficient knowledge about the system that is going to feature his music as well as the way the developers intend to work with it. Otherwise it could lead to a big train wreck! For example, you can write a great piece of music, but if it needs to be cut into small parts and you do not provide any proper cues to cut or divide it, your music editor will have a terrible time trying to make sense of it all. This will end up sounding very choppy and nothing like you originally envisioned. There are several ways to utilise music in games and the composer should plan his music according to the technique that is going to be used by the developers.
RPGPlanet: You have spent a tremendous amount of time with production composing for television and gaming. Do you ever do any composing as a hobby, or for non-commercial consumption?
Inon Zur: Every composer dreams of “one of these days I won’t have to please anybody and I’ll just write something for myself…”. This rarely happens, and not always because you are too busy with other projects. I see music as a form of communication. Without feedback for what I write, I’m loosing the real kicker in the whole process. We want to feel that what we compose does make a difference in other people’s lives. To achieve that, you have to write for a medium that will ensure exposure, and that usually means working for someone else. So, what do I do to keep myself happy while tied to these circumstances? I compose like it is my own project and try to create the best music every time.
RPGPlanet: Do you have a preference for film vs. television vs. game work? Is it conceivable that you would ever be off doing film scores and not working on games at all?
Inon Zur: It is no secret that film is one of the most attractive media for music, not least because of the budgets involved, the mass exposure you get, or the ultimate quality of sound in movie theatres. I would like to compose for the big screen, however, it won’t change the fact that in video games we, as composers, are actually being given the most freedom of all the media.
In any other media (TV, film) you are 100% tied to what the picture dictates. In video games you are given an idea, a story, a scenario and you need to describe it with your music. It is the closest technique to ‘free composing’ (like in the old days) and as hard as it is, it is very rewarding.
RPGPlanet: You have been quoted as saying, “we are like pioneers at the cutting edge of an evolving art.” Why do you consider being a game music composer to be pioneering?
Inon Zur: Video games are the most evolving media I know. If you consider video games from 5 years ago and compare them to today’s video games, you will notice a huge difference in almost every aspect of the game. Therefore, music for games should keep the same pace and try to break its own barriers and come up with more innovating ideas.
Have you ever thought about how the word ‘Interactive’ could apply also to the music in games? As a gamer wouldn’t you want to have more artistic control over the actual music in the game, and apply your own taste to the musical world in that game? This is only one example of how we could change the traditional concept of scoring games.
The other reason is that game music, for the most part, is still not considered to be a legitimate art form. We must change the perception of music for games.
RPGPlanet: I’m guessing that in musician circles, scoring the big movies carries a fair bit of prestige. How does composing music for games compare? Are there any people that question the legitimacy of this kind of work?
Inon Zur: There are two issues – what it means for you and how others perceive it. There are now enough talented composers in game music to turn it quality wise and to be as prestigious and loved as film music. What we still don’t have is the mass exposure that films have. Video games do not possess the glamour of Hollywood so we are still far from the limelight. But, we are working to change this image. For example, the audio organisation G.A.N.G (founded by Tommy Tallarico and Jack Wall) took upon itself to bring games’ music to the public’s awareness and put it in the place it belongs. In time, I believe this game music will be considered as credible and popular as the rest of media music.
RPGPlanet: Your compositional work is very orchestral. Do you have any interest in branching out to other types of game music, like rock for instance?
Inon Zur: Working on different projects enables me to vary my writing style every time. No, I don’t see myself turning into the next David Bowie, but I do like to experience writing in different styles, combining the traditional orchestral sound with other elements brought from the modern pop sound.
RPGPlanet: What is your opinion of publishers bringing in celebrity musicians to participate on game soundtracks, like Eidos did with Bowie on Omikron and Reeves Gabrels on Deus Ex? Anyone in particular you might like to work with?
Inon Zur: I think it’s a great idea, because it encourages players to listen to the soundtrack and become familiar with our music too. I don’t have in mind anybody in particular that I’d like to work with, but it would be very interesting to collaborate with an artist from the pop world and get their output on a non-orchestral tip.
RPGPlanet: How competitive is this type of work? Is there room and work in game development for up and comers, or is it really just a few top dogs like you, Jeremy Soule, Bill Brown, etc.?
Inon Zur: There is room for many more composers in this fast growing sector. I hope that we will continue to set new high standards, and that the composers who join us will produce great work to further raise the level of quality in game music.
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