BY CHRISTOPHER LEON
As an Emmy Award-winning composer and the musical mind behind some of gaming’s most iconic themes, Inon Zur epitomises what it means to be a modern video games composer. His scores for the Fallout, Syberia, Prince of Persia, and Dragon Age series are but a few of the credits the Israeli-American composer has accumulated throughout his impressive career scoring for games.
In this interview, Inon reveals the origins of the Fallout sonic palette, how he became involved in scoring for games, and his experiences working with Bethesda Game Studios.
You have scored almost exclusively for video games. Why have you chosen this as your creative medium?
I would say the industry has chosen me.
After working on a lot of TV shows during the ‘90s, I had the opportunity to score my first game, Klingon Academy. I really enjoyed the whole process; the freedom of composing, the interaction between the composer and developer. Everything seemed more creative and more genuine to me, and I just felt that I could share my musicality and ideas in a more effective way. I immediately connected with the medium.
Your video game compositions feature many memorable themes. What is your creative process when scoring for games packed with adventure, where there are so many elements the player interacts with?
When the game is full of action and so much to take in, I usually try to keep the main themes as simple as I can, which also helps in creating a musical identity.
If you try to cover everything that is going on in the game with music, then you will end up competing with the game rather than supporting it. So my approach, when the game is very robust in content, is to go in the other direction with the music; to keep it simple with short motifs. The way the music is composed and orchestrated is very simple.
That helps with how the gamer connects to the experience — especially these open-worlds set on a massive scale.
Is there any piece of equipment, or element of your creative process, you can’t go without when composing a new soundtrack?
I have a very specific set-up here in my studio. So if I didn’t have my studio, which I’ve built up over the years, I would still be able to compose the soundtracks, but not as effectively and quickly in producing such a variety of sounds and rich atmospheres.
Also, this set-up that I’ve established has become almost essential in order for me to create what audiences may perceive as the ‘Inon Zur sound’.
What has been your experience working so closely with Bethesda Game Studios to realise some of its most iconic games?
Bethesda has been an amazing partner for many years.
They are always growing, ever-changing, evolving, and looking for new ways to create universes that will capture the imagination of players.
I have always felt very connected to their projects because they speak the same language of the freedom of creativity; they are always looking for strong and unique identities for the music, and understand the important role of music in games. In this way, they are able to convey to me exactly what they’re looking for.
The understanding between us at this point is really close. It helps us to push the boundaries for the music and soundscapes, and to always be on the search for new sonic horizons.
Your compositions for video games includes a heavy focus on orchestral music. How and why do you strive to maintain this focus on orchestral composition in an age of electronic and alternative music genres in games?
Today, most scores — not all — are comprised of a hybrid style, which means the orchestra never really stands alone; there are always elements of electronic music and sound design that are blended in to accompany the orchestra.
I’m employing all the benefits of the modern age to enrich my instrumental palette, but without deserting the traditional orchestra sound.
I believe that what we refer to as the traditional orchestra sound can change, and today people understand that this style often includes electronic elements, ethnic influences, and some sound design which became a part of the ‘orchestral palette’.
I believe that what we refer to as the traditional orchestra sound can change, and today people understand that this style often includes electronic elements, ethnic influences, and some sound design which became a part of the ‘orchestral palette’.
Inon Zur
How did you become involved in composing the soundtrack for the Fallout series?
I scored Fallout: Tactics in 1999, which was my first introduction to the world of Fallout. I remember this experience was a major highlight in my career at the time. This was before Bethesda invited me to score Fallout 3.
I was given the opportunity to create a really original sound on Fallout: Tactics. In many ways, it was the birthplace of the modern Fallout sound, featuring sampled tools and everyday items, employing non-musical instruments as instruments, as well as human voices inside this palette.
I cannot imagine any of the new Fallout scores that have not in some way been influenced by my score for Fallout: Tactics.
When composing your works for the Fallout series, what elements of the game did you draw on for inspiration? Can you explain the motivation behind your creative decisions for this series?
Fallout is an alternative or parallel universe, realistic on one hand but yet this is not our reality. The music has to convey that in the context of the game’s setting and story — this is real, this is here and now.
But the game’s reality is not where we actually are, of course — it is a different world. The music needs to portray this alternative reality to the player as realistic, and there lies the biggest challenge scoring Fallout: above all, regardless of the orchestration, how do we approach scoring the human condition in this context, where people are still people and there are conflicts and emotions?
This is what I am spending a lot of time thinking about when composing the music.
There are many classic songs in the Fallout franchise, such as those from Ella Fitzgerald and Billie Holiday. How did you navigate your composition around, or alongside, these songs, which are recognisable and reflective of their era?
We decided from the get-go that I was not going to try to marry the musical score with the radio songs, so the score is intentionally separated from the radio stations.
The score is providing the player with the reality. It’s not necessarily what you’re listening to, but it’s what you feel as the score reflects the player’s actions and experience as it is happening.
Whereas the radio is a standalone part of the musical world of Fallout.
In Fallout 3, you used epic brass lines, while Fallout 4 replaces these themes with more introspective adventure music using piano and strings. Fallout 76 is different again, with some folk-like string lines. Talk us through your reasons for these musical changes in the franchise over time. And do they represent any broader games scoring trends that are evolving?
Overall, the main reasoning behind changing the palette and tone of the music is the story behind each game.
Fallout 3 is a very dark story, as it’s essentially about the war for survival. Fallout 4 is establishing where we are in the aftermath and starting to build. Fallout 76 is all about expanding and building. So, we applied the music in a way that will convey the story.
Subsequently, the score in Fallout 3 is ominous orchestral, even scary. Whereas in Fallout 4, we’re seeing glimpses of hope and beauty, of achievements that can be made. And by Fallout 76, it’s all about rebuilding for the future.
Before we go, what’s been your most memorable career experience in the games industry? What’s really stood out for you so far?
Recording with the London Symphony Orchestra at Abbey Road was definitely a career highlight for me.
But also, every time I feel I have achieved new heights by surpassing myself on a previous score, that is a new high for me.
Visit Inon Zur’s website, or learn more about the Fallout games.
Images supplied.
