He’s scored AAA open-worlds, intimate indie projects, and VR experiences and worked across the RPG, MMO, MOBA, FPS, RTS, sim, rhythm, and fighting game genres. With a background in film and TV composition, he came to video games in the late ‘90s and has since worked on everything from Infinity Engine classics to the upcoming mobile title The Elder Scrolls: Blades. The composer behind the latter Fallout games and BioWare’s first two Dragon Age titles, Inon Zur has tackled just about every type of video game project. If you Google “ video game composer ” you’ll see an auto-generated list of such artists (including, bizarrely, Pyotr Ilyich Tchaikovsky), and right there amidst the first 30 or so names is 21-year industry veteran Inon Zur. ![]() ![]() This top tier includes legends who came up during the chiptune era - for instance Koji Kondo and Rob Hubbard - and the composers who found success as each wave of technology made more things possible. We chatted to Inon Zur - composer for Fallout 3, Dragon Age: Origins, and many more - about his new solo work, how video game composition has changed over 20+ years, and what the far future of game music might look like.Īs the video games medium approaches ~50 years of age (taking 1971’s Computer Space as the start), game music has become a mature artform in its own right, with a well-established top tier of composers having emerged.
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