Inon Zur Reflects on His Journey with Starfield
Composer Inon Zur has carved a remarkable niche in the gaming industry over nearly three decades, contributing his musical talents to hundreds of titles. Among his most notable works are the scores for Bethesda’s iconic franchises, including Fallout 3, Fallout 4, New Vegas, and the recently released Starfield. In a recent interview with RPG Site, Zur shared his thoughts on the latest installment, suggesting that perhaps the gaming community is still coming to terms with the brilliance of Todd Howard.
“Todd is one of, if not the, most creative and invigorating human beings in the industry,” Zur remarked. “He just doesn’t stop. He always has new ideas. He always knows what he wants. He is very persuasive and has a very strong character. He will also find ways to describe what he wants without really calling it a name.” Despite the mixed reviews from Steam users and a respectable yet modest score of 75% from PC Gamer, Zur remains optimistic about the game’s potential.
While critical reception is certainly a factor, it is not the sole determinant of a game’s success. As a self-proclaimed sci-fi enthusiast, I found Starfield somewhat lacking in excitement. Howard’s visionary approach is undeniable, and Bethesda’s legacy under his guidance is impressive, yet not every project achieves the same level of acclaim.
In the interview, Zur elaborated on the intricacies of his score for Starfield, which he describes as one of the game’s standout features. “There was a lot of thinking that we did, and I was basically taking back into this world that on one hand is huge, vast, and standing still almost like a void,” he explained. “But then inside this space, there are lots of elements that are moving quickly and happening quickly and zooming in and out.” This duality of vastness and motion served as the foundation for his creative process.
Zur’s orchestration deviates from traditional methods; for instance, woodwinds do not carry melodies but instead create rapid patterns that evoke the perpetual motion of space. In contrast, the brass and strings provide a more stable backdrop, playing low ambient notes alongside high pitches to capture the enormity of the cosmos. “This is how I basically created this sort of round or huge shape of something that no matter where we are, it’s just bigger than us,” he noted.
Another pivotal aspect of the score, according to Zur, is the contrast between the vast void of space and the individual standing within it. “The relationship between something that is on the one hand really nothing compared to the size [of] space, but then it’s us,” he said. “It’s you. It’s me. We are important, so how can I create this relationship between a person and this huge thing around you? It’s more philosophical, but this was what really drove my thinking when I composed the music for Starfield.”