![]() ![]() ![]() In a Kickstarter update, Justin Bell conveniently summarized the sound of the (Forgotten Realms-based) IE games that provide the model for his own composing: “their music combines tropes found in European folk and pre-Renaissance modal music, and mashes that together with modern day orchestration techniques and film music aesthetics.” This fairly general description is probably applicable to many other fantasy RPGs, but in broad strokes, it characterises the music of Michael Hoenig (Baldur’s Gate 1 & 2), Jeremy Soule (Icewind Dale), and Inon Zur (Baldur’s Gate 2: Throne of Bhaal and Icewind Dale 2), quite accurately. The same applies for the music, and such comparisons are (for me at least) especially helpful. By understanding the ways in which their legacy is reverenced or departed from, we can better appreciate PoE’s distinguishing virtues. It’s difficult to discuss Pillars of Eternity (PoE) without comparing it to the Infinity Engine (IE) classics that inspired it: it’s because of said inspirations that I backed PoE during its crowdfunding campaign! For many, including the fine people at Obsidian, these games provide a lens through which to make sense of the game. ![]()
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