Am I the only Fallout fan who wasn't ultra-impressed with Mark Morgan's score? For the first week I played the game I thought it didn't even have a soundtrack, and when I turned up my sound the score to me wasn't worth the ultra loud gunshots that came with it. Now I usually play with my own music on (I find 65daysofstatic or Portishead work really well). The only time in the game the music really enhanced my experience was in Necropolis, ironically where the score is extra-ambient.
For the most part I've only played Fallout 1, so maybe the score in Fallout 2 is leagues better or more IMMERSUVE or something, but in any case, to compare: Ron Perlman made a much bigger impression on me than Mark Morgan ever did.
I do like these Inon Zur compositions, but I'll hold off full judgment until I actually get to see how they connect to the game, and what resonance they'll have with that in mind. So far they're pretty good, not fantastic, but for me neither was Mark Morgan. I'm actually reminded of a section from the movie Forgetting Sarah Marshall, where he talks about how his scoring work for a TV show just consists of doing "tones".
For the most part I've only played Fallout 1, so maybe the score in Fallout 2 is leagues better or more IMMERSUVE or something, but in any case, to compare: Ron Perlman made a much bigger impression on me than Mark Morgan ever did.
I do like these Inon Zur compositions, but I'll hold off full judgment until I actually get to see how they connect to the game, and what resonance they'll have with that in mind. So far they're pretty good, not fantastic, but for me neither was Mark Morgan. I'm actually reminded of a section from the movie Forgetting Sarah Marshall, where he talks about how his scoring work for a TV show just consists of doing "tones".
