MediaShi*ventures!

[BLUMENKOHL 1,068]

Words cannot explain the pissed boiling blood that is running through my veins right now. I was browsing through some soundtracks at the store earlier today and I noticed that there was a Gears of War 2 score. I haven't really kept up with the second game but I saw the title and I went up to it with glee.

The score for the first game by Kevin Riepl (he's in the Giacchino-Tilton-Tim Simonec is my conductor and I studied with Michael Giacchino gang of brilliant young composers), was fantastic.

You can hear a sample of its glorious orchestral power

and

.

So I walk up and pick up the soundtrack and it reads "Music by Steve Jablonsky"

What...the...f*ck? Seriously? Now for those of you who may not be aware, Kevin Riepl is somewhat of a game music deity. He's been scoring video games for Epic Games for pretty much this entire decade, and even since the earlier half of the decade when all they could afford was synths, his music had a creative spark and complexity not found too often during that time period.

I then looked at Kevin Riepl's blog, where he explained he would not be scoring the game...even though he had already been started on it.

Here's an interesting bit of dialogue in the comments section:

deng said...

I absolutely LOVE your music to Gears of War. It is one of the most badass action score I've heard in 2007. I'm just amazed by your use of the brass and percussions.

It's extremely disapointing that Steve "Mindless-Zimmer-Clone" Jablonsky is replacing you, who I consider has ten times more talent than that one-trick-for-all Jablonsky dude.

You will be getting other great assignments in the future and will eventually stand side by side with real great composers such as Goldsmith and Williams. You have my best blessings.

----------------------------------------------

August 21, 2008 7:52 AM

kevin r. said.

hey deng,

thank you very much for the kind words and sentiments. I am not going to say I disagree with any of your points.

It came as quite a surprising shock when I heard the news that I was to be replaced by Steve. But so the industry goes and companies have to make business decisions.

Aside from that, i do in fact have a few projects on the table that I can't announce yet...but hopefully will be able to soon.

And thanks to everyone who had nice things to say about the first 'original' Gears of War score.

Stay well.

kevin.

and then earlier this month he made this blog post:

I just wanted to write a quick note.

I am extremely appreciative and thankful for all the emails to me from the fans of GOW, these last few days, addressing my contribution to the first Gears of War and not for the sequel. Many of you asked why I was not part of the sequel. It is basically as simple as creative differences. The music I was creating for the sequel was not the direction Epic was looking to go in. There is nothing wrong with that and without going too deep into it, as bummed as I was about it, I respected their decision. I am sure you've heard this happen many times in both the video game and film industry. People just move in different creative directions.

In recent interviews it's been stated, that a bunch of guys at EPIC were pretty big fans of Steve Jablonsky and whose style is quite different from mine. So they made an effort to obtain his services. I am not at liberty to give details as to how things happened, but all I am going to say is that I am honored to be a part of such a franchise especially at it's birth.

As far as I know, Epic and I are still on good terms and I certainly hope to work with them in the future.

If this is not enough to help settle anything that was in question...I can only point you to Epic's Forums as a place to voice your concerns.

*some of the ambient music I did write, for GoW2 did end up in the game, however, I am not sure which ones and where.

Again...thank you all for the emails and kind words...I do read everything and I appreciate it.

Stay well,

-KR

Suffice it to say this is the straw that breaks the camels back. I let many things slide with the cancer that is MV. I said it'll be OK to Alan Silvestri being ousted for Pirates, I said OK to MV usurping Brian Tyler. But now, one of the most active venues of creativity for composers, video games, the industry which has given us arguably the best orchestral scores of this decade, has the dark cloud of turd that is MV hovering over it. I've even defended MV. "For every crappy Zimmer clone that comes out we may have a John Powell!" Silly me. I was an idiot.

And what has Jablonsky delivered for Gears of War 2 you ask?

Compare this:

to the score above. Tell me which one has identity, and which one sounds like the score to Michael Bay's next outing.

The sad part is, I almost took a job with Epic, as I held great respect for them, but I opted to work with a smaller start up company with more potential for growth, as Epic had signed with Microsoft for Gears of War. But now it's clear Microsoft didn't even have anything to do with it. The team at Epic did.

*sigh*

Another great professional relationship f*cked by MV.

[Koray Savas 2,251]

Old news, I've had the score at least a week as well. It's decent, haven't finished it yet though. You sound like a whiney bitch, Blu. RCP has been in video games for a long time.

[#SnowyVernalSpringsEternal 10,265]

Who cares, it's just video game music!

It's exactly were Jablonsky and his likes belong IMO...

[BLUMENKOHL 1,068]

Old news, I've had the score at least a week as well. It's decent, haven't finished it yet though. You sound like a whiney bitch, Blu. RCP has been in video games for a long time.

As long as little kids like yourself continue to shell out money for trash like this, RCP, which up to very recently was a minute presence in video games....will continue to grow and stifle every opportunity for creativity and quality. Muscle out the little player.

How does it feel to proudly proclaim, "I love destroying creativity!" Koray?

When MV muscles out Alan Silvestri...Alan is a big composer with a big name. When you muscle out the little guy...now it's getting personal.

[indy4 155]

Don't worry...Koray doesn't pay for his CDs.

[Ollie 1,059]

I've always said MV/RCP was the worst thing that could have happened to the world of film / TV music.

Replacing quality music with generic processed junk appears to be the way of the future.

[Nick Parker 3,040]

Next thing you know, [insert Media Ventures composer] will be scoring the next Legend of Zelda.

[indy4 155]

I don't mind the style of MV, I actually enjoy it some of the time, but I do dislike how it's taking over the film scoring franchise. The world of film scoring must contain variety to be interesting, and with MV scoring half the films out there...it's not.

[Koray Savas 2,251]

Old news, I've had the score at least a week as well. It's decent, haven't finished it yet though. You sound like a whiney bitch, Blu. RCP has been in video games for a long time.

As long as little kids like yourself continue to shell out money for trash like this, RCP, which up to very recently was a minute presence in video games....will continue to grow and stifle every opportunity for creativity and quality. Muscle out the little player.

How does it feel to proudly proclaim, "I love destroying creativity!" Koray?

When MV muscles out Alan Silvestri...Alan is a big composer with a big name. When you muscle out the little guy...now it's getting personal.

Hans didn't muscle out Silvestri, Verbinski did. I'm happy with the current state of film music. As long as Howard, Powell, Giacchino, T.Newman, and Tilton continue to write the music they're writing, I'll be happy.

[Charlie Brigden 7]

I blame CliffyB.

The most annoying thing about MV/RCP is the saturation/repetition. I genuinely like some stuff from Zimmer, HGW, but it's the underlings (such as Jablonsky) that are producing the exact same crap again and again for moronic flicks like TRANSFORMERS and making a name within the industry for doing this.

[Nick Parker 3,040]

Did you actually compare the pieces that he posted links to, indy4? Steve Jablonsky delivers the typical "apocalyptic choir" music whereas Kevin Reipl delivered excellent orchestral action pieces. Though the former is, as Koray said, "decent" ( as in it does not compel you to stab your ears with a ballpoint pen), it is nowhere near the quality of the latter.

[Red 75]

Next thing you know, [insert Media Ventures composer] will be scoring the next Legend of Zelda.

Please, don't say such things.

[Jeshopk 8]

The media ventures sound will soon be considered passe. That's just the way the business operates. The only thing that has really stuck around through all the fads has been good old fashioned operatic scoring.

[Koray Savas 2,251]

The most annoying thing about MV/RCP is the saturation/repetition. I genuinely like some stuff from Zimmer, HGW, but it's the underlings (such as Jablonsky) that are producing the exact same crap again and again for moronic flicks like TRANSFORMERS and making a name within the industry for doing this.

Yes, I completely agree. Hans Zimmer, Harry Gregson-Williams and John Powell are the best three composers related to RCP. They each have their own style and orchestrations. People like Steve Jablonsky, Ramin Djawadi, etc. are the composers that have no talent and style and just copy from the previously mentioned.

All of you anti-RCP just point the finger at Zimmer. He doesn't go up to directors and producers and say "Hey, hire these guys." Blame the crew of the films they compose music for, because those are the people that like that music and hire them for it.

[Jeshopk 8]

The most annoying thing about MV/RCP is the saturation/repetition. I genuinely like some stuff from Zimmer, HGW, but it's the underlings (such as Jablonsky) that are producing the exact same crap again and again for moronic flicks like TRANSFORMERS and making a name within the industry for doing this.

Yes, I completely agree. Hans Zimmer, Harry Gregson-Williams and John Powell are the best three composers related to RCP. They each have their own style and orchestrations. People like Steve Jablonsky, Ramin Djawadi, etc. are the composers that have no talent and style and just copy from the previously mentioned.

All of you anti-RCP just point the finger at Zimmer. He doesn't go up to directors and producers and say "Hey, hire these guys." Blame the crew of the films they compose music for, because those are the people that like that music and hire them for it.

There's a pattern of emulation that emerges. Producers trying to emulate the success of others through their aesthetic and hiring choices. Composers trying to emulate success of other composers. If only there were more risk taking in general, and more actual thought put into entertainment in general. Then we'd have broken the spell and the "race to the bottom" syndrome. I liked it when Richard Dreyfuss said, Hollywood could turn into the porn industry and still make money, but it doesn't because it has standards. I think we can say now that in the music field, we've lowered our standards quite enough. Maybe a new term could be coined for it "Scorenography"

[Jacob 0]

"Stop listening to that scornographic filth!"

[Koray Savas 2,251]

"Stop listening to that scornographic filth!"

[Hitch 57]

I blame the media in all these ventures

[John Crichton 4]

Who cares, it's just video game music!

It's exactly were Jablonsky and his likes belong IMO...

So says the unenlightened.

This better not be the start of a disturbing trend. Video games have been my safe haven for great music the last several years.

[Lurker 5]

I fail to see the problem with this. If Jablonsky is scoring a video game that means there is one less movie he won't be scoring, which is good, right?

Neil

[QMM 4]

I don't remember the music from Gears 1 at all

[Trent B 337]

I just don't get the whole fanatic about game scores to begin with...

[Nick Parker 3,040]

To immediately dismiss video game music as, well, "video game music" ( which is used in such a stupidly negative connotation) is prejudice, "pure and simple".

[ChuckM 1]

While there are a lot of bland MV guys out there right now, Steve Jablonsky is definitely one of the better ones. He does have a ways to go still, and he has had plenty of poor scores, but one listen of Steamboy or D-War will show you that he absolutely has promise. And Transformers wasn't nearly as bad as some people here claim. There are quite a few pieces in it that are downright good. "Arrival To Earth" is awesome!

[Hlao-roo 389]

All music written for film and other entertainment media is inherently inferior to music written for the concert hall. It's as simple as that. Don't let anyone tell you otherwise.

[Richard Penna 3,694]

Transformers is one of the victims of the 'everything is excruciating noise' bandwagon. While most of it is fairly generic it does have some gems nestled within (such as the cue you mentioned), and all of the themes are memorable.

The MV guy I've heard nothing original from is Djawadi. If he's going to break out and make his own path, he's got a hell of a long way to go.

I'm not too bummed by the situation, but the day that our favourite traditional composers are routinely replaced by Zimmer clones, I will start getting concerned.

All music written for film and other entertainment media is inherently inferior to music written for the concert hall. It's as simple as that. Don't let anyone tell you otherwise.

What a load of twaddle. What do you base that argument on?

[Marian Schedenig 8,208]

I just don't get the whole fanatic about game scores to begin with...

That's what most people say about film scores.

[Hlao-roo 389]

I just don't get the whole fanatic about game scores to begin with...

That's what most people say about film scores.

Most people are correct.

[Richard Penna 3,694]

Yep. I constantly ask myself why I love scores, and especially when we're talking about less thematic, or more textural scores, I still don't really know. I guess my fascination for movies means I can easily picture scenes in my head, and make them up as the music takes me.

Then I listen to a pop song and somehow feel normal again

[Hlao-roo 389]

I'm not too bummed by the situation, but the day that our favourite traditional composers are routinely replaced by Zimmer clones, I will start getting concerned.

Well, it's been happening for awhile. Zimmer himself started usurping more traditional composers at least as far back as the early nineties (e.g., Regarding Henry).

[Richard Penna 3,694]

Problem is directors and producers like to hear their score before it's recorded, and want one that appeals to the youth of today. Williams, and basically anyone who does 'old school' can't do that for them.

[Hlao-roo 389]

All music written for film and other entertainment media is inherently inferior to music written for the concert hall. It's as simple as that. Don't let anyone tell you otherwise.

What a load of twaddle. What do you base that argument on?

On my firm conviction that I am right and everyone who disagrees with me is wrong.

[Richard Penna 3,694]

Are you Joe in disguise?

[Red 75]

I fail to see the problem with this. If Jablonsky is scoring a video game that means there is one less movie he won't be scoring, which is good, right?

Neil

Yeah, but that also means there is one more video game that he's scoring, which is bad.

This better not be the start of a disturbing trend. Video games have been my safe haven for great music the last several years.

Indeed. Video game music has been much better than film music in recent times, partly because MV/RC have largely stayed out of it.

[ChuckM 1]

Williams, and basically anyone who does 'old school' can't do that for them.

Well, it's not that they can't do it. It's just that they won't stoop that low.

[Taikomochi 1,136]

I actually really liked the music to the sequence where

Dom has to shoot his wife

, but otherwise, it's typical Zimmer-clone fest.

[John Crichton 4]

All music written for film and other entertainment media is inherently inferior to music written for the concert hall. It's as simple as that. Don't let anyone tell you otherwise.

It's true, it's sad how sometimes video game music is looked down on by film score fans with the same distain that classical elitists reserve for film scores.

...At least, I hope that's the point you were trying to make.

[Ollie 1,059]

I fail to see the problem with this. If Jablonsky is scoring a video game that means there is one less movie he won't be scoring, which is good, right?

Neil

Yes.

[Henry B 50]

All music written for film and other entertainment media is inherently inferior to music written for the concert hall. It's as simple as that. Don't let anyone tell you otherwise.

It's true, it's sad how sometimes video game music is looked down on by film score fans with the same distain that classical elitists reserve for film scores.

...At least, I hope that's the point you were trying to make.

He seems to be making sarcastic barbs at nonexistent classical music purists.

[ChuckM 1]

My take on the differences between film music, video game music, and concert works:

It all ultimately comes down to how much freedom the composer is given. This freedom takes takes several forms.

The first is the freedom of the music's style and the direction the music takes.

For film, this depends on the director. Some directors give the composer free reign knowing that they will receive good results. Other directors specify exactly what they want the music to sound like.

For video games, it is pretty much the same as films.

For concert works, it depends. If the composer writes the music on his own, with the intent of having it produced after, he has full freedom. If, however, the music is commissioned, he will be in the same situation as the film and video game guys.

The next freedom is for the selection of instruments.

Film generally enjoys a pretty full range, but depending on budget it may be limited.

Video games definately have it worst here, as they are quite often restricted to synthesized music, although they are getting better about it.

Concert works generally will have the most freedom here, but again if they are commissioned it may be limited.

The final freedom is the timing of the music.

Film is heavily restricted here, as the music has to sync with the film throughout.

Video games are better, in a sense, as most of the music is mood-setting but not directly synced. However, the tracks are generally limited to a certain length range, and normally have to be repeatable.

Concert works are definately the victor in this area. The only restrictions, if commissioned, will be the total length of the concert.

So, if we break it down like this, it is pretty clear that concert works have the definite advantage, with film probably second, and video games third.

However, despite the disadvantages, film composers have tended to create music that is much nicer to actually listen to.

[Unlucky Bastard 7,782]

Steven Spielberg replaces John Williams with Ramin Djawadi for Lincoln and Tin Tin.

[Hlao-roo 389]

All music written for film and other entertainment media is inherently inferior to music written for the concert hall. It's as simple as that. Don't let anyone tell you otherwise.

It's true, it's sad how sometimes video game music is looked down on by film score fans with the same distain that classical elitists reserve for film scores.

...At least, I hope that's the point you were trying to make.

Yup, it's transparently ironic.

[Marian Schedenig 8,208]

The final freedom is the timing of the music.

And more importantly, form. "Concert hall composers" have full control over form. The problem with today's film composers is that most don't seem to even care (know?) about it or attempt to structure their music.

[Hlao-roo 389]

My take on the differences between film music, video game music, and concert works:

It all ultimately comes down to how much freedom the composer is given. This freedom takes takes several forms.

The first is the freedom of the music's style and the direction the music takes.

For film, this depends on the director. Some directors give the composer free reign knowing that they will receive good results. Other directors specify exactly what they want the music to sound like.

For video games, it is pretty much the same as films.

For concert works, it depends. If the composer writes the music on his own, with the intent of having it produced after, he has full freedom. If, however, the music is commissioned, he will be in the same situation as the film and video game guys.

The next freedom is for the selection of instruments.

Film generally enjoys a pretty full range, but depending on budget it may be limited.

Video games definately have it worst here, as they are quite often restricted to synthesized music, although they are getting better about it.

Concert works generally will have the most freedom here, but again if they are commissioned it may be limited.

The final freedom is the timing of the music.

Film is heavily restricted here, as the music has to sync with the film throughout.

Video games are better, in a sense, as most of the music is mood-setting but not directly synced. However, the tracks are generally limited to a certain length range, and normally have to be repeatable.

Concert works are definately the victor in this area. The only restrictions, if commissioned, will be the total length of the concert.

So, if we break it down like this, it is pretty clear that concert works have the definite advantage, with film probably second, and video games third.

However, despite the disadvantages, film composers have tended to create music that is much nicer to actually listen to.

All this is true. There are inherent limitations to composing within each of these domains that can nonetheless be to some extent transcended. My sentiments usually fall somewhere close to the late Jerry Goldsmith's:

I have no tolerance for the critics who put down film music. The film composer today functions in much the same way as did Mozart, Haydn, and Bach with their weekly commitments to the church or their patrons, except that we haven't yet produced a Mozart, a Haydn, or a Bach. But it can happen. Just because one is composing for films doesn't mean that one has to write inferior or unimportant music. The possibility exists for excellent work, which is something our lofty music critics apparently don't even want to admit. But I consider my own efforts in film composition to be serious, and I encourage other composers to take the medium seriously.

Much of what he says in this interview with Tony Thomas can increasingly in large part be applied to video game scores.

[BLUMENKOHL 1,068]

Oh...we have produced our own Mozarts and Haydn's and Bachs.

Their names are John Williams and Jerry Goldsmith.

[Red 75]

That Goldsmith was a smart guy.

[Unlucky Bastard 7,782]

Oh...we have produced our own Mozarts and Haydn's and Bachs.

Their names are John Williams and Jerry Goldsmith.

Oi no bro, itz Jablonsky and Djawadi to da max!

[Indiana_Fett 0]

While I was initially opposed to Jablonsky's score for Gears 2, I'm sad to say he won me over with the Bedlam cue.

http://www.youtube.com/watch?v=kc3u3ZpSyuk

Jablonsky's score isn't terrible. His score does work well in game, because the game is an apocalyptic experience in itself. I was surprised to hear that Riepl kept in Jablonsky's Gears of War and Locust Horde theme, but the theme for the COG was left out for a, more or less, heroic theme.

Riepl's Theme for the COG is at 1:12:

Jablonsky's Theme for the COG is at 2:23: http://www.youtube.com/watch?v=f1HM0nA3xfk

I think Steve's score is appropriate for the scope of the game, same for Kevin's.

Oh and just in case anyone was interested:

Kevin Riepl's terrifying Locust theme:

Jablonsky's take on Riepl's theme: http://www.youtube.com/watch?v=zFZhcrqjW6E

[BLUMENKOHL 1,068]

That Bedlam cue sounds so generic it's not even funny. There's virtually no character in it.

[Koray Savas 2,251]

Oh...we have produced our own Mozarts and Haydn's and Bachs.

Their names are John Williams and Jerry Goldsmith.

Oi no bro, itz Jablonsky and Djawadi to da max!

Why do you always do this when it comes to talk about RCP? Are you implying that fans of this music are somehow intellectually inferior to fans of tradition film scores? What an outrageous and stupid belief, I say.

When it comes to modern film scoring, I think Zimmer is the only recognizable name to casual soundtrack listeners. When people buy the music for Gears Of War 2 or other scores by RCP, they are not buying it for the composer, they are buying it for the media it's composed for.

No one knows who the hell Ramin Djawadi is. I'm sure more know about Jablonsky and probably Badelt, but overall no one recognizes their names. When it comes to serious film score fans, you have just as much RCP listeners as you have JW listeners. The HZ forum is like bizzaro world to us JWFan-ers. It's the same over there, just different music being praised.