NEW YORK, June 2, 2023 /PRNewswire/ — Zong, an enthralling first-person myth fantasy RPG game initially launched in 2022, has rapidly gained popularity and is now available on esteemed gaming platforms Oculus Quest and Steam. With its mesmerizing gameplay and immersive experience, Zong has achieved instant acclaim and has emerged as a resounding success in the gaming industry – winner of the Best VR at tBeyond the Curve International Film Festival and nominee of Best VR at Swedish International Film Festival. In our latest edition, ArtsBerry presents an insightful conversation with the brilliant composer behind the captivating VR game, Mr. Arthur Wang.
What did the project development behind Zong look like?
It was a fun experience! After I knew that I got the position of composer for the VR Game Zong, I couldn’t explain how excited I was. As a fan of VR games myself, I have always wanted to write music for VR games to be part of the project to provide players with an incredibly immersive experience. I had regular meetings with the producer and author, Yingran Zhao, throughout the development process. Together, we discussed her music goals and collaborated to shape the direction of the compositions. This game is about ancient China. So, I incorporated many traditional Chinese instruments, such as Guzheng, Pipa, Dizi, and Chinese percussions, to set the fundamental tone of the music. At the same time, I fused Western music techniques with traditional Chinese instruments, such as robust and broad orchestra writing, jazz harmony, and modern rhythm. Furthermore, because of my background in electronic music composition, I utilized the space audio technique to create an immersive sound world. I take immense pride and excitement in the final result, as my music received an excellent review from the players of Zong, and my work also helped Zong achieve success.
What was your biggest challenge during the composition for Zong?
When I wrote the music for Zong, it was a challenge to compose music that, firstly, is accessible to everyone, secondly, combines Chinese elements with Western orchestra writing. Game music differs from contemporary classical music or what we call ‘concert music.’ It’s not about expressing the composer’s personal desires and feelings. Instead, it’s about creating an encompassing experience for every player. It was vital for me to create music that could be felt and understood by players, even those without a music background, as they delved into the immersive VR world of Zong. The second challenge lay in harmoniously merging ethnic Chinese music with the grandeur of a symphony orchestra, a task that often perplexes composers who don’t originate from Western countries. To overcome these obstacles, I composed multiple drafts, striving to strike a delicate balance between the Chinese instruments and the symphony orchestra. Through careful experimentation and refinement, I was fortunate enough to achieve a result that I am excited about.
As such an established composer, what advice would you give those who just started their career as a composer?
I encourage young composers to immerse themselves in various styles of music. By exposing yourself to diverse genres and soaking up different musical influences, you will expand your creative palette and open up a plethora of choices when it comes to composing new pieces. All various types of music are like books in the music library. When you have trouble developing an idea or feeling burnout, you can check out your inner library to get inspiration and finish the work. Secondly, it is paramount to emphasize the value of hard work. Composing, regardless of your level of experience, is a profound endeavor. If you aspire to pursue a career in the music industry, diligence and perseverance are more critical than innate talent alone.
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SOURCE ArtsBerry
