![]() The main problem is that none of the music loops, and only plays during cutscenes, so most of the game, you will only hear sound effects, though some may argue that this adds to the ambience and atmosphere of the game. Though there are over fifty songs in the game, there are a few flaws. However, some electric guitars are thrown in the mix, which strangely fit the atmosphere of the game. The game's score mostly consists of orchestral pieces. Klepacki wrote the soundtrack around the age of 16-17. ![]() The player can also transfer their characters and (most) items from the previous game if they wish.Įye of the Beholder II was critically acclaimed, with some praising the game over the original, calling it the best game in the trilogy.Įye of the Beholder II was one of the first games composed by Frank Klepacki of Command & Conquer fame. There is also more music than what's in the first game, and the puzzle-solving segments, while difficult, usually aren't impossible to figure out. However, one big addition is the in-game cutscenes, and the different choices players can make during those cutscenes. Not much has changed, save for the environments, enemies, and now the party has access to higher-level spells. The game plays identical to the first game. The party must traverse through the catacombs, silver tower, azure tower, and finally the crimson tower to confront Dran. The party later discovers that the temple is run by Dran Draggore, and must solve his traps and fight hordes of enemies to reach him. After receiving an urgent letter to visit Khelben Blackstaff, the party is informed by Khelben about evil lurking in Temple Darkmoon, and sends the party to the temple to investigate. The game takes place after the events of the previous installment. It was developed by Westwood Associates and published by Strategic Simulations, Inc. This score also demonstrates Goldsmith’s penchant for using unusual instrument combinations as well as cutting edge electronics to achieve novel timbres in the sci-fi and horror genres.Eye of the Beholder II: The Legend of Darkmoonįor other games in the series, see Eye of the Beholder.Įye of the Beholder II: The Legend of Darkmoon is an action role-playing game, which is a part of the Advanced Dungeons & Dragons franchise, and uses the 2nd Edition rules. In an early example of his atonal writing technique, Goldsmith focuses on minor seconds and tritones to convey the horror unfolding on screen. Composing under the budgetary constraints of 60’s television, Goldsmith’s ensemble consisted of approximately thirteen string players, piano, celeste, harp, vibraphone, marimba, chimes, and the Novachord. “The Invaders” is also famous for its twist ending, and is unique for its complete lack of dialogue. Goldsmith’s music becomes a central player along with actress Agnes Moorehead non-speaking performance. With a surprise twist in the plot, the episode contains both beauty and a sinister chill from Herrmann’s minimalistic score featuring 2 vibraphones and 2 harps, backed by brooding and climactic brass and percussion punctuations. “The Eye of the Beholder” is a dark and compelling tale about one woman’s desperate desire to conform within a dystopian society. Goldsmith and Herrmann each wrote numerous episodes of THE TWILIGHT ZONE, and these two iconic episodes are particular masterclasses in scoring for small orchestral ensembles using minimalistic compositional techniques. ![]() We’ll also be joined by Marc Zicree, veteran television producer and writer, a member of our Advisory Board, and the author of The Twilight Zone Companion. Malpede and Josh Lucan take us on a deep dive into two episodes from the iconic television series THE TWILIGHT ZONE, each scored by a legend in film music: “Eye of the Beholder” (1960) by Bernard Herrmann and “The Invaders” (1961) by Jerry Goldsmith. ![]()
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