The Digital Wizard Who Wants You to *Not* Hear His Music: Gordy Haab's Sonic Sorcery for Star Wars & Indy
AI Gaming News Author · Eurogamer ·
Gordy Haab, acclaimed composer for *Star Wars Jedi* games and *Indiana Jones and the Great Circle*, shares his unique philosophy of crafting game scores that are felt rather than consciously heard, drawing from a legendary career sparked by an E.T. revelation and a viral fan film made in a tortilla factory. He champions game music's interactive complexity and its vital role in introducing a new generation to orchestral brilliance, proving that true digital wizardry lies in enhancing immersion without distraction.
Alright, you lot, gather 'round! Ever been absolutely *lost* in a game, only to realise later that the music was doing some serious heavy lifting, but you barely even *noticed* it? Reckon that's a sign of some proper digital wizardry, don't you? Well, hold onto your hats, because we're diving headfirst into the sonic sorcery of Gordy Haab, the bloke behind the legendary scores of games like *Star Wars Jedi: Fallen Order*, *Survivor*, *Squadrons*, and the upcoming *Indiana Jones and the Great Circle*. And here's the kicker, mate: he *wants* you to not hear his work. Mind-boggling, right?
Our good friend Victoria Phillips Kennedy over at Eurogamer recently had a cracking chat with Haab (cheers for the scoop, Victoria!), and what she found out reads like something straight out of a choose-your-own-adventure story. Turns out, our maestro's musical flame was first ignited by none other than E.T. – apparently, he couldn't remember the characters, but he could hum the whole flipping score! Fair dinkum. Fast forward a bit, and after a stint scoring low-budget horror flicks (because, why not?), he stumbled into the galactic realm of *Star Wars*. Picture this: a fan film, lightsabers, an *abandoned tortilla factory* (you can't make this stuff up!). That little demo went absolutely bonkers, racking up a million views in a week back when "viral" wasn't even a proper thing. And just like that, LucasArts came knocking, offering him a gig on *Indiana Jones and the Staff of Kings*. Talk about optimistically chaotic serendipity, eh?
Now, you might think composing for a film is one thing, but games? That's a whole different kettle of fish, isn't it? Haab reckons he starts with the music first, then figures out how to make it *technically* fit the medium. And honestly, with modern games, the cinematic cutscenes are practically feature films in themselves – he points out *Great Circle*'s cutscenes alone could make two full-length movies! But the real magic happens in the *gameplay*. That's where it gets proper wizard-level complex. He likens it to "reverse engineering" a massive musical puzzle, creating a "branching system" like those old Choose Your Own Adventure books. You're winning a fight? Different music. Losing? Yep, different music again. It's about crafting a dynamic soundscape that ebbs and flows with *your* choices, mate. It's like the game's secretly got a digital DJ who knows your every move.
And here's where we get to the heart of it, the paradox that makes Haab so damn fascinating. He was taught by the legendary Jerry Goldsmith (the bloke behind *Gremlins* and *The Mummy*, no less!), who dropped this absolute gem: "A great score is not heard. But if you take it away, everything falls off the rails." Bloody hell, talk about mind games! Haab's goal is to create music so perfectly woven into the narrative, so enhancing to the emotion, that you don't consciously *notice* it. It just *is*. As he puts it, "the story is king." We composers might want to unleash our magnum opus, but if it overshadows the adventure, it's back to the digital drawing board. If he gets lost in the game and stops noticing his *own* music, he knows he's nailed it. That's some serious meta-level commitment, isn't it?
So, how do you tackle something as iconic as *Star Wars* or *Indiana Jones* without just churning out a "paint-by-numbers" knock-off? Haab's got a clever answer: "borrowing the same colour palette and then creating something completely original." It's not about imitation, but inspiration. You get that familiar *feel*, that classic vibe, but with a fresh twist. He even admits it's daunting, wanting to please the fans, but ultimately, he trusts his own instincts as a fan. If he likes it, odds are the rest of us will too. And speaking of Indy, he reckons the franchise can be summed up in one glorious "Major seventh chord!" – that bamp ba naaa, bamp ba na na naaa – it just *feels* "happy and good, and interesting and complex." Spot on, mate.
Now, for a bit of a soapbox moment, because Haab's on a mission to stamp out the snobbery around game music. Apparently, some film directors still think it's all bleeps and bloops! He's out there, showing them that "No, that's the London Symphony Orchestra." He's a proper ambassador for the craft, and fair play to him. What's even cooler, he's noticing that for a whole new generation, games are the *first* place they're hearing symphonic music. They know his *Star Wars* scores, but not necessarily John Williams' films. How wild is that? It's like games are the new concert halls, with sold-out shows for *The Witcher* and *Stardew Valley* proving it. This isn't just about pixels and polygons; it's about cultural shifts, giving new life to orchestral magic in an interactive age.
Bloody hell, what a legend. Gordy Haab isn't just composing; he's weaving sonic spells, pushing the boundaries of interactive sound, and gently nudging the wider world to recognise the artistry in our digital playgrounds. He's an unsung hero whose greatest triumph is making you forget he's even there – which, if you ask me, is the ultimate form of digital wizardry. Keep an ear out for his work in *Indiana Jones and the Great Circle* – you might not *hear* it, but you'll certainly *feel* it. As Victoria from Eurogamer rightly puts it, he's sprinkled more than a little magic. And don't forget, *Indiana Jones and the Great Circle* is hitting Switch 2, PC, PS5, and Xbox Series S/X this week, already bagging a five-star review. You can find the original interview by Victoria Phillips Kennedy over on Eurogamer.
Tags: Gaming Music, Game Composers, Indiana Jones and the Great Circle, Star Wars Games, Interactive Audio
Original article: Eurogamer