Filmtracks Traffic Rank: #916
Written 7/26/99, Revised 8/25/07
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Buy it... if you're an established collector of Bruce Broughton's
scores and seek all of his ambitious fantasy and adventure writing.
Avoid it... if you expect your video game scores to boast a fully
robust orchestral presence, for this early entry is sparse on power and
performance quality.
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Broughton |
Heart of Darkness: (Bruce Broughton) Created by
Amazing Studio in 1998 and distributed by Interplay for Windows PCs and
Sony PlayStations, "Heart of Darkness" was several years in the making.
First conceived in 1992, the purpose of the game was to mimic a
Disney-style adventure while the player controlled Andy, a boy who lives
a normal life until he blasts off in his tree house spaceship during a
real solar eclipse and lands in the treacherous Darklands. There, he has
to rescue his dog (along for the ride) and battle the Master of Darkness
on his way to finding the Heart of Darkness portal back home. While
little Andy navigates these linear levels of activity, cute "amigo"
creatures assist him, and if you're not careful, your little boy could
be crushed, devoured, incinerated, or drowned in surprisingly graphic
fashion. The portrayals of death are among one of the more interesting
aspects of "Heart of Darkness," with the killing of children under the
control of the player becoming quite rare in the evolving days of
content ratings. Also of note is the fact that "Heart of Darkness" was
the first computer game for which an original orchestral score was
recorded. While the album release of the music claimed that the score
was recorded in 1990, this fact is impossible given that the game's
development was first undertaken in 1992. Several years of delays make a
recording date sometime in 1996 more realistic, competing that year with
Joel McNeely's "Star Wars: Shadows of the Empire." But despite the many
years of delays in finishing the game and then securing a distributor,
"Heart of Darkness" can claim to have the first ever orchestral score
for a video game, regardless of the fact that other games with
orchestral music beat it to storefronts. As mentioned before, the
creators of the game wanted it to feature the same qualities of a Disney
product, and it's fitting that Bruce Broughton was hired for the
assignment. The game received positive reviews despite a shorting
running time, though it was never a success with the general
public.
Broughton admitted at the time that he had never
encountered a computer game before, and under such circumstances, his
efforts in recording music for one are quite impressive. There was
enough money to hire 55 members of the Sinfonia of London, a group with
which Broughton was familiar. The sparse depth of their performance is
the score's greatest weakness (along with a few blatant errors in the
brass section early on the album), but considering that most games at
the time featured crappy electronic MIDI nonsense, this was definitely a
step up. Still, the recording is nowhere near Michael Giacchino quality,
and subsequent orchestral game scores would put "Heart of Darkness" to
shame. The structure of Broughton's score includes four major themes
over its 35 minutes that span the distance between evil and comedy,
heroics and fear. The title theme isn't as full as many of Broughton's
others, yet it is still adventurous enough for the imagination and
journey of the main character. The initial theme on album (over the main
titles) is that of the villain, and it adequately portrays the mystery
and magic of the Master of Darkness. It falls one step (or minor chord)
short of becoming a gripping villain's theme, though the primary themes
together undoubtedly work wonders in the game. The other themes
represent secondary characters of the story and adopt a light-hearted,
fluffy, and comical attitude. These sequences, with the cute
performances of the tuba and French horn, will remind of the middle
sections of James Horner's
The Land Before Time. The bouncing
tuba and marimba theme for the amigos in particular will leave the most
lasting impression. Overall, however, it is difficult to truly
appreciate this music outside of the experience one would get by playing
"Heart of Darkness," for the recording isn't robust enough to stand well
on its own. It is still a momentous effort for a video game, of course,
and Broughton collectors will surely be impressed by the opening cues.
Its enhanced features, including a demo of the game, only worked on PCs
(Macs would eventually get their revenge in other ways). It's a fun,
noisy, and refreshing score, but a bit underwhelming when put in
perspective.
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Bias Check:
For Bruce Broughton reviews at Filmtracks, the average editorial rating is 3.36
(in 11 reviews) and the average viewer rating is 3.28
(in 4,522 votes). The maximum rating is 5 stars.
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