Fracture Composed by Michael Giacchino,
Chris Tilton, Chad Seiter
Promo Release (2008)
Rating: 7/10
* This promo is not available for purchase
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Soundclips!
“ If the FRACTURE franchise does
continue on (and many agree that the core of the game could warrant another go)
then the musical foundation laid by Giacchino, Tilton, and Seiter, is certainly
solid enough from which to build further.”
Terra-Fragga
by Christopher Coleman
"
I know I did my job well when fans
and critics alike comment on how
great a particular track was at a
given moment of the game, or if they
praise the composer for having
written such an appropriately
dynamic score that always seems to
perfectly fit the mood of the
gameplay."
Following close on the heals of LucasArts behemoth-title, THE FORCE UNLEASHED,
comes another "ground-breaking," albeit substantially less marketed,
third-person shooter, FRACTURE. For some time the gaming community has been
stirring over this project particularly in regards to the game's central selling
point - "terrain deformation" - it's key feature of game-play. Players have the
ability, via their futuristic weapons cache, to transform the terrain around
themselves or around their enemy in order to, among other things, gain a
decisive strategic advantage. "Terra-fragging" anyone? With the potential
experience of launching an enemy (or a buddy in one of the 8 multiplayer
versions) into the air, or creating on-demand cover from enemy fire, early buzz
on FRACTURE was positive. Post-release; however, reviews and gamer's comments
have been a bit south of "glowing" - citing concerns with enemy A.I. and weapons
accuracy. Still, more often than not, what garners words of praise is the
relevant storyline, the potential of terrain deformation and the games original
score.
Having worked with composer MICHAEL GIACCHINO and his team at EDGEWATER MUSIC on
past games such as SECRET WEAPONS OVER NORMANDY, developers LucasArts and Day 1
returned to them to provide the fully symphonic backdrop to the story and
game-play for their latest gaming creation, FRACTURE. Once again it fell on the
shoulders of LucasArts staff-composer and music supervisor, Jesse Harlin
to take the musical output of the trio and give FRACTURE it's final shape.
The story is set in the 22nd century where war has broken out in the United
States. Due to the melting of the polar ice cap, the Mississippi river has
flooded - destroying the central portion of USA and leaving two factions to its
east and west: The Atlantic Alliance and The Republic of the Pacifica. In the single player
campaign you play the character of Jet Brody who is a part of the Atlantic
Alliance. For FRACTURE, the amount of time and energy sunk into the development
of all of these story details is important in terms of the game's score
and would be apart of the challenge for Giacchino and his co-composers,
CHRIS TILTON and CHAD SEITER.
There are two main "faultlines" from which FRACTURE'S original score emerges.
First, there is the theme for The Atlantic Alliance and this theme dominates the
first third of the score. It is introduced in track 1 "Main title" and is found
in one variation or another in all but one of the first six tracks. It is the
sort of bold, no-holds-barred theme we have come to expect from Giacchino, Tilton and Seiter. Written in 3/4 time and brandishing the brass,
string, and percussion sections like weapons in and of themselves, this main theme feels more
"superhero" than it does "post-deluge" ... and with good reason. In the
single-player campaign, you play through as, "the hero," Jet Brody, who is a part of the Atlantic
Alliance. This theme then serves as the hero's theme and by extension
the main theme for the game. This heroic theme stands in clear contrast to the
second major theme of the game.
While the Atlantic Alliance, which is comprised of the eastern half the former
United States plus Europe, relies upon great technological advancements in
cybernetics to survive in this "new world," the western half has formed a union
with Asia, called the Republic of Pacifica. Unlike the A.A., this western
faction, instead, relies upon advancements in genetic manipulation as their main
platform for survival (or dominance) and this difference can be heard in their main theme.
Introduced in track 3, "The Pacificans" we hear that a slightly darker, slightly
more menacing theme, but not a completely villainous theme either. That comes
later and elsewhere. While it begins on low strings, low brass, and harp, the
piece builds to a much brighter performance via much higher brass, percussion
and woodwind accents as the track progresses. The Pacifican theme all but
disappears until track 10, "Desert Base," where by this time the tone of the
score has become more reliant upon subtleties and suspense than aggressive,
action quotations. This same characteristic is carried through "Mole Men" (11)
and "Into the Core" (12). With both faction's themes well established, we are
set for the game and score to conclude with a raucous collision.
Before speaking about those climactic tracks, there are are action pieces and secondary motifs worth noting.
In regards to action, well, there is a lot of it, so the number of action pieces
should come as little surprise. Most of these sequences make liberal use
of the established motifs and are laden with suspense and drama. By far,
the most intriguing of these pieces is "TESLA RUN." Initially, this is a
bold and quick-tempoed piece features quick brass, string and woodwind runs that are certainly mindful of latter-day John Williams action
compositions. "Tesla Run" changes tempo and personality several times
before it's conclusion, making it one of the most engaging pieces of the
release.
As the game-play of FRACTURE spans various locations from around the former-USA,
there are a couple of important locations that are given their own motifs.
First, in "Welcome to the Rock" we have a subtle yet methodical theme played on
woodwinds and pizzicato strings to represent the location of San Francisco.
Later, in tracks 15 and 16 we hear a specific theme created to represent
Washington D.C. "1600 Pennsylvania Ave" (15) delivers a very striking
militaristic performance of the "DC theme" while "Beneath the White House" (16)
features a much more restrained arrangement. Lastly, I'll make mention of
one more important theme in this score. Rather than affix a dark, malevolent
theme to the person at the heart of your mission, General Nathan Sheridan, that
dubious honor is given to the big, baddie, weapon, The Dreadnaught. In track 9,
"The Dreadnaught Rises" we hear the wonderfully villainous idea introduced. The
composers' most menacing music of the score has been reserved for "the
Dreadnaught" where percussion and 8 quick notes on french horns or trumpets
are repeated with slight variations. The motif returns with an even stronger in "The
Dreadnaught Attack" (18).
When we reach "Dreadnaught Falls" (19), we finally have the collision of our two
main themes. Here, we first pick up on The Pacifican theme played on French
horns, but they are quickly layered with a variant of the Atlantic Alliance
theme underneath. After a brief respite provided by the elegy-like "Lawrence's
Demise" (a wonderful adaptation of the Atlantic theme), the battle re-engages
one last time. "Battle With Sheridan" is the climactic piece of the game and
here we have one of the most forceful performances of the Pacifican theme until
it is finally bested by one, final and victorious quote of Jet's (A.A.'s) theme.
The musical direction taken for FRACTURE an interesting one. While, we
can depend on MICHAEL GIACCHINO, CHRIS TILTON, and CHAD SEITER, to deliver a
solid score, (and they do again here) there was one noticeably absent element from
this score. This effort is devoid of an electronic
edge. Perhaps the choice was made simply to help separate this
potential franchise from the countless others it's in competition with. The
mega-franchise HALO and countless-would-be's have well worn the
electronic/symphonic hybrid for sure. Still, given the time frame and the core
of the story and gameplay revolving around advanced technology, it would seem
natural that some electronic elements might make their way to the forefront.
This isn't to say that adding some strong electronic edge would make this score
any better, it simply very noticeable that none exists. The
juxtaposition of this militaristic, symphonic score against the techno-war
backdrop might have been a bit more "earth shaking" had KEVIN REIPL's
"HUXLEY" not done something similar earlier in 2008. If the FRACTURE franchise does
continue on (and many agree that the core of the game could warrant another go)
then the musical foundation laid by Giacchino, Tilton, and Seiter, is certainly
solid enough from which to build further. It'd be my hope that a bit more
textural diversity might be employed on any follow-up projects. Still, for those who truly enjoy the big, bold, style
of Giacchino and company, so often employed in their game projects, then
FRACTURE is another title you will enjoy. (No official details on an
official soundtrack have bee released at this time).
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Soundclips!
