Alone in the Dark 3 Original Soundtrack
 |
Album Title: Alone in the Dark 3 Original Soundtrack |
| Record Label: Good Old Games |
|
| Catalog No.: N/A |
|
| Release Date: April 14, 2011 |
|
| Purchase: Download with Game at GOG |
Overview
Alone in the Dark 3 closed the original trilogy of horror titles in a Wild West setting. Long-term Infogrames employee Frédéric Mentzen was selected as the composer and he produced the series’ most diverse soundtrack. While the game was exclusively released on PCs, technological advances enabled CD quality audio to be streamed from the game’s scenes. Website GOG.com recently released a downloadable trilogy of the first three games in the Alone in the Dark series. Among the bonus goodies of this generously priced release were the soundtracks for each of the three games.
Body
The introduction sets a cinematic tone to the game with spoken dialogue — still a rare addition to video games in 1994 — above ambient sounds and music. As the title was originally developed in France, all the dialogue here is French and was translated for the overseas release. “Welcome to Slaughter Gultch”, the first substantial piece of music, restores the ominous feel of the series — blending suspenseful orchestration with the unusual timbres such as the jaw harp. Just as the game combined elements of both of its predecessor, Mentzen tries to offer the best of both worlds: the horrifying moods and orchestral textures of Philippe Vachey’s Alone in the Dark with the strong melodies and acoustic touches of Jean-Luc Escalant’s Alone in the Dark 2. The quality of the synthesis is excellent for a PC game emerging from 1994 and exceeds even the 3DO versions of earlier series’ titles. It’s just a pity that the composition is held back by the annoying and tedious repetition of the jaw harp.
Much of the rest of the soundtrack combines to blend filmic influences. The smoky soundscapes of “Haunted West” and “Investigating on the Other Side” are reminiscent of classic detective movies — the latter, in particular, having some abstract jazz touches. Meanwhile the scenic writing on “The Good, The Girl, & The Evil” is one half spaghetti western, one half classic horror. While such a fusion is uncommon — especially in a classic video game — it absolutely fits the scenario. The less subtle “Zombie… Cowboys” captures the main enemies of the game by combining stabbing strings with wailing flutes. While the blends are interesting and effective, it’s disappointing that the individual forces are treated in such a stereotypical and repetitive manner. “Indians” is also certain to disturb players with demonic use of woodwinds, chanting, and percussion. The samples leave quite a bit to be desired, but the intention is always clear and the effect is spine-chilling.
Mentzen includes a few lighter pieces on the soundtrack, though they’re not as numerous as their predecessor. Ditties such as “Saloon” and “Emily Hartwood” are particularly effective at conveying the setting with their light-hearted melodies and old west instruments. Revisiting ideas from the first game, the catchy former is also played with the sound quality of an old record at the end of the release. Also impressive is “The Duel”, reminiscent of Ennio Morricone’s soundtracks with its charismatic trumpet lead above atmospheric wind effects. In fact, this track is among the most enjoyable of the entire franchise, both in and out of context. Mentzen reserves the most intense track here for “Tension”. Filled with dissonant orchestration and booming percussion, the composer took influence from modern Hollywood blockbusters rather than classic scores when writing this.
The ending theme underscores the final sequence in a cinematic manner. While filled with twists and turns, it resolves the soundtrack on an uplifting note. Inspired by zombie movies, Mentzen also recorded a vocal theme for the end credits. He captured a sense of relief at the end of the game with uplifting melodies, while retaining a cool edge with rocking instrumentals. While he recorded the original version in French, he was also given the budget to record an English version in Los Angeles. Looking back, both versions sound a litty rusty, but they helped push technical boundaries at the time. Unfortunately, this song is not included in the GOG.com release and listeners will have to seek the original game CD to listen to it.
Summary
The music for Alone in the Dark 3 largely complements the scenario of a zombie outbreak in the old west. While the most technically accomplished score of the series, the composition is quite inconsistent — with creative and horrifying fusions being mixed with repetitious and generic tracks. Nevertheless, the soundtrack is quite a revealing and enjoyable stand-alone listen. For just six dollars, consumers can download all three games and their soundtracks through GOG.com It’s well worth it for those wanting to discover — or indeed revisit — some classic games and their music.
Do you agree with the review and score? Let us know in the comments below!
3
Posted on August 1, 2012 by Chris Greening. Last modified on January 18, 2016.
About the Author
Chris Greening I've contributed to websites related to game audio since 2002. In this time, I've reviewed over a thousand albums and interviewed hundreds of musicians across the world. As the founder and webmaster of VGMO -Video Game Music Online-, I hope to create a cutting-edge, journalistic resource for all those soundtrack enthusiasts out there. In the process, I would love to further cultivate my passion for music, writing, and generally building things. Please enjoy the site and don't hesitate to say hello!
Related Posts
Final Fantasy VII Remake Acoustic Arrangements →
Fleeting Symphony →
Final Symphony II – music from Final Fantasy V, VIII, IX and XIII →
