But while Jackie's theme stops there and remains unfulfilled, Jenny's motif continues, pensive and not without a hint of sadness, but at least offering closure. Both start with the same two-note downward step, before continuing with a three-note upward motion. First presented on "Jenny", her theme shares several key features with Jackie's melody. Throughout these thematic occurrences, Wynn does an exemplary job at manipulating and twisting the theme's original melody.įascinatingly enough, the second strand of thematic material on The Darkness II Jenny's theme turns out to be one of the variations of the main theme. And "Best Served Cold" features one of the main theme's most interesting variations when a single treble voice states a descending version of the main them, aiming to draw the listener into the Hellish depths that Jackie must travel. Beside other adrenaline-driven appearances on the soundtrack's battle music, the main theme appears in a yearning rendition at the end of "Angelus". The lyrical melody returns in dramatic form on the album's first action track "Gateway to Hell", now sounding more like a harbinger of doom. As hinted at through Wynn's interview statements, Jackie's theme comes to dominate the soundtrack, and one of the music's highlights is how easily the theme adapts to different environments. It's an alluringly Gothic and emotionally rich start to the soundtrack that hints at redemption through the composition's closing major key chords. Packing a multitude of different emotions in just those five notes, the theme is a striking creation and it easily carries the whole piece, which develops the theme throughout its running time. The score's main theme Jackie's theme, if you want is presented early on in "The Darkness (Theme)" as a languid, seductive five-note melody with an elegant, yet sinister and sad undercurrent to it. BodyĮasily The Darkness II's strongest point is its thematic material and how Wynn intertwines and develops it. Unfortunately, Wynn's score didn't receive a soundtrack release (or at least it hasn't so far by April 2012), but his music was made available for review purposes. In a number of interviews, Wynn also described his approach to creating the score's thematic material: he and Dustin Crenna (audio lead at Digital Extremes) decided to keep the number of themes to a minimum and to focus on the connection between Jackie and Jenny. On behest of the game's developers Digital Extremes, Wynn didn't listen to Grefberg's music for The Darkness until he had almost finished his own work. For The Darkness II, publisher 2K Games decided upon a similar approach, with Timothy Michael Wynn replacing Grefberg.īest known for his work on the Command & Conquer series, Wynn travelled to Prague to record his score for The Darkness II with the FILMharmonic Orchestra Prague. The first Darkness title had been scored by Gustaf Grefberg, although the game developers had also licensed an extensive catalogue of pre-existing rock and soundtrack music (not including music from glam rockers The Darkness, unfortunately). A Gothic tale of death and redemption such as this, shot through with its fair share of first-person shooter action, holds much potential for a larger-than-life soundtrack. And while Jackie has risen through the ranks of the mobsters and is now don of the Franchetti crime family, both The Darkness and the death of his girlfriend Jenny still haunt him, particularly because The Darkness prevented him from stopping Jenny's demise. Mafioso Jackie Estacado returns to the streets of New York City in The Darkness II, and he's still possessed by the titular Darkness, a demonic entity that endows Jackie with supernatural powers.
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