Jak and Daxter: The Lost Frontier


Game soundtrack | Release date: 11/03/2009 | Format: CD, Download
 

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# Track   Duration
1.Hellcat to the Rescue2:04
2.The Brink3:23
3.Galleon Conflict2:06
4.Laser Defense3:31
5.Sounds of Fardrop3:24
6.Dark Eco Warrior Training Camp3:18
7.Super-Dark-Daxter Rampage3:19
8.Behemoth Air Battle2:39
9.Parallel Universe4:18
10.Voices of Aeropa2:38
11.Ambushed2:40
12.A Captain's Sacrafice2:11
13.Daxterball3:40
14.Jak vs the Aborcider2:04
 41:15
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Jak and Daxter: The Lost Frontier - 06/10 - Review of Oscar Flores, submitted at (English)
Playstation enthusiasts will have no trouble remembering the first game in the Jak and Daxter saga, Jak and Daxter: The Precursor Legacy, developed in 2001. Now the series includes this latest installment for the PS2 and PSP titled “Jak and Daxter: The Last Frontier.” The first sequels decided to drop the Daxter name, thus having the Jak 2 and Jak 3 games, but now thanks to a revamped effort by High Impact Games, fans get to experience a more conventional version of the series. In fact, it’s worth noting that Daxter became this weasel-type creature after falling into a pool of dark eco. Eco, of course, being the most important element in this video game series and one familiar to those who have played the games. In the Lost Frontier, Daxter takes on a less prominent role, while at the same time in a much darker context — after all, he now has his own game and probably enjoys receiving all of the attention instead of functioning as Jak’s sidekick. The gameplay, while not remarkable, still adheres to the fundamentals of the first chapters in the series, and also allows for a better appreciation of open environments — the sky sequences in this case are very engaging. The music accompanying Jak along his missions was provided by James Dooley, an alumni of Remote Control Productions now better known for his work in the ABC hit show Pushing Daisies ; the direct-to-video Disney movie, The Little Mermaid: Ariel’s Beginning; and also numerous video games, including SOCOM 3: U.S. Navy Seals and Infamous. Critics and fans alike will note the Zimmer-like similarities in sound and general musical passages, something which is all too popular among some of his past collaborators and protégés, hence diminishing some of the effort put by Dooley into this project.

Heroic and adventurous, the album’s first track, “Hellcat to the Rescue,” is actually heard in this game’s second level (after the introductory sky pirates shooting scene and the level showing the basic controls). This is a very enjoyable track and one that showcases more of Dooley’s own style of composition. However, towards the end, the inevitable happens once those Remote Control progressions emerge. Still, they blend well with the brass and overall tonality set by the composer. The Brink and Galleon Conflict, nonetheless, hover more around the aforementioned Zimmer sound. The four-chord progressions played by the strings in the first of these tracks eventually subside, taking a background role and allowing electronic elements, brass and drums to merge and create a more powerful track. The same trend continues into Galleon Conflict which tries to incorporate a very noticeable five-note brass motif.

While Jak and Daxter requires some sort of action-packed music — certainly fast paced to entertain the younger generations — the inclination by Dooley to bombard the listener with non-stop drums, strings, and brass, lead to a feeling of being entrapped in a movie trailer. At the same time, Dooley slowly drifts into the Pirates of the Caribbean sound, clearly emulated in 'Sounds of Fardrop.' Although the use of a few non common instruments such as a harpsichord, castanets, and what sounds like an accordion do make the track a bit more interesting than a simple rip-off. Tracks like “Dark Eco Warrior Training Camp” and “Voices of Aeropa” create a somewhat suspenseful mood that is very effective when playing the game. For the person playing at home, these tracks simply enhance the atmosphere and storyline behind all of the occurrences of to that point.

Undoubtedly, the weakest point of this album comes in “Behemoth Air Battle.” The choir sequences not only feel completely out of place (inside and outside the videogame), but more importantly, some of the choir sampled phrases sound badly programmed and choppy — even completely incomprehensible. Actually, this is the same problem heard in “Parallel Universe,” which not surprisingly, takes a sharp turn into the trailer music realm. Dooley tries to effectively incorporate new themes and motifs, some of which are repeated many times, but ultimately, many of these are not strong enough to help create an identity for the videogame or its characters. “Ambushed” and “A Captain’s Sacrafice” (sic) continue to combine new motifs centered around the same harmonies and chords but always in the hyper, adrenaline-inducing phase. The game sequences do call for some action cues, but Dooley overemphasizes them, never leaving room for a slower-paced track. Admittedly, “Jak vs. The Arborcider” merits a fierce musical statement, but some of the other tracks could have been approached differently.

Dooley’s music for Jak and Daxter: The Last Frontier starts with a very promising fanfaric passage and a very individualistic approach, but in the end, Dooley shifts too quickly into Zimmer mode, generating a very predictable and often overpowering underscore. More than 80% of this score will feel like trailer music and nothing else. Of course, there is nothing wrong with that type of music, but in this case its suitableness can be debated. Finding new motifs in many of the tracks proves to be the best part of Dooley’s work. Actually, this is what makes the album quite enjoyable at times. Nevertheless, the true absence of any slow-moving musical passages or lengthy melodies do negatively affect this release. Dooley’s music deserves a 7/10; however, after finding that one of the tracks includes the word “sacrafice,” (Not a mistake on our part — browse the iTunes store if in doubt) deducting one point from the rating should be a no-brainer. Sorry, we can all make a mistake such as this one, but at this level, the composer, his staff, and the people at Sony Music should have noticed. This is one of those grammatically cringe-worthy examples that should not only be relevant to our fellow grammar geeks, but also to anyone involved in a professional project like this one.


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