Growing up a Yankee fan, Curt Schilling was never a name I wanted to hear. He was outspoken, lethal on the mound, and a fierce competitor. My opinion of him changed when I learned that he was also outspoken about his love of gaming and fantasy. He was unapologetic about the wealth of time he and his children had put into World of Warcraft and even mentioned wanting to develop a game himself. A few years later, we are graced with the first major release from Schilling’s 38 Studios, Kingdoms of Amalur: The Reckoning. Assembling a team of all-stars in their own right, Schilling called upon comic book legend (and baseball fanatic), Todd McFarlane, Oblivion‘s lead game designer, Ken Rolston, and New York Times bestselling, fantasy author, R.A. Salvatore, to help create this ambitious first outing.
I have written several times about the difficulties in writing a score for an RPG in that, as Gothic‘s Kai Rosenkranz said, a composer can get into trouble making music too melodic as it can grow monotonous. Grant Kirkhope was Schilling’s hired gun to score this monstrous game. Did he strike out or hit one out of the park?
It is obvious that Curt Schilling did not throw a proverbial pitch at Mr. Kirkhope. Had he done so, he would have been – as they say in the trade – “shining up a new one.” Mr. Kirkhope delivers a thunderous, zany, elegant, and immersive score. The main theme begins ominously with strings only to be greeted by rapidly arpeggiating chimes. Finally, the main theme is given to us – nay, blared at us – by the horns. The entirety of the Amalur score is a love letter to brass – a group of instruments often neglected or passed over for the strings. The triplet culminates in a brass bombast that is incredibly satisfying. The theme is versatile enough in that, depending on the context, it can beautiful, mysterious, or downright frightening.
“Dead’s Dead” finds our protagonist awaking on a large pile of dead bodies. Here, the cellos take over and deliver the same haunting melody. This track serves as a lesson in theme and orchestration as the main theme is presented in a few different ways and never feels overused or boring. “Troll” begins with Wagnerian horns (again) and the strings serve as the brooding, syncopated accompaniment. Some of the best tracks in classic gaming have always been boss fights. Composing for nearly all of Rare’s games for the Nintendo 64, Mr. Kirkhope clearly pulls out all the stops to make sure this track builds with intensity and purpose as you battle a menacing troll. “House of Ballads” follows a similar orchestrative model in that the horns lead the melody and the strings accompany it, but this nearly forty-second tune is an infectious and magical place-setter in what it does within the context of the game. Likewise, “Gardens of Ysa” seduces us with the harp and elegant string melody, creating the proper ambiance for the nature-oriented Fae.
The soundtrack features thirty-five tracks and over an hour’s worth of music. Currently available for digital download, Grant Kirkhope’s score paints the entire world of Amalur with a unique and bombastic brush that propels it beside the winning RPG’s of the year. Kirkhope’s ability to make the brass section of the orchestra the star of the show is something that should not be overlooked. The melodies are infectious and singable, but have the subtlety to not be grating on the ear over the course of several hours of gameplay.
Grant Kirkhope’s score to Kingdoms of Amalur: The Reckoning is an epic, sweeping, melodic, and bombastic score that wins at every mood, every setting, and does not apologize. It even endears the listener to its melodies while flirting with over-the-top sentiment, but always stays within its own kingdom. This is an excellent score and comes highly recommended.
Curt Schilling may have found himself yet another all-star with whom to play.
Tags: Curt Schilling, Grant Kirkhope, Kingdoms of Amalur, Rare, Reviews, Sumthing Else, The Reckoning
