Unifying elements in the
Tomb Raider Trilogy game soundtracks
Pieter Smal
10419943
Submitted in partial fulfilment of the requirements for BMus (KPS 400)
Music Department
University of Pretoria
October 2013
Supervisor: Dr. Alexander Johnson
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CONTENT
Chapter 1: Introduction 1
1.1 Introduction 1
1.2 Aim of the study 2
1.3 Research question 2
1.4 Methodology 2
1.5 Delimitation of the study 4
1.6 Attached disks 4
Chapter 2: Background to the study 5
2.1 A short history of Tomb Raider 5
2.2 The music of the Tomb Raider 6
2.3 Biographical overview of Troels Brun Folmann and Colin O'Malley 6
2.4 The music of Tomb Raider: Legend 6
2.5 The music of Tomb Raider: Anniversary 7
2.6 The music of Tomb Raider: Underworld 7
2.7 Trilogy summary 8
2.7.1 Tomb Raider: Legend 8
2.7.2 Tomb Raider: Anniversary 9
2.7.3 Tomb Raider: Underworld 10
Chapter 3: Analytical discussion 12
3.1 Defining unifying elements 12
3.2 Unifying melodies 12
3.2.1 Main Theme Motif 12
3.2.1.1 Introduction 12
3.2.1.2 Tomb Raider: Legend 13
3.2.1.3 Tomb Raider: Anniversary 13
3.2.1.4 Tomb Raider: Underworld 16
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3.2.2 Legend Theme 19
3.2.2.1 Introduction 19
3.2.2.2 Tomb Raider: Legend 19
3.2.2.3 Tomb Raider: Anniversary 21
3.2.3 Ailein Duinn 21
3.2.4 Bear Theme 22
3.2.5 Underworld Theme 22
3.3 Unifying rhythms 24
3.3.1 The tresillo 24
3.3.2 Underworld Choir Motif 26
3.3.3 Triplets 27
3.4 Unifying orchestrations 28
3.4.1 String trills 28
3.4.1.1 Introduction 28
3.4.1.2 Tomb Raider: Legend 28
3.4.1.3 Tomb Raider: Anniversary 29
3.4.1.4 Tomb Raider: Underworld 29
3.4.2 Woodblock 30
3.4.2.1 Introduction 30
3.4.2.2 Tomb Raider: Legend 30
3.4.2.3 Tomb Raider: Anniversary 31
3.4.3 Piano 31
3.4.3.1 Introduction 31
3.4.3.2 Tomb Raider: Legend 31
3.4.3.3 Tomb Raider: Anniversary 32
3.4.3.4 Tomb Raider: Underworld 32
3.5 Unifying Latin texts 33
3.5.1 Introduction 33
3.5.2 Tomb Raider: Legend 33
3.5.3 Tomb Raider: Anniversary 34
3.5.4 Tomb Raider: Underworld 35
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3.6 Unifying sounds 35
3.6.1 Thrall sounds 35
3.6.2 Reward stingers 36
3.6.2.1 Introduction 36
3.6.2.2 Tomb Raider: Legend 36
3.6.2.3 Tomb Raider: Anniversary 36
Chapter 5: Conclusion 37
Bibliography 38
Appendix 1: Keywords 42
Appendix 2: Compact disks track list 43
Appendix 3: Complete track list 47
Appendix 4: Attached disks 54
1
Chapter 1
Introduction
1.1 Introduction
Hector Berlioz first used a melody called idée fixe to portray a character in his Symphonie
Fantastique. Richard Wagner later coined the term leitmotif, a musical motif or theme that is
associated with a character or concept. (Chattah 2006: 138.) Film and game composers use
the concept of leitmotif to enhance storytelling in soundtracks.
Research found that consumers spend $14.8 billion on games in 2012. Spending $4.04 billion
on hardware and another $1.93 billion on accessories, the gaming industry generated a total
of $20.77 billion worth of revenue in 2012. (Entertainment Software Association 2013: 2, 10,
11.) Composing music for games pays well: music for a high-budget “AAA” game can pay up to
$75,000 for 30 minutes worth of music (Film Music Magazine 2012: 7).
Famous film composers turn their attention to game music: Hans Zimmer (The Lion King;
Gladiator) composed the score for the game Call of Duty 2: Modern Warfare (Snider 2009).
Harry Gregson-Williams (Enemy of the State; The Chronicles of Narnia: The Lion, the Witch and
the Wardrobe) composed the game soundtracks for Call of Duty 4 as well as Metal Gear Solid 2
(Caron 2007). Many classical orchestras are also playing video game music. The London
Symphony Orchestra released two compact disks with game soundtracks (London
Philharmonic Orchestra 2013). Game soundtracks are also striding forward winning various
music awards: Inon Zur received BAFTA (British Academy of Film and Television Arts)
nomination for Fallout 3 whilst Austin Wintory got a Grammy nomination for his soundtrack
for the game Journey (Moriarty 2012; Zur 2013). A notable mention is Christopher Tin's
composition Baba Yetu (Civilzation IV soundtrack). This song was sung by the Soweto Gospel
Choir and won a Grammy award (“Best Instrumental Arrangement Accompanying Vocalists”)
in 2011. (Sliwinski 2011.)
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The game soundtrack genre is a new and relatively unexplored field. Sanders Huiberts (2010:
19-20) compares the game and film soundtrack experience as follows:
As opposed to the context of film with static audio, audio in games is often dynamic,
as it reacts to changes in the game environment or to the user’s actions. In this
classification, audio can be linear (e.g. a non‐interactive asset), adaptive (reacting to
events rather than the user) or interactive (reacting directly to gameplay of the user).
The Tomb Raider game trilogy was developed between 2006 and 2008 by the gaming
company Crystal Dynamics. It consists of three games: Tomb Raider: Legend, Tomb Raider:
Anniversary and Tomb Raider: Underworld. Crystal Dynamics hired Troels Folmann to compose
the soundtracks for Legend and Anniversary. He remained as music supervisor for Underworld
while the bulk of the soundtrack was composed by Colin O'Malley. (Edmonds 2008.)
1.2 Aim of the study
The aim of this study is to examine the use of unifying elements in the Tomb Raider Trilogy
game soundtracks. These elements may unite the soundtracks in particular or the trilogy as a
collective.
1.3 Research question
How do Troels Folmann and Colin O’Malley create unity within the Tomb Raider Trilogy game
soundtracks?
1.4 Methodology
Since there are no scores for the discussed soundtracks (the bulk of the music is rendered
digitally), analytical discussions will be based on aural analysis through time readings. Some
musical examples were also notated to support the content of the discussions. In Captivating
sound: the role of audio for immersion in computer games, Huiberts constructed an analysis
model for game audio. Figure 1 illustrates the model:
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Figure 1: The IEZA model.
(Huiberts 2010: 25.)
Karen Collins defines the term diegetic:
Diegetic sounds (source music or real sounds) are sounds that occur in the diegesis
(the narrative space, or character's space). Nondiegetic sound refers to 'background'
music and effects.
(Collins 2008: 184.)
The Effect domain in the model relates to the diegetic/activity aspect of the game. Effects are
the direct result of the players' interaction with the game world. Common examples are
sounds related to a digital avatar (game character) such as breathing, footsteps, dialogue
between characters. (Huiberts 2010: 25.)
The Zone domain relates to the diegetic/setting aspect of the game and links with
environmental sounds in a spacial setting. Common examples are weather sounds (wind, rain,
thunder) and city noise. (Huiberts 2010: 26-27.)
The Interface domain relates to the non-diegetic/activity aspect of the game. These sounds are
outside the fictional game world. These sounds are often designed to relate to the game itself.
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This includes the in-game menu for Tony Hawks Pro Skater 4 where grinding, skidding and
sliding sounds of skateboards are used. (Huiberts 2010: 28.)
The Affect domain relates to the non-diegetic/setting aspect of the game. Background music is
an example of audio belonging to the Affect domain. Although music does not relate directly to
the players interactions in the game it adds cultural and emotional references to the players
experience. (Huiberts 2010: 29.)
Categorizing game audio using the IEZA model helps the reader to understand the context of
the audio, especially when the player's interaction with the game triggers stingers (see 2.4).
Most music in the discussed soundtracks belongs to the Zone domain. Tracks that don't belong
to the Zone domain will be described in relation the appropriate domain.
1.5 Delimitation of the study
This study will only discuss the unifying elements in the music of Tomb Raider: Legend, Tomb
Raider: Anniversary and Tomb Raider: Underworld and will not discuss any music of the
Underworld expansion games (Lara's Ashes, Beneath the Shadows). Extended tracks will be
excluded from the study. Many tracks (especially in Tomb Raider: Legend and Tomb Raider:
Underworld) are non-linear (loops). In “loop” tracks only initial statements of sections will be
discussed unless the repetition has special significance.
1.6 Attached disks
Compact disks are provided with this discussion (see Appendix 4). Tracks shall be linked to
the disks using the CD x:y abbreviation (where x is the disk number and y the track number).
The compact disks will only contain the tracks discussed, not the complete soundtrack. The
content of the compact disks is included in Appendix 2 whilst a complete track list (as found
on the Tomb Raider Forums) is included in Appendix 3. A Digital Video Disk (DVD) with the
trilogy soundtracks in Motion Picture Expert Group Audio Layer III (MP3) format will also be
included.
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Chapter 2
Background to the study
2.1 A short history of Tomb Raider
Tomb Raider is a video game franchise featuring the fictional English archaeologist Lara Croft.
The first game in the series (entitled Tomb Raider) was developed by Core Design in 1996.
Core Design continued the franchise with the following games: Tomb Raider II, Tomb Raider III,
Tomb Raider: The Last Revelation, Tomb Raider: Chronicles, Tomb Raider: Angel of Darkness.
Crystal Dynamics took over the development of the franchise after the critical failure of Angel
of Darkness, developing the following games: Tomb Raider: Legend, Tomb Raider: Anniversary,
Tomb Raider: Underworld, Tomb Raider. Released in 2013, Tomb Raider is a reboot of the
franchise; the title should not be mistaken with the original Tomb Raider game. The name
Tomb Raider Trilogy was given to the collective high-definition release of Legend, Anniversary
and Underworld for the Play Station 3. (Wikipedians 2013: 1, 4, 5, 72, 143.)
Two Tomb Raider movies has been released starring Angelina Jolie: Lara Croft – Tomb Raider
(2001) and Tomb Raider: The Cradle of Life (2003).The first film is the highest-grossing film
adaptation of a video game ever released in the United States. (Wikipedians 2013: 1, 9.)
Table 1: Tomb Raider games released.
Title Developer Publisher Year
Tomb Raider Core Design Eidos Interactive 1996
Tomb Raider II Core Design Eidos Interactive 1997
Tomb Raider III Core Design Eidos Interactive 1998
Tomb Raider: The Last Revelation Core Design Eidos Interactive 1999
Tomb Raider: Chronicles Core Design Eidos Interactive 2000
Tomb Raider: Angel of Darkness Core Design Eidos Interactive 2003
Tomb Raider: Legend Crystal Dynamics Eidos Interactive 2006
Tomb Raider: Anniversary Crystal Dynamics Eidos Interactive 2007
Tomb Raider: Underworld Crystal Dynamics Eidos Interactive 2008
Tomb Raider Crystal Dynamics Square Enix 2013
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2.2 The music of Tomb Raider
The music for the original Tomb Raider was composed by Nathan McCree with additional
music by Martin Iveson. McCree continued composing the music for Tomb Raider II and Tomb
Raider III. Peter Connelly composed the music for the following three games (Tomb Raider:
Last Revelation, Tomb Raider: Chronicles, Tomb Raider: Angel of Darkness). David Snell
conducted the London Symphony Orchestra at Abbey Roads Studios for the Angel of Darkness
soundtrack. The music for the Tomb Raider Trilogy was composed by Troels Folmann and
Collin O'Malley. Jason Grave composed the music for the 2013 instalment of Tomb Raider.
(Wikipedians 2013: 5, 6, 8.)
Only a few selected tracks have been released officially by Eidos (the company that owns the
Tomb Raider franchise). Most tracks used in this analysis are released unofficially on the Tomb
Raider Forum.
2.3 Biographical overview of Troels Brun Folmann and Colin O'Malley
Troels Brun Folmann was born in Denmark in 1974 (Nuamenko 2001). He is a Ph.D. scholar in
game soundtracks, writing his thesis (DELCA: Disembodied, Location-Specific Conversational
Agents) at the IT University in Copenhagen (Folmann 2004: ii). Folmann is the co-founder of
two sampling companies (Tonehammer, 8dio) and won several awards for his Tomb Raider:
Legend soundtrack including the TEC (Technical Excellence and Creativity) award 2006,
BAFTA 2006, GANG (Game Audio Network Guild) award 2007. (Folmann 2013.)
Colin O'Malley was born in 1973 in the United States. He composed music for various
companies including CNN, the Walt Disney Company, Universal Studios, DC Comics and
Electronic Arts. (MTV 2008.)
2.4 The music of Tomb Raider: Legend
Before composing Folmann put two months aside to create a “soundscape bible” that served
as composition guide in relation to ethnic instruments (The Tomb Raider Forums 2006). The
soundtrack was then composed in a duration of nine months (Edmonds 2008). Ethnic
instruments used for different areas in the game include pan-flutes, taiko drums, the
shakuhachi, whale drums, the duduk and Tibetan horn. Cinematics between different game
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areas were scored symphonically to create unity between all these ethnic regions (The Tomb
Raider Forums 2006).
Folmann used sound samples from East West Quantum Symphonic Orchestra, East West
Quantum Leap Symphonic Choirs, Project SAM Symphobia and Spectrasonics Heart of Asia
(Collins 2008: 135; M4G 2006; Wikipedians 2013: 7). In relation to his Ph.D. research Folmann
created a methodology called “micro-scoring” which was first implemented in Legend. In an
interview with M4G Folman describes this methodology:
Micro-scoring is essentially about breaking the game score into a variety of small
components that are assembled in real-time according to player action and/or
interaction. The micro-scores are made in such a way that they adapt to player action
or interaction.
(M4G: 2006)
Micro-scores (also known stingers) are placed throughout the game. Stingers are heard in
relation to the players' interaction with the game, creating emotional tension. Special stingers
are composed to start and end looping music, thus making the non-linear musical experience
more streamlined. (Coleman 2008.) Stingers in the trilogy often blend with the main score
(James 2006: 53).
2.5 The music of Tomb Raider: Anniversary
In Tomb Raider: Anniversary Developers Diary 2 (video interview) Folmann states his
intentions to be faithful to the original soundtrack whilst developing the material from the
original game. The soundtrack uses standard instruments from the orchestra and primarily
focuses on thematic material. (Folmann 200.7) Samples which Folmann and O'Malley
recorded with an orchestra in Salt Lake City were used in Anniversary (Coleman 2008).
2.6 The music of Tomb Raider: Underworld
The Underworld Main Theme was composed by Folmann who acted as music-supervisor
whilst O'Malley scored the bulk of the music. Samples from Project SAM True Strike and
Tonehammer were used in addition to the sample libraries used in the previous two games.
The score is intentionally subdued, ambient and emotional with fewer rhythmical
punctuations in contrast to Legend and Anniversary. Melodic material is fragmented and
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developed through thematic transformations. (Edmonds 2008; Wikipedians 2013: 7.)
2.7 Trilogy plot summary
2.7.1 Tomb Raider: Legend
Surviving a plane crash in the Himalayas, the nine-year-old Lara Croft seeks shelter in a
Buddhist Monastery with her mother, Amelia. Lara discovers an ornate stone dais holding an
ancient sword. After touching the sword the dais activates and raptures Amelia away from this
world. Years later, the adult Lara searches for a similar stone dais in the ruins of Tiwanaku,
Bolivia. Upon discovering the dais she encounters the American adventurer James Rutland.
Rutland, holding an unusual sword fragment, reminds Lara of her deceased friend, Amanda
Evert. After confronting Rutland, Lara establishes that Rutland's sword fragment is similar to
the sword she found as a child in the Himalayas.
As a teenager Lara excavates a tomb in Peru with Amanda Evert. One day an unknown
demonic entity kills the entire excavation team except Lara and Amanda. Amanda takes a
glowing wraith-stone from the tomb and gets trapped in a cave-in as she and Lara were
escaping. Returning to the tomb, the adult Lara discovered that Amanda's remains were
missing. Delving deeper into the excavation site Lara finds a replica of the entire sword that
was part of the Himalayan dais. It seems that there is a link between the sword fragments and
Excalibur, the sword of King Arthur. Lara recognises a fragment on the replica recalling that it
was stolen by the Yakuza Kumicho named Shogo Takamoto.
Meeting up with Takamoto in Tokyo, Japan, Lara tries to negotiate purchase of the sword
fragment. Takamoto refuses to sell the fragment and orders his men to kill her. Pursuing
Takamoto to his penthouse Lara eventually claims the sword fragment and leaves Tokyo via
helicopter. Locating Rutland in Ghana, Lara enters a temple site that her parents visited before
she was born. Confronting Rutland for his piece of the sword fragment Rutland mentions an
artefact called the Ghalali Key that could re-assemble Excalibur. After obtaining Rutland's
sword fragment Lara is informed that Amanda had raided the Croft Manor looking for the
Ghalali Key. Lara then pursues Amanda, travelling to Kazakhstan in search of another sword
fragment.
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Following in Amanda’s footsteps Lara comes upon a KGB laboratory which conducted
experiments on the sword fragment fifty years ago. Lara re-encounters Amanda, who is still
bitter about being left to die in Peru. Amanda uses her wraith-stone to unleash the Peru
demon who she now controls. Lara escapes the laboratory with another sword fragment.
Following a map that was on a knight's shield in the Kazakhstan laboratory Lara travels to
England in search of another sword fragment.
The map leads to Cornwall where an abandoned tourist-attraction of King Arthur's tomb is
located. Breaking through a cenotaph Lara discovers the real tomb of King Arthur. His four
knights (Galahal, Bors, Percival and Lancelot) had spread the sword fragments to locations
around the world and inspired the Grail Quest while the final fragment was left with Arthur.
Returning home Lara realises that the Ghalali Key is needed to reforge Excalibur. She recalls a
pendant that her mother use to wear that resembled a sword fragment, possibly the Ghalali
Key.
Back in Nepal Lara returns to the plane crash site where she found her mothers pendant.
Returning to the Buddhist temple, Lara reforges Excalibur using the Ghalali Key. Her attempt
to reactivate the broken dais fails and Lara returns to Bolivia to use Excalibur on the Tiwanaku
dais. Back in Bolivia, Rutland and Amanda await Lara at the dais. Amanda unleashes her
wraith-stone demon in an attempt to stop Lara and Rutland gets killed in the commotion.
Activating the dais with Excalibur Lara sees her mother in the portal that opens. Amanda
interrupts the procession before Lara is teleported and the dais closes. After Lara threatens to
kill Amanda she states that Lara's mother is still alive in Avalon (the mythical resting place of
King Arthur) where Amanda herself wants to go to. Lara leaves Bolivia as the quest for her
mother begins. (Wikipedians 2013: 75 – 76.)
2.7.2 Tomb Raider: Anniversary
In 1945 a blast from a nuclear experiment by the Manhattan Project reveals a strange
crystalline structure from which a winged creature comes forth. In 1996 Lara Croft is
approached by Larson Conway whilst visiting Calcutta, India. He introduces her to Jacqueline
Natla who wants to hire Lara to collect an artefact called the Scion. Lara and her father search
unsuccessfully for the artefact years ago. Travelling to the city of Vilcabamba in the Peruvian
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mountains, Lara finds a tomb belonging to the Atlantian king, Qualopec. He was one of the
three Kings (Triumvirate) who ruled Atlantis before it sank. After picking up the Scion
Qualopec revives and Lara escapes the collapsing tomb. Once outside Lara is confronted by
Larson who tries to take her Scion from her. After knocking him out, Lara breaks into Natla's
office to find the location of the next piece of the Scion.
Traveling to Greece Lara enters St. Francis Folly. She meets Pierre Dupont, another
archaeologist whom Natla hired to retrieve a piece of the Scion. Far underneath St. Francis
Folly Lara enters the tomb of Tihocan, the second member of the Triumvirate. After
discovering that the tomb is empty, Lara is forced to give up the second piece of the Scion to
Pierre. He is killed by the centaur guardians outside the tomb and Lara regains the second
Scion piece. After joining the first two pieces of the Scion, Lara sees a vision locating the third
piece of the Scion in Egypt.
Lara travels to Egypt and obtains the final piece of the scion. After assembling the three pieces
Lara enters a trance again. In the vision, Tihocan and Qualopec sentence Natla to
imprisonment for treason. Whilst in the trance Natla steals the completed Scion and Lara is
restrained by Natla's henchmen. After escaping Lara boards Natla's ship and travels to the Lost
Island. After an encounter with the henchmen Lara enters the Atlantean pyramid and
confronts Natla. Natla plans to resurrect the Atlantean army and offers Lara immortality. Lara
rejects Natlas offer and destroys the Scion. After trapping Natla under a collapsed pillar Lara
leaves the Lost Island on Natla's sailboat. (Wikipedians 2013: 80.)
2.7.3 Tomb Raider: Underworld
The prologue is set in the Croft Manor where Lara is trapped in the enflamed building. After
escaping the Manor the prologue ends and we see the introduction screen [Prologue – Titles
(CD 3:26)]. The game rewinds a week in time, just after the events of Tomb Raider: Legend. In
her quest for Avalon Lara visits an ancient temple under the Mediterranean Sea. Despite it's
location, “Niflheim” is connected with Norse mythology. After recovering a gauntlet Lara is
ambushed by Amandas mercenaries who take the gauntlet from her. After resurfacing Lara
boards Amandas ship and finds Natla prisoner there. Natla explains that Niflheim is the
“wrong underworld” – Lara's mother was in Helheim. In order to get into Helheim Lara will
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need Thor's gauntlets, his belt and his hammer. Natla provides the starting point for Lara's
next venture: Coastal Thailand. In Thailand Lara does not find any artefacts but a note written
by her father, Richard. Lara discovers that Richard worked for Natla many years ago but hid
the missing gauntlet from her. Returning to the Croft Manor, Lara enters the family crypt under
the mansion. On Richard's secret desk Lara finds the second gauntlet and a tape-recorded
message, warning Lara that Helheim contains a powerful weapon. Lara then encounters the
Norse undead for the first time, mythical beasts called thralls. Coming out of the crypt Lara
finds the Croft Manor enflamed (as in the prologue). After viewing the security footage of the
mansion Lara faces herself in the form of a doppelgänger. The doppelgänger kills Lara's
assistant Alister and flees the Croft Manor.
Continuing to Mexico Lara finds Thor's Belt and pictographs linking the weapon in Helheim to
Jörmungandr, the mythical Norse sea-serpent. The next stop are the ruins on Jan Mayen Island
that correlates to Valhalla. Here Lara finally recovers Thor's hammer before returning to
Amanda's ship. Armed with Thor's hammer, Mjölnir, Lara interrogates Natla and agrees to
regroup outside Helheim. Natla needs Mjölnir to get inside Helheim and Lara needs Natla to
do the Ritual of Odin to open Helheim.
After Lara travels to the Arctic Sea, she cooperates with Natla to open the gates of Helheim.
Once inside Lara encounters her mother, now dead but reanimated as a thrall. Once Lara kills
her undead mother Natla sends the doppelgänger to kill Lara. Amanda intervenes once again
and saves Lara from the doppelgänger. Natla activates the Midgard Serpent (Jörmungandr), a
device that moves tectonic plates to bring about the end of the world and usher in the Seventh
Age. Lara destroys both Natla and the Midgard Serpent using Mjölnir before escaping Heilheim
with Amanda using a stone dais. They are teleported back to the Buddhist temple in Nepal
that appeared in Legend. The trilogy ends with Lara leaving the stone dais saying: “Goodbye,
mother. Rest in peace”. (Wikipedians 2013: 87 – 88.)
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Chapter 3
Unifying Elements
3.1 Defining unifying elements
Unifying elements are musical ideas which recur in music to create unity. Some unifying
elements are associated with a character or idea (for example the Bear Theme) whilst other
elements are there to create cognitive associations (for example Ailein Duinn). The unifying
elements in this chapter will be grouped together as melodical content, rhythmical content,
similar orchestrations, Latin texts and miscellaneous content.
3.2 Unifying melodies
3.2.1 Main Theme Motif
3.2.1.1 Introduction
The Main Theme Motif and Sequence Motif is part of the Tomb Raider Main Theme composed by
Nathan McCree for the original 1996 Tomb Raider (Wikipedeans 2013: 8). Figure 2 can be
heard in the Anniversary Main Theme (CD 2:16) (00:00 – 00:14).
Figure 2: “Main Theme Motif” and “Sequence Motif”.
The Main Theme Motif is often heard with a slight rhythmical variation. Figure 3 can be heard
in Greece – Poseidon's Theme (Anniversary) (CD 2:31) (00:22 – 00:27).
Figure 3: “Main Theme Motif” rhythmical variation.
The Sequence Motif is often treated as a cell: rhythmically changed or inverted. Since it rarely
appears on its own the Sequence Motif will be discussed in relation to other unifying elements.
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3.2.1.2 Tomb Raider: Legend
Main Theme (CD 1:1)
The soundtrack starts with a melodically inverted statement of the Main Theme Motif on the
duduk (00:00 – 00:07) (M4G 2006).
Flashback (CD 1:4)
A clarinet briefly quotes the Main Theme Motif (00:40 – 00:47).
Mission Summary (CD 1:6)
The Main Theme Motif is heard in the brass (00:33 – 01:02).
Bolivia 3 (CD 1:9)
The Main Theme Motif is repeated sequentially on a piccolo, notably at (00:06 – 00:12) and
then repeated onwards. A flute states the Main Theme Motif and repeats material sequentially
(00:30 – 00:51).
England 9b (CD 2:11)
The Main Theme Motif is played at the end of a phrase belonging to the Legend Theme in the
brass (01:24 – 01:33).
3.2.1.3 Tomb Raider: Anniversary
Main Theme (CD 2:16)
This track is an arrangement of the Main Theme from the original Tomb Raider. True to the
original orchestration Folmann placed the melody primarily in the oboe.
Croft Manor – Main Theme (CD 2:17)
The piano and pizzicato strings repeat the Main Theme Motif sequentially throughout the
entire track.
Croft Manor – Empty Bucket Theme, Relic Chime (CD 2:18)
In this stinger a piano plays the Main Theme Motif accompanied by strings and harp (IEZA:
Effect Zone).
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Croft Manor – Music Box Theme (CD 2:19)
A music box plays the Main Theme Motif (IEZA: Effect Zone).
Peru – Raptor Theme (CD 2:22)
A rhythmical variation of the Main Theme Motif is heard in the trombones (00:18 – 00:33).
Figure 4: Raptor Theme – “Main Theme Motif”.
Peru – Cinematic Mix 1 (CD 2:26)
The Main Theme Motif is heard in a clarinet (00:00 – 00:23). The Sequence Motif is heard in
woodwinds and choir in retrograde (00:55 – 01:05) before the brass sequentially repeats the
Main Theme Motif (01:45 – 02:23). The track ends with brass stating the Sequence Motif in
retrograde (03:45 – 04:09).
Greece – Gorilla Theme (CD 2:29)
The first section of the Gorilla Theme is a thematic transformation based on the pitch relations
of the Main Theme Motif. It is sung by choir and doubled by strings (00:00 – 00:17).
Figure 5: Gorilla Theme thematic transformation.
Greece – Poseidon's Theme (CD 2:31)
The clarinet introduces the Main Theme Motif (00:19 – 00:29) before a cor anglais plays a full
exposition of the Tomb Raider Main Theme (00:31 – 01:14).
Greece – Damocles' Theme (CD 2:33)
The brass repeats the Main Theme Motif sequentially throughout the entire track.
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Greece – Fire Room (CD 2:34)
The entire track consists of the choir and brass playing a thematic transformation based on
the pitch relations of the Main Theme Motif.
Figure 6: Fire Room thematic transformation.
Greece – Centaur Boss Theme (CD 2:35)
The choir, brass, percussion and strings present the Main Theme Motif before the track comes
to an end (00:26 – 01:10).
Greece – Cinematic Mix 1 (CD 2:36)
The brass quotes the Main Theme Motif (00:00 – 00:25).
Greece – Cinematic Mix 2 (CD 2:37)
The brass and choir presents the Sequence Motif (01:17 – 02:03). The Main Theme Motif is
quoted by the trumpets (03:04 – 03:09).
Egypt – Crocodile Theme (CD 3:3)
The Crocodile Theme essentially consists of repeating notes and pitches based on the Main
Theme Motif.
Figure 7: Crocodile Theme.
Egypt – Alternate Crocodile Theme (CD 3:4)
The brass quotes and sequentially repeats the Main Theme Motif (00:00 – 00:24).
Egypt – Cinematic Mix 1 (CD 3:5)
A male choir briefly sings the Main Theme Motif (01:55 – 02:07).
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Egypt – Revealers (CD 3:6)
The Main Theme Motif appears in several stingers in Egypt (00:49 – 01:03; 01:26 – 01:45;
01:46 – 02:09; 02:10 – 02:25; 02:48 – 03:05).
Lost Island – Atlantean Creatures (CD 3:7)
The Crocodile Theme (CD 3:3) that consists of a transformation of the Main Theme Motif
returns as a stinger in this track (00:27 – 00:56).
Lost Island – Great Pyramid Theme (CD 3:8)
The brass states the Main Theme Motif (00:09 – 00:14).
Lost Island – Torso Boss (CD 3:9)
The Main Theme Motif is quoted by the choir and full orchestra (00:19 – 01:10).
Lost Island – Cinematic Mix 1 (CD 3:11)
The Main Theme Motif is played by trombones at the end of a phrase at the end of this track
(03:27 – 03:39).
Lost Island – Cinematic Mix 2 (CD 3:12)
The Main Theme Motif is heard in the brass and choir as the game comes to a close (04:47 –
05:02).
Mission Summary (CD 3:14)
A harp playing the Main Theme Motif constitutes this track.
3.2.1.4 Tomb Raider: Underworld
Main Theme (CD 3:15)
The Main Theme Motif is heard twice in this track (00:00 – 00:10; 03:14 – 03:34).
Deep Sea Encounters (CD 3:16)
The choir sings a thematic transformation based on the pitch relationships of the Main Theme
Motif (00:40 – 00:53).
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Figure 8: Deep Sea Encounters.
World of Mist (CD 3:17)
The Main Theme Motif is heard briefly in the lower string section (01:36 – 01:44).
The Norse Connection (CD 3:18)
Brass and strings present a thematic transformation based on the pitch relations of the Main
Theme Motif (00:52 – 01:09).
Figure 9: The Norse Connection.
Full of Surprises (CD 3:19)
Even though melodic links are missing, the progression of i – v the notes D – E – [C] – D are
implied which spells out the Main Theme Motif (00:00 – 00:10).
Gate Of The Dead (CD 3:20)
The opening section of this track presents a thematic transformation based on the pitch
relations of the Main Theme Motif in the brass (00:00 – 00:13).
Figure 10: Gate Of The Dead.
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Rest in Peace (CD 3:23)
Synthesized strings and choir present the Main Theme Motif pitches (D – E – C) (01:08 –
01:19) followed by a female vocalist singing the Tomb Raider Main Theme (01:20 – 01:25)
echoed by a synthesized flute (01:28 – 001:44).
Mediterranean Sea – Warning! Flammable (CD 3:29)
The flutes state a melodic variation of the Main Theme Motif (01:20 – 01:34).
Figure 11: Warning! Flammable.
Coastal Thailand – Upwards & Onwards. (CD 3:32)
A male choir sings the Sequence Motif in retrograde (00:28 – 00:40).
Coastal Thailand – Kali's Passage (CD 3:33)
The female vocal soloist repeats a thematic transformation sequentially based on the pitch
relations of the Main Theme Motif (00:00 – 00:57).
Figure 12: Kali's Passage.
Coastal Thailand – Thor's God-like Strength (CD 3:34)
The brass states thematic transformation based on the rhythm of the Main Theme Motif (00:18
– 01:34).
Figure 13: Thor's God-like Strength.
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Coastal Thailand – Puppet No Longer (CD 3:35)
The Main Theme Motif can be heard on marimba as part of the accompaniment (00:00 –
00:08). A flute then states the Main Theme Motif as melody (00:15 – 00:25).
Southern Mexico – Thor's Thralls (CD 3:41)
The choir sings a thematic transformation based on the rhythm of the Main Theme Motif
(00:00 – 00:26).
Figure 14: Thor's Thralls.
3.2.2 Legend Theme
3.2.2.1 Introduction
The Legend Theme only appears in Legend and briefly in Anniversary. It is not frequently heard
as a motif and usually appears in longer phrases.
Figure 15: Legend Theme.
3.2.2.2 Tomb Raider Legend
Main Theme (CD 1:1)
The Legend Theme is first heard on an Arabian violin (00:08 – 00:24). A full exposition of the
Legend Theme is later stated by choir and tutti orchestra (00:46 – 01:45). (M4G 2006.)
South America Theme (CD 1:2)
The track immediately starts with a brass quotation of the Legend theme (00:02 – 00:13).
Flashback (CD 1:4)
The Legend Theme is first stated in the brass (01:31 – 01:53) and later returns in the
woodwinds (02:50 – 02:58). A synthetic flute then briefly quotes the Legend Theme (03:47 –
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04:56). An oboe states of the Legend Theme towards the end of the track (05:03 – 05:43).
Croft Manor 1a (CD 1:5)
The use of the piano in this track is similar to that of the Croft Manor – Main Theme (CD 2:17)
in Anniversary. A piano plays and repeats the Main Theme Motif sequentially throughout the
entire duration of the track.
Mission Summary (CD 1:6)
The brass immediately states the Legend theme (00:00 – 00:15) and later returns (01:05 –
01:33).
Bolivia 2 (CD 1:8)
The oboe plays the Legend Theme (00:28 – 00:40).
Bolivia 9 (CD 1:14)
The brass states the Legend Theme throughout the entire duration of the track.
Japan 10 (CD 1:23)
The brass plays the Legend Theme and then suspends into pedal notes (00:29 – 00:52).
Ghana 8a (CD 2:4)
The brass and bells present a thematic transformation of the Legend Theme (00:00 – 00:10)
and is then repeated sequentially (00:14 – 02:03).
Figure 16: Ghana 8a.
Ghana 9 (CD 2:5)
Ghana 9 presents the thematic transformation from Ghana 8a in the strings but the repetitions
are varied melodically (00:00 – 02:18).
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England 8 (CD 2:10)
The Legend Theme is briefly presented by trombones (01:40 – 01:50).
England 9b (CD 2:11)
The brass states the Legend Theme (00:59 – 01:36).
3.2.2.3 Tomb Raider: Anniversary
Lost Island – Natla's Theme (CD 3:10)
Natla's Theme is a thematic transformation of the Legend theme. Both melodies rise as an
arpeggiated chord and then resolve stepwise.
Figure 17: Natla's Theme.
3.2.3 Ailein Duinn
According to legend, Captain Allan Morrison lived on the Isle of Lewis. In the spring of 1788 he
sailed to the Island of Scalpay to marry Annie Campbell. Sadly the ship sunk in a storm and he
was never heard of again. After Allan's death Annie composed the lament Ailein Duinn in
Scottish Gaelic (Cockburn 2012). Folmann reuses this lament fragmentally in Legend.
Main Theme (CD 1:1)
Ailein Duinn is first heard after the Arabian violin statement of the Legend Theme (00:25 –
00:45). After the tutti exposition of the Legend Theme the track is rounded off by a final quote
of Ailein Duinn (01:58 – 2:20). (M4G 2006)
Bolivia 4b (CD 1:10)
A fragment from Ailein Duinn appears (00:15 – 00:50).
Peru – Bike Ride (CD 1:16)
Ailein Duinn appears in this track (00:29 – 01:42).
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Nepal 1 (CD 2:12)
Ailein Duinn is sung in this track (00:24 – 01:10; 01:36 – 02:18).
Nepal 6 (CD 2:14)
Ailein Duinn appears fragmentary throughout the entire duration of the track.
3.2.4 Bear Theme
The Bear Theme is taken from the original Tomb Raider. It appears twice in Anniversary and is
similar to the Crocodile Theme (p. 15).
Figure 18: Bear Theme.
Peru – Bear Theme (CD 2:21)
This track introduces the Bear Theme to the listener.
Peru – Raptor Theme (CD 2:22)
This track is in ternary form: the Bear Theme (00:02 – 00:18), the Main Theme Motif (00:18 –
00:33), return of the Bear Theme (00:34 – 01:05).
3.2.5 Underworld Theme
The Underworld Theme appears exclusively in Underworld, being the final installation in the
trilogy.
Main Theme (CD 3:15)
This track is in ternary form: Main Theme Motif (00:00 – 00:10); Underworld Theme in full
exposition (00:15 – 03:13); Main Theme Motif (03:14 – 03:34).
Figure 19: Underworld Motif.
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Deep Sea Encounters (CD 3:16)
The Underworld Theme is briefly quoted by the brass (02:38 – 02:53).
World of Mist (CD 3:17)
The brass quotes the Underworld Theme (01:16 – 01:23).
Gate Of The Dead (CD 3:20)
The Underworld Theme is stated twice by brass (00:36 – 00:44; 01:07 – 01:11) and echoes
softly as the track comes to an end (01:51 – 01:57).
Mediterranean Sea – Door In The Depths Of The Mediterranean Sea (CD 3:27)
The brass quotes the Underworld Motif (00:00 – 00:04).
Mediterranean Sea – The Door to Niflheim (CD 3:28)
The brass in this track states the Underworld Motif (00:00 – 00:14).
Mediterranean Sea – Warning! Flammable (CD 3:29)
The Underworld Motif is quoted by the brass (00:00 – 00:32).
Mediterranean Sea – Realm Of The Dead (CD 3:30)
The brass quotes the Underworld Motif (00:41 – 00:54).
Coastal Thailand – Thor's God-like Strength (CD 3:34)
The Underworld Theme is stated by brass (01:42 – 02:00).
Southern Mexico – The Unnamed Days (CD 3:37)
The harp plays a three-note motif (a deconstructed triad) that reminds us of the Underworld
Motif (00:00 – 01:23).
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Figure 20: The Unnamed Days.
Arctic Sea – Lowering the Drawbridge (CD 4:7)
Brass plays the Underworld Motif (00:00 – 00:13).
Arctic Sea – Out Of Time (CD 4:9)
The tutti finale of Underworld features the Underworld Theme in variations (00:00 – 00:16;
00:16 – 00:36; 00:54 – 01:10).
Bonus Material – Vignette Theme (CD 4:11)
The Underworld Theme features briefly in this track as played by trombones (01:28 – 01:41).
3.3 Unifying rhythms
3.3.1 The tresillo
The tresillo is an additive rhythm consisting of 3+3+2 (Acquistas 2009:1). It features
prominently in Anniversary.
Figure 21: The Tresillo rhythm.
Peru – Alternate Wolf Theme (CD 2:23)
This track introduces the tresillo rhythm to the listener.
Peru – Cinematic Mix 1 (CD 2:26)
Tutti orchestra introduces an important variation of the tresillo rhythm: 3 + 3 + 2 + 2 (5/4)
(03:00 – 03:11).
Greece – Lion Theme (CD 2:30)
The first section of the Lion Theme uses the tresillo rhythm (00:00 – 00:20).
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Greece – Centaur Boss Theme (CD 2:35)
A hemiola is “a musical figure in which, typically, two groups of three beats are replaced by
three groups of two beats, giving the effect of a shift between triple and duple metre” (Pearsall
2013: 1). Folmann uses the hemiola for rhythmical variation in this track: the orchestra
introduces the 5/4 tresillo rhythm for 4 bars (3 + 3 + 2 + 2) (00:00 – 00:08). The choir enters
and extends the tresillo (3 + 3 + 2 + 2 + 2) which could also be interpreted as two-bar
hemiolas in 6/8 time (3 + 3; 2 + 2 + 2) (00:08 – 00:26).
Greece – Cinematic Mix 2 (CD 2:37)
The tresillo rhythm appears in the brass (02:33 – 02:45) followed by the 5/4 time tresillo
variation (02:50 – 03:04).
Egypt – Main Theme (CD 3:2)
The tresillo rhythm is used in this track throughout.
Egypt – Crocodile Theme (CD 3:3)
The tresillo rhythm is inflected in this track: (3 + 3 + 2) is reshuffled as (3 + 2 + 3) and then
broken down. The rhythmical pattern used in this track alternated between [3 + 2 + (2 + 1)]
and a 4/4 simple metre rhythm (00:00 – 00:21).
Lost Island – Atlantean Creatures (CD 3:7)
The Crocodile Theme (CD 3:3) that consist of an arranged variation of the tresillo rhythm
returns as a stinger in this track (00:27 – 00:56).
Lost Island – Cinematic Mix 2 (CD 3:12)
The 5/4 tresillo rhythm briefly appears (02:34 – 02:40).
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3.3.2 Underworld Choir Motif
A three- (occasionally four-) note rhythmical motif is sung by the choir in Underworld.
Although the pitches sometimes relate to the Sequence Motif, it is mostly independent.
Figure 22: Choir Motif.
Gate Of The Dead (CD 3:20)
The Choir Motif is heard twice in this track (01:11 – 01:17; 01:44 – 01:50).
Get Out Of My Sight (CD 3:21)
The Choir Motif can be heard (01:34 – 01:39).
Old Rituals (CD 3:22)
The Choir Motif is repeated during an entire section (00:31 – 01:36).
Rest in Peace (CD 3:24)
The Choir Motif is heard (00:19 – 00:33).
Prologue – Burning Manor (CD 3:24)
The second half of this track (01:29 – 03:02) is a repetition of the first half (00:00 – 01:28)
with added choir. There is a close relation between the Choir Motif (rhythm) and the Main
Theme Motif (melody) in this track. The Choir Motif is first heard at (01:35 – 01:48). Horns
(01:52 – 01:58) are echoed by the choir (02:00 – 02:05). A rhythmical variation of the Choir
Motif (02:09 – 02:21) is extended by a section that melodically resembles a thematic
transformation of the Main Theme Motif (02:23 – 02:38).
Figure 23: Burning Manor.
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Prologue – Titles (CD 3:36)
The melodic content of the Choir Motif is the Sequence Motif in retrograde (00:03 – 00:24).
Coastal Thailand – Upwards & Onwards (CD 3:32)
Female choirs sings the Choir Motif (00:00 – 00:22).
Croft Manor – Shadows on Fiery Angels (CD 3:36)
The Choir Motif can be heard (00:00 – 00:23).
Southern Mexico – The Midgard Serpent's Venom (CD 3:40)
The choir sings the Choir Motif (00:00 – 00:35).
Jan Mayen Island – The Hall of Mjölnir (CD 4:3)
The Choir Motif is heard (00:00 – 00:07).
Jan Mayen Island – Hammer Demolishes Bridge (CD 4:4)
The Choir Motif is heard again (00:01 – 00:09).
Arctic Sea – Helheim (CD 4:8)
The choir sings a rhythmical variation on the Choir Motif (00:16 – 00:30).
Arctic Sea – Out Of Time (CD 4:9)
The Choir Motif is heard accompanied by a full orchestra (02:17 – 02:34).
3.3.3 Triplets
Within the context of the Tomb Raider Trilogy triplets are only heard in Underworld. It can be
overlooked as a part of the compositional process; however, triplets in Underworld always
functions in loud passages stated by brass or choir.
Get Out Of My Sight (CD 3:21)
Triplets are heard for the first time in trombones (01:29 – 01:34).
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Old Rituals (CD 3:22)
Triplets are combined with the Choir Cell (01:19 – 01:35).
Southern Mexico – Mexican Bike Ride (CD 3:39)
Triplets are sung by the choir (00:39 – 00:51).
Andaman Sea – Incursions In The Company Of Mjölnir (CD 4:6)
Triplets feature prominently in the trumpets (00:00 – 00:21) and choir (00:22 – 00:37; 00:55
– 01:04).
Arctic Sea – Helheim (CD 4:8)
Triplets are heard in conjunction with the Choir Motif (00:48 – 01:04).
Arctic Sea – Out Of Time (CD 4:9)
The Choir Motif is combined with triplets (02:17 – 02:34; 02:55 – 03:05; 03:45 – 04:12).
3.4 Unifying orchestrations
3.4.1 String trills
3.4.1.1 Introduction
In the trilogy we find a orchestration technique that re-occurs frequently: string trills. It is
mostly heard in the treble strings. Sometimes string trills can be difficult to distinguish when
played softly in a thick texture, thus only clear examples will be pointed out. String trills can be
mistaken for vibrato when played softly.
3.4.1.2 Tomb Raider: Legend
Bolivia 1 (CD 1:7)
String trills thicken texture (00:20 – 00:45).
Peru 1a (CD 1:15)
String trills are heard (00:08 – 00:10; 00:20 – 00:24; 00:32 – 00:36).
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Ghana 1 (CD 2:1)
String trills permutates the entire track.
England 1 (CD 2:6)
String trills accompany this track (00:00 – 00:23; 00:53 – 01:04).
3.4.1.3 Tomb Raider: Anniversary
Main Theme (CD 2:16)
String trills open the soundtrack with the Main Theme (01:18 – 01:58).
Peru – Cinematic Mix 1 (CD 2:26)
String trills accompany the opening clarinet passage (00:03 – 00:10), and later a piano
passage (03:17 – 03:34).
Greece – Poseidon's Theme (CD 2:31)
String trills open this track (00:02 – 00:29).
Greece – Hephaestus' Theme (CD 2:32)
String trills accompany the choir for the god of smithing (00:04 – 00:28).
Greece – Cinematic Mix 1 (CD 2:36)
String trills gently accompany the opening and ending of this track (00:07 – 00:10; 00:18 –
00:24; 02:35 – 02:51).
Egypt – Revealers (CD 3:6)
String trills feature in 2 stingers in Egypt (00:19 – 00:30; 01:10 – 01:22).
3.4.1.4 Tomb Raider: Underworld
World of Mist (CD 3:17)
String trills are heard in the lower strings (01:45 – 01:51).
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Coastal Thailand – Remnants (CD 3:31)
String trills can be heard thickening the texture (00:06 – 00:08; 0012 – 00:15; 00:45 – 00:50;
00:53 – 00:58; 01:03 – 01:19).
Coastal Thailand – Kali's Passage (CD 3:33)
String trills make a brief entry at the end of the track (00:46 – 00:51).
Croft Manor – Shadow on Fiery Angels (CD 3:36)
String trills echo the choir (00:05 – 00:08; 00:12 – 00:16).
Southern Mexico – Calender One Aligned (CD 3:38)
String trills ends this track as well (00:06 – 00:10).
3.4.2 Woodblock
3.4.2.1 Introduction
The woodblock is used in Legend and Anniversary. It is mostly used to thicken the texture of
the tracks.
3.4.2.2 Tomb Raider: Legend
Bolivia 8 (CD 1:13)
The woodblock is heard twice (00:02 – 00:06; 01:16 – 01:18).
Peru 2 (CD 1:17)
The woodblock links the loop in this track (01:32 – 01:36).
Peru 4 (CD 1:18)
The woodblock is heard twice (00:02 – 00:05; 00:26 – 00:30).
Peru 7 (CD 1:19)
The woodblock is heard twice (00:10 – 00:12; 00:37 – 00:38).
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Peru 9a (CD 1:21)
The woodblock can be heard twice accompanying the duduk (00:11 – 00:14; 01:06 – 01:08).
Japan 4 (CD 1:22)
The woodblock is heard twice in this track (00:01 – 00:03; 00:35 – 00:37).
Ghana 8a (CD 2:4)
The woodblock reappears twice in this track (00:10 – 00:12; 00:38 – 00:40).
3.4.2.3 Tomb Raider: Anniversary
Peru – Explorer's Theme (CD 2:24)
The woodblock is an integral part of this track (00:04 – 00:09; 00:34 – 00:48).
Peru – Revealers (CD 2:28)
This track features three stingers including the woodblock (00:03 – 00:09; 00:10 – 00:18)
(IEZA: Effects Zone).
3.4.3 Piano
3.4.3.1 Introduction
The piano is not heard frequently but acts as a unifying element.
3.4.3.2 Tomb Raider: Legend
Croft Manor 1a (CD 1:5)
A piano plays the Legend theme.
Ghana – Piano Roll (CD 2:2)
The “string piano” was an invention of the American experimental composer Henry Cowell. He
devised techniques using the strings of the piano including harmonics, pizzicato and muted
tones. (Weisgall 1959: 488) This piano technique in this stinger is similar to an effect in The
Banshee by Cowell where the flesh of the finger sweeps on the lower strings (Cowell 1959: 1)
(IEZA: Effects Zone).
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England 4 (CD 2:8)
Cowell techniques on the piano returns in England 4 (00:00 – 00:08; 00:17 – 00:21; 00:29 –
00:31; 00:37 – 00:41; 00:55 – 01:00).
3.4.3.3 Tomb Raider: Anniversary
Croft Manor – Main Theme (CD 2:17)
A piano plays the Main Theme Motif.
Croft Manor – Empty Bucket Theme, Relic Chime (CD 2:18)
In this stinger a piano plays the Main Theme Motif.
Croft Manor – Music Room Instruments (CD 2:20)
The piano is heard when the players interacts with the game (Lara plays the piano) (00:12 –
00:30) (IEZA: Effects Zone).
Peru – City of Vilcabamba Theme (CD 2:27)
A piano constitutes this stinger.
Greece – Cinematic Mix 1 (CD 2:36)
A piano is heard playing an ostinato figure (00:56 – 01:51).
3.4.3.4 Tomb Raider Underworld
Prologue – Lara's Legacy Lost (CD 3:25)
This track is set in the Croft Manor although the title does not indicate so. A piano and a harp
is heard again accompanying a singer.
Bonus Material – Vignette Theme (CD 4:11)
A piano plays the melody from (00:19) onwards.
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3.5 Unifying Latin texts
3.5.1 Introduction
Words sung from the Latin Mass are sung by choir in the trilogy. The phrase Agnus dei is the
most common in Legend.
3.5.2 Tomb Raider Legend
Bolivia (CD 1:3)
The track opens with a female choir singing Agnus dei (00:00 – 00:47).
Flashback (CD 1:4)
Female choir softly sings Agnus dei (03:47 – 04:56).
Bolivia 1 (CD 1:7)
Like the track above a female choir softly sings Agnus dei, but this time throughout the entire
track.
Bolivia 2 (CD 1:8)
Agnus dei is sung softly (00:21 – 01:36).
Bolivia 3 (CD 1:9)
A female choir sings Agnus dei (00:28 – 00:56).
Bolivia 6 (CD 1:11)
Agnus dei returns in this track as sung by a female choir (00:28 – 00:54).
Bolivia 7 (CD 1:12)
Agnus dei is sung (00:28 – 00:54).
Peru 8a (CD 1:20)
This rhythmical piece still contains Agnus dei, sung by a female choir (00:07 – 00:22; 00:58 –
01:07).
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Ghana 6 (CD 2:3)
Agnus dei is sung by a female choir (01:00 – 01:19).
England 3 (CD 2:7)
Female choir sings Agnus dei (00:26 – 00:33).
England 6 (CD 2:9)
This track features a rare exception of Agnus dei: the words are sung by a male choir (01:00 –
01:05).
Nepal 5 (CD 2:13)
From (00:10) onwards Agnus dei appears fragmentarily as sung by a female choir.
Nepal 6 (CD 2:14)
Agnus dei appears with Ailein Duinn (00:47 – 00:50).
3.9.3. Tomb Raider: Anniversary
Peru – Waterfall Theme (CD 2:25)
A female choir sings Agnus dei throughout the entire duration of the track.
Peru – Cinematic Mix 1 (CD 2:26)
Agnus dei is sung by a female choir (00:41 – 01:01).
Greece – Poseidon's Theme (CD 2:31)
A female choir singing Agnus dei accompanies a cor anglais (00:31 – 01:14).
Greece – Hephaestus' Theme (CD 2:32)
A male choir sings Kyrie eleison (00:00 – 00:13) followed by Gloria in excelsis deo (00:16 –
00:31).
Greece – Cinematic Mix 1 (CD 2:36)
Female choir softly sings Agnus dei (00:51 – 01:51).
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Greece – St. Francis Folly Choirs (CD 3:1)
This track is a collection of vocal stingers that are used in the Greece area. Various choir
combinations sing the following Latin words: Agnus dei (00:19 – 00:29), Kyrie (00:50 – 01:00),
Amen (01:23 – 01:33; 01:46 – 02:01), Gloria in excelsis deo (02:18 – 02:34), Kyrie eleison
(02:35 – 02:52) (IEZA: Effects Zone).
3.9.4 Tomb Raider: Underworld
Bonus Material – Lacrimosa (CD 4:10)
This track features an arrangement of the Lacrimosa from W.A. Mozart's Requiem. It is used in
the teaser trailer for Underworld. The words sung in this arrangement is:
Lacrimosa dies illa,
qua resurget ex favilla
judicandus homo reus.
Dona eis requiem. Amen.
3.6 Unifying sounds
3.6.1 Thrall Sounds
In Underworld Thrall Sounds is a stinger associated with thralls (mythical undead corpses). We
often hear this stinger integrated with the soundtrack.
Southern Mexico – Thor's Thralls (CD 3:41)
Thrall Sounds are first heard in this track (00:04 – 00:07; 00:18 – 00:21).
Jan Mayen Island – Viking Thralls (CD 4:1)
Thrall Sounds return in Jan Mayen Island (00:01 – 00:02; 00:17 – 00:19).
Jan Mayen Island – The Labyrinth of Valhalla (CD 4:2)
Thrall sounds are heard several times throughout this track (00:06 – 00:06; 00:12 – 00:13;
00:28 – 00:29; 00:36 – 00:37; 00:56 – 00:57; 01:03 – 01:04;).
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Jan Mayen Island – The Yeti Thrall (CD 4:5)
The Thrall sounds are heard three times (00:06 – 00:08; 00:21 – 00:23; 00:30 – 00:32).
3.6.2 Reward stingers
3.6.2.1 Introduction
In all the Tomb Raider games there are various rewards, relics and artefacts to be found.
Interacting with the game triggers these stingers (picking up the objects). Only the reward
stingers for Legend and Anniversary have been released.
3.6.2.2 Tomb Raider Legend
Reward Chime (CD 1:15)
This stinger is heard when picking up gold, silver or bronze rewards in Legend (IEZA: Effects
Zone).
3.6.2.3 Tomb Raider Anniversary
Croft Manor – Empty Bucket Theme/Relic Chime (CD 2:18)
This track serves two purposes in Anniversary: when emptying the bucket in the Croft Manor
and when picking up any relic in the game (IEZA: Effects Zone).
Secret Chime (CD 3:13)
This stinger is heard when a “secret” is picked up in Anniversary (IEZA: Effects Zone).
37
Chapter 4
Conclusion
During the research recurring musical ideas were found in the Tomb Raider Trilogy game
soundtracks. A list of unifying elements were created and regrouped under the following
categories:
1. Unifying melodies
2. Unifying rhythms
3. Unifying orchestrations
4. Unifying Latin texts
5. Unifying sounds
The Main Theme, Legend Theme and Underworld Theme are mostly heard in cutscenes and
action sequences: these melodic elements do not represent a specific idea but create musical
unity, binding different areas in the game(s) together. Some unifying elements are associated
with specific objects in the game: the Bear Theme and Crocodile Theme represents animals, the
Thrall sounds are associated with the mythical creatures whilst Natla's Theme represent a
human character. Many “themes” only represent a single area in the game: Natla's Theme (for
example) only feature once in the game despite the characters multiple appearances. Unifying
rhythms sub-consciously create associations that the player is not aware of. The piano
features prominently in the Croft Manor in all three games, associating a “domestic”
instrument with an indoor setting. Latin texts (as sung by the choir) is not only associated
with Christian settings (the tomb of King Arthur in England, Saint Francis Folly in Greece) but
also unite the vocals in all three games. Of all the unifying elements discussed, the most
prominent element to recur in all three games is the Main Theme Motif.
Since the music of the discussed Tomb Raider soundtracks is not true to the indigenous areas
it represents, we should ask ourselves the question: “What is real and what is not?” In the
track Nepal 1 (Legend), Folmann synthesizes a feeling of orientalism by combining the Gaelic
song Ailein Duinn, the chanting of a Buddhist monk with an electronic dance-beat. The music
38
is no longer authentic to the areas it represents but evokes a feeling of exoticism. Of all the
unifying elements discussed only the use of the piano in the Croft Manor could be associated
with a specific setting. Instrumentation corresponding to foreign settings in the discussed
games could be a topic for further research.
Unifying melodies are the most important elements heard in the trilogy soundtracks. Themes
and melodies not only unite the music but makes playing the game memorable for the player.
Compared to other game soundtracks, Folmann and O'Malley have excelled at creating distinct
and memorable music. The culmination of compositional experience in the trilogy is found in
the music of Underworld where the Main Theme Motif is repeated in the form of thematic
transformations, appearing in compositions of which the texture can be described as
“impressionistic”. The music of Underworld is so subtle that he player sometimes does not
even recognize its presence. The composers, audio engineers and programmers at Crystal
Dynamics cleverly layered the micro-scores and music to create a continuous stream of sound
that doesn't hinder the player's progression through the game areas. These techniques raise
the standard of audio implementation and musical composition for game soundtracks: a
measure which game soundtracks should be compared to.
39
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42
Appendix 1
Keywords
Analysis
Diegetic
Colin O'Malley
Game soundtrack
Gaming
IEZA model
Lara Croft
Micro-scoring
Motif
Stingers
Thematic transformations
Tomb Raider
Troels Folmann
Unifying elements
Video games
43
Appendix 2
Compact disks track list
Disk 1
Tomb Raider Legend
1. Main Theme 4:14
2. South America Theme 2:31
3. Bolivia 4:44
4. Flashback 5:43
5. Croft Manor 1a 3:49
6. Mission Summary 2:11
7. Bolivia 1 3:12
8. Bolivia 2 2:03
9. Bolivia 3 3:59
10. Bolivia 4b 2:13
11. Bolivia 6 2:54
12. Bolivia 7 2:32
13. Bolivia 8 4:46
14. Bolivia 9 1:41
15. Peru 1a 2:22
16. Peru – Bike Ride 4:33
17. Peru 2 2:55
18. Peru 4 2:07
19. Peru 7 2:26
20. Peru 8a 2:54
21. Peru 9a 3:07
22. Japan 4 3:34
23. Japan 10 1:53
44
Disk 2
1. Ghana 1 2:56
2. Ghana – Piano Roll 0:07
3. Ghana 6 3:55
4. Ghana 8a 2:03
5. Ghana 9 2:18
6. England 1 2:47
7. England 3 2:55
8. England 4 2:22
9. England 6 3:23
10. England 8 2:52
11. England 9b 4:06
12. Nepal 1 4:58
13. Nepal 5 4:20
14. Nepal 6 4:10
15. Reward Chime 0:02
Tomb Raider Anniversary - Deluxe Edition
16. Main Theme 3:37
17. Croft Manor – Main Theme 6:10
18. Croft Manor – Empty Bucket Theme, Relic Chime 0:10
19. Croft Manor – Music Box Theme 0:09
20. Croft Manot – Music Room Instruments 0:46
21. Peru – Bear Theme 0:31
22. Peru – Raptor Theme 1:05
23. Peru – Alternate Wolf Theme 0:26
24. Peru – Explorer's Theme 0:54
25. Peru – Waterfall Theme 1:05
26. Peru – Cinematic Mix 1 4:31
27. Peru – City of Vilcabamba Theme 0:06
28. Peru – Revealers 0:18
29. Greece – Gorilla Theme 0:56
30. Greece – Lion Theme 0:58
31. Greece – Poseidon's Theme 1:14
32. Greece – Hephaestus' Theme 0:31
33. Greece – Damocles' Theme 0:31
34. Greece – Fire Room 0:56
35. Greece – Centaur Boss Theme 1:10
36. Greece – Cinematic Mix 1 2:51
37. Greece – Cinematic Mix 2 3:22
45
Disk 3
1. Greece – St. Francis Folly Choirs 3:42
2. Egypt – Main Theme 0:31
3. Egypt – Crocodile Theme 0:29
4. Egypt – Alternate Crocodile Theme 0:38
5. Egypt – Cinematic Mix 1 2:42
6. Egypt – Revealers 3:05
7. Lost Island – Atlantean Creatures 0:56
8. Lost Island – Great Pyramid Theme 0:27
9. Lost Island – Torso Boss Theme 1:39
10. Lost Island – Natla's Theme 0:53
11. Lost Island – Cinematic Mix 1 3:39
12. Lost Island – Cinematic Mix 2 5:02
13. Secret Chime 0:09
14. Mission Summary 0:06
Tomb Raider Underworld
15. Main Theme 3:34
16. Deep Sea Encounters 3:09
17. World of Mist 2:21
18. The Norse Connection 2:16
19. Full Of Surprises 1:20
20. Gate Of The Dead 2:02
21. Get Out Of My Sight 2:13
22. Old Rituals 2:32
23. Rest In Peace 2:05
24. Prologue – Burning Manor 3:02
25. Prologue – Lara's Legacy Lost 0:40
26. Prologue – Titles 0:58
27. Mediterranean Sea – Door In The Dephts Of The Mediterranean Sea 0:15
28. Mediterranean Sea – The Door to Niflheim 0:14
29. Mediterranean Sea – Warning! Flammable 3:13
30. Mediterranean Sea – Realm Of The Dead 3:06
31. Coastal Thailand – Remnants 3:09
32. Coastal Thailand – Upwards & Onwards 1:14
33. Coastal Thailand – Kali's Passage 1:05
34. Coastal Thailand – Thor's God-like Strength 4:10
35. Coastal Thailand – Puppet No Longer 3:13
36. Croft Manor – Shadows on Fiery Angels 0:35
37. Southern Mexico – The Unnamed Days 2:13
38. Southern Mexico – Calender One Aligned 0:17
39. Southern Mexico – Mexican Bike Ride 3:16
40. Southern Mexico – The Midgard Serpent's Venom 0:40
41. Southern Mexico – Thor's Thralls 0:39
46
Disk 4
1. Jan Mayen Island – Viking Thralls 0:32
2. Jan Mayen Island – The Labyrinth Of Valhalla 3:05
3. Jan Mayen Island – The Hall Of Mjölnir 0:26
4. Jan Mayen Island – Hammer Demolishes Bridge 0:29
5. Jan Mayen Island – The Yeti Thrall 0:45
6. Andaman Sea – Incursions In The Company Of Mjölnir 2:24
7. Arctic Sea – Lowering The Drawbridge 0:24
8. Arctic Sea – Helheim 2:29
9. Arctic Sea – Out Of Time 4:40
10. Bonus Material – Lacrimosa 1:33
11. Bonus Material – Vignette Theme 7:27
47
Appendix 3
Complete track list
Tomb Raider Legend
1. Main Theme/Croft Manor Theme 4:14
2. South America Theme 2:31
3. Bolivia 4:44
4. Bike Ride Theme 2:24
5. Flashback 5:43
6. Tokyo 5:06
7. Amahlin 5:12
8. West Africa Theme 2:03
9. Vehicle Theme 2:21
10. Arthur's Grave/Somewhere Theme 5:09
11. Himalaya 4:15
12. Credits Theme 1:12
Tomb Raider Legend – Deluxe Edition
1. Main Theme 2:20
2. Installation 6:32
3. Croft Manor 1a 3:49
4. Croft Manor 1b 3:49
5. Croft Manor 2 2:01
6. Mission Summary 2:11
7. Bolivia 1 3:12
8. Bolivia 2 2:03
9. Bolivia – River Reveal 0:07
10. Bolivia 3 3:59
11. Bolivia 4a 2:13
12. Bolivia 4b 2:13
13. Bolivia 5 4:29
14. Bolivia 6 2:54
15. Bolivia 7 2:32
16. Bolivia 8 4:46
17. Bolivia 9 1:41
18. Peru 1a 2:22
19. Peru 1b 2:22
20. Peru – Bike Ride 4:33
21. Peru 2 2:55
22. Peru 3 3:19
23. Peru 4 2:07
24. Peru 5 2:54
25. Peru 6 1:56
26. Peru – Sun Chamber 0:11
27. Peru 7 2:26
48
28. Peru 8a 2:54
29. Peru 8b 2:54
30. Peru 9a 3:07
31. Peru 9b 3:07
32. Japan 1 4:25
33. Japan 2 1:53
34. Japan 3 1:29
35. Japan 4 3:34
36. Japan 5a 2:43
37. Japan 5b 2:43
38. Japan 6 3:00
39. Japan 7a 3:00
40. Japan 7b 3:00
41. Japan 8 3:10
42. Japan 9a 2:18
43. Japan 9b 2:18
44. Japan 10 1:53
45. Ghana 1 2:56
46. Ghana 2 1:51
47. Ghana – Piano Roll 0:07
48. Ghana 3a 3:29
49. Ghana 3b 3:29
50. Ghana 4 2:46
51. Ghana 5a 1:06
52. Ghana 5b 1:06
53. Ghana 6 3:55
54. Ghana 7 3:41
55. Ghana 8a 2:03
56. Ghana 8b 2:03
57. Ghana 9 2:18
58. Kazakhstan 1a 2:54
59. Kazakhstan 1b 2:54
60. Kazakhstan – Train Chase 4:26
61. Kazakhstan 2 3:10
62. Kazakhstan 3 2:34
63. Kazakhstan 4 4:58
64. Kazakhstan 5 3:40
65. Kazakhstan 6 3:22
66. Kazakhstan 7 4:58
67. Kazakhstan 8 4:09
68. Kazakhstan 9 4:24
69. Kazakhstan 10 4:51
49
70. England 1 2:47
71. England 2 3:59
72. England 3 2:55
73. England 4 2:22
74. England 5 3:44
75. England 6 3:23
76. England 7 3:06
77. England 8 2:52
78. England 9a 4:06
79. England 9b 4:06
80. Nepal 1 4:58
81. Nepal 2 4:06
82. Nepal 3 4:26
83. Nepal 4a 2:08
84. Nepal 4b 2:08
85. Nepal 5 4:20
86. Nepal 6 4:10
87. Nepal 7 2:10
88. Bolivia Redux 1:41
89. Reward Chime 0:02
90. Credits 7:33
Tomb Raider Anniversary - Deluxe Edition
1. Main Theme 3:37
2. Croft Manor – Main Theme 6:10
3. Croft Manor – Main Theme, Vol. 1: Indoors 4:17
4. Croft Manor – Main Theme, Vol. 2: Gym & Pool 4:17
5. Croft Manor – Main Theme, Vol. 3: Gardens 4:17
6. Croft Manor – Empty Bucket Theme, Relic Chime 0:10
7. Croft Manor – Music Box Theme 0:09
8. Croft Manor – Music Room Instruments 0:46
9. Peru – Bat Theme 0:32
10. Peru – Alternate Bat Theme 0:29
11. Peru – Bear Theme 0:31
12. Peru – Raptor Theme 1:05
13. Peru – Wolf Theme 0:30
14. Peru – Alternate Wolf Theme 0:26
15. Peru – Explorer's Theme 0:54
16. Peru – Waterfall Theme 1:05
17. Peru – Main Theme 0:44
18. Peru – Main Theme [Extended] 1:40
19. Peru – T-Rex Theme 1:17
20. Peru – T-Rex Theme [Extended] 2:21
21. Peru – Cinematic Mix 1 4:31
22. Peru – Cinematic Mix 2 2:43
23. Peru – Lost Valley Ambience 3:17
50
24. Peru – City of Vilcabamba Theme 0:06
25. Peru – Revealers 0:18
26. Greece – Rat Theme 0:32
27. Greece – Gorilla Theme 0:56
28. Greece – Gorilla Theme [Extended] 0:51
29. Greece – Alternate Gorilla Theme [Extended] 0:59
30. Greece – Lion Theme 0:58
31. Greece – Lion Theme [Extended] 1:01
32. Greece – Alternate Lion Theme [Extended] 1:01
33. Greece – Ambience 3:02
34. Greece – Poseidon's Theme 1:14
35. Greece – Hephaestus' Theme 0:31
36. Greece – Atlas' Theme 0:26
37. Greece – Damocles' Theme 0:31
38. Greece – Fire Room 0:56
39. Greece – Centaur Boss Theme 1:10
40. Greece – Cinematic Mix 1 2:51
41. Greece – Cinematic Mix 2 3:22
42. Greece – St. Francis Folly Choirs 3:42
43. Greece – Revealers 2:27
44. Egypt – Main Theme 0:31
45. Egypt – Main Theme [Extended] 0:57
46. Egypt – Mummy Theme 0:48
47. Egypt – Mummy Theme [Extended] 1:27
48. Egypt – Crocodile Theme 0:29
49. Egypt – Crocodile Theme [Extended] 0:50
50. Egypt – Alternate Crocodile Theme 0:38
51. Egypt – Ambience 3:34
52. Egypt – Tomb Ambience 3:40
53. Egypt – Cinematic Mix 1 2:42
54. Egypt – Cinematic Mix 2 1:17
55. Egypt – Revealers 3:05
56. Lost Island – Main Theme 1:06
57. Lost Island – Atlantean Creatures 0:56
58. Lost Island – Ambience 1:55
59. Lost Island – Great Pyramid Theme 0:27
60. Lost Island – Great Pyramid Theme [Extended] 0:38
61. Lost Island – Torso Boss Theme 1:39
62. Lost Island – Natla's Theme 0:53
63. Lost Island – Natla's Theme [Extended] 1:29
64. Lost Island – Cinematic Mix 1 3:39
65. Lost Island – Cinematic Mix 2 5:02
66. Lost Island – Revealers 2:53
51
67. Enemy Encounters 2:23
68. Secret Chime 0:09
69. Mission Summary 0:06
70. Credits 5:45
Tomb Raider Underworld
1. Main Theme 3:34
2. Mediterranean Murder 2:28
3. Deep Sea Encounters 3:09
4. World of Mist 2:21
5. The Norse Connection 2:16
6. Payback 3:13
7. Full Of Surprises 1:20
8. Gate Of The Dead 2:02
9. Unnatural Encounter 2:21
10. Get Out Of My Sight 2:13
11. Old Rituals 2:32
12. Rest In Peace 2:05
Tomb Raider Underworld - Deluxe Edition
1. Main Theme 3:34
2. Prologue – Burning Manor 3:02
3. Prologue – Lara's Legacy Lost 0:40
4. Prologue – Backdraft 0:14
5. Prologue – Titles 0:58
6. Mediterranean Sea – The Path To Avalon 3:07
7. Mediterranean Sea – Amongst Sharks & Jellyfish 4:03
8. Mediterranean Sea – Door In The Dephts Of The Mediterranean Sea 0:15
9. Mediterranean Sea – Kraken's Tentacle 0:08
10. Mediterranean Sea – Niflheim 2:47
11. Mediterranean Sea – The Door to Niflheim 0:14
12. Mediterranean Sea – Niflheim's Silence 2:36
13. Mediterranean Sea – The Slimy Sentinel's Secret Scope 0:28
14. Mediterranean Sea – Kraken Defeated 2:12
15. Mediterranean Sea – The Norse Connection 2:56
16. Mediterranean Sea – Escaping Niflheim 3:13
17. Mediterranean Sea – God Of Thunder 3:05
18. Mediterranean Sea – Warning! Flammable 3:13
19. Mediterranean Sea – Realm Of The Dead 3:06
20. Coastal Thailand – Remnants 3:09
21. Coastal Thailand – Ruins 2:42
22. Coastal Thailand – Pouncing Tigers 1:23
23. Coastal Thailand – Bhogavati 1:59
24. Coastal Thailand – Naga 1:09
25. Coastal Thailand – Cornered 1:93
26. Coastal Thailand – Silver Stone 2:07
27. Coastal Thailand – Upwards & Onwards 1:14
52
28. Coastal Thailand – Shiva's Left Crystal Light 0:19
29. Coastal Thailand – Shiva's Right Crystal Light 0:22
30. Coastal Thailand – Kali's Passage 1:05
31. Coastal Thailand – The Ancient World 0:55
32. Coastal Thailand – Thor's God-like Strength 4:10
33. Coastal Thailand – Puppet No Longer 3:13
34. Croft Manor – Protected By The Dead 3:08
35. Croft Manor – Shadows on Fiery Angels 0:35
36. Croft Manor – Doppelgänger Loitering The Ashes 3:01
37. Southern Mexico – The Unnamed Days 2:13
38. Southern Mexico – Panther Ambush 0:14
39. Southern Mexico – Mayan Calenders 3:25
40. Southern Mexico – Panthers Vs. Poachers 3:46
41. Southern Mexico – Rain On Ruins 2:06
42. Southern Mexico – Spider Pit 2:11
43. Southern Mexico – Skull Headdress 0:16
44. Southern Mexico – Calender One Aligned 0:17
45. Southern Mexico – Calender Two Aligned 0:16
46. Southern Mexico – Mexican Bike Ride 3:16
47. Southern Mexico – Xibalba 3:22
48. Southern Mexico – Xibalba Trap Rooms 0:21
49. Southern Mexico – Moving Walls 0:23
50. Southern Mexico – Spikes & Blades Room 0:16
51. Southern Mexico – Dark Room 0:24
52. Southern Mexico – Fire Room 0:27
53. Southern Mexico – The House Keys 0:17
54. Southern Mexico – Jaguar Head 0:14
55. Southern Mexico – The Midgard Serpent 3:53
56. Southern Mexico – Jörmungandr' Pool 0:41
57. Southern Mexico – Thor's Shield 0:17
58. Southern Mexico – The Midgard Serpent's Venom 0:40
59. Southern Mexico – Eitr Drained 3:19
60. Southern Mexico – Thor's Thralls 0:39
61. Southern Mexico – Orifice Of Thor 0:18
62. Southern Mexico – Land Of The Dead 4:57
63. Jan Mayen Island – Viking Thralls 0:32
64. Jan Mayen Island – Gate Of The Dead 1:05
65. Jan Mayen Island – The Labyrinth Of Valhalla 3:05
66. Jan Mayen Island – The Hall Of Mjölnir 0:26
67. Jan Mayen Island – Hammer Demolishes Bridge 0:29
68. Jan Mayen Island – The Yeti Thrall 0:45
69. Andaman Sea – Rituals Old 2:07
70. Andaman Sea – Incursions In The Company Of Mjölnir 2:24
53
71. Arctic Sea – World Of Ice 4:32
72. Arctic Sea – Sword Rises I 0:15
73. Arctic Sea – Sword Rises II 0:19
74. Arctic Sea – Sword Rises III 0:19
75. Arctic Sea – Lowering The Drawbridge 0:24
76. Arctic Sea – Sunken Corridors 4:02
77. Arctic Sea – Helheim 2:29
78. Arctic Sea – Yggdrasil 4:23
79. Arctic Sea – Guardians Of Hellheim 2:26
80. Arctic Sea – Out Of Time 4:40
81. End Credits 6:46
82. Bonus Material – Lacrimosa 1:33
83. Bonus Material – Roll Back Destruction 4:03
84. Bonus Material – Mediterranean Sea – Niflheim [Wii & PS2 Edit] 2:40
85. Bonus Material – Vignette Theme/Coastal Thailand – Thor's God-like Strength 7:27
86. Bonus Material – Croft Manor – Protected By The Dead [Wii & PS2 Edit] 2:57
87. Bonus Material – Previously Unreleased Suite #1 2:36
88. Bonus Material – Previously Unreleased Suite #2 1:37
89. Bonus Material – Previously Unreleased Suite #3 1:01
90. Bonus Material – End Credits [Wii & PS2 Tribute Mix] 5:65
54
Appendix 4
Attached disks
Pieter Smal