Ludvig Forssell returns to the strand and somehow raises the stakes on what was already one of the most ambitious game scores of the PS4 era. The opening bookends say everything -- "Should We Have Connected" and "We Should Not Have Connected" frame the entire sequel's thematic tension in their titles alone, and musically they're two sides of the same devastating coin.
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"Higgs" brings back the menace for Troy Baker's character with a theme that's equal parts grandeur and instability. "Good Old Fashioned Boss Fight" has a knowing wink in its title but delivers absolute chaos in execution, while "Crab Battle" -- yes, that Crab Battle -- is Forssell letting loose with something genuinely ferocious.
"Fetid Fetus Flogging" is peak Kojima naming convention and the track itself is as unhinged as you'd expect. The Swedish-language "Pa En Mork, Stjarnklar Natt" featuring Amelie Anna adds this haunting Nordic dimension. The three-part "One Last Fight" suite is the emotional centerpiece, with Part 2 featuring Troy Baker himself, blurring the line between score and performance in a way that's pure Kojima.
"The Singular Beach" carries the weight of finality, and "Borne Along On The Currents" floats with the kind of melancholy beauty that made the first game's quiet walking moments so meditative. Forssell understood the assignment again -- connection, loss, and the terrifying beauty of whatever Kojima's mind conjures.