During the development of 2013's The Last of Us, creators Neil Druckmann and Bruce Straley began compiling a list of music that fit the mood of what they were going for. When it came time to find a composer to bring the music of their bleak world to life, they realized many of the tracks they'd compiled were by Academy Award-winning composer, Gustavo Santaolalla.
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Naturally, they turned to the Argentine musician, who went on to create the stunningly beautiful soundtracks filled with songs of loss, hope, and beauty. Fans are no doubt eager to hear how he adapts his music for the upcoming HBO series, and here are some of the moments and corresponding songs we hope to hear.
The Title Sequence - "The Last Of Us"
The main title theme is almost certain to make an appearance in some fashion and here's hoping that it sets the tone as effectively for the series as it does the game. First heard over the title credits in the first game, the intriguing theme teases the sense of discovery that is in store for the player.
Santaolalla has recorded numerous versions of this theme including a stripped-down version for The Last of Us Part II, perhaps foretelling the horrific moments to come. While it remains unknown how his music will translate to live-action, this iconic track should remain over the main titles.
The Flashbacks - "Allowed To Be Happy"
At the heart of The Last of Us Part II is the question of how far one would go to make things right - to have some semblance of happiness again. As such, this song plays against the themes seen throughout Ellie and Abby's present and flashback chapters: are they even allowed to be happy? Or are they destined to simply repeat their cycles of violence over and over again?
The main storyline leaves this thread slightly ambiguous, hinting that both women have learned that happiness can't be brought back, and certainly not by revenge. The TV series could very well play with this concept further, exploring what it means to feel happy when everything around you can be destroyed instantly.
Seasonal Changes - "All Gone (Seasons)"
This light and airy track is the first thing gamers hear upon starting up The Last of Us, as leaves blow through an open window in the game's main menu. It is later heard during breaks in the narrative as the seasons shift.
The song's title and placement represent the cyclical balance of nature, reminding players that no matter what, the characters will face challenges as unstoppable as the changing of seasons. It also demonstrates the revolving nature of emotions, as shocking moments like Sam and Henry's deaths and Joel's near-fatal fall are followed with lively imagery of rainfall, rivers, and herds of animals. The episodic nature of television would naturally allow for narrative shifts like these to occur and they could again utilize this musical cue as a transitional piece.
Ellie & Riley - "Fleeting" & "Left Behind (Together)"
In the DLC game, Left Behind, Ellie's relationship with her best friend Riley is flushed out in flashbacks as the rebellious duo explore an old mall in Boston. What makes this portion of the game so special is finally getting to see Ellie act and feel like a kid for the first time.
The musical tracks "Fleeting" and "Left Behind (Together)" perfectly capture the sense of playfulness and camaraderie the girls exhibit while riding on a carousel and telling jokes. In contrast to the more tragic music featured in so much of the rest of the story, these songs offer the rarest sense of hope and normalcy in a world that lacks both.
"Take On Me"
One of the recurring themes in The Last of Us Part II is getting the chance to strum the guitar along with Ellie and Joel. While exploring the ruins of a long-abandoned Seattle music shop, Ellie pops open a guitar case and begins serenading her partner Dina with this iconic A-ha tune.
This rare, real-world song feels oddly at home in this universe. The beautiful acoustic and vocal arrangements convey the painful longing Ellie feels. Its inclusion in the show would help connect to these established threads and could also provide HBO-alum Bella Ramsey a chance to show more of Ellie's artistic side.
The Ambiguous Ending - "The Path"
What makes The Last of Us so unique and memorable is how, in the end, players just don't know how to feel. Joel's choice to save Ellie's life over allowing her to be sacrificed for a vaccine is unquestionably selfish. However, the bond gamers feel with them leading to that point is definitely enough to make one at least slightly empathetic to Joel's actions.
Appropriately, Santaolalla's track "The Path" plays over the ending credits, marking the end of our journey. It carries similar emotions to that at the end of a Western, where the hero(s) are left weary and worn-down. Ellie's entire worldview and purpose have been thrown into upheaval, and after hearing Joel swear that he's telling her the truth, she gives an oh-so-perfect ambiguous "okay" in response.
Riding Horses - "Unbroken"
Opening The Last of Us Part II's storyline is this haunting track, heard after Joel re-tells the ending of the previous game's events to his brother Tommy. Tommy promises to keep Joel's secret and both men ride on horseback through the remnants of an old neighborhood leading into the beautiful woods of Wyoming.
The track accompanies the gamer as we become re-acclimated to this tragic world. The thought of the recently-cast Pedro Pascal riding on horseback through a sunset in the mountains while this song plays underneath is enough to whet any fans' appetite for the upcoming series.
Ellie's Innocence - "Vanishing Grace (Childhood)"
Animals play a rather symbolic role in The Last of Us' universe, allowing the characters to reflect on the beauty that nature is still capable of providing. They also bring out the innocence of the younger characters like Ellie and nowhere is this better exhibited than in the giraffe sequence.
Following one of the most traumatic ordeals imaginable during the Winter section, Ellie is noticeably withdrawn as she and Joel travel through Salt Lake City. This all changes when she spots a herd of giraffes. She suddenly takes off and chases the creatures while Joel follows, unsure of what she's after. She finally catches one feeding, and as she marvels at the sight of the majestic creatures, the uplifting song "Vanishing Grace (Childhood)" plays underneath. It feels peaceful and serene, reminding us that even in Ellie's vanishing adolescence, there are still glimpses of childlike wonder inside.
Sarah's Death - "All Gone (Aftermath)"
There are multiple versions of the song "All Gone" that are peppered throughout each game, but none hit quite as hard as "Aftermath." Only minutes into the main story, we're abruptly struck by the unforgiving threats this world contains as the melancholy track plays during Sarah's death.
Considering Sarah's importance to Joel's arc, the HBO series would do well to translate the opening sequence with little alterations, and there's just no way to portray her death better than a variation of this song. It captures the sorrow of loss beautifully while reminding us that there's still so much story left to tell.
Joel's Choice - "The Choice"
Upon learning that Joel was going to drop her with Tommy and leave, Ellie runs away to a nearby ranch house. After Joel tracks her down, Ellie confronts him about abandoning her and even challenges his fear of losing her like he did Sarah.
This moment changes everything, with Joel realizing not only how important he is to Ellie, but also how empty he'd feel without her. After the trio rides back to Tommy's settlement, Joel surprises them both by announcing he'll continue on the journey he started with Ellie. Appropriately, the song "The Choice" plays underneath, its foreboding chords offering up the sense that, just like anything else in this word, the outcome could either be hopeful or catastrophic.