The composers have a history with darker and more horror-centric video games, including F.E.A.R, Bioshock and (to a lesser degree) Dante's Inferno, and this influence seems to slip in and amongst the score for Shadow of Mordor, a score which wisely veers away from both the Shore contributions and the more recent Chance Thomas input, and instead takes a darker, more twisted turn. It seems that this is the first time after the derivative War in the North where we can safely say the Middle-Earth brand is a successful one in regards to the video game medium.Ĭomposing the score for the game are somewhat unknown video game composers (at least in my eyes) Garry Schyman and Nathan Grigg, who actually each harbour relatively large discographies, Schyman's history featuring more titles than Grigg's. Receiving outstanding reviews from critics abound, and gaining a mass following from fans, Shadow of Mordor looks to steal a number of awards come end of year, many predict. As he enters Mordor, seeking the opportunity to avenge those of whom he loved, he meets others who hold grudges against Sauron, including the maker of the Rings of Power, Celebrimbor. The game takes place in between the events of The Hobbit and The Lord of the Rings, and follows the protagonist of Talion, a ranger of Gondor, who seeks revenge against Sauron after the Dark Lord kills his family.
With certain recent Middle-Earth video games falling flat in comparison to their literary and cinematic counterparts, fans of both the Lord of the Rings universe and of video games everywhere were anticipating the release of the recent Middle-Earth: Shadow of Mordor game, developed by Monolith Productions, and released by Warner Bros.
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