While most of the music was written to support the new locations and situations in the game rather than specific characters, fans of the last title should recognize some familiar material from time to time.  "Yes, you'll hear themes from Return to Castle Wolfenstein," smiles Brown, "most obviously I think in the opening cinematic, where it was really fun to pay musical tribute to my score from the opening cinematic of Return to Castle Wolfenstein!"

That said, there should be plenty of new favorites as well.  Brown is particularly fond of the set of themes from the Airfield level that exemplifies the game's intense, angular, melodic style.  Schilder has a harder time playing favorites, though. 

"I like everything Bill did for the game," he says.  "There are a number of stingers that are only 10-15 seconds that feel like full pieces.  They all work together well and yet have enough variety to keep you listening to catch new things.  I do like how well the cues used for the Hospital defined that dark environment."

"The best thing about Wolfenstein is that it's a world where the extraordinary mixes with the ordinary," Schilder says.  "There's an opportunity to let the music make the game play experience bigger than life, because it fits the game.  It's also just pure action/adventure entertainment.  Hearing how well the music reinforced those emotions made it really satisfying every time we put a new piece into the game."

Brown is currently gearing up for the sixth season of CSI: NY, but Wolfenstein still stands out as one of his most interesting recent projects.  "A lot of thought and care was put into every aspect of this game, and since I was a big fan of Return to Castle Wolfenstein, it was wonderful to visit this world again."