The first, and most instrumentally thin, of the three variations is heard as soon as the player enters the dungeon, accompanying the initial corridors with a lilting bassoon motif, reverb-drenched choir pads and occasional swells of ambient sounds, enhancing the locale’s sombre nature. These ambient pads are also harmonically sparse and leave the tonality ambiguous due to the omission of harmony-affirming intervals such as the third or sixth. As well as leaving space for future adaptive development, this choice also creates a uniquely mysterious quality to these initial rooms. As the player enters the dungeon’s first main chamber the second variation enters, immediately harmonically contrasting with the first iteration by jarringly shifting the Dm7-F#m7 vamp to a Dmmaj7-F#mmaj7 accompanied by the introduction of strings with the original choir pad. This sudden chromatic movement adds an immediately uncomfortable quality to the new location that contrasts with the mystery of the first variation, continuing the area’s musical narrative and creating a sense of ludo-sonic unity as the deepening of the mix directly corresponds to the player progressing deeper into the temple. The final variation accompanies the biggest visual shift of the location in the second main chamber, from dark-blue hallways to majestic golden architecture, with an appropriately grandiose timbral leap. Previously high string chords descend out of the choir pad’s range as the pad itself is replaced by an organic, full choir, with newly added timpani and double basses more prominently filling out the low-end that was purposefully lacking before. These additions add a new sonic depth to the music, musically representing the player reaching the “heart” of the dungeon and enhancing the satisfaction of progression through musical catharsis.