II". To arcade soundtrack arrangements like Bionic Commando and Ghouls'n Ghosts, Follin added richer sound palette and occasionally composed some new songs (the title music of Ghouls'n Ghosts). Follin described the NES title Solstice as "a very inspiring game to do music for," demanding atmospheric music within the game's dark castle environment, as well as powerful music choreographed with the title sequence. Follin did not use a keyboard or any instruments for the Solstice soundtrack, composing while "thinking along the lines of the computer and not [...] a keyboard." Follin felt the programming-only approach allowed him to work with "a more open mind". In a 1990 interview, Follin expressed "a bit of desolation" over the prospect of no longer composing for the Commodore 64, stating "I don't see myself staying with this machine," perhaps sensing the transition occurring in the European gaming marketplace as the third generation of video and computer game platforms reached its end. Follin's final Commodore 64 release came with 1991's Gauntlet III. Beside contributing the soundtrack with brother Geoff, Follin recorded live sound effects for 1993 SNES title Thomas the Tank Engine & Friends. Citing a declining work environment, Follin departed Software Creations in 1993 (with his final title there being Rock N' Roll Racing). Malibu Interactive and freelancing After leaving Software Creations, Follin joined Malibu Interactive for 18 months. While working for Malibu, Follin provided the soundtrack for Time Trax on the Sega Mega Drive and (along with brother Geoff) Prime for the Sega CD, doing "virtually nothing and getting paid" for the following year before winding up out of work. Another title composed alongside brother Geoff, Firearm, went unpublished. Follin would spend the remainder of his video game career as a freelancer. Following Malibu Interactive's collapse, Follin then worked with groups that made unsuccessful game pitches to Psygnosis and the BBC. Follin provided part of the soundtrack for Batman & Robin, developed by Probe. Follin joined the development team of Ecco the Dolphin: Defender of the Future as the title's lead composer around mid-1998, leaving Attila Heger no longer responsible for providing the entirety of the soundtrack. (Heger was made primarily responsible for scoring the game's cutscenes.) Follin had been offered the composer position by Sega UK producer David Nulty, who was a fan of Follin's Commodore 64 work. The soundtrack received very favourable reviews from Edge, DC-UK, and Official Dreamcast Magazine. The 2003