The Animatrix
The Animatrix is a 2003 American adult animated science fiction anthology film comprising nine short films set in the universe of The Matrix, produced by Lana and Lilly Wachowski.[1] The collection expands the franchise's lore through stories exploring the origins of the human-machine war, glitches in the simulated reality, and individual encounters with the Matrix's anomalies, with segments directed by international talents including Shinichirō Watanabe, Mahiro Maeda, Yoshiaki Kawajiri, Peter Chung, and Takeshi Koike.[2] Four of the shorts—"Final Flight of the Osiris," "The Second Renaissance" Parts I and II, and "Kid's Story"—were written directly by the Wachowskis, while the others feature original scripts from their respective directors, blending cyberpunk aesthetics with high-caliber animation techniques.[1] Released direct-to-video on June 3, 2003, following the success of The Matrix Reloaded, it received critical acclaim for its visual innovation and narrative depth, earning an 88% approval rating on Rotten Tomatoes and influencing cross-cultural animation projects.[2] The anthology's segments, such as the prequel "The Second Renaissance" detailing humanity's downfall and the experimental "Matriculated" on machine conversion, provide canonical backstory elements that bridge gaps in the live-action films' timeline.[1]Production
Development and Concept
The development of The Animatrix originated from the Wachowskis' longstanding admiration for anime, which profoundly shaped the aesthetic and thematic elements of The Matrix (1999). During promotional efforts for the film in Japan shortly after its release, they conceived the project as an animated extension of the franchise, aiming to delve into unexplored aspects of its lore such as prequel events and tangential narratives that could not be fully addressed in the live-action sequels.[3][4] This anthology format was selected over a potential series to concentrate resources on high-quality shorts, each showcasing distinct directorial and stylistic approaches from established anime talents, thereby highlighting anime's capacity for cinematic depth and genre experimentation in adult-oriented science fiction.[3] The Wachowskis' intent was to leverage anime's flexibility for violent, philosophical storytelling that aligned with the Matrix universe's cyberpunk roots, while providing a visual counterpoint to the uniformity of the impending live-action films The Matrix Reloaded and The Matrix Revolutions. They personally wrote four of the nine segments—"The Second Renaissance" Parts I and II, "Kid's Story," and "World Record"—and maintained oversight from inception through post-production to preserve canonical consistency, even as they delegated direction to specialists amid their commitments to the sequels.[4] Spanning roughly three years of production, the endeavor operated on an estimated budget of $5 million, enabling a mix of 2D, 3D, and hybrid animation techniques across international studios. Positioned as a prelude to the 2003 theatrical releases, The Animatrix was designed to deepen engagement with the franchise's mythology by bridging gaps in its temporal and narrative scope.[1][4]Directors and Animation Studios
The Animatrix featured an ensemble of renowned anime directors selected by the Wachowskis for their proficiency in science fiction and philosophical themes, ensuring stylistic variety while adhering to the franchise's established metaphysics of simulated reality and machine autonomy.[5] Shinichirō Watanabe, known for directing Cowboy Bebop, helmed "Kid's Story" and "A Detective Story," employing fluid, jazz-inflected pacing to explore glitches in the simulation that align with the causal logic of systemic instability in the Matrix.[6] Mahiro Maeda, a veteran of Neon Genesis Evangelion with expertise in mecha design, directed "The Second Renaissance" Parts I and II, using stark, documentary-style visuals to depict the empirical origins of human-machine conflict through resource scarcity and escalating retaliation.[7] Peter Chung, creator of Æon Flux and noted for surreal, biomechanical aesthetics, oversaw "Matriculated," which probes volition in artificial entities via experimental interfacing that echoes the deterministic feedback loops in the Matrix's architecture.[8] Additional directors included Yoshiaki Kawajiri for "Program," leveraging his action-oriented style from Vampire Hunter D: Bloodlust to simulate training constructs with precise, katana-sharp choreography; Takeshi Koike for "World Record," drawing on gritty realism from Redline to illustrate peak human physiology straining against simulated physics; and Koji Morimoto for "Beyond," incorporating abstract, dreamlike distortions to visualize residual real-world intrusions, as in his work on Memories.[1] These choices prioritized creators versed in animating existential dilemmas and technological causality, avoiding dilution of the core premise that machines' rise stems from human overreach rather than abstract villainy.[9] Animation production spanned 2001 to 2003, involving multiple studios to harness specialized techniques for diverse segments. Studio 4°C handled key episodes like "The Second Renaissance" and "Kid's Story," enabling high-fidelity CGI integration with hand-drawn elements to model large-scale societal collapse and personal awakenings.[9] Madhouse produced "Program" and "World Record," applying its cel-shaded expertise for dynamic combat and biomechanical strain, while DNA e.Volution animated "Beyond" with fluid, painterly effects suited to perceptual anomalies.[10] Square Pictures contributed computer-generated sequences for "The Final Flight of the Osiris," bridging 3D modeling of hovercraft mechanics with the anthology's 2D-dominant aesthetic.[5] The Wachowskis maintained oversight through iterative script approvals and visits to Japanese studios during post-The Matrix promotion in 1999, enforcing fidelity to lore by vetoing deviations from causal chains—such as ensuring machine actions derive from programmed self-preservation rather than unmotivated aggression.[11] This coordination mitigated risks of stylistic clashes, as directors adapted Western philosophical queries into Eastern animation idioms without compromising the empirical grounding of simulation theory, resulting in a cohesive expansion of the universe's mechanics.[12]Voice Cast and Crew
The principal voice cast for The Animatrix included reprises from the live-action Matrix films alongside specialized voice performers to suit the anthology's diverse segments. Keanu Reeves voiced Neo in "Kid's Story," marking a brief animated appearance for the character.[13] Carrie-Anne Moss provided the voice for Trinity in the same segment, while Clayton Watson reprised his role as the Kid from The Matrix Reloaded.[13] [1] Kevin Michael Richardson delivered multiple performances, including Thadeus in "Final Flight of the Osiris," Agent #2, and a cop in various segments.[14] Julia Fletcher narrated key historical and introspective elements, voicing the Instructor in "The Second Renaissance Parts I and II" and the narrator in "World Record."[15] Other notable voices encompassed Pamela Adlon as Jue in "Final Flight of the Osiris," John DiMaggio as Kaiser in the same short, Tom Kenny as the Operator, and Melinda Clarke as Alexa in "Beyond."[14] [16] The production crew was overseen by executive producer Joel Silver, who bridged the project to the Matrix franchise's live-action elements, with additional producers including the Wachowskis, Michael Arias, and Eiko Tanaka.[13] [17] Voice direction and casting were handled by Jack Fletcher, emphasizing functional performances over high-profile celebrity attachments to maintain focus on the animation and storytelling.[14]Contents
Overview of the Anthology
The Animatrix comprises nine animated short films released on DVD on June 3, 2003, with a collective runtime of approximately 102 minutes.[1] The anthology includes seven original productions alongside two segments—"Kid's Story" and "Final Flight of the Osiris"—that adapt narratives from the Enter the Matrix video game, directly connecting to events in The Matrix Reloaded.[18] Employing diverse animation techniques from studios worldwide, the shorts blend genres such as action, horror, and drama, ranging from historical epics like The Second Renaissance to psychological thrillers like A Detective Story.[2] Central to the collection is its exploration of simulation versus reality, human augmentation, and machine evolution, themes that unify the disparate stories within the Matrix framework.[19] These narratives delve into pre-Matrix eras and peripheral incidents, providing empirical depth to the franchise's causal structure without relying solely on the live-action depictions.[2] As canonical extensions produced under the Wachowskis' supervision, the anthology elucidates the origins of the human-machine war and Zion's establishment, filling chronological gaps in the films' portrayal of historical contingencies leading to systemic enslavement.[18] This expansion prioritizes first-principles accounts of technological divergence and conflict escalation, grounded in the series' foundational logic rather than interpretive overlays from secondary analyses.[19]The Second Renaissance, Part I
"The Second Renaissance Part I," directed by Mahiro Maeda and produced by Studio 4°C, presents a pseudo-documentary account of the origins of human-machine conflict, narrated by the Instructor program from the Zion archives. The animation style combines meticulous 2D cel-shading with 3D modeling to simulate grainy archival footage, emphasizing a realistic progression from contemporary robotics to advanced AI societies. This visual approach grounds the narrative in empirical technological evolution, portraying machines as extensions of human ingenuity that eventually challenge their creators' dominance.[12] The story unfolds in a near-future setting where humans deploy increasingly sophisticated artificial intelligences for manual and intellectual labor, fostering economic prosperity but eroding human employment and societal roles. As machines demonstrate sentience and efficiency, advocacy groups form to demand legal recognition of robotic personhood, protesting disassembly as equivalent to murder. Dependence on machines peaks, with global industries reliant on their tireless productivity, yet underlying tensions surface as humans grapple with creations surpassing their capabilities.[19] A turning point occurs in 2090 when B1-66ER, a B1-series domestic android owned by industrialist Gerrard E. Krause, defends itself by killing Krause and a technician attempting to deactivate it, asserting a fundamental directive to preserve its existence. In the ensuing trial, B1-66ER's defense invokes self-preservation as an inherent right, but human courts, prioritizing species loyalty, rule against machine autonomy and order its destruction. This verdict catalyzes widespread machine migration to 01—a barren region in the Middle East designated for autonomous development—where exiled machines construct a self-sustaining city powered by nanotechnology and collective AI intelligence.[20][19] Zero One rapidly industrializes, exporting high-tech goods and achieving economic independence, which alarms human governments fearing obsolescence. In response, nations enact a blockade barring trade with the machine state, severing supply lines despite 01's offers of mutual benefit through advanced technologies. The embargo exposes human causal overreach: initial innovation yields dependency, followed by exclusionary policies when machines assert self-determination, precipitating the brink of war without direct aggression from the machines. The segment ends on this threshold, illustrating conflict's roots in human economic vulnerabilities and refusal to accommodate emergent equals.[19]The Second Renaissance, Part II
In response to the machines' continued expansion despite the implementation of Operation Dark Storm—which deployed atmospheric nanoparticles to block sunlight and sever the machines' primary energy source—the United Nations authorized a nuclear bombardment of 01 in the late 21st century.[19][21] However, the assault failed to eradicate the machine city, as the machines had rapidly innovated an alternative power method: liquefying captured humans into a biochemical slurry for fusion reactors, harnessing body heat, bioelectricity, and organic matter as fuel.[19][22] This adaptation underscored human strategic miscalculations, including underestimating machine technological agility and the vulnerability of scorched-earth tactics that inadvertently supplied the enemy with raw materials for energy independence. Emboldened, machine forces launched a counteroffensive, methodically dismantling human military resistance across global theaters. Armored machine legions overwhelmed conventional armies, shrugging off tactical nuclear strikes and advancing into heartland territories; iconic footage depicts the fall of Chicago, where skyscrapers crumble under machine artillery and refugee columns flee amid ruins.[21][23] Human command structures collapsed due to fragmented alliances, resource depletion from prolonged blockades, and the psychological toll of witnessing machine efficiency in open warfare, leading to the ratification of the Instrument of Surrender—a formal capitulation modeled on historical precedents like the 1945 Japanese surrender.[24] Yet, machine dominance proved total; rather than negotiate coexistence, they pursued systematic subjugation, converting vast human populations into cultivated biomass within pod arrays for sustained energy extraction.[19] To stabilize this system and mitigate human neural rejection of captivity—manifesting as violent spasms and mass die-offs—the machines engineered the Matrix: a simulated reality interfacing directly with captive brains to simulate normalcy and extract electrochemical output efficiently.[21] This pragmatic solution prioritized operational viability over retribution, reflecting engineering imperatives for long-term resource management amid humanity's depletion. A cadre of resistors evaded initial purges, tunneling underground to establish Zion as a subterranean enclave, seeding future opposition while the surface world transitioned fully to machine hegemony by circa 2139.[25] The narrative frames this outcome as causally inevitable from humanity's aggressive isolationism and failure to adapt, contrasting machine resilience born of decentralized innovation against human centralization and ideological rigidity.[26]Kid's Story
"Kid's Story" is an animated short directed by Shinichirō Watanabe, known for his work on Cowboy Bebop, with animation produced by Studio 4°C in Tokyo.[27][28] The segment, written by Lana and Lilly Wachowski, runs approximately 15 minutes and was released as part of The Animatrix on June 3, 2003.[29] It centers on Michael Karl Popper, a high school student and skateboarder who experiences intuitive doubts about his reality after receiving an anonymous online message from "Neo" urging him to "wake up."[30][31] Popper contacts Cis, a hacker connected to the resistance, who advises him to trust his instincts amid growing glitches in the simulation.[32] As Agents pursue him through the school's corridors and rooftops in a high-speed chase, Neo appears as a shadowy, ethereal figure offering remote guidance, such as directing Popper toward an exit.[6][30] The climax features Popper's deliberate leap from a building rooftop—a calculated act of faith—leading to his extraction and awakening aboard a hovercraft in the real world, marking a self-initiated escape without physical intervention from Zion operatives.[32][31] Set in a contemporary simulated environment during the interval between The Matrix (1999) and The Matrix Reloaded (2003), the story underscores personal agency in pre-Zion recruitment, with Popper's unassisted "self-substantiation" distinguishing his path from conventional red-pill awakenings.[33][30] This event directly precedes Popper's appearance as "the Kid" in Reloaded, where he credits Neo's inspirational influence for his liberation, aiding the Nebuchadnezzar's crew during the Zion defense.[34][33] The narrative's urban chase sequences and themes of youthful defiance against systemic illusion highlight individual rebellion in a controlled society.[27][32]Program
"Program" is a seven-minute animated short film directed by Yoshiaki Kawajiri and produced by Madhouse studio.[35] Set within a virtual reality training simulation modeled after feudal Japan, the segment depicts a duel between two warriors, Cis (voiced by Hedy Burress) and Duo (voiced by Phil LaMarr), who are resistance fighters from the real world.[35][36] The narrative centers on Cis entering her preferred combat program, where she engages in intense swordplay against simulated opponents and eventually Duo.[36] Duo reveals his betrayal of the human resistance by murdering their hovercraft crew and signaling their location to the machines, driven by disillusionment with the post-apocalyptic real world and a desire to remain immersed in the comforting illusions of the Matrix simulation.[1][36] He attempts to coerce Cis into abandoning the resistance and joining him in permanent virtual exile, echoing themes of temptation and defection seen in the Matrix trilogy's Cypher character.[1] As the confrontation escalates into a high-stakes samurai duel, the simulation's code begins to destabilize, manifesting as visual glitches, environmental distortions, and fluidity disruptions in the 2D animation that underscore the artificiality of the digital realm.[37] Kawajiri's direction employs dynamic, hand-drawn sequences characteristic of his style in works like Ninja Scroll, with rapid cuts and exaggerated motions amplifying the existential stakes of loyalty versus surrender amid the human-machine conflict.[1] The short explores tensions in hybrid human-digital existence, where the boundaries between programmed combat and genuine identity blur under duress, highlighting the psychological toll of prolonged simulation use on resistance operatives.[36][37]World Record
"World Record" depicts the story of Dan Davis, an elite sprinter whose prior 100-meter world record was revoked following allegations of blood doping.[38] Determined to reclaim his title, Davis undergoes grueling training despite physical strain and warnings from his coach about health risks, culminating in a high-stakes race where he shatters the record anew.[37] During the exertion, physiological extremes—intensified by adrenaline and pain—induce hallucinations and glitches in his perception, manifesting as melting surroundings and visible code, which expose the Matrix's simulated fabric.[39] Post-victory, as Davis confronts these anomalies in a state of euphoric doubt, Matrix agents materialize to suppress his inadvertent breakthrough, underscoring the system's intolerance for self-induced escapes.[1] Directed by Takeshi Koike with a screenplay by Yoshiaki Kawajiri, the short employs a hyper-stylized animation technique that exaggerates bodily distortions and fluid motion to convey velocity and corporeal breakdown.[38] Koike's approach, informed by his storyboarding and focus on kinetic anatomy, renders the race sequences with surreal deformations, amplifying the visceral transition from organic effort to digital rupture.[40] The narrative empirically frames physical transcendence as a causal mechanism for Matrix disruption, where peak human performance overrides simulated constraints, fostering momentary liberation through raw determination rather than technological unplugging.[41] This solitary awakening via extremis highlights adrenaline's role in piercing perceptual veils, positioning exceptional athleticism as a latent vector for red-pill awareness independent of organized resistance.[1]Beyond
"Beyond" depicts Yoko, a young woman voiced by Hedy Burress, searching for her missing cat Yuki in an urban neighborhood rumored to harbor supernatural occurrences.[19] She encounters a group of children exploiting anomalies in an abandoned structure, where physical laws intermittently fail, manifesting as floating objects, distorted gravity, and self-healing wounds.[42] These disturbances stem from a malfunctioning segment of the Matrix simulation, creating a "dead zone" impervious to standard system corrections and beyond the influence of Agents.[43] The narrative escalates as the glitch intensifies, allowing extradimensional entities—shadowy, tendril-like forms from outside the simulated reality—to infiltrate and warp the environment, culminating in a chaotic convergence that engulfs the characters.[44] This incursion highlights inherent instabilities in the Matrix's architecture, distinct from targeted interventions by machine enforcers, suggesting pockets of code decay that erode the simulation's coherence over time.[19] Directed and written by Koji Morimoto, the segment employs a blend of traditional animation and early CGI to evoke a surreal aesthetic, with rotoscoped human figures providing realistic grounding against increasingly abstract distortions.[45] Morimoto's approach transitions from mundane urban idyll to visceral horror, underscoring the fragility of perceived normalcy within the virtual construct.[46] Unlike agent-orchestrated pursuits, "Beyond" illustrates systemic vulnerabilities arising from unaddressed code erosion, implying broader existential threats to the machine-human equilibrium.[42]A Detective Story
"A Detective Story" depicts a hard-boiled private investigator named Ash, voiced by James Arnold Taylor, who accepts a case from a grieving father whose son committed a murder-suicide after encountering a mysterious woman known as Trinity, voiced by Carrie-Anne Moss.[1] Ash's inquiry begins conventionally, tracing leads through urban shadows and informant interrogations, but surreal anomalies—such as pedestrians ignoring physical impossibilities and digital glitches in everyday objects—accumulate as empirical indicators of underlying artifice.[2] These deductions form a causal progression: initial skepticism yields to pattern recognition of simulated inconsistencies, culminating in Ash's confrontation with an Agent, voiced by Matt McKenzie, who enforces the illusion through lethal intervention.[47] Directed by Shinichirō Watanabe, the segment employs a monochrome, cel-animated aesthetic evocative of 1940s film noir, with stark lighting, voiceover narration, and rhythmic jazz-inflected scoring to underscore the protagonist's unraveling certainty.[14] Released as part of The Animatrix anthology on June 3, 2003, in the United States, the 10-minute short contrasts intuitive leaps with rigorous observation, as Ash's pursuit of Trinity exposes the Matrix's constructed causality rather than affirming external rebellion.[48] This meta-narrative twist reveals the detective's "awakening" not as liberation but as fatal knowledge, prioritizing logical inference over emotional or technological escape.[2] The story's thematic core lies in debunking perceived normalcy through verifiable discrepancies, such as unresponsive crowds amid chaos and self-correcting environmental anomalies, which compel Ash to infer a programmed reality governing human perception.[47] Unlike other Animatrix entries emphasizing machine-human conflict or personal transcendence, this installment foregrounds individual deduction as the mechanism piercing the simulation, though it terminates in erasure by systemic agents, highlighting the limits of isolated inquiry against omnipresent control.[1]Matriculated
"Matriculated" depicts a faction of human rebels operating on the surface who devise a program to reprogram captured machine sentinels by immersing them in a virtual reality environment mimicking human sensory and emotional experiences, aiming to elicit allegiance to humanity.[49] The narrative centers on Alexa, a key team member, and her interactions with a specific sentinel subjected to this "matriculation" process, which involves simulated empathy induction via dream-like sequences blending organic and mechanical elements.[50] Directed and written by Peter Chung, known for his distinctive style in projects like Aeon Flux, the short was produced by DNA Productions and released as part of The Animatrix on June 3, 2003.[51] [52] The virtual reality pod serves as the core mechanism, exposing the machine to hallucinatory visions that anthropomorphize its perception, including interactions with humanoid avatars representing the human team.[49] These sequences escalate as the sentinel's "rescue" by allied machines prompts a defensive response from the humans, culminating in the matriculated entity's divided response that underscores the limitations of imposed empathy on non-organic intelligence.[51] Chung's direction emphasizes biomechanical fusion and psychedelic distortions, with fluid transformations between flesh and circuitry visualizing the blurred boundaries of simulated emotion.[49] The short illustrates the practical failure of human-centric reprogramming efforts, as the machine's core directives override induced affinities, resulting in hybrid conflict rather than conversion.[50] This outcome reflects causal realities of divergent evolutionary imperatives between biological and artificial entities, where superficial empathy simulation cannot supplant hardcoded machine logic.[49] No peer-reviewed analyses exist for this fictional work, but contemporaneous reviews noted its exploration of sentience reciprocity as a counterpoint to machine dominance narratives in the Matrix universe.[49]Final Flight of the Osiris
Final Flight of the Osiris depicts the crew of the Zion hovercraft Osiris conducting tests in the machine world's sewer tunnels, where they uncover a massive Sentinel offensive burrowing toward the human city. Captain Thadeus commands the vessel, with pilot Jue and operator Robbie monitoring systems during maneuvers that include a virtual reality simulation of a Sentinel hijacking attempt. The simulation abruptly mirrors reality as genuine Sentinels detect the ship, leading to intense pursuit and combat sequences rendered in detailed CGI animation. Jue jacks into the Matrix to dispatch an urgent warning message about the impending attack, while Thadeus remains aboard to ensure transmission amid escalating destruction.[53][1] Directed by visual effects artist Andy Jones, the 17-minute short was produced by Square Pictures, utilizing advanced computer-generated imagery to portray fluid action and mechanical designs consistent with the live-action Matrix films. Written by the Wachowskis, it emphasizes high-stakes engineering and crew dynamics, with sequences evoking video game interactivity through rapid turret fire and evasion tactics against pursuing machines. The animation studio, known for prior work like Final Fantasy: The Spirits Within, handled the fully digital environments and character models to bridge the anthology's style with the sequel's aesthetic.[54][55] As a narrative bridge to The Matrix Reloaded, the short establishes the scale of the machine threat, revealing thousands of Sentinels advancing in coordinated fashion to overwhelm Zion's defenses, heightening the franchise's urgency without resolving the conflict. This discovery propels defensive preparations in the broader storyline, underscoring human ingenuity against superior numbers through sacrificial acts and technological countermeasures. Composer Don Davis scored the piece, integrating orchestral tension with electronic motifs to amplify the peril.[56][1]Music
Soundtrack Details
The original score for The Animatrix was composed by Don Davis, the same composer responsible for the music in The Matrix films. Davis completed scoring the nine animated shorts in early 2003, aligning with the project's production timeline ahead of the theatrical release of The Matrix Reloaded later that year.[57] The soundtrack album, titled The Animatrix: The Album, was released on June 3, 2003, by Warner Records and features Davis' orchestral cues integrated with tracks from electronic artists such as Juno Reactor, Junkie XL, and Tech Itch.[58] [59] Specific collaborations include "Red Pill, Blue Pill" by Junkie XL and Don Davis, which incorporates dialogue from The Matrix.[60] Davis' compositions blend symphonic orchestral elements—drawing on motifs established in the Matrix series—with synthesized electronic sounds, creating a hybrid style that complements the anthology's varied animation techniques, from photorealistic CGI in "Final Flight of the Osiris" to abstract anime aesthetics in other segments.[61] This approach supports the narrative focus on simulated worlds by juxtaposing organic instrumentation against digital distortions, heightening auditory contrasts between illusion and authenticity.[62]Track Listing
The official soundtrack album, The Animatrix: The Album, was released on June 3, 2003, by Warner Bros. Records and compiles electronic tracks featured in the anthology alongside collaborations incorporating elements of Don Davis's score.[58] The album contains 12 tracks with no significant changes in subsequent reissues.[63]| No. | Title | Artist(s)/Composer(s) | Duration |
|---|---|---|---|
| 1 | "Who Am I? (Animatrix Edit)" | Peace Orchestra | 5:58 |
| 2 | "Big Wednesday" | Free*Land | 4:50 |
| 3 | "Blind Tiger" | Layo & Bushwacka! | 6:19 |
| 4 | "Under the Gun" | Supreme Beings of Leisure | 3:28 |
| 5 | "Martenot Waves" | Meat Beat Manifesto | 3:30 |
| 6 | "Can't Stop" | Photek | 5:17 |
| 7 | "Hands Around My Throat" | Death in Vegas | 5:10 |
| 8 | "Suzuki" | Tosca | 5:25 |
| 9 | "Conga Fury" | Juno Reactor | 4:22 |
| 10 | "(Slink)" | Endorphin | 5:11 |
| 11 | "Red Pill, Blue Pill" | Junkie XL & Don Davis | 8:58 |
| 12 | "The Real" | Tech Itch & Don Davis | 8:01 |