We got on Skype, had a chat, ran through the concept with them, and this was the first time when working with composers that we’ll get their first submissions and we have no feedback. “These kids are great, they’re unsigned, they’ve released one EP, they’ve done a few tracks on some of Jason work like ABCs of Death and Hobo With a Shotgun. This has got to be a joke.’ I’m all ‘No, no, no, it’s totally real!’ I totally wanna get you to score a game.’ And they’re like ‘Ah, fuck off. “So got in contact with these guys and it was like ‘Hey, I’m Dean, I’m from Ubisoft Montreal. “I was like ‘What the fuck is this?! Who made this fucking song?! Oh it’s these guys called Power Glove.
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“I was watching a friend’s movie a few years ago called Hobo With a Shotgun, and one of the songs of Power Glove is featured on there,” Dean told me. What we got to hear from the Soundcloud already is just a small taste of something amazing according to creative director Dean Evans, and it’s all thanks to a cheesy B-movie that this partnership even came about.
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Ubisoft will be releasing a 25-track OST full of music from Power Glove with audio samples from the Far Cry 3: Blood Dragon mixed into the soundtrack.
Thankfully, so are the silly J-Pop tie-ins.Thank Hobo With a Shotgun for the amazing soundtrack It’s still all pretty good for what it is, but the good old ’90s Sega arcade charm is gone. The soundtracks of these later sequels are heavily dominated by more modern industrial and techno, with a few pure hard rock tunes in between. Tatsutoshi Narita would be only one who’d put his musical stamp on all following games, although one Fumio Ito should return for Virtua Fighter 5, and Shinichi Goto contributed to both VF4 and 5. Virtua Fighter 3‘s credits list almost as many “Sound Designers” as there are music numbers in the game. With On the Vocal it got once again a compilation of mostly terrible pop songs “inspired by” the game. Jeffrey’s theme has got to be the most lame tune in the entire series, and Wolf’s desert stage sounds more like something from an RPG. Jacky and Akira’s stage BGM is still excellent, but others less so. The music of Virtua Fighter 3 is basically more of the same as the previous games, although it has lost a lot of the earlier games’ energy. One sequence of notes uncannily resembles the theme of Neon Genesis Evangelion – whose first episode aired exactly two days after the Virtua Fighter anime started. Around that time frame also falls the soundtrack for the animated series, which strikes a similar chord. A few of the tracks are quite good as far as early 1990s J-Pop goes, especially Akira’s song, but the majority is really corny and boring. This doesn’t have anything to do with the music from the game, but rather consists of entirely new pop songs “inspired” by each of the characters. This time the original soundtrack was followed by an album called Dancing Shadows. The music is very similar to the first game in nature, only bigger, more powerful and more interesting.
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The Saturn version soundtrack is subtitled Maximum Mania, which is close to the arcade original, but the instrumentalization sounds a bit more natural thanks to the redbook audio.įor the second game, Nakamura got support by Takenobu Mitsuyoshi (the only composer to stay with the series until Virtua Fighter 3, Youichi Ueda and Akiko Hashimoto. Some of this is actually really good, even though the songs are hardly recognizable as the game music, anymore. These include some trippy jazz versions and a strangely ethereal hymn, but mostly typical band rock. They also made the album Neo Rising, whose arranged songs depart much further from the original soundtrack.
Those were made by Sega’s short-lived in-house band B-Univ, who were also responsible for several other arrange soundtracks in 1993-1994. Saikyou no Senshi (“The Strongest Warriors”) includes the original arcade soundtrack bundled with a bunch of remixes that sway more towards techno, although some contain really weird vocal and rap parts. Composed by Takayuki Nakamura (who last caught attention with his musical contributions to Tetsuya Mizuguchi’s Lumines series), the music to Virtua Fighter starts somewhere in between the typical Sega arcade flair and Street Figher II style hymns, but soon branches out to incorporate hard rock, jazzy tunes and world music influences into one of the most versatile fighting game soundtracks of its time. In Japan, the first two games amounted to no less than six CD releases. One more element Virtua Fighter owed a small part of its success to was its excellent soundtrack.
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