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Jun Senoue, famous for being a lead music composer for Sonic Adventure 1 and 2, said he was insipired to write and arrange Super Smash Bros. Ultimate's "Mega Man 4 Medley" in the style of a Sonic Series composition after he came across a Sonic and Mega Man crossover comic that sparked his imagination. He chose to center his arrangement on the 4th Mega Man game because of fond memories that he had of playing the game at university.
The iconic start-up sound of the PlayStation is actually a combination of three different clips stored in the system BIOS, which are then either sped up or slowed down to produce what is heard at the boot-up screen. These sounds also serve to check if the system is running normally and is OK to read games - errors within the system can lead to the startup sound becoming distorted.
In the Marukatsu Megadrive interview, the game's composer Yuzo Koshiro was asked about what music influenced the game. He responded: "I started writing the music last Spring, which was right around the time The Orb was coming to Japan, and everyone (myself included) was super excited about that. I was listening to Prodigy and Eon too, stuff with weird lyrics."
There is an unused version of the song Lazy Afternoons that's more orchestrated. This is likely an earlier version of the song.
Mother 3+, the game's physical soundtrack, contains a remix of Big Shot's theme. This remix is heavily based on the theme used in the trailer for Earthbound/Mother 64. The track's name, "A Great Person Theme", instead of "Big Shot's Theme", suggests that this particular version of the song was created earlier in the game's development, possibly when it was still planned to be a 64DD game.
Mother 3's official soundtrack, Mother 3+, contains a remix of the song "Snowman". This remix was reused 2 years later for Super Smash Bros. Brawl. The 2 tracks are near identical, with the only major difference being the intro to the song. The Brawl version uses a choir for the beginning, while Mother 3+ uses a wind sound in its place. The Brawl version also adds a drumbeat to the song on its second loop.
Part of the newly implemented Athletic Theme that plays during sky levels in the Super Mario Bros. style plays a portion of the results theme from the arcade game VS. Super Mario Bros..
Found within the game's data are unused themes of the mini-games "Let's Get a Move on" and "Pandemonium" from Mario Party 3 and 9 respectively, suggesting mini-games from Mario Party 3 and 9 that used those tracks were intended to be included in the game.
There's unused longer versions of each dance jingle used in the game.
The "Under Siege" musical theme appears to be based on part of Gustav Holst's "Mars, the Bringer of War" suite from Opus no. 32 "The Planets", this is appropriate due to the heavy war theme of the game and the situation the characters are in when the theme plays.
Spoiler:In the junkyard sequence, the original Kara android from the tech demo that inspired Detroit: Become Human can be found among the wreckage in an extremely dilapidated state. She sings the same song that she can be heard singing in the tech demo.
The music that plays in the opening is different in the American Release than in the Japanese release.
In an interview, Ryu Watabe stated that “I gotta believe” came from his old high school football team. The phrase was used as a motto the crowd would cheer when they were losing.
Shigeru Miyamoto stated, in a developer interview, that he wanted to remake “Ravel’s Bolero” for the title screen as he thought it best suited the opening crawl seen in the final game. However, this was changed to avoid legal issues since the song was 1 month away at the time from entering the public domain.
According to Grant Kirkhope. The Phantom Rabbid's song was originally conceived to have rap and heavy metal variations. It was later changed to only focus on opera because the team wasn't satisfied with how the other genre variations turned out.
Rather than streaming audio files, the music for Haunting Ground was generated by using the PS2's built-in sounds. This way, the composers could easily change the tempo of the music during gameplay.
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