When fighting the final boss Spoiler:Sigma, the music that plays in the fight, Spoiler:"Sigma 1st" (where the cloaked and uncloaked form fight occurs) & Spoiler:"Sigma 2nd" (where the final form fight occurs) is oddly swapped in the PC version of the game. This is due to mislabelled filenames, and can be easily fixed by manually swapping the filenames within the data for the PC version.
Upon exiting a dungeon with the Skull Engine, it will play one of 3 random short tunes with it's whistle: • The Overview Theme from The Legend of Zelda. • The Overview Theme from The Legend of Zelda: Spirit Tracks. • The sound of a Phantom appearing.
The background music for the "Merch Cemetery" stage has the filename "97 115 99 105 105 10", which when converted into ASCII spells "asciiLF". It is not known what this title means.
In the "3rd Mix PLUS!" variant of this game, there is unused data for the song "TOTAL RECALL" by ULTIMATE HEIGHTS. This includes unused graphics, step charts and lyrics for the song.
The Ziggy enemies appear to be modeled after Ziggy Stardust, a stage persona created and portrayed by English rock musician David Bowie from 1972 to 1973. In addition to the identical names, the Garden Ziggy variety features brightly colored lightning bolts painted across each eye and a large yellow mohawk, with the results resembling the cover photo for Bowie's 1973 album Aladdin Sane (which depicts Bowie with a red lightning bolt on one eye and a large red mullet).
According to a tweet by dj TAKA, the song "ABSOLUTE" was originally called "Special Thanks". The name was changed after CG Designer VJ GYO and illustrator GOLI thought the name was "lame".
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BMB is a Russian video game studio known for making bootleg Sega Genesis games that feature violent content in their game over and continue screens. Some of the most graphic instances of this plagiarized fan content depict characters such as Mario, Felix the Cat, Iron Man, and Ben 10 as either being bloodied, their head decomposed into a skull, or in more gruesome scenarios like Felix's skin being peeled off of his face. Oftentimes this is accompanied by text directly alluding towards the featured characters' deaths and the consequences of the villains' victories. The background music for these scenes is typically reused in each game, either using the title theme from UWOL: The Quest for Money and/or Corneria's theme from Star Fox. Additionally, while not a game over, BMB's bootleg hack of Angry Birds Star Wars ends with Darth Vader's mask being lifted to unveil a bloodied Bad Piggy.
The game's concept was born out of a series of emails between writer Kenichi Nishi and Japanese electronic/classical musician Ryuichi Sakamoto regarding the Gaia hypothesis, a proposed ecological model by James Lovelock which claims that life on Earth exists as a self-sufficient network of mutualistic relationships.
Sakamoto devised the game's scenario from these conversations, with Nishi developing them into the game's plot. Sakamoto additionally provided the game's soundtrack, composing thirteen songs using methods designed to compliment the naturalistic setting and enigmatic presentation.
The song "Red and Blue" was originally composed by Silentroom, then known under the alias "Polycube" for Sound Voltex III: Gravity War's "The First VOLTEX Character Theme Song Contest" in 2014. However, the song was unable to be submitted due to missing the deadline. It was later added and repurposed for Arcaea in the 1.5.0 update.
"いまきみに" ("Ima kimi ni") marks both composer Silentroom's first Konami Original composition and their last song prior to their hiatus in August 2022, planned to end in 2024. The purpose of this hiatus, according to Silentroom's website, is to focus on their main field of work.
If you insert the PlayStation or PC versions of the game into a CD player, or play the Sega Saturn version's disc in the console's music player, you can access a hidden song on track 6 titled "Motty's Rap". The song consists of humorous phrases recorded by longtime FIFA commentator John Motson that mostly comment on the song's techno/rock instrumental with some mild innuendos, including: "That is the fattest bottom end I've ever heard" and "This reminds me of touring with the Sex Pistols". The song was the work of EA composer/audio designer Robert Bailey, who got Motson to record lines for the song during his time in the recording booth. In a 2024 interview, Bailey stated that the song was one of many obscure Easter eggs involving Motson's dialogue that the developers put together, with "Motty's Rap" being pulled from "just all of the stupidest phrases John said" and were put into the context of the music. The song was approved to be put into the game by its executive producer Bruce McMillan.
In an interview with the game's composer Yuzo Koshiro published in the Japanese book series Game Maestro in 2001, he clarified that while there were dozens of people on the game's music staff, there were only four main composers actually writing and arranging the music, making them the smallest group within the project (this also included people working on sound effects and voice acting). The main theme of the game was written by composer Mitsuyoshi Takenobu. Koshiro believed Takenobu had "the hardest time of us all" during development as he also helped fine-tune the game's music in line with the programmers and director's requests. Koshiro also mentioned that at the beginning of the project, the offer made to get him on the project was that Takenobu would write songs, and Koshiro would orchestrate and arrange them. However, as the project went on, they both went on the opposite direction.
A rendition of Star Fox 64's Area 6 theme can be listened to in Star Fox Adventures' sound test, despite it being otherwise unused in the final game. In a January 10th, 2003 edition of Rare's Scribes, composer David Wise explained that the Area 6 theme was temporarily used as the theme for the final confrontation against Andross, but was always intended to be replaced with the music that plays there now in the final game, which is a rendition of Andross' battle theme from Star Fox 64. According to Wise, this track was literally substituted in the final hours of development, and Rare did not have time to remove it from the final version.
In August 2015, location tests for DanceDanceRevolution (2014) were held in North America. This marked both the first time the series was location tested in North America since Dance Dance Revolution X2 and the first time eAMUSEMENT was officially supported in the region. The English translation was a more completed version of the one present in the Korean version. Furthermore, 47 songs were removed from this version due to copyright restrictions, mostly being licensed songs from previous entries and all the "U.M.UXBEMANI" songs.
In the end, DanceDanceRevolution (2014) was not released in North America, with the following game Dance Dance Revolution A becoming the first Arcade release in North America since Dance Dance Revolution X2.
Alongside being in the same key, Ryu Hayabusa's theme music "The shooted" and Ein's theme "Vigaku" both feature a recurring guitar solo. While "Vigaku" plays a few different arrangements of its solo throughout the song, the solo as heard in "The shooted" is played the same way throughout the majority of the song except for the very end, where a different take on it is played. When comparing the primary solos in both "Vigaku" and "The shooted", while both solos play through a similar scale of notes, there are some individual notes in each solo that are different to distinguish them from each other rather than fully recycling them. In the game's soundtrack released on CD, "The shooted" is placed ahead of "Vigaku", suggesting that the solo heard in Ein's theme is meant to be an interpolation of the solo in Ryu's theme. As such, it appears the entire point of these solos being so similar is to highlight the connection between Ein and Ryu as friends that the amnesiac Ein forgot in the game's storyline. The solo that is repeated in the same way in "The shooted" seems to represent who Ryu is, while the different interpolated versions of the solo in "Vigaku" may represent Ein trying to remember his past or Ryu's role in doing so. In Ryu's Story Mode, he knocks Ein out of the tournament, causing him to regain some of his memories including who Ryu is, and he eventually regains the rest of his memories after battling Kasumi at Ryu's request.
In an interview with Nintendo Player, Jason Bakutis, who designed the game's monster models and prosthetics, claimed that Viridis Corporation intended to commission English neo-psychedelia band Echo & the Bunnymen to compose the game's soundtrack. However, these plans fell through for unknown reasons. Ultimately, the soundtrack was provided by Mark Andrade, who also played Gaspra in the opening FMV; however, most of his compositions were omitted from the final game, which instead uses ambient environmental noises for the majority of gameplay.
The arcade game Dino Pop, manufactured by the South African company Amusement Warehouse, features an unlicensed rendition of the recurring Chocobo theme from the Final Fantasy series. Based on a demonstration video uploaded by the manufacturer, it's also believed that other renditions of the game use an unlicensed version of the Gold Saucer theme from Final Fantasy VII.
"SURVIVAL AT THE END OF THE UNIVERSE", released for Gold Class on May 3rd, 2023, marks the final BEMANI song by composer Akira Complex, who later passed away in June 2023.
The cancelled Atari Jaguar game Tiny Toon Adventures: Plucky Duck in Hollywood Hijinks ran into trouble with its art direction. It originally used photorealistic backgrounds, uncharacteristic of the cartoon and described by a developer as "build and[sic] engine and insert your favorite licensed character here." Despite a complete reset being done to the game's art direction following this iteration, the art did not live up to Warner Bros.' standards for how the Tiny Toon characters and world should look, lacking color and brightness. After Warner Bros. provided model sheets with specific instructions for drawing the characters, the development team instead switched to taking photos of the TV show and converting those into sprites, which caused issues as the sprites would come out corrupted. Atari ultimately concluded that no artist at Telegames was able to create proper Tiny Toons art, requiring art duties to be swapped out to Digital Delirium, which also failed to deliver Warner Brothers-quality animation, which caused the game's development to start implementing pencil tests into their animation process, which slowed down the game's development significantly. Eventually, all of the art for the first 2 worlds was finished, however Telegames stated they did not need the art at that point, with the art (and its respective levels) not being implemented over a year later. Telegames laid out an offer where they would only release a milestone document if a fully laid-out stage map could be provided, something the developer who released this story believed was a stalling tactic, as they already had the art and mockup stage layouts. Shortly after this, the artist assigned to complete the level layouts was laid off, requiring Digital Delirium to be brought in-house, and some music was made for the game that was completely unfit for the source material.
CrazyBus' soundtrack is often said to be randomly generated - this is partially false. The game does use a random number generator for its music, but it uses an outdated psuedo-RNG that is not truly random, so every boot of the game will play the exact same tune. However, if you press a button that does not start the game, the RNG will shift and the music will therefore end up becoming randomly generated.
Upon exiting a dungeon with the Skull Engine, it will play one of 3 random short tunes with it's whistle:
The background music for the "Merch Cemetery" stage has the filename "97 115 99 105 105 10", which when converted into ASCII spells "asciiLF". It is not known what this title means.
In the "3rd Mix PLUS!" variant of this game, there is unused data for the song "TOTAL RECALL" by ULTIMATE HEIGHTS. This includes unused graphics, step charts and lyrics for the song.
The Ziggy enemies appear to be modeled after Ziggy Stardust, a stage persona created and portrayed by English rock musician David Bowie from 1972 to 1973. In addition to the identical names, the Garden Ziggy variety features brightly colored lightning bolts painted across each eye and a large yellow mohawk, with the results resembling the cover photo for Bowie's 1973 album Aladdin Sane (which depicts Bowie with a red lightning bolt on one eye and a large red mullet).
If you insert the PlayStation or PC versions of the game into a CD player, or play the Sega Saturn version's disc in the console's music player, you can access a hidden song on track 6 titled "Motty's Rap". The song consists of humorous phrases recorded by longtime FIFA commentator John Motson that mostly comment on the song's techno/rock instrumental with some mild innuendos, including: "That is the fattest bottom end I've ever heard" and "This reminds me of touring with the Sex Pistols". The song was the work of EA composer/audio designer Robert Bailey, who got Motson to record lines for the song during his time in the recording booth. In a 2024 interview, Bailey stated that the song was one of many obscure Easter eggs involving Motson's dialogue that the developers put together, with "Motty's Rap" being pulled from "just all of the stupidest phrases John said" and were put into the context of the music. The song was approved to be put into the game by its executive producer Bruce McMillan.
