(Originally published at the now-defunct DASH Republic in March 2012. Re-edited and expanded for Tumblr in 2013. Finalized for January 2016 on The Game Informant.)
Makoto "V. Tomozo" Tomozawa adjusts
audio equipment during the production of Street Fighter IV, circa January 2010.
Under the pseudonym V. Tomozo, as it was Capcom's policy to obscure talents' names back then, Makoto Tomozawa became well-known for composing music for several of the more popular early titles in the Mega Man franchise, including Mega Man X and Mega Man 7 for Super Nintendo (while also supposedly lending a hand in Dr. Wily's Revengefor Game Boy). He would later be best known for his work in the two main Mega Man Legends entries years later.
He continued to be credited under the pseudonym until Resident Evil in 1996, when 3D polygonal games were becoming the norm and the talent it took being more valued and recognized. Tomozawa would work briefly on the first draft of Resident Evil 2 (Resident Evil 1.5) right until it was scrapped. As soon as that game entered redevelopmentin 1997, Tomozawa would be reassigned to compose music for Mega Man Legends, the first major 3D Mega Man game for PlayStation. His other work consisted of titles from other well-known Capcom properties, including the Dino Crisis series on PlayStation. Tomozawa returned to the Resident Evil franchise one last time as a co-composer for the remake in 2002. One year later, after the release of P. N. 03, he left the company to join the Dimps Corporation and work on the highly-celebrated Street Fighter IV. In 2010 he would reunite with the Blue Bomber in Mega Man 10, composing Strike Man's stage theme. Around the time of the Mega Man Legends 3 cancellation catastrophe in summer of 2011, I had a chat with Makoto Tomozawa on Twitter. Being the huge fan of the Legends series and some of the Resident Evil games in particular, I wanted the opportunity to speak with him about his past years at Capcom. He gladly accepted and over a period of months, he and I replied back and forth in an on-and-off manner to the point where he unfortunately dropped out on the middle of Legends 1 portion of our chat. But from what I did gather, he didn't hesitate to admit that the Mega Man Legends projects were among the higher points of his time at Capcom.
Arron - OKeijiDragon: Hello, are you Makoto Tomozawa (友澤 眞) who worked at Capcom Co. Ltd (カプコン)?
Makoto Tomozawa: Yes, I once worked at Capcom, but I retired from the company.
Arron: Oh hello, Mr. Tomozawa! Pleased to finally meet you. I am a big fan of your work in Mega Man Legends. =)
Tomozawa: Thank you very much!!! It was one of my favorite works.
You can catch how the interview unfolded by clicking the jump!
Everyone making quality videos on YouTube needs to have a splash page about them. They need to address viewers' questions like, who are you? What do you have to offer? Why should I care about the trivia you're spouting to me? Well, that last part is your prerogative but let me explain for a bit. If you've read what's on my blog here, you'll get a taste of what I'm gonna post on YT. In fact, if you've really been paying attention you'll notice the two actually go hand-in-hand. Hey, I gotta do something on the side besides my full-time job you know. But that doesn't mean I'm just gonna throw something together, throw my hands up and say F*** everybody, I'm giving you guys quality videos of annotated game playthroughs (because I hate any LP commentary that isn't Game Grumps) in 1080p60, archived digitized VHS/LD videos (also in 1080p60, I've got a big back catalogue of such media that I'm looking back into to represent them in the best possible quality for archival), prototype coverages (OK, just playthroughs of certain game prototypes, oftentimes me doing YT-poop style ones. You'll see my highlights on the splash video), information videos about certain subjects in certain games (usually my favorites like Mega Man Legends and Resident Evil, to name a few), some glitch videos, and of course I aspire to do more from those subjects. So without further ado, here's my brand new, mint-chocolate chip backgrounded splash video.
Here's to a good start in 2016, too. I'm gonna make it my new years resolution to be more dedicated to this blog in the following year than I have been all this year. Can my infinitesimal audience help me drive myself to that resolution?
Because either I kept forgetting or I just stopped caring, but tonight I'll just shut up and provide you with a 30-minute loop sales video for Resident Evil 2, recorded in 60 frames per second and upscaled to 1080p HD.
Dated November 16, 1997 (so it says on the front label), the footage seen here presumably comes from the fan-called "BETA 2" build that was burned around the time this sales video was sent out to retailers. The familiar, iconic Resident Evil 1.5 trailer theme plays throughout the loop, and it contains some differences from the final version (one thing comes in mind is the unused bear taxidermy in Chief Irons' creepy torture dungeon). As I had mentioned earlier this year on my Capcom 2000 VHS video article, this is the second of three tapes I purchased last year in an eBay auction. The remaining tape I have would be Fighter's Edge.
I'll say nothing else till a question gets asked. Enjoy.
Update: Holy crap, today is my blog's one year anniversary too. Happy Birthday to The Game Informant! You can already tell by previous posts, but I'm a big fan of Resident Evil. Classic Resident Evil if you may and Resident Evil 2 is among one of my favorite Capcom games and probably one of the very few in the franchise that actually leaves a good, thrilling impression on me as a player today. Its infamous first draft and highly publicized revisions have also earned itself the reputation of being one of the most high-profile games in the subject of prototype and unreleased video game content today. So for the night before this year's Halloween, we'll briefly go over a video I published nearly four years ago that details two unique similar music pieces hidden in the sound code for Resident Evil 2 that can't be heard normally in the game. The music pieces sound as though they are actually variations (which I decided to call them) of one another, which you can listen to below on the embedded link.
As we hear in the video, the first variation sounds as though it's a rough mix, as it contains the least instrumentation. The second variation sounds much more refined, containing at least one more instrument playing in the track. Presumably, this would have been the final draft before it would be disused in the game's sound code. Sometimes, music pieces are composed for specific moments before scenes in a movie, TV show, or game is completed. When a scene is sent to the cutting room floor, usually everything is cut along with the scene. In this case, these particular music tracks were left behind as the scenes had been ditched in favor of the form we got in the final form. How these would have fit in the game remains unknown. Seeking for answers, I spoke to lead Resident Evil 2 music composer Masami Ueda on Twitter in which he gave the following response:
Ueda-san vaguely recalls composing these two tracks for the game, but was able to recall their purpose. They were meant to be a theme for Sherry Birkin, the young girl who accompanies lead female Claire Redfield in their escape from Raccoon City.
The pieces were originally discovered in a PSF zipped folder at Zophar.com, a game emulator and hacking resource website. A PSF. (PlayStation Sound Format) is a sound file that often holds the synthesized sound data in various PlayStation games. Cracking the format required computer hacking and disassembly skills. The individual who originally ripped the tracks from the game's sound directory and uploaded them on to Zopher in the first place is currently unknown. I'd like to thank that individual for finding these bits. Wanna know what my Halloween treat this year is for you guys? If you're a Resident Evil fan like me, I think you'll like it a lot. Stay tuned.
Three months!? Gosh, I've been out for a while. I've been in the mood for prototype/unreleased games again lately. This time, I've taken a listening to a track I've ripped and uploaded on YouTube a year ago, from a prototype version of Mega Man X5 dated May 1, 2000.
The biggest difference to note about this track is in the middle. The first fifty seconds are consistent to the final version, but after that the main verse (or bridge, whatever's the right term for it) becomes different. If you ask me, this version emits the vastness of space much more than the final one (though the stage actually takes place in a planetarium, surprise suprise). Out of all the tracks in the proto, this one is my favorite. The prototype itself contains a large number of rudimentary elements indicative of its progression into it's final form, all of which you can find them documented at the Cutting Room Floor. The US preview trailer, unveiled at E3 2000 convention in Los Angeles, CA that year, appears to be from this build of the game.
If you want to see the whole VHS rip in it's entirety, you can find it here and reminisce about the old days when Mega Man (and Capcom) was a bigger brand than it is today.
Ever watch a show or a movie and notice a song in the background you thought sounded remarkably familiar to another song you've heard elsewhere before? I have. Which is why I made the unoriginally-titled Song Similarities. I'm sorry.
Inspired by the Sonic Retro forum's "This Song Sounds Like X" thread, I've began making a short clip, of hopefully several to come, that highlights interesting similarities between a pair of songs that strike me as strong coincidences that particularly resonate with me.
Now, one thing Id like to note. I'm not trying to persuading my audience that "OMG (insert artist) must have done music for (insert IP), this is like MJ/Sonic 3 all over again!" I am just simply creating these videos of what I find are trivially interesting that I nonetheless feel would be worthy of bringing up
In this specific comparison, a BGM from one scene in episode 22 of the hit anime Slam Dunk features a melody structure that sounds quite similar to the present version of the level Tidal Tempest Zone from the popular game Sonic CD. Yes, it may seem like a generic beat today but one of the Sonic CD came out in Japan on September 23, 1993, while the Slam Dunk episode aired on TV Asahi in Japan on April 16, 1994. Any possible referencing, if at all, would have to have occurred after the game's Japanese release.
In a time when Street Fighter and Mega Man where the biggest names in Capcom's arsenal of video games in the early 1990s, 3D polygonal games had just begun to be a thing and polygons consisted mostly of origami figures that resembled moving pyramids and stationary chunks of sausage blocks, figuratively speaking. BIO HAZARD, or as commoners call it Resident Evil, would become the company's first bold experiment working with 3D polygons that would pay off in a major way.
Let's set the clock back to late summer of 1995. The PlayStation was already less than a year old in Japan, while BIO HAZARD had been in development for some time already. At this point in time, the game had just moved on from its "co-op" experimentation period (which not much is known about, and if I can even say it was co-op, actually) and into the period where survival was mandatory and isolation horror would shape up the final form it would assume.
On stage, director Shinji Mikami and supervisor Masahiko Kurokawa would present this direction to the silent audience of hundreds at the V-Jump Festival '95 in Japan.
This footage has been around for a long time now and in fact some of you might even recall seeing it on Inflames' website or other familiar locale. For the purpose of preservation (and because I can't stand the quality of the original rip anyways), I've once again taken upon myself to purchase the original VHS source to bring to you remastered footage of the segment in 1080p60. So the narrative is set in the near-future (for the time of the game's release) of 1998 at the northwest side of the United States where S.T.A.R.S, a police force stationed at Raccoon City, is called in to investigate a series of bizarre murders committed in the outskirts of their city. Upon receiving no word from Bravo team, the team that was initially dispatched the previous evening to find any clues to intercept the supposed killers at the Arklay Mountains, Alpha team arrives swiftly to locate their missing members.
I have an A.A degree in Journalism and I can tell you that that's a really terrible newspaper headline for a news story. Not that mine for this blog post is much better.
To their horror, they discover the grisly remains of their compatriots. The vicious dogs responsible for the deaths appear abnormal, and set their eyes and noses on the remaining Alpha members, killing one of them by the neck, and chasing the rest to a nearby abandoned mansion full of zombies and other horrific monstrosities. Now taking desperate refuge inside the establishment are three (six?) remaining S.T.A.R.S members: Chris Redfield, Jill Valentine, and Albert Wesker. They don't know where Barry Burton is or that Rebecca Chambers, who had one hell of an horror fest with an escaped convict the previous night, is somewhere inside. Thanks for leaving them behind, go to hell Brad Vickers.
OK, whatever. Cool story.
*Until REmake came and destroyed every single RE game that
came before it (Electronic Gaming Monthly #80, March 1996).
Upon the unveiling, comparisons were already being made between Resident Evil and the preceding Alone In The Dark, released four years prior. The two share similar horror and gameplay philosophies, but the key difference being that Resident Evil's graphics kicked ass* according to Mikami. He wouldn't be wrong though, it did prove itself as an immersive horror game with an intricate level of graphical detail into the polygon character models and CGI backgrounds even during the advent of the pre-rendered computer graphics craze in video games at the time.
The V-Jump prototype is dated
August 4, 1995.
So onto the prototypical context of the footage itself. First off, only a handful of areas of the first floor mansion are actually playable and the camera positions in some of these areas are drastically different. For example, in one angle, the camera appropriated to the first floor door leading to the first zombie is positioned behind the banister from the second floor (which I find the angle itself interesting, actually).
Jill Valentine is stands at the front stairs on the first floor of the mansion. She doesn't say much other than "I'll stand watch here." Nothing else. Interestingly, despite her presence in this prototype, Jill isn't actually seen in the embedded footage above. My guess is that in between the aforementioned previous prototype version and the leaked August 4th prototype, her model had just been redone from her previous, implementeddesign. But that would mean that there had to have been a build of that that existed at some point.
One of the elements I find more interesting is the lack of a finalized set of voice samples for Chris, possibly in Japanese. Presumably, this build was created at a time when the game was still planned to feature Japanese language performances. There's even a set for Jill as well. Take a sample (for more, check out the prototype's page that I sometimes update at The Cutting Room Floor):
Chris: | Jill:
Aside of that, and a snake that shows up from almost out of nowhere at the exit to the garden, there's not much else in the build that provides more of the game than the later protos exhibit. Beyond this prototype, there are at least two more other prototypes (three if you include the Trial Edition) that proceed the progress of the game's development. For now however, the focus is just for this build only. Sometime in the future, I'd like to explore those other builds. If there is a prototype of this game that you'd like for me to explore and document in detail, I'd be happy to.
I'm more motivated to start and complete projects based on the level of demand for their release, and in fact I've invited YouTube users to like this comment I've made about remaking a video about the Japanese dialogue that never materialized in the final game. You can too. Otherwise, hit me up at Google+ or Twitter if you want me to talk about it more.
