#Dragon ball raging blast 2 gatebreaker series#
All of the series hallmarks - transformations, fusion techniques and manic surges of fighting - came into play, with decent detail and surprising respect for the lore. Traditionally, the Dragon Ball Z: Budokai series has been one of the best implementations of the anime's mechanics and rules, particularly the Tenkaichi subseries. A select few have faithfully captured the Dragon Ball style, but others have been less successful. Its Dragon Ball Z incarnation has been around for almost 20 years, and the series has inspired a small ton of video games by many different developers. And that can be extended to other Chinese instruments too if we consider his work for Street Fighter IV, for example, where he also used a few of them."Dragon Ball" pretty much captured everything right and wrong with fighting-based anime in a show that became the defining example of the genre. Luckily, the credits include two entries that initially seem odd:īut they make it easy to guess which tracks may have been composed by Hideyuki Fukasawa since there's so much focus on those instruments. I do hear the style of Hideyuki Fukasawa in most of the tracks. My guess is that those "sections" most likely refer to the companies that coordinated the musician (or the production, in the case of the "W" Section)Īnother question entirely would be who of those composers did what tracks specifically. Three sections (I'm not even sure what that refers to different areas of the soundtrack entirely?) On the international side, it seems like Arima was just the ultimate authority overlooking things, but here is where the actual nitty-gritty work starts shifting over to Toshiyuki Kishi, who will continue on from here to the next generation of games when Yamamoto is not involved. On the Japanese side, it's pretty much exactly the same as before, which makes sense considering the three Sparking! games basically just kept adding more and more music to themselves as-is (with the occasional song getting dropped). Here's where it splits a bit, even with Arima being involved on both sides again. Sound Director: Takanori Arima (BEC Co, Ltd.) ANALYSIS: Musician Coordination by Face Music, Inc. Recorded at On Air Okubo Studio / milk+ StudioĪrtist Management by Office Intenzio, Inc. Trombone Players: Yochi Murata (by the courtesy of Victory Entertainment, Inc.) Trumpet Players: Koji Nishimura, Sho Okumura Synthesizer & Computer Programming & Guitar: Toshiyuki Kishi Record & Mix4 1: Masatake Ohsato / Toshiyuki Kishi but I think I'd still paint Arima as "the guy" for both of them if you want to pin credit (blame? heh) on one guy.īudokai Tenkaichi 3 Ending Credits wrote:Sound Producer: Toshiyuki Kishi There are a bunch of other hired studio musicians on both soundtracks, and the three sections (I'm not even sure what that refers to different areas of the soundtrack entirely?) actually have different composers attributed to them. It seems that Takanori Arima is probably the one to ultimately credit for both the original Japanese as well as the international music. Musician Coordinated by Noriko Sekiya (FACE MUSIC) Production Coordinated by Sei Sato (OfficeWithout) Recorded by Hideyuki Fukuawa, Hisae Yahagi (STUDIO Z'd)Īssistant Engineered Masahiro Nishida (WEST SIDE STUDIO) Musician Coordinated by Minako Hashimoto (Free Market) Budokai Tenkaichi 2 Ending Credits wrote:Music Produced by Takanori ArimaĬomposed by Hiromi Mizutani, Kenji FujizawaĪssistant Engineered Jun Shoji (Free Market)