One person in particular worked strangely hard on Fire Emblem’s music, so the number of tracks from that series increased as well.Īfter we had picked the songs out, I left it up to the original composers from there. Castlevania and Mega Man are particularly popular, so we included a lot of new arrangements from those series. We gave priority to the composers’ choices, so we might’ve been biased in our selection, but including well-loved songs was by and large the most important factor. Each composer had their own personality: there were those that were able to immediately suggest a lot of songs at once, those that went home and thought on it, and even those that suggested their favorites from their respective series! We had created a database of thousands of contenders beforehand, but also gave a listen to songs that were suggested to us – from there, we would begin allocating and arranging songs. If a song was good, I included it – that being said, I also tried to moderate things a bit and didn’t include things that didn’t fit the mood.Īfter the composers had signed their non-disclosure agreements and we had finished explaining everything, we immediately set to picking out songs. Even if getting people pumped with that song was unlikely, I chose what I chose. While I wanted to be able to get people excited through game’s music, I also included music like The Roost from Animal Crossing. It was at the Smash 4 invitational that I realized this. This time, more so than usual, we emphasized the “tension that battle stirs up” more than anything. From there, we would explain to people affiliated with other companies or groups (like SEGA or Nintendo’s main development headquarters) the aims and main points of our plan. Once we had gathered about four to six people, we’d give a presentation about our plans. I sent a lot of the emails myself, but for some of the newer composers who would be involved I let members of the sound staff be my intermediaries. Even still, I trusted them enough to give it to them straight. There are a lot of composers whose work is in this game, so, I think I’d like to go into the actual process behind including their music!įirst, I sent each composer an email that was about a year and a half ago now, so it was a struggle for me to tell anybody I was working on a new Smash Bros. When it comes down to it, the amount of trouble we have to go through to acquire all those rights is dozens of times harder than would be in a typical game.
Given those limitations, though, I feel like we’re doing our best with what we have for this Smash Bros. It’d be difficult to acquire the rights to every song from every game, so – as we were only able to record a few songs for them – some titles might feel a bit underrepresented. The number of songs varies on a series-by-series basis, and often suits the given title.Įvery time we use a song from a guest series we have to shell out a lot of money for the right to use that song. Given that the game is still under development, that number may possibly change even still, though, that number isn’t anything to scoff at! And with the returning “My Music” feature, you can enjoy a variety of songs on any given stage at your leisure. Ultimate has around 800 tracks that play during battles, and approximately 900 tracks in total.
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