Rather, this was crisp, light rock mixed with techno elements to create some of the most powerfully epic melodies I had heard in a long time. This wasn't heavy metal like the Guilty Gear series. and succeeding! My fetal position quickly adjusted to that of a rabid Dragon Ball Z fanboy about to witness the Cell Games for the first time as I gave the computer my full, undivided attention for the next four hours. Instead of music fit for a bad Genesis game, I was greeted with the sound of an electric guitar attempting to shake the heavens with the power of melody. with brave release, I allowed the sound to enter my ears. From my balled-up position I could hear the echoes of sound waves as the rip for the first Budokai started playing. Upon firing up the game, I braced myself for Faulconer's screechy, whiny synthesized score by balling myself up in a fetal position with my hands firmly covering my ears. ![]() Afterall, Dimps was primarily a developer for the Japanese audience (they made the Rumblefish games) and I wasn't sure how Nihonjins would take to Bruce Faulconer's US score for the Dragonball Z series, which was the material I was expecting to be used for the soundtrack. Still, as a game music fan, I was curious how the music was going to be handled. ![]() I followed the Dragon Ball series during its mega-popular run in the US and I largely enjoyed it, but by the time the Budokai games were released my interest in the series had gone the way of the Ginyu Force.
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