For the first parts of the game series Resident Evil always a very important aspect has been the sound and music that surrounds and envelops the player in this seemingly unfriendly and dangerous, but such an atmospheric and addictive in-game environment. Sounds of the environment, shots, movements and moans of zombies, and most importantly, great music that can intrigue and give goosebumps. From the save room theme to the music played during the final battle with the tyrant. The musical accompaniment of the second part of the series is especially nostalgically associated with the game. Personally, I can’t help but think of various tracks from Raccoon City Police Station when I think about RE2. Every fan and amateur understands that without such an original and warmly memorable soundtrack, the first parts Resident Evil can no longer be perceived.
So the creators of the remake of the second part, understanding the individual needs of fans, made it possible to switch to the original soundtrack inside the game. True, this opportunity is so far promised only for those who ordered a slightly more expensive version of the remake. In this article I will try to explain why this particular version is worth pre-ordering.
After success Resident Evil V 1996 year, the development of a sequel was a top priority. And many of the original developers happily joined in the creation of the sequel. One of the most dedicated and creatively performing people in the team was the main composer – Masami Ueda.
While still in high school, he participated in a brass band and learned to play the synthesizer. Ueda was interested in music and the serious art of composing since childhood, so he entered a music technical school and graduated from it, receiving a music education. It is thanks to him that the game melodies Resident Evil were so good. Ueda adhered to the need to know and feel every level, moment and character for which the tracks were written.
"I never compose music without a basis. This remains the case to this day,” admits the composer.
After the first three games in the RE series, Masami Ueda will work on Devil May Cry, Okami, Bayonetta.
Along with two other Capcom composers of the nineties and early 2000s, Makoto Tomagawa and Akari Kaida, Ueda was responsible for the sound of the first part. In one of his interviews, Masami Ueda said that he got into the creative team of the first resident almost by accident, after meeting Makoto Tomagawa.
By the second resident, not only the composition of composers had changed, but also the approach to creating sound and music for the game had changed slightly. Masami Ueda remained the main composer and sound designer, but instead of those two comrades to replace them, Capcom sent two of his other apprentices to help him – Shusaku Uchiyama – a newcomer who would later work on many other parts of the resident and the first Devil May Cry, as well as Shun Nishigaki, a talented creator of music tracks for various fighting games and action games of the studio.
Musical arrangement of the first Resident evil relied mainly on synthesizer ambient, powerful percussion and synthesizer imitation of strings and winds, giving a horror-inducing effect. Plus a little guitar picking to create calm themes or to further add an atmosphere of suspense and mystery.
Sticking to the theme of fear of the unknown, the composers tried very hard to keep themselves within the confines of a style that would remind listening players that this is a new horror film with a modern setting. After all, in some places the soundtrack needed to emphasize the sci-fi component of the game. Electronic music was mainly used for this. And during the first unexpected encounters with such enemies as infected dogs, crows and hunters, high-speed industrial music began to sound, mixed with a sharp-sounding violin, trembling piano and hard-hitting drums.
All the sound style of https://snatch-casino.co.uk/ the first resident and methods in creating music carried over into the second part, but this time Ueda and his comrades decided to slightly change the overall tone, the main theme, and also add drive and even rock to the game’s soundtrack. Music Resident Evil 2 everything is the same as the first part, trying to be as little as possible like a traditional horror, more and more adhering to an industrial, modern setting. Even in the first screensaver of the game, which greets us before the main menu, there is both classic horror ambient and sharp combinations of drums and violin, as well as rhythmic electronic music – The Evil Eye.
This time all the compositions are based on the theme of despair and fading hope. As the main composer, Ueda created the motives and main musical themes, while Uchiyama was responsible for the true horror in the sound of the melodies and, accordingly, for the soundtrack in the video scenes. It is worth noting that many key plot points this time involve real orchestral music, aspiring to cinematic compositions written under the influence of blockbuster films. By the way, orchestral music, in which composers tried to imitate movie blockbusters, is also felt in the melodies that play during battles with many bosses. The dynamism of such tracks is also often emphasized by the fast rhythm of individual instruments.
The main musical theme, a three-note melody, was used several times during the story, being included in the opening compositions under the titles Prologue, Raccon City and also in one of the themes that plays during the meeting with the main boss, The Third Mailformation of G.
The game features a variety of musical styles, allowing the composers to achieve very different moods in the music. At the moment of our appearance on the streets of Raccoon City, driving percussion music is heard, in which fast synth riffs are slightly muffled, and the horns seem to be trying to create the effect of volume and large spaces. In most street locations there is no music as such, and we only hear the cawing of crows and the howling wind, interspersed with the moans of zombies barely audible in the distance.
Only making our way through the bus and being in the courtyard of the police station do we encounter an alarming and drawn-out violin melody that tries to introduce us to the main theme of the soundtrack – despair and barely glimmering hope.
The alarm bell ringing awaits us at the entrance to the police station. The synthesizer imitates the ringing of bells similar to it, creating the basis of a drawn-out melody with powerful keyboards that sound either percussive or slightly strummed.
Inside the police station itself, we are immersed in piano sounds that highlight the ominous surroundings. In general, it is worth noting that most people associate the music of the first residents with piano melodies. The music that greets us in the large hall of the building emphasizes the keyboards, but does not forget to add a trumpet at the right time, which should emphasize the majesty of the building. The melody itself was supposed to create an atmosphere of mystery, which the authors of the first part were so proud of. Ueda believed that the player should feel as if they were back in a place similar to the mansion from the first game.
And here an interesting sound discovery of the authors appears – in the building you can often hear a door slamming loudly and unexpectedly somewhere in the distance. A simple but effective effect for additional intimidation of the player and for giving life to this lifeless and seemingly static place.
The first encounter with slime (or liqueur, as you prefer) is very interesting. This is a great example of how well the game will continue to build suspense through sound. In the room in front of the slime there is no music and no sounds other than the hero’s movements. Moving further, all we can hear is the sound of drops falling on the floor. Then, after a gorgeous video where we get to know the monster, a quiet but alarming violin sounds, which should not distract too much from the fight with the first serious enemy.
Well, in general, during our walks around the mansion, we will be accompanied by various kinds of disturbing ambient music. Interestingly, on the upper floors we can expect music of lower tones than on the first floor.
Is that in the office of the STARS team, high ambient music awaits us again, but there will also be two keyboard rhythms, one of which is a three-note melody in the upper register, which is often used in the first games of the series for the music of rooms with riddles or those where there are always secrets or objects necessary for the plot.
Secure Place – a melody that greets us in safe rooms with a chest and a typewriter in the first half of the game. Oh how good she is. A simple and very pleasant, even relaxing keyboard riff, combined with a low register violin background, lasting only 26 seconds, which loops and repeats. One of the few melodies of the game that creates an atmosphere not of despair, but of hope and security.
Tracks designed to calm the player on his difficult journey can also include Sherry’s Theme And Ada’s Theme – two melodies similar in composition, but slightly different in mood. Both are aimed at creating a positive image of the characters they meet. According to Ueda, the themes should explore the noir mystery of The Girl in Red and the relaxing, friendly naivety of the little girl, Sherry Birkin. Both are also based on soft keyboards and string backgrounds.
But what should cause exceptional danger and panic is the melody Screaming Target, as in the first part, sounding during the sudden appearance of monsters. She is especially frightening at the first meetings with crows flying into the windows, breaking them. A small looping section consisting of sharp violins, siren-like synth sounds and rhythmic percussion.
We throw it there It Is After You, which turns on during several encounters with Mr. X chasing you. Not as dynamic and frightening as the “screaming target”, but built on a similar principle (Maximize Your Survival Instinct can be taken there).
Falling Victim To Ex-Neighbors – this was already something between dynamic music for a battle scene, and a tense, disturbing track for wandering through the dark corners of the abode of evil. It turns on only a few times throughout the game, exactly at those moments when the player is suddenly surrounded by a large number of enemies.
In some tunes the drums will take the lead role (Like a Shadow, Wandering Alone and Left Alone). This will mostly be towards the middle of the game. Even from the names of the compositions one can conclude that such tracks should symbolize the fear of loneliness in confronting evil.
The Basement Of Police Station – Descending into the basement of the police station we will be greeted by viscous and gloomy ambient music, which is framed by synthesized keyboards, similar to dull but loud blows on large iron pipes, as if echoing. A sound that not every player expects to hear after piano sketches.
When we find ourselves in an underground laboratory, pure electronics will be added to the already familiar sound – Fearful Is No Word For It, Your Mission. As in the first part, here such music emphasizes the sci-fi orientation of the plot and some of the dilemmas faced by the heroes. For example melody Is Ada Spy its name says it all.
Well, at the very end, the music generally picks up its tempo and adds a combative, almost military theme. This is done with the help of drums, which are similar to military marches and the same strings. Long And Gloomy Underground Passage, Under Cover Of Darkness as if they push the player with their rhythm and set them up for battles with bosses. Cool We Will Never Die doesn’t forget about the pretentious-sounding wind instruments.
Well, such music tuned to combat scenes reaches its peak in melodiesThe Second Malformation of G And The Third Malformation of G, what they sound in battles with various monstrous forms of William Birkin. The Third Malformation of G generally begins and is accompanied by beautiful female operatic vocals, which emphasizes the epic nature of what is happening.
The most beautiful and at the same time the most suitable melody for the theme of despair is One More Kiss, playing during one of the game’s most dramatic and cinematic moments. The first and last kiss of Ada and Leon (although there will be another similar moment in the sixth part of the series, but it is not so good). Violin melody One More Kiss ideal for evoking feelings of concern for the characters.
Well, at the end of the track that the player hears, having completely mastered Resident Evil 2 – Scenario B Ending Theme. A melody that few people expect to hear at the end of such a game, but which is so perfect for the real ending. The guitar cuts that accompany the credits were supposed to give the player a charge of satisfactory pathos. Powerful rock music with a long and complex yet melodic solo, perfectly set to the full credits of the developers. For Ueda, by his own admission, this was the most difficult composition. There was little time left to create, there were almost no ideas left, and the entire team was tired of long work. And on the very day of recording, Ueda and the guitarist with whom they were working had an idea for the main riff, which they painstakingly worked out together throughout the whole day of recording, along with an almost two-minute solo part. As a result, the impromptu gave one of the best and most memorable compositions of the entire game soundtrack.
Shortly before release Resident Evil 3, A series of concerts took place in Japan called Biohazard Orchestra. A large, professional orchestra performed music from the first two parts of the series. And even though Master Ueda himself heard the difference between the instrumental and digital versions, all the listeners and spectators who attended there responded exclusively enthusiastically and positively. All the fans and even the composers themselves, who stood behind the scenes, listened to this music, overwhelmed with emotions.
Musical arrangement Resident Evil 2 – this is what is an integral part of the already iconic masterpiece. Yes, new music and new arrangements in the remake will definitely be good. But we can probably get that subtle charm and real nostalgia only with the original soundtrack.
