Latest news with #Capcom
The Guardian
11 hours ago
- Entertainment
- The Guardian
From Street Fighter to Final Fantasy: Yoko Shimomura, the composer who put the classical in gaming's classics
Alfred Hitchcock, David Attenborough, Harold Pinter, Stanley Kubrick, Ridley Scott, Hideo Kojima – these are just a few of the recipients of the Bafta fellowship, the highest honour the academy can bestow. Japanese composer Yoko Shimomura is the latest to receive the accolade; one of only 17 women and four Japanese people to have done so. She is also the first video-game composer to be recognised by the British Academy of Film and Television Arts, and the first composer recognised at all since John Barry in 2005. It is with good reason that the academy has honoured her. Shimomura is an icon. You'll know her music from Street Fighter, Final Fantasy, Super Mario, Kingdom Hearts, Legend of Mana, Streets of Rage and more than 70 other games she has contributed original compositions or arrangements to. Her 37-year-long career has seen her record at Abbey Road Studios, have her music played by symphonic orchestras around the world, and work in genres ranging from rock to electronica, ambient to industrial, pop to opera. And yet Shimomura seems unchanged by her success. 'Certainly, over the course of my career, there have been a number of times – a lot of times perhaps, compared to other people – where I have struggled. Enough to think maybe I want to give up.' She tells me that even as far back as her first job at Japanese developer Capcom, she thought she had maybe two or three years in her before she'd quit. She also says she applied for that job with 'barely any hope of getting accepted' – with a modesty that still seems a core part of her character. 'Even though I love this job, there have been plenty of times when it was really hard for me to continue. I couldn't sleep, and I would especially struggle as deadlines would approach.' Part of her fatalism came from the culture of video games in Japan in the late 80s. Despite the thriving arcade and development scene later leading to the mainstream success of the PlayStation in the mid-90s, pursuing a career in video games was seen as a dubious prospect by Shimomura's peers and family. 'This is something I think most gamers who were around at the time will understand,' she laughs. 'Generally, my friends and people I hung out with were not big gamers, so they weren't too familiar with what games really were. At the time, a lot of them were confused about what a job in video-games music even was! Certainly, my parents were not of the generation who would have played the Famicom [the NES], so they would say things like: 'Oh, video-game music? Is that a job? Is that real?' There was a lack of knowledge and understanding about the profession, really.' Surprisingly, given the male-dominated western world of video games in the 80s and 90s, Shimomura tells me that a lot of her colleagues in the sound department at Capcom were women. The developer split its composers into corporate and consumer divisions, where the top staff were all female. 'I felt that since the head staff were women,' she says, 'it was easier for other women to join the department.' Her peers began to understand how serious Shimomura was about her musical career with the release of Street Fighter II in 1991, the ninth game she worked on. 'That's when the tide started to turn. It sold so much, and so many people knew it and became familiar with my music, that it was a really significant title for me. I certainly think it's why I ended up working with Square on titles like Live a Live and Front Mission – because the bosses there knew me from Street Fighter.' For Street Fighter, Shimomura would study the character designs and personalities of the fighters, then design themes for them. She would also pore over the detailed pixel art stages for each character, and draw out details from their 'home stage'. She would then compose music based on the character's ethnicity and culture, often to striking and unusual effect. The best example, to my ear, is the use of a major key rhythm track for the Brazilian fighter Blanka, while the main melody playing on top of the rhythm is in minor. It's odd but it works, and gives the green-and-orange fighter a musical identity as as much as a visual one. Shimomura's classical background gave her the tools to work techniques such as this into her music. She eventually departed Capcom for Square, the most famous RPG developer in the world, because she wanted to work on games where she could utilise classical composition techniques. 'Why is classical music such a good fit for RPGs? I think it's because so many of those titles are set in medieval, European-style worlds where that music naturally belongs,' she says. 'But even if an RPG is set in a more modern take on a world, they're very rarely close to reality; the game world is of another age. And classical music is of another age too, so it's a very good fit.' The first project Square set Shimomura to work on was Live a Live, a 1994 RPG that takes players on a fantastical journey as eight characters across nine scenarios. 'There are so many different worlds and different settings in there, and very few of them actually needed classical music, so it was completely different to what I was expecting,' she laughs. Sign up to Pushing Buttons Keza MacDonald's weekly look at the world of gaming after newsletter promotion Shimomura would not get to flex her classical music muscles the way she really wanted to until Square's 1999 release Legend of Mana, on which she felt she could truly express herself. 'Until that point, at Square, the projects I worked on did not allow me to do something 100% from scratch,' she explains. 'There were always other factors, other legacy things that went before it. Music in Live a Live had to align with the characters. For Parasite Eve, I had to work with what was established in the original game. Mario RPG, of course, is set in the world of Mario and had to be 'Mario music'. I was not free to create something from the ground up until Legend of Mana.' Legend of Mana would be foundational for the rest of Shimomura's career. Three years later she would work on Kingdom Hearts, the now-mainstream success that trades on the unlikely idea that the worlds of Final Fantasy and Disney could somehow become merged. 'When it first released, Kingdom Hearts wasn't a big hit,' Shimomura recalls. 'After it was released, it was one of those hard times I mentioned before: I left Square, and I wasn't sure if I was going to continue in this job or not. But then they came back to me and asked if I wanted to work on Kingdom Hearts II, and that was significant for two reasons. One, it proved I could continue doing this as a freelancer. And two, it was the first time I'd been asked to come back and work on another game in a series.' Even at that point, 17 years into her career, Shimomura was uncertain about her standing in the world of video-game music. 'I think, both professionally and in a sense of personal growth, that's why Kingdom Hearts means so much to me.' Now, 37 years since her first job at Capcom, Shimomura has been lauded with Bafta's highest honour, and she is still as polite, humble and respectful as the young woman poring over Street Fighter's stages. 'I was blessed to have mentors and seniors who really helped me grow as a composer and taught me a lot of what made me who I am,' she says. 'I feel very lucky, and it is down to all those people that I am here talking to you today.' And her advice to other young women hoping to break into making music for games today? Be tenacious, persevere and work through that self-doubt. 'I think the reason I haven't given up is because I always make myself think of the love I have for music and for games. I cherish that feeling. And so if people do ever think they want to give up, please, cherish that feeling of love yourself, and keep going. I hope I can be an example for people when times are tough. If I can get over that, I hope that they can too.'
Korea Herald
15 hours ago
- Entertainment
- Korea Herald
K-pop in pixels: Collaborations between K-pop and games grow
Gaming industries' desire to be included in the cultural landscape and K-pop's narrative appeal drive ongoing collaborations From blockbuster franchises to chart-topping idols, gaming and K-pop are increasingly joining forces, as the two converge in a bid to tap into the country's most lucrative entertainment sectors and elevate gaming as a legitimate cultural force. On June 13, Japanese video game company Capcom teased fans with an image titled 'aespa X Street Fighter 6,' shared across the official Street Fighter and Capcom channels. While no additional details were released, the announcement follows online leaks and speculation. The hint emerged through an in-game discovery, where fans spotted an outfit featuring aespa's logo. Although Capcom quickly patched the item out, the official reveal signals that more details are on their way. Meanwhile, Epic Games is teaming up with Hybe for a new Fortnite collaboration. As of June 11, the battle royale's in-game soundtrack includes tracks by Hybe artists, including BTS members Jungkook and Jimin, as well as Enhypen and illit. Players can remix or perform the songs within the game. Epic Games further announced that starting Saturday, the Son Heung-min bundle will drop in Fortnite, allowing players to channel the Premier League star's signature goal celebration pose with themed emotes and gear. Popular American video game developer Blizzard has also been delving deeper into the world of K-pop. In March, Overwatch 2 launched its second collaboration with Le Sserafim, introducing new character skins and a livestream event with the group. The partnership builds on a successful 2023 team-up, which included a custom game mode and skins inspired by the group's hit track 'Antifragile.' Le Sserafim also became the first K-pop act to perform at 2023 BlizzCon, an annual gaming convention held by Blizzard, taking to the stage with their English-language single 'Perfect Night." The hit track, which was produced in collaboration with Overwatch 2, has logged more than 125 million views on YouTube as of Friday. Korean video game publisher Krafton jumped on the bandwagon in March, partnering with YG's girl group Babymonster to mark the 7th anniversary of Battlegrounds Mobile. The limited-time crossover featured themed rewards, emotes choreographed to their single 'Drip' and immersive content such as in-game photo zones. Players could also listen to Babymonster's music while battling on maps like Erangel and Rondo. The growing number of K-pop and gaming crossovers reflects a mutual strategy. For games companies, it's a way to broaden their reach beyond traditional players and lure in a new demographic. Pop culture critics add that gaming companies can also look to shed their subculture image through such collaborations. 'While games have undoubtedly become part of modern culture, public perception still lags behind. Collaborating with mainstream cultural forces such as K-pop allows games to naturally embed themselves into the cultural fabric," said pop culture critic Jung Duk-hyun. For the K-pop industry, the narrative-building potential is a major draw, Jung explained. 'Idol groups have their own lore and well-developed characters, just like video games. That makes crossovers rich with storytelling possibilities.' Financial incentives also loom large. 'People often assume other content sectors are more profitable, but gaming eclipses them all (in Korea),' Jung said. 'For the K-pop side, if there's a way to bring gamers into the fan ecosystem, there's no reason not to pursue it.'
Yahoo
a day ago
- Entertainment
- Yahoo
Resident Evil Requiem headlines the next Capcom Spotlight livestream
Summer Game Fest might be in the rear-view mirror, but the gaming showcases are still coming. Capcom has announced that its next Spotlight livestream will take place on June 26. Planned to last around 40 minutes, the showcase will focus on upcoming titles Pragmata and Resident Evil Requiem, which was announced during Summer Game Fest proper earlier this month. As well as news, the event will include developer interviews. Capcom is also promoting Monster Hunter Wilds and Street Fighter 6 as featured games, so expect new information on updates or fresh content for those existing titles in the showcase. We already know that the Title 2 Update for Monster Hunter Wilds is due at the end of the month, which will add new monsters and a new seasonal event. The last Capcom Spotlight took place in February, where Capcom announced the remaster of Onimusha 2: Samurai's Destiny. We wouldn't expect any new game announcements this time, but it could happen. More exciting is the possibility of new footage of Resident Evil Requiem, which was arguably the biggest announcement of SGF 2025. We know we'll be playing as a new character, named Grace Ashcroft, and that you'll be able to choose between a first and third-person perspective throughout the game. Engadget's Mat Smith got to play Pragmata at SGF, where he called it a 'satisfying sci-fi shooter' and came away impressed by the elegance of its dual-protagonist gameplay. Capcom first announced the game way back in 2020, so it's a long time coming. The next Capcom Spotlight livestream will kick off on June 26 at 6pm ET.
Yahoo
a day ago
- Entertainment
- Yahoo
Onimusha: Way of the Sword Is Capcom Sharpening It's Sword
During a hands-off presentation at Summer Games Fest, Onimusha: Way of the Sword quietly emerged as one of the most exciting things on the horizon. Capcom let the game speak for itself. And what it said, loud and clear, is that they're not just reviving Onimusha to ride nostalgia. They're rebuilding it from the hilt up. It's been nearly two decades since Onimusha felt like a pillar of Capcom's portfolio. But with recent remasters and with Way of the Sword on the horizon, the studio is treating the return like an event. This isn't a low-stakes spin-off; this is a full-scale entry with real bite, and a very clear creative vision behind it. It wears its influences proudly, particularly from samurai cinema and modern action design, but it never feels derivative. Set in a stylized version of feudal Kyoto, the game follows Miyamoto Musashi, not the philosophical swordsman of legend, but a younger warrior modeled visually and vocally after Toshiro Mifune, a legendary Japanese actor and producere known for his work in the samurai film genre. That casting choice does a lot of lifting. It grounds the game in a very specific cinematic era. The kind built on black-and-white duels and sharp of course, isn't just slicing up bandits. The supernatural elements are baked in early. He wears the Oni gauntlet on his arm, a cursed artifact that lets him absorb the souls of his enemies. Where most modern action games would streamline this into an auto-pickup system, Way of the Sword makes it an active mechanic. Enemies spill red, blue, and yellow orbs on death. Experience, skills, and health respectively. and Musashi has to manually draw them in. If he doesn't, they fade, or worse, get stolen by other enemies that'll power them up. That twist adds a real-time tension to every skirmish. It's good to see that this mechanic hasn't been lost to the modernization of the series. Combat reaches a new level with the return of the Issen. Veterans of the series know the name well. These are instant-kill counters that trigger on perfect timing and look really cool. Capcom has taken them from a subtle flourish to a centerpiece. Time slows, the camera tightens, and Musashi chains together one-hit kills that feel straight out of a Kurosawa dream sequence. And the best part is how expressive it all feels. We only got a glimpse, but another teased boss, Byakue, looked like a full-on nightmare—a towering, skinless beast covered in talismans and dripping with corruption. The fight was cut short, but the visual alone said enough. This game isn't afraid to get weird, and it knows how to build dread without over-explaining it. The supernatural elements in Way of the Sword extend beyond combat. Musashi can use Oni Visions to reveal hidden paths, phantoms, and clues. In one sequence, he watched a funeral procession turn to ash mid-step, revealing his path. In another vision, he uncovered the moments of a warrior whose soul had been twisted by regret after dispatching members of his village. These Dark Mass fragments add layers of context and melancholy, fleshing out a world that already feels haunted. The structure seems semi-linear from the look of things. You're following a main path, but it looks like there will be optional routes, side objectives, and if its like the previous entries, there should be alternate dialogue options that will offer room to explore. This isn't an open world, and it doesn't want to be. But it's also not a corridor. Instead, it feels like a tightly wound experience with thoughtful room to Way of the Sword is stunning. The art direction is doing the heavy lifting, but the animation work sells the rest. Musashi's stance looks like it shifts subtly depending on the enemy he faces. Even his idle moments feel charged with intent. Enemy design is equally sharp. What's maybe most exciting is how confident this all feels. Capcom isn't second-guessing what Onimusha should be. They've found it again. Not by recreating the past, but by distilling what made it work and making it sing in a new key. It's brutal, beautiful, and unafraid to let silence speak when it matters. There's still plenty we haven't seen. The full scope of the story, the size of the map, how far the mechanics evolve. But if the rest of Way of the Sword keeps this pace, Capcom isn't just reviving a franchise, they're reminding everyone why it mattered in the first place.
Engadget
a day ago
- Entertainment
- Engadget
Resident Evil Requiem headlines the next Capcom Spotlight livestream
Summer Game Fest might be in the rear-view mirror, but the gaming showcases are still coming. Capcom has announced that its next Spotlight livestream will take place on June 26. Planned to last around 40 minutes, the showcase will focus on upcoming titles Pragmata and Resident Evil Requiem , which was announced during Summer Game Fest proper earlier this month. As well as news, the event will include developer interviews. Capcom is also promoting Monster Hunter Wilds and Street Fighter 6 as featured games, so expect new information on updates or fresh content for those existing titles in the showcase. We already know that the Title 2 Update for Monster Hunter Wilds is due at the end of the month, which will add new monsters and a new seasonal event. To view this content, you'll need to update your privacy settings. Please click here and view the "Content and social-media partners" setting to do so. The last Capcom Spotlight took place in February, where Capcom announced the remaster of Onimusha 2: Samurai's Destiny . We wouldn't expect any new game announcements this time, but it could happen. More exciting is the possibility of new footage of Resident Evil Requiem , which was arguably the biggest announcement of SGF 2025. We know we'll be playing as a new character, named Grace Ashcroft, and that you'll be able to choose between a first and third-person perspective throughout the game. Engadget's Mat Smith got to play Pragmata at SGF, where he called it a 'satisfying sci-fi shooter' and came away impressed by the elegance of its dual-protagonist gameplay. Capcom first announced the game way back in 2020, so it's a long time coming. The next Capcom Spotlight livestream will kick off on June 26 at 6pm ET.
