Today's LUNCH BREAK HOT-TAKE is about one of the greatest fighting game series and serendip its serendipitous romp into its unexpected synergy with Jazz music...Today's Episode: MAHVEL BEBOP: NEW AGE OF JAZZ Messengers! I hope you dig art I made for this! #mvc2 #fgc #mahvel

Drawing Marvel characters is fun but always a scary thing for me because I rarely feel like I do justice to such iconic characters--and with @bengasu and @JimLee being huge inspirations to me, it's a bit of a daunting task when I attempt drawing them! All you can do is your best!

Alright, so I'm sure some are wondering, "I see MARVEL characters but...What's Mahvel?"

Yet again I'm dating myself but nearly 12 years ago (or more) a viral video surfaced that embodied YEARS of competitive hype and energy surrounding this game, curated by none other than @IFCYipeS

This video became a viral sensation, getting people to see just how much hype and entertainment that this game created and that artistry that came from high level competitors. It was in a way it's own renaissance, akin to a Jazz movement, IMO.

When it comes to the VS Series, Marvel Vs Capcom 2 was something that was accidentally special in a way that's incredibly hard to replicate but there have been attempts at imitating it, but there's nothing quite like MAHVEL.

Marvel Vs Capcom 2 was released in arcades on February 24, 2000 and then subsequently on Dreamcast (or Dricas if you're a weeb like me) on March 30, 2000 and in the US on consoles in June of the same year. Seems like they got the console versions out hella fast, right> Well...

It's because MVC2 was one of many Capcom fighting games at the time that was created by using the Sega-based system known as the NAOMI board.

Since the Dreamcast and NAOMI boards shared the same architecture, porting games was fairly simple and allowed for very quick release dates to consoles. NAOMI was a cheaper and more accessible version of Sega's AM2 Board, the Model 3 so business was good.

When the world got their hands on Marvel Vs Capcom 2, it was an interesting time--especially for me since I imported the game BECAUSE OF COURSE I DID! Just look at this Bengus art! #weebgang

To this day, I still get inspired by the design work that went into the Japanese packaging for this game. Beautiful stuff!

Inital reviews of the game were pretty standard across the board--mostly positive...except for one thing...

The line was drawn when it came to the music.

I remember reading tons of reviews of nothing but praise until music was mentioned. It was honestly overwhelming to see, ad nauseam.

But chances are if you're reading this thread you know the story is about to change because this is ME we're talking about. I was WIT DAT SHIT! I was fresh off finishing Cowboy Bebop and was a bit of a jazz head already. That OST was a bopper, cuz! #fuckwhatyouheard @mvc2OST

It was to a point that within months of the game's release I was hunting for the OST to a point that I "settled" for rips from the NAOMI board disc for the game! LISTEN. I was here for that music.

So what made the soundtrack for MVC2 so different that it caused so much division, though? Was it that serious?!

Low key, it kinda was though. As a fan of it, I can see why there was such a huge backlash for it.

Typically, with the VS series both Marvel and Capcom characters were represented in the game, but also along with Character-Based themes. This started with X-Men: Children of the Atom and continued throughout the series until the point.

So after over 10 years of an established sonic aesthetic, having a rift in it can be a bit jarring to say the least.

And then there's the other aspect, which I found odd but hey--I'm just tellin' yall how it went down.

People were really out here hating on Jazz music in a fighting game, ya'll. As if you can't throw hands to well constructed music. Fuck outta here, XD!

Anyways, the Soundtrack to this game was put together by the amazing work of Tetsuya Shibata, who is credited for over 20 musical scores produced for Capcom including the Monster Hunter and Devil May Cry series, Darkstalkers, Power Stone and Resident Evil Outbreak series.

While working on the soundtrack, he was joined by Mitsuhiko Takano, composer behind Resident Evil Outbreak, Jojo’s Bizarre Adventure: Golden Wind as well as The Minish Cap. He also provided sound design for Devil May Cry 5 and Sengoku Basara: Samurai Heroes.

Their combined efforts created a soundtrack that stands alone was a collection of beautiful music that while its foundational influence is jazz, borrows from samba, and funk/soul to lesser degree.

Similarly to an anime that is still one of my favorites to this day.

While MVC2's OST tends to follow a linear approach in terms of their execution, there’s an energy that’s felt in the collective that feels as if its on the line of seeping into the freedom of bebop. Each layer becomes broad, more dense as the tracks progress.

It's fair to say that's the point of music, but I'd say that's pretty much up for debate. I mean...Pop Music, wants to enter the chat XD.

Minimal progression and variation but it works. Shit still slaps.

There are certain tracks that stand out when I'm making this parallel, and I'll probably reference this track more than once but Exhibit A is the Clock Tower theme.

I'll admit I have a bias with this track but its so good and I have so many fond memories of this track in the arcade during tournaments. For me it's synonymous with seeing Magneto, Storm, Psylocke rushdown being done with clean precision.

That and I've always wanted to confidently rush someone down to must that sounds like it could've easily been on The Weather Channel in the late 80's/early 90's.

What's great about the Clock Tower Theme is the Snare Roll really brings you into the texture and feel of the track--as if its embodying the beautiful sky and architecture of the stage.

That introduction of the Bass Guitar complemented by the trumpet sets you into the variations that are coming up along with that glorious piano segment is just...

The progression of this set works in a way that ironically parallels the synergy of MSP.

The unity in each instrument (to me) becomes more of a feel or a vibe that gets me into the game. It complements the beautiful (although cut) animations in the game. It felt like if there were an MVC2 anime--this is what it would play out like.

The pseudo bebop feel in terms of its compositional structure. Confident and somewhat unrestrained—tied into the sensibility of confident freeform within applied knowledged among competitive players--embodies Mahvel Bebop. XD

The Clock Tower Theme isn't the only track that gets me in this Bebop bag. There's also the Swamp Stage Theme. Not necessarily in its truest definition of Bebop itself since its a fairly structured track.

The juicy bassline, with the trumpet assist (see what I did there) with the slightly modulated vocalist make for a fun styled romp that could've easily been in an episode of Cowboy Bebop, complementing Spike's shenanigans.

Another that really embodies this is the River Stage Theme. I'm not sure which was made first but it feels as if the River Stage piggyback's off of the sensibility of the Swamp Theme with a bit more of a dynamic snap to it.

The lyrics are so Cowboy Bebop it's insane XD. "Nobody looks right in your eyes/Drives me crazy/But I won't let you go/ Excite me!

The River theme feels like its had drinks with the track, Mushroom Hunting from the Cowboy Bebop: Blue OST.

Side Note, I get specific Carmen Sandiego vibes from this vocalist on Mushroom Hunting and I love it!

That trumpet crescendo is ALSO EVERYTHING.

E V E R Y T H I N G .

The next track that just--gets my blood running high has GOT to be the Airship Theme. I've joked about this being unofficially Cable's theme in my own canon but just as a wonderful piece of music it sends chills up my spine when I hear it.

I'm such a whore for bass guitar and basslines and this track is not only full of it but uses it in such a way that creates a stylized intensity that is cinematic and complements character animations and movements in a way that it makes you play better XD.

To this day, I remember a match from B5 from 2004 on this stage that embodies exactly how I feel playing on this stage. Julius Jackson and the Airship Theme were ONE in this match.

Iron Man/War Machine had different setups/variations that lead to the walk carry infinite and he definitely used different ones applicable to specific situations in an effortless way that its etched in my head and has been there for nearly 16 years.

This game inexplicably has a legacy with culminations of art from the developers, artists, musicians, designers, and players that its overwhelming. Watching this match again took me back to 2004. Also side note* That match is from Evo 2004.*

While I've waxed poetic about The Clock Tower, River, Swamp, and Airship Theme (which is indeed my favorite theme in the game) there's a few more that are near and dear to me within the series. There's one that seriously can't leave out of this thread, I just can't.

Some people reading this ALREADY know what I'm talking about. YOU - KNOW - ALREADY

It is quite literally the Densetsu No Auntie of tracks in Marvel Vs Capcom 2. The CHARACTER SELECT THEME.

This theme was/is the personification of hype for over 10 years. When you heard this music at a tournament especially when grudge/money matches were going on-- it SET a TONE. It was like being invited to a global cookout where the tea was definitely going to be spilled.

The vocalist (who is still unknown) took the world for a ride through hype that will never be forgotten. The casual feel of this track created from an 8 second loop was the heartbeat of a generation of players that made art when they hit the sticks.

Justin Wong, Ricky Ortiz, IFC Yipes, Sanford, Rowtron, Potter, Remix (RIP), Duc Do, Shady K, Xecutioner, Demon Hyo, Chris Schmidt, and many others were contributors to a movement--a collective that made art for over 20 years. A collective that I see as The Jazz Messengers of Hype

The innovation that happened in this game from around the world is something that I will never forget and will remain deep in my heart. I have nothing but respect for the art all of these players and many others have made with this game.

There's still new tech being found in 2020. There's literally nothing like Mahvel.

The "odd" choice to go with a completely Jazz-influenced soundtrack may have been a logistic choice in terms of getting the game out on time or just what Shibata and Takano wanted to do, but it ended up being the foundation or a parallel to a beautiful moment in FGC history.

From a small arcade in Chinatown NYC, to a Golfland Arcade in CA, to a random Game Center in Japan where a combo (ROM infinite) was created that would imprint itself into a game's history. This game has touched so many people and connected the world. MVC2 was/is a movement.

It's interesting to see if we'll ever see a return to Mahvel but it's safe to say that whenever it does happen, a lot of us will be down for the ride.

And if we never do, we'll still have the memories of what was had that brought people together. The hype that brought people together.

Until next time keep your mustache curly, and stay pringles! Take care!

Soooo there's one other thing I wanted to add. In case people weren't aware--there are slightly different versions of Stage BGMs in the OST on the NAOMI board. I realized I didn't mention this so--yeah XD RUNBACK BLUES FINAL

I'm assuming that during development, like any track there's pieces of the music, ie instruments, vocals that are an initial placeholder before editing and mixing is done and a track is mastered. The NAOMI board has these versions that are not in game but are on the game itself.

In this case, the placeholder versions have significant to subtle differences. Case in point--this is the version of the Clock Tower Theme that is not in the actual game but on the NAOMI version.

It's dope, but there's a difference right at the start. It might not be apparent right away but if you listen to the final version of the track it'll be apparent right away.

The almighty Snare Roll is not present--giving it a softer start. It's still strong but not as bold or impactful to get you into the track as the final version is.

Interestingly enough, it DOES have something that I like that isn't in the final version. What could it be?

Around 1:06 into 1:07 mark there's a trumpet transition that feels so much like a sunny day in an anime opening and it feels so appropriate that I'm a little sad didn't make it into the final.

My guess is that when listened to and reviewed it was decided that maybe it was too much of an accent within the progression of the track itself and maybe was omitted for the sake of overall unity? Maybe.

I secretly wish that in the future, whenever licensing would even allow this--for there to be a new version that allows Shibata-san and Takano-san to revisit the tracks and possibly make either new or retouched versions where they experiment with making the tracks different.

But given the way things are now, we all know it'll be awhile IF that even if is something on the table. So the best we can do is enjoy the greatness of the OST as is and there's always YouTube where people have uploaded some of the NAOMI board specific versions!

As always with me, there's two goodbyes so here's the second one! Take care everyone!