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Japanese composer (born 1970) From Wikipedia, the free encyclopedia
Hideyuki Fukasawa (深澤 秀行, Fukasawa Hideyuki, born November 30, 1970) is a Japanese composer, best known for his work on the video game Street Fighter IV.
Hideyuki Fukasawa 深澤 秀行 | |
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Born | Tokyo, Japan | November 30, 1970
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Born in Tokyo, Fukasawa began learning piano when he was in elementary school. At the age of 10, he listened to the soundtrack of the anime film Swan Lake, which led him to be influenced by the Russian composer Pyotr Ilyich Tchaikovsky.[1] When in high school, Fukasawa began playing synthesizer, guitar, bass and drums. In 1991, he started his career as a synthesizer programmer. Since then, he has been involved in many works, mainly composing and arranging music for video game and anime.[2] Fukusawa worked on the 2003 game Onimusha 2: Samurai's Destiny under lead composer Taro Iwashiro, sampling various traditional Japanese instruments for the soundtrack. His involvement in Onimusha 2 led to him being chosen as composer for Chaos Legion, which released the same year. Fuksawa would later serve as the in-game composer for Onimusha: Dawn of Dreams, which released in 2006, with Jamie Christopherson composing for the cutscenes. Fukasawa was influenced by Taro Iwashiro's compositions for Onimusha 2, and sought to create strong and rich melodies.[1]
Fukasawa served as composer for Street Fighter IV, which released in 2009. Under the supervision of sound director Masayuki Endou, Fukasawa sought to modernise the music, with instrumental choices influenced by the cultural backgrounds of characters and stages.[3] The arranging of old character themes put Fuksawa under pressure, as he was concerned on the arrangements' reception.[1] Fukasawa composed for Tsukihime -A piece of blue glass moon- with Keita Haga, which released in August 2021. Fukasawa was approached following the production of Witch on the Holy Night, with Keita presenting him a demo of the main theme, which he then arranged. Fukasawa sought to create a soundtrack based on the keywords "urban," "modern", and "mysterious." He began by setting a tone, followed by adding layers to create a sonic palette and add depth.[4]
Year | Title | Note(s) | Ref(s) |
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2006 | Intrigue in the Bakumatsu – Irohanihoheto | [5] | |
2007 | You're Under Arrest: Full Throttle | Lead compositions; other compositions by Masala Nishid | |
2008 | Yatterman | Co-arrangement; lead compositions by Masayuki Yamamoto | |
2011 | Fullmetal Alchemist: The Sacred Star of Milos | Co-arrangement; lead compositions by Tarō Iwashiro | |
2013 | Vividred Operation | [6] | |
The Flowers of Evil | [7] | ||
2014 | Fate/stay night: Unlimited Blade Works | [8] | |
2017 | Katsugeki/Touken Ranbu | [9] | |
2018 | Learn with Manga! Fate Grand/Order | Other compositions by Kegani | |
2020 | Fate/Grand Order – Divine Realm of the Round Table: Camelot | Co-arrangement; lead compositions by Keita Haga | [10] |
2022 | Orient | [11] | |
Tokyo 24th Ward | [12] |
Year | Title | Note(s) | Ref(s) |
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2003 | Onimusha 2: Samurai's Destiny | Assistant sound engineering; lead compositions by Tarō Iwashiro | |
Chaos Legion | Other compositions by Toru Minami | [13] | |
2006 | Onimusha: Dawn of Dreams | In-game compositions; cutscene compositions by Jamie Christopherson | |
Dragon Ball Z: Budokai Tenkaichi 2 | with Hiromi Mizutani, Kenji Fujisawa, Takanori Arima and Tadayoshi Makino | ||
Mobile Suit Gundam: Target in Sight | Co-arrangement; lead compositions by Takanori Arima | [14] | |
2007 | Monster Hunter Frontier | [15] | |
2009 | Street Fighter IV | [16] | |
2010 | Super Street Fighter IV | [3] | |
2011 | Marvel vs. Capcom 3: Fate of Two Worlds | ||
Ultimate Marvel vs. Capcom 3 | |||
2012 | Street Fighter X Tekken | ||
Witch on the Holy Night | Lead composer; other compositions by James Harris, Keita Haga, and hil | [17] | |
2014 | Ultra Street Fighter IV | ||
2016 | Street Fighter V | Other compositions by Masahiro Aoiki, Keiki Kobayashi, Takatsugu Wakabayashi and Zac Zinger | [18] |
2021 | Tsukihime -A piece of blue glass moon- | Other compositions by Keita Haga | [19] |