Streets Of Rage 4 Bibliography

Borkowski, Mariusz. Streets of Rage 4 – Every Track a Treasure | Gamemusic. 15 June 2022,

Mariusz Borkowski, the author of the article “Streets of Rage 4 – Every Track a Treasure” on

Game music, is a game music enthusiast or a journalist specializing in video game soundtracks.

Mariusz Borkowski is also a Co-Founder & Creative Director at Game Music Festival. As well

as an editor in chief, and for many years he’s been continuously sharing with others his passion

for melodies from video games. The source’s topic revolves around the soundtrack of the video

game “Streets of Rage 4,” exploring each track’s value and significance within the game’s

context. The main argument or thesis of the article is that the soundtrack of “Streets of Rage 4” is

exceptional, with each track being noteworthy and contributing significantly to the game’s

overall experience. Borkowski supports this argument by providing detailed analyses of various

tracks, likely discussing their composition, thematic relevance, and impact on gameplay. This

source enhances my perspective on the significance of video game soundtracks, highlighting

their role in shaping players’ experiences and contributing to the overall enjoyment and

immersion of gaming.

Park, Gene. “Here Comes the Drop (Kick): The Sick Beats in ‘Streets of Rage.’” Washington Post, 12

May 2020.

Gene Park, the author of the article “Here Comes the Drop (Kick): The Sick Beats in ‘Streets of

Rage’” published in the Washington Post, is likely a journalist specializing in video game culture

or music. The source’s topic delves into the music of the “Streets of Rage” series, focusing on its
 beats and impact on players. The main argument or thesis of the article appears to be that the

music in “Streets of Rage” is a crucial component of its appeal and contributes significantly to

the game's atmosphere and gameplay experience. Park likely marshals evidence by analyzing

specific tracks, discussing their composition, rhythm, and how they enhance the overall gaming

experience. This source deepens my understanding of the importance of music in video games,

particularly in setting the tone and enhancing player engagement, and underscores the

significance of soundtracks in gaming culture.

Heffler, Jason. “‘Streets of Rage 4’ Game Composer Structured the Soundtrack ‘Like a DJ Set’ and

Borrowed from Skrillex.” EDM.Com - The Latest Electronic Dance Music News, Reviews &

Artists, 12 May 2020,

Collins, Karen. Game Sound: An Introduction to the History, Theory, and Practice of Video Game
Music and Sound Design. Cambridge, MA: The MIT Press, (2008)

Juan Pablo Fernández-Cortés, Karen M. Cook; Ludo musicology: Normalizing the Study of Video
Game Music. Journal of Sound and Music in Games 1 October 2021; 2 (4): 13–35.

Time Stamps Summary Musical Description

Nondiegetic, original music.
Old-school is like 16-bit style.
Title Sequence; introduces well No real melody; A lot of long
0:00:03-0:00:48 known characters from franchise tones
 Introduce level name; interlude interlude

0:00:49-0:00:56

Nondiegetic, original music.

Level 1 (The Streets) playable
character; beat em up style
0:00:57-0:05:02 gameplay; in a controlled,
run-down city
Jazz fusion like; reminiscent
of the old games that inspired
it. Various percussion; Synth
beats. Always building of the
first musical idea

Overall, same as above but a lot

Same as above more smooth, connected and
slower

0:05:03-0:07:00

Same As Above Much more electronic sounds;

new melodies; homophonic
texture; I wide range of
0:07:01-0:09:00 dynamics

Streets Of Rage 4 Long-Play

Streets Of Rage 4 Soundtrack

Boss Fight sequence occurs Dubstep like; fitting; deep bass

voice; simplistic and minimal.
Nondiegetic; original and
0:09:01-0:10:52 creates a since of “bring it on”
 Results screens and cut scenes A melodic line; and bridges gaps
between levels

0:10:53-0:11:50

level 2; walking through the Upbeat driving with force; sfx

police precinct added like a siren tone and
walkie talkie really help create
the theme of the surrounding
0:11:51-0:15:42 area

Same As Above A lot of funk and groove

styles; syncopation and
accents on off and on beats
with brass stabs, synth
0:15:43-0:20:22 melodies, keyboard riffs etc.

The Commissioner Boss Fight Tension and Drama; fitting for

a boss battle. It often employs
intense rhythms, driving
beats, and suspenseful
melodies to create an
0:20:23-0:23:17 atmosphere of urgency and
anticipation. Unlike many
other tracks in the game that
lean heavily on electronic and
funk elements, "The
Commissioner" incorporates
orchestral elements. This
includes strings, brass, and
percussion, which add a
grandiose and cinematic
quality to the music,
heightening the sense of
drama.