At 3 years old I was given a Nintendo Entertainment System and a cassette tape of Technotronic ‘s Pump Up the Jam: The Album . Ever since that time I have this unconditional love for videogames and Hip-hop. Despite my young age I had discovered interest for two passions that would invigorate my adult life, Cinema being the third.

For most people, Hip-Hop and videogames are total opposite but for me it can only be as one. I remember playing Super Metroid with MC Serch’s Return of the Product kicking in the background or playing Perfect Dark with my friends while listening to the Wyclef Jean’s epic The Eclectic.

None of which we’re similar to my main subject however, As you probably know already I like to overanalyze things and I have come to noticed that in fact, fighting games have had a lot of influence on my beloved Rap music. Street Fighter II being the most relevant and of course it’s undying competitor Mortal Kombat. Both we’re landmarks in fighting games history and sprung a huge following over the decades. It turns out that many fans of the series went out on a hunch and released some LPs along the way which corroborate with my initial thesis.

In order to prove that theory let me guide you through my personal library of albums and expose the undeniable bonding.



The Pharcyde – Pandemonium (Street Fighter the Movie: OST) 1994

Street Fighter the Movie is the most enjoyable videogame based movie of the last fifteen years. Despite its laughable attempt at creating a decent Street Fighter universe, the movie possesses a stellar soundtrack relevant of the era. The early nineties we’re pivotal times for both mediums, some even consider it the Golden Age of Hip-Hop and videogames.

With Pandemonium , The Pharcyde exposes a metaphor worthy of mention depicting the battle versus good and evil between the Street Fighter II rooster. But above all, it elaborates on the rivalry against fellow opponents when playing; the motto of the fighting game genre. This track is obviously an allegory of the Street Fighter cannon and is the prime example of the deep layer of rhetorical analysis present in Hip-hop.




Afu-ra – Mortal Kombat (The Body of the Life Force) 2000

In the same vein of the previous track, Afu-ra’s Mortal Kombat cleverly presents yet another metaphorical take but on Acclaim’s franchise. Surprisingly enough, the MK series is the most mentioned in Hip-Hop but is characterized by poor references and name dropping. This song however represents the crown jewel of homage for the series.

Its retail counterpart was mainly used as a promoting track for the movie of the same name; Afu-ra’s MK however was released 8 years after the crime. Naturally many other titles we’re released throughout the last decade but the legacy still lives on and this track bring it justice.




Redman & Method Man – Mi Casa (Blackout) 1999

Redman once said;” You know what else was a fucking good game? Power Stone. They ain’t never made anything like that again. Power Stone was a dope ass fucking game.”

Word.

This is probably the most personal aspect of the thesis at hand. This is the classic case of name dropping; Rather than devoting entire tracks or albums to the hobby, Redman mostly uses references in his rhymes with great enthusiasm. Truth be told, Reggie Noble have been an avid gamer for many years just like everybody else.

He grew up with several generations of consoles and reflects his passion into his art. He might be the most common depiction of the modern gamer , interested mostly by first person shooters and sport games he still has however a sweet spot for classics.




MF DOOM – Do Not Fire! (Madvillainy) 2004

Although not as present as the previous, Madvillainy's producer Madlib samples an intermission with Dhalsim’s ardent flames and Chun Li iconic laugh. The influence of videogames on MF DOOM works in a broader perspective than any order artists already mentioned. He is the nerd encyclopedia for masterful rhymes and metaphors.

This man can talk about Star Trek and switch back with materialism two rhymes apart. He is the terrifying example of what too much knowledge can elaborate. His lyrics might be non-sense and overdone but he’s actually able to make coherent poetry out of it.




Wu-Tang Clan – Triumph (Wu-Tang Forever) 1997

If you have any doubts upon why Wu-Tang Clan has had the most influence from fighting games, the group has a videogame to its epithet. Triumph is the ultimate proof that the Wu-Tang Clan is inhabited by videogames lovers. The video clearly displays a genuine hadoken and more than once uses allusions to videogames; those shitty Mortal Kombat sounds are crappy indeed.

This video clip is most certainly the primary reason why Wu-Tang Shaolin style has been created in the first place. A display of epic grandeur, listing the epic fighters of the Wu and further more adds the mythology behind the Clan. Add to that afro-babe ninjas, old shaolin monks, a vile amount of blood and gore and you have yourself one of the most ridiculous 4 player arena fighter of all time.




Del Tha Funkee Homosapien – Proto Culture (Both Sides of the Brain) 2000

This is the definitive love song to videogames. And what more can be added that a sampling straight off from Morrigan’s theme because honestly we are all hot for her. Proto Culture is the embodiment of Del’s passion for the hobby and the greatest example of gaming and Hip-Hop consumed as one.

Usually references are pretty bland in songs but in that case, a whole lot of underground and lesser known titles are classified. Del Tha Funkee Homosapiens is the clear representation of the “devoted gamer” in the culture. In all honesty, Rival Schools is mentioned along with Panzer Dragoon in a coherent, “funky” hymn to videogames, the amount of awesomeness is beyond emotions.




Looking back on all these fighting games references, Hip-Hop has to thank Capcom for producing the most universal fighting game in history and inspiring countless ramifications along the years. Only one venue can be concluded from this analysis; Fighting games make better MCs.