Music was one of the strangest, funniest, and most unexpectedly complicated parts of building 3Z Incursion. We knew we needed tracks – eight to ten of them – but when we reached out to our composer, the first question we got back was: “Okay. What kind of music?”

And honestly… we didn’t know.

It’s a subway tunnel. There are mutant zombies, Skyrats, COUS, Brutes, sparks flying off photon swords, and players doing full‑body VR workouts. What genre fits that? What style makes sense? What does a zombie‑slashing fitness game sound like?

We just knew three things:

• It needed to be fun.
• It needed a strong rhythm.
• It needed to feel right for the world.

What we got back was a flood of music – a wild mix of genres, moods, textures, and styles, many of which we couldn’t even describe. That’s what happens when an artist uses every tool available to design, shape, merge, distort, and rebuild sound. Some tracks felt gritty. Some felt chaotic. Some felt cinematic. Some felt like nothing we’d ever heard before. One was even a complete remix/reimagination of Wagner’s Ride of the Valkyries.

But they were all fun.

And from that pile, we had to choose ten.
Ten songs that resonated with 3Z Incursion.
Ten songs that felt good to slash zombies to.
Ten songs that worked for VR fitness pacing.
Ten songs we believed players would enjoy.

We’re not music publishers. We didn’t set out to be music publishers. But we listened, we debated, we argued, we tested, and eventually… we chose (spoiler, the Valkyries song is track #7). So I guess we are music publishers now. Funny how that works.