the game by creating artwork as well, although they were not credited as such in neither the manual nor in the in-game credits. Although Studio Gigante co-founder Richard Ho acted as the art director of the project, Silvio Porretta was the sole artist for the game, creating both concept and texture artwork for the characters, with Porretta stating that he learned texture mapping under a few weeks and quickly adapted to the tools at his disposal. The title song was composed by American musician Joe Vitale. Fight for Life went through a troubled development cycle until it was released, with both Bertrand and Porretta stating that the reason why development took longer than expected was due to the state of Atari at the time as well as meddling from the company itself. On an April 1998 feature article by Next Generation magazine discussing some of the biggest failures in the gaming industry, it revealed that at least two producers were previously in charge of the game's production, with the second of them referring it as a "nightmare", while the manual in the final release lists Bill Rehbock as its executive producer. An anonymous former Atari employee claimed that the original producer constantly lied to the company's upper management into believing the game would redefine the fighting genre. He also claimed to be present at one meeting in particular where the game was compared to Namco's Tekken and the executives agreed it was a legitimate competitor to both Tekken and Tamsoft's Battle Arena Toshinden. Atari sent preview copies of an early build of the game to video game magazines, however the marketing department made a mistake of sending them with the sentence "for review only" instead of preview, leading to some publications reviewing the game in its early state and as a result of this error, the company told the press that they were going to "reject and revamp" the product, with Bertrand later stating that development was progressing normally. Fight for Life originally ran at 20 frames per second and the three-dimensional character models consisted of 900 polygons with very minimal texture mapping applied to them and featuring graphical effects such as light sourcing, with plans to increase their number to 1200 polygons, however the final release runs at 25 frames per second with models consisting between 600-800 polygons depending on the character and having minimal textures applied, while the