Kondo: We created an orchestra score this time, because we wanted to express magnificence of the universe and cool ambiance. On the other hand, when we create synthesizer music, we were looking toward melodious music for the orchestrated score, while we were putting emphasis on the atmosphere. I think you will notice when you play the game that tempo is very much constant, although rhythm of the music may be epic, because we prepared orchestrated tunes that will well suit tempo of the game play. We were not especially conscious of Zelda, but we were making music in order to make them match well with game tempo of Mario Galaxy and image that people explore the magnificent universe. Yokota: 28 tunes have been orchestrated, including the ones performed by smaller sized orchestras. Was this your aim with the score for Super Mario Galaxy? How much of the score is being orchestrated? The music itself sounds like it’s from a Zelda game given its epic approach. Jayson: Video footage has been released showing an orchestra recording session for Super Mario Galaxy. Game music and rhythm and melody of sound effects are interactively connected, which must be unique things only game music and sounds can realize. You can enjoy non stepped and smooth change in rhythm in concert with non stepped movement of the Wii Remote with motion sensor.īesides that, there is a feature that some simple melodies synchronized with orchestrated music are automatically generated at the various scenes in the game (for example, when you get Star Rings, or when coins appear after you beat the enemies, etc.). Synchronized with the speed, tempo and tone interval of the music is smoothly changed. When you tilt your Wii Remote, the speed of rolling is changed depending on the angle you tilt the Wii Remote. It is just like balancing yourself on a ball as they perform in circuses. Mahito Yokota: In the game, there is a mode called ball rolling.
In terms of rhythm, have you found it difficult to stay true to this element given the complex controllers and control schemes that have been developed over the years? How would you describe the implementation of rhythm in Mario Galaxy’s score given its motion-sensing control scheme? Jayson: You mentioned during the GDC 2007 Audio Track keynote that your approach to composition takes into consideration three elements: rhythm, balance, and interactivity. We made orchestrated music this time because we wanted players to feel the magnificence of the universe in the game, and we also incorporated various ideas of interactive sounds that vary based on the situations of the game play. Although 22 years have passed and hardware has improved, our goal to develop game music has always been the same that is we create sound that allows people to have more fun playing the game. For this title, Super Mario Galaxy, we have also created orchestrated music.
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Game music creation has been changing due to the improvement in quality of hardware and software technology. Koji Kondo: It has been 22 years since Super Mario Bros. How would you describe the changes you’ve seen over the last twenty years, and has it been hard to adapt to the constantly changing technology? Here we are now, looking at the release of Super Mario Galaxy on the Wii in November. Jayson: It has been over twenty years since your music in Super Mario Bros. Check out this piece of history after the jump.
#Super mario galaxy ost composer full#
I hope we can get a repeat of this kind of interview for Super Mario Galaxy 2, but in the meantime, read what the two have to say about their inspirations, recording with a live orchestra, and about the soundtrack release that they skirted around and then went on to announce a full two weeks later (yes, I’m still bitter). With Super Mario Galaxy 2 on the horizon, we thought it’d be appropriate to take a trip back to the release date of the original Super Mario Galaxy to see what Nintendo’s Koji Kondo and Mahito Yokota had to say about the game’s music. Since the website is no longer online, I thought it would be a shame to let these interviews slide into the void, so we’ve decided to give them new life here on OSV. We’re back with another “ Blast to the Past” interview where we’re spotlighting classic interviews that I conducted while writing for Music4Games.