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00:01In video games, there are pieces of music that are iconic and that many players instantly recognize just by their first note.
00:07And among these musics, I have two licenses in mind which perfectly meet these criteria.
00:11To the point where even artists like Sujaboy, Hamza, Snoop Dogg, Zamdan and even Booba did not hesitate to sample these memorable music to make hits or even classics.
00:20And all of this was made possible by the man I call the father of video game music, Koji Kundo.
00:301961, in Nagoya, Japan, a genius was born.
00:34It's not for nothing that I say he's a genius, since at only 5 years old, his parents enrolled him in music lessons and he already started playing his first instrument, the Electric Organ.
00:43After that, he entered adolescence and discovered video games.
00:46And there's one in particular that's going to catch your eye, that we all know, that we've all seen at least once in a documentary, I think you know what I'm talking about.
00:54Yes I know.
00:57You're probably wondering how he found his passion for music in a game where there is no music.
01:02And yet, that will be the trigger.
01:06Since a few years later, he returned to Ardosaka University and there was a friend of his who introduced him to arcades.
01:11He will spend hours there playing any kind of game we can offer him.
01:16Games like Space Invader, Pac-Man, Donkey Kong.
01:21Donkey Kong, which had just come out of Nintendo.
01:24And there, for him, it's obvious.
01:26He wants to work in this video game.
01:28During his senior year of college, the same friend who introduced him to arcades would change his life forever.
01:35By presenting him with a job offer from a very popular company.
01:38And guess which one it is?
01:39Nintendo.
01:40What a coincidence.
01:42So what he did was he took the opportunity and went to their house in 1984.
01:48At that time, the company only had two employees from the duos, Yukio Kanooka and Hirokazu Tanaka.
01:53Two employees who mainly dealt with the sound effects for Nintendo games.
01:58By the way, you should know something: Kondo is the first person to specialize as a video game composer.
02:06Before, this name was not even used to designate the type of composer we know today.
02:10Because clearly, for Elite Studio, music was not their priority.
02:14But Nintendo, they had the vision.
02:17They saw that there was an opportunity to be seized.
02:19And that's why they're going to test him on his first composition called Punch-Out.
02:23While Nintendo is avoiding a future genius, there's their new console out there that's starting to make some noise.
02:35The Famicom, under the name Nesseno.
02:37They will create a simulation game called Golf, for which Kondo will be responsible for composing the music.
02:42This game will allow him to first familiarize himself with the console and subsequently to create a programming manual called Family Basic.
02:49Family Basic is a software that allows you to program your own games using the Basic language.
02:54Kondo will be handling the sound part of the project, given that we are at the beginning of the programming in the video game.
02:59He is therefore one of the pillars in this field and he does not hesitate to pass on his knowledge to the next generation of composers.
03:06And among these games that I mentioned to you just before, the most important game that he will compose will be Dizzy Lord.
03:12Why is Dizzy Lord the most important game for our dear composer?
03:23Because this project will allow him to meet a star named Shigeru Miyamoto.
03:28He is a great musician and was completely impressed by Kondo's talent.
03:32So he goes to see him and he will tell him
03:34"Dude, you're hot!"
03:36How about being responsible for the sound of a project that will revolutionize video games?
03:40There, the proposal he is going to make to him will shock much more than the video game industry.
03:45Since in 1985, these two geniuses will work together on a revolutionary project.
03:50On an ambitious project.
03:53And I believe they will succeed in this project.
03:55This theme is the most iconic theme in video game history,
04:16with the most popular character in video game history.
04:18I don't think I need to give you an introduction to Super Mario Bros.
04:20It's the greatest game of all time,
04:22It will be so appreciated by players that it will reach more than 40 million copies
04:25since its initial release.
04:26And it's one of the first games where the music was in perfect harmony with the gameplay.
04:31Because for Kondo, if a theme does not support the rhythm of the game,
04:35It's empty music with no interest.
04:36And this vision he has of music, we will feel it perfectly in the game.
04:41If we take the Underwater theme as an example,
04:43which is softer, more relaxing music,
04:45we understand that it was designed to correspond
04:47to the slower, more floating movement of Mario Solo.
04:49When you do a level and the time is almost up,
04:52The tempo of the music accelerates, giving us a sense of urgency.
04:56Maybe all this seems normal to us today,
04:58but no game had done that until now.
05:01And Kondo's goal was clear,
05:02create more than just music, but an immersion in Super Mario Bros.
05:06However, if we look more closely at the development,
05:08we realize that it was not obvious.
05:11You should know that the NES has a big technical limitation.
05:13The console only had 5 audio rods,
05:16including 3 for music and 2 for sound effects.
05:18So when Mario had to jump or pick up an object,
05:21it automatically cut the background music
05:23to make room for the added sound effect.
05:25Yeah, I'll grant you, it was really annoying,
05:27but this limitation of technique,
05:28he will succeed in turning it to his advantage,
05:31by arranging the themes so that the sound additions
05:33give the impression that everything is perfectly integrated.
05:37A remarkable subtlety,
05:39which allowed him to compose music
05:40which today are still an example of video game music.
05:43Even Snoop Dogg and Lili Hachi,
05:56two great artists in the music industry,
05:58were able to recognize his talent,
06:00by pretending the soundtrack of Super Mario Bros
06:02to make it a hit for their own music.
06:04And they're not the only ones doing it,
06:05since other artists have followed this path,
06:07but this time on another license,
06:08an equally incredible license,
06:10who also wanted to go into the aisle.
06:28Subtitling Canadian Broadcasting Corporation
06:40Would you believe me if I told you
06:42that the main theme of the game was to be Ravel's bolero?
06:47Kando had the idea of using it
06:53because he thought the music perfectly illustrated the Zelda universe.
06:56Except he notices too late
06:58that this music has still not entered the public domain.
07:01You should know that a work becomes royalty-free
07:0350 years after the death of its owner,
07:05and that the planned date for Zelda
07:06was 49 years and 11 months old.
07:09One year.
07:10Just imagine if they had waited another year.
07:14Well, the Zelda theme could have looked like this.
07:21Obviously, it was made by fans,
07:23but the situation is getting a little more complicated for Kando,
07:25since the game is coming out soon,
07:26and he doesn't really have much time left.
07:29So the idea he's going to have,
07:30It is to create the main theme that we all know.
07:33And you know, how long will it take him to do that?
07:34In just 24 hours.
07:36Yes, you heard right,
07:37in just 24 hours,
07:38He created the second most iconic theme in video game history.
07:42With this melody which is recognized
07:43even by people who have never played the game.
07:47And that proves the cultural power that this license carries.
07:50And the way he's going to compose the Zelda themes is very simple.
07:53He's just going to apply what he's already learned about Super Mario Bros.
07:55But this time in a different way.
07:57No more jumping or mushroom sounds,
07:59room for adventure and exploration.
08:02Already his first objective,
08:04It's about creating melodies without it becoming too boring.
08:06even after long gaming sessions.
08:07For example, dungeon music,
08:09which is darker, almost even oppressive,
08:11we suspect that it is made to push the player
08:13to be more careful during his playing phases.
08:15All of this was done with the sole aim of making the game as attractive as possible.
08:19And the approach that Kando will have for the music of Zelda
08:21will not simply sublimate the players,
08:23but will set a standard for background music in video games.
08:27Even those artists we all listen to
08:30did not hesitate to sample Zelda's bio,
08:32that I would have loved to share with you here,
08:34but that I unfortunately cannot,
08:36due to copyright which limits me enormously.
08:39But in this story, I am not the only one who is limited,
08:42since even the NES is starting to have its technical limitations
08:44which is felt by a lot of players.
08:48This is why in 1990,
08:50Nintendo decides to release the Super NES.
08:52A much more technically advanced console,
08:55that we feel not only on the graphics,
08:57but also on music.
08:59Where the NES only had 5 audio channels,
09:02with the Super NES, it now has 8,
09:04with a sound processor capable of producing compositions
09:07much richer and much more complex.
09:09Thanks to this new technology,
09:18he takes the opportunity to compose much more elaborate music,
09:20especially on the game Super Mario World.
09:23Except that this time, he will no longer compose alone,
09:39since now he is more than just a composer,
09:41but an essential figure at Nintendo,
09:44who succeeded in propelling the music of Mario and Zelda into pop culture,
09:47but it also became a source of inspiration
09:49for a lot of young composers.
09:52And his responsibilities within the company will change greatly,
09:56since now he will be in charge of supervising his team
09:59on different compositions of the company's future games.
10:02He doesn't stop making music completely,
10:04but it will just be on bigger projects,
10:07on a bigger console,
10:09for example...
10:171996, a year when Nintendo had its biggest bomb,
10:21the Nintendo 64.
10:22A much more powerful console,
10:24much more efficient,
10:25and therefore much greater creative possibilities
10:27for our dear Kondo.
10:29Except that, for Mario 64,
10:31his treatment will be a little different,
10:33because Kondo will use a technology that is little used in the industry,
10:37adaptive music.
10:39Okay, now you're wondering,
10:40what is this again?
10:42It's so simple,
10:42but as its name suggests,
10:44It is music that adapts to the environment in real time.
10:47Today, it has become a standard in video games,
10:49for example in Uncharted,
10:50at the end of a fight...
10:56A technology that was used for the first time
10:58by Hirokazu on the cult classic Metroid.
11:01And yet,
11:03Why is it only now that we are hearing about adaptive music?
11:07Because on Mario 64,
11:08Kondo will use it in the most ingenious way possible.
11:12For example,
11:13if we take the legendary aquatic level,
11:15when the player decides to swim underwater,
11:17the music will take on a calm feeling
11:19and underwater depth.
11:20Well, so far, I think I'm telling you absolutely nothing,
11:28but now if the player decides to go back to the surface,
11:31the music speeds up
11:32and finds a more energetic rhythm.
11:34This technology which has managed to conquer the hearts of many players,
11:44we will feel it in the different levels of Mario 64.
11:47And all this thanks to a very meticulous musical process.
11:50what we call adaptive music vertical approach.
11:53Why vertical?
11:54Because it's simply segments of music
11:56which will stack from top to bottom
11:58and which will either be added or removed
12:00depending on the type of environment the player will find himself in.
12:04Hence this fluid transition of Mario 64 music.
12:06Obviously, this technology will require
12:08twice as much work for our dear Kondo.
12:11But a remarkable work
12:12which allowed to impose a new vision of video game music
12:14and make us dream through sounds
12:16which, even today, remain unforgettable.
12:30A year after the international success of Mario 64,
12:40He will compose Star Fox 64.
12:47What if, in your opinion, we have a new Mario?
12:50Of course, we have a new Zelda.
12:52And not just any, since for many, it is one of the best.
12:56If I had to define a game that perfectly represents adaptive music,
13:03honestly, i would say Zelda Ocarina of Time.
13:05And for two reasons.
13:07Already the first is that this time,
13:09Music is at the heart of the narrative for this opus.
13:11And the second is that they will put an instrument
13:13which will completely change our vision of seeing video game music.
13:16The Ocarina.
13:18We all know it, it's the most popular arsenal of lines
13:21which will allow players to change the weather,
13:24open secret passages or even make Gouron dance.
13:28An original gaming experience that has never seen the light of day before.
13:33But the question that needs to be asked is
13:34How did Nintendo manage to transcribe an Ocarina?
13:38on a controller as complicated as the Nintendo 64?
13:42First, they will limit the available notes of a real Ocarina.
13:45for the simple button cabbage of the Nintendo 64
13:47using only 5 buttons on the controller,
13:50including the directional arrows and the A key.
13:52This allowed Kondo to be clearer in his compositions.
13:54and to make melodies simpler so that the player can easily remember them.
13:59The lesson Nintendo taught the gaming world,
14:02is that not only can music be generative,
14:04therefore accompany the player during his adventure,
14:07but it can also be a game mechanism
14:09which makes the player evolve throughout his adventure.
14:12And this approach implemented by Miyamoto and his music composed by Kondo
14:15will place this opus in the pantheon of video games.
14:19And for many years,
14:21I think we'll still be talking about the music from Zelda Ocarina of Time.
14:24Subtitling Canadian Broadcasting Corporation
14:27Well, are you all well?
14:54Kondo is much more than just a composer, but an innovator,
14:58which marked the history of video games
14:59by creating the sonic identity of Nintendo's biggest franchises.
15:04His music has become so essential in pop culture
15:07that they are often played in concerts like the Symphony in London.
15:11His music has shaped and inspired other big names in the industry.
15:14that we all know,
15:16like Nobuo Imatsu on Final Fantasy,
15:18Yoko Shimomura on Kingdom Hearts and many others.
15:22And this artistic versatility,
15:24we owe it in part to the musical influences he had when he was younger,
15:27of the most popular bands of the 70s and early 80s,
15:31like Kassopiya, Nanami Express or Deep Purple.
15:36All this influence played an important role
15:38in the evolution of this legend that we know today.
15:41and among the many awards he has received in his career,
15:45the most recent will be the DICE Award,
15:47a great recognition of everything he brought to the world of video games.
15:51Kodi Kondo is personally clearly the father of video game music.
15:56and I think that for many years,
15:59we will still talk about his masterpieces.
16:01Subtitling Canadian Broadcasting Corporation
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