Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: Who wrote the Zelda theme song?
Kondo was the third person hired by Nintendo to create music and sound effects for their games, joining Hirokazu Tanaka and Yukio Kaneoka. However, he was the first at Nintendo to actually specialize in musical composition. The first game he worked on was the arcade game "Punch-Out!!", although it was before he had officially joined Nintendo. Despite creating mostly jingles and sound effects, he was able to overcome the challenges of early arcade sound hardware. As the Famicom had become highly popular in Japan, Kondo was assigned to compose music for the console's subsequent games at Nintendo's new development team, Nintendo Entertainment Analysis and Development (EAD). Kondo also wrote an instruction manual on how to program Japanese popular music into the Famicom using the peripheral "Family BASIC". To conclude his first year at Nintendo, he created the music to "Devil World" alongside Akito Nakatsuka. In 1985, Nintendo started marketing the Famicom abroad under the name the Nintendo Entertainment System (NES) to capitalize on the 1983 video game crash that devastated Atari, Inc. He composed the music for the hit releases "Super Mario Bros." (1985) and "The Legend of Zelda" (1986), which helped the system to sell 60 million copies in total and established some of the most well-known melodies in the video game industry.
In 1989, Nintendo signed a deal with Sony to begin development of a CD-ROM-based system known as the SNES-CD (also known as the "Nintendo Play-Station", with separated words) to be an add-on to the Super Nintendo Entertainment System that would allow for FMV and larger games. However, Nintendo broke the agreement and instead signed with Philips to make the add-on, which caused Sony to spin off their add-on into its own console called the PlayStation (with "PlayStation" as one word due to a copyright issue with the trademark "Play-Station" owned by Nintendo). Witnessing the poor reception of the Sega Mega-CD, Nintendo scrapped the idea of making an add-on entirely. As part of dissolving the agreement with Philips, Nintendo gave them the license to use five of their characters, including Link, Princess Zelda, and Ganon, for games on Philips's console called the CD-i, after the partnership's dissolution.
In 1989, Nintendo signed a deal with Sony to begin development of a CD-ROM-based system known as the "Nintendo Play Station" (or the "SNES CD") to be an add-on to the Super Nintendo Entertainment System that would allow for FMV and larger games. However, Nintendo broke the agreement and instead signed with Philips to make the add-on, which caused Sony to spin off their add-on into its own console called the PlayStation. Witnessing the poor reception of the Sega Mega-CD, Nintendo scrapped the idea of making an add-on entirely. As part of dissolving the agreement with Philips, Nintendo gave them the license to use five of their characters, including Link, Princess Zelda, and Ganon, for games on Philips's console, the CD-i, after the partnership's dissolution.
In 1989, Nintendo signed a deal with Sony to begin development of a CD-ROM-based system known as the "Nintendo PlayStation" or the SNES CD to be an add-on to the Super Nintendo Entertainment System that would allow for FMV and larger games. However, Nintendo broke the agreement and instead signed with Philips to make the add-on, which caused Sony to spin off their add-on into its own console called the PlayStation. Witnessing the poor reception of the Sega Mega-CD, Nintendo scrapped the idea of making an add-on entirely. As part of dissolving the agreement with Philips, Nintendo gave them the license to use five of their characters, including Link, Princess Zelda, and Ganon, for games on Philips's console called the CD-i, after the partnership's dissolution. Contracting out to independent studios, Philips subsequently used the characters to create three games for the CD-i, with Nintendo taking no part in their development except to give input on the look of the characters based on the artwork from Nintendo's original two titles and that of their respective instruction booklets. Philips insisted that the development studios utilize all aspects of the CD-i's capabilities including FMV, high-resolution graphics, and CD-quality music. Because the system had not been designed as a dedicated video game console, there were several technical limitations, such as laggy controls (especially for the standard infrared controller), and numerous problems in streaming-audio, memory, disc access, and graphics.
"Mobile Fighter G Gundam" was produced by Sunrise in association with advertising agencies Sotsu and Dentsu, and toy company Bandai. The series was created to commemorate the 15th anniversary of the "Gundam" franchise, created by Yoshiyuki Tomino in 1979. "G Gundam" was directed by Yasuhiro Imagawa, known for his work on the "Giant Robo" and "Getter Robo Armageddon" original video animations (OVAs). "G Gundam" was chiefly written and supervised by Fuyunori Gobu, a veteran screenwriter for various Sunrise properties such as "Shippū! Iron Leaguer" and "The King of Braves GaoGaiGar". Many of the principal production crew members for "G Gundam" were carried over the previous season's "Mobile Suit Victory Gundam", including character designer Hiroshi Ōsaka and mechanical designers Kunio Okawara and Hajime Katoki. Manga artist Kazuhiko Shimamoto collaborated on the show's character designs. Kimitoshi Yamane acted as a back-up mechanical designer and has since worked on Sunrise's acclaimed series "Cowboy Bebop" and "The Vision of Escaflowne". Hirotoshi Sano, previously credited for "Tekkaman Blade", was responsible for directing the mechanical animation in "G Gundam", but also produced much of show's promotional artwork seen on home media covers. The musical score for "G Gundam" was composed by Kohei Tanaka. The opening theme song "Flying in the Sky" performed by Hitofumi Ushima and the closing theme by Etsuko Sai are played for the first 25 episodes of the series. The opening theme "Trust You Forever" by Ushima and the closing theme by Takehide Inoue are played for the remaining episodes.
An important influence on the action RPG genre was the 1986 action-adventure, "The Legend of Zelda", which served as the template for many future action RPGs. In contrast to previous action RPGs, such as "Dragon Slayer" and "Hydlide," which required the player to bump into enemies in order to attack them, "The Legend of Zelda" featured an attack button that animates a sword swing or projectile attack on the screen. It was also an early example of open-world, nonlinear gameplay, and introduced new features such as battery backup saving. These elements have been used in many action RPGs since.
".hack//G.U. Game Music O.S.T." and ".hack//G.U. Game Music O.S.T. 2" are the soundtracks for the ".hack//G.U." games. The former contains 62 compositions from "Rebirth" while the latter contains 58 compositions from "Reminisce" and "Redemption". Both soundtracks come with a third disc with special features, such as game trailers, desktop wallpapers, and voice clips. Chikayo Fukuda composed the music for the series, as well as for the previous set of ".hack" games. Singer Mitani Tomoyo contributed for the three games by singing each of their main themes. Patrick Gann of RPGFan commended Fukuda's more mature sound, noting a greater emphasis on vocal tracks than before. He praised the use of piano as a key instrument and found this soundtrack to be more memorable overall. Gann also appreciated the wide variety of styles from "silly character themes" and "rock-hard battle themes" to "beautiful piano solos".
Scary Larry of "GamePro" viewed the game as the Genesis's answer to "", and remarked that "While "Zelda" had tons of hidden surprises, weapons, and fearsome bosses (making it one of the best action/RPGs ever), "Crusader of Centy" has a too-familiar story line, minor enemies, and a serious shortage of puzzles." He nonetheless concluded that though "Crusader of Centy" would bore the average RPG gamer, it successfully appeals to its young target audience. The four reviewers of "Electronic Gaming Monthly" contended that the game is a worthy "Zelda" clone, with Ed Semrad and Sushi-X going so far as to say it is equally good as the "Zelda" series. They identified the story and Zelda-like play mechanics as the game's strongest points, and gave the game a 7.75 out of 10.
Yota Tsuruoka was the sound and music director for "Boogiepop Phantom". The soundtrack for the series featured many artists and various styles, ranging from Gregorian to electronic. The opening theme song , which was also used as the ending theme for the live action prequel "Boogiepop and Others", was composed, arranged, and performed by Shikao Suga. Kyoko composed and performed the ending song . The "Boogiepop Phantom" soundtrack was published by AnimeTrax and released by The Right Stuf International as a two-disc CD on 30 April 2002. The songs "Evening Shower" and "Future Century Secret Club" were not included on the OST with the rest of the soundtrack, but were instead released separately by the artists. "Evening Shower" was published on 8 September 1999, prior to the initial airing of the series, on Shikao Suga’s album "Sweet", while Kyoko’s "Future Century Secret Club" was initially released as a single of the same name on 9 February 2000, and later as part of an album titled "Under The Silk Tree" on 8 November 2000.
The song "Still Alive" was written by Jonathan Coulton and performed by Ellen McLain for the "Portal" video game. McLain also provides the voice for GLaDOS, an artificial intelligence for the fictional Aperture Science Enrichment Center and the game's antagonist. "Still Alive" is sung from the perspective of GLaDOS and used as the song that runs over the game's credits. By the end of the game, Chell, the game's protagonist who has been misled and placed in life-threatening situations within the Aperture Science Enrichment Center, the setting of the game, by GLaDOS, will have finally encountered and defeated GLaDOS. However, the song and portions of post-credit scenes suggests that GLaDOS is still functional, and despite having been apparently destroyed by Chell, is "not even angry" at that prospect, having considered the monitoring of Chell's performance through the test chambers as a "huge success", regardless of the destruction caused by Chell and the Aperture Science Handheld Portal Device being released into the outside world, for those that are "still alive". The Combine invasion of Earth from the "Half-Life" series was also hinted in the song by GLaDOS ("Go ahead and leave me, I think I'd prefer to stay inside. Maybe you'll find someone else to help you. Maybe Black Mesa. That was a joke. Ha Ha. Fat Chance."). The song itself is also present as a samba instrumental version through in-game radios at certain points within the game.
"Spider-Man" is the theme song of the 1967 cartoon show "Spider-Man", composed by Paul Francis Webster and Robert "Bob" Harris. The original song was recorded at RCA Studios in Toronto (where the cartoon was also produced) featuring 12 CBC vocalists (members of the Billy Van Singers, and Laurie Bower Singers groups) who added to the musical backing track supplied by RCA Studios, New York. The singers were paid only for the session and have had no residuals from its use since then.
Zelda K. Gilroy, portrayed by the American actress Sheila Kuehl (known by the stage name of "Sheila James"), is a character from the American sitcom "The Many Loves of Dobie Gillis", which originally aired on CBS from 1959 to 1963. A teenage girl and later young adult woman who was bright in academics, athletic, and somewhat plain-looking, Zelda was smitten with the handsome clean-cut teenager Dobie Gillis, played by Dwayne Hickman, who had his romantic sights on the most beautiful girls, such as Thalia Menninger. Most of these, however, shunned him for various reasons. Zelda was always there for Dobie and his friend Maynard G. Krebs, portrayed by Bob Denver.
Unlike "Crash Tag Team Racing", Radical did not hire the composer of the music in the previous "Crash" games, the a cappella band Spiralmouth whose members Rebecca Kneubuhl and Gabriel Mann left to compose musical pieces to "" and "" from Crash's companion franchise "Spyro the Dragon", to write the music for "Crash of the Titans". Instead, they assigned the job to their in-house composer Marc Baril, who took Spiralmouth's work on the previous games as references for "Crash of the Titans". Radical Entertainment has expressed its pride with some of the music featured in the game, such as Doctor N. Gin's polka theme. A 32-track soundtrack was made available on the iTunes Music Store on December 18, 2007. The music in the Nintendo DS version of the game was created by Nathaniel Papadakis.
"Innocence" began production in 2006 at Alfa System as the next main entry in the "Tales" series. Developed parallel to the DS spin-off title "Tales of the Tempest", the goal was to include all the series' main gameplay and narrative elements despite the limited medium. The character designs were done by Mutsumi Inomata, while the music was composed by series newcomer Kazuhiro Nakamura. Extensive voice acting was included using CRI Middleware's Kyuseishu Sound Streamer compression algorithm. After release, it was decided to remake "Innocence" for the Vita, using platform-specific gameplay functions, redone voice work and music, and new characters. Japanese singer-songwriter Kokia created the opening theme songs for both versions of "Innocence". Both versions have been positively received in Japan, and Western opinions on the two versions of "Innocence" have been mostly positive.
The series has since been taken over by external developers. Ōwaku and fellow Team Silent art designer Masahiro Ito went on to work together on "Silent Hill: Cage of Cradle" (2006), a digital manga published by Konami, downloadable for cell-phones and only available in Japan. This was followed by "Silent Hill: Double under Dusk" (2007). Ōwaku was also credited with another "Special Thanks" in "" (2007). This makes Ōwaku the longest-standing contributor to the "Silent Hill" series, behind composer Akira Yamaoka, who scored every game except for "".
After forming Key, Maeda worked on the music and scenario for their first title "Kanon" released in 1999, which proved to be very popular in the adult game market in Japan. Beside Maeda, the majority of "Kanon" scenario was written by Naoki Hisaya, but he quit Key shortly after "Kanon" was produced. Following this, Maeda wrote most of the scenario for Key's next title "Air", along with again working as the lyricist and one of the composers for the music featured in the game. After a period of four years in 2004, Key released their third and longest game "Clannad" where Maeda did a vast amount of the writing for the game; in all, Maeda put in around 75% of the work that went into the creation of "Clannad". Also in 2004, Maeda began writing his first manga entitled "Hibiki's Magic", which was first conceived as a short story he wrote as a student. In 2005, Maeda worked on the scenario and music for Key's fifth game "", followed by Key's sixth title "Little Busters!" released in July 2007 which he also worked on in regards to the scenario and music.
Key defines "Planetarian" as a "kinetic novel", since its gameplay offers no choices or alternate endings. Instead, the player proceeds through the story solely by reading. The story is written by Yūichi Suzumoto and character design is produced by Eeji Komatsu. The game's soundtrack was composed and arranged by Key's signature composers Magome Togoshi and Shinji Orito. A light novel of short stories set in the world of "Planetarian" was released in April 2006, and three audio dramas have also been produced. David Production produced a five-episode original net animation series and an anime film in 2016. "Planetarian" story, artwork and music have been praised, and the PS2 version ranked first for console games in terms of satisfaction in 2007.
Beauty and the Beast: Original Motion Picture Soundtrack is the official soundtrack album to the 1991 Disney animated feature film, "Beauty and the Beast". Originally released on October 24, 1991, by Walt Disney Records, the album's first half – tracks 2 to 9 – generally contains the film's musical numbers, all of which were written by composer Alan Menken and lyricist Howard Ashman, while its latter half – tracks 10 to 14 – features its musical score, composed solely by Menken. While the majority of the album's content remains within the musical theatre genre, its songs have also been influenced by French, classical, pop and Broadway music. Credited to Various Artists, "Beauty and the Beast: Original Motion Picture Soundtrack" features performances by the film's main cast – Paige O'Hara, Richard White, Jesse Corti, Jerry Orbach, Angela Lansbury and Robby Benson – in order of appearance. Additionally, the album features recording artists Celine Dion and Peabo Bryson, who perform a pop rendition of the film's title and theme song, "Beauty and the Beast", which simultaneously serves as the soundtrack's only single.
A long-standing rumor claimed that the bassline for the Spider-Man theme was performed by jazz musician Charles Mingus, however, Ralph Bakshi confirmed the rumor as being erroneous, stating that Mingus did not perform on the theme song.
"The Secret of Monkey Island" is the first game in the "Monkey Island" series and was released in 1990. The game, noted for its greater use of witty humor over previous titles, was designed by Ron Gilbert, Dave Grossman and Tim Schafer. The concept itself was pioneered by Gilbert. Following the deviation in gameplay in "Loom", "The Secret of Monkey Island" returned to similar point-and click gameplay featured in "Indiana Jones and the Last Crusade". The SCUMM engine was again upgraded for the title. Set in the Caribbean in the Golden Age of Piracy, the game introduced Guybrush Threepwood, a hapless amateur pirate. The game's MIDI music soundtrack was the first to feature work by Michael Land. The added a new CD-audio music soundtrack, and updated the game's graphical user interface.
"Re-feel" is a piano arrange album with songs taken from the "Kanon" and "Air" visual novels and arranged into piano versions. It was first released on December 28, 2003 at Comiket 65 in Japan by Key Sounds Label bearing the catalog number "KSLA-0010". The album contains one disc with ten tracks; the first five songs are from "Kanon" while the last five are from "Air". With the exception of tracks two and four which are arranged by Riya of Eufonius, all the tracks are arranged by Ryō Mizutsuki, who is credited as Kiyo on the album.
The music in the game was composed by Toru Minegishi, Manaka Tominaga, ands Asuka Ota. Minegishi wrote the main overworld music and shared the work on field, character and event themes with Tominaga. Series sound composer Koji Kondo contributed the ending theme, while Ota was responsible for some of the music in the multiplayer mode.
The music for "Link's Awakening" was composed by Minako Hamano and Kozue Ishikawa, for whom it was their first game project. Kazumi Totaka was responsible for the sound programming and all sound effects. As with most "Zelda" games, "Link's Awakening" includes a variation of the recurring overworld music; the Game Boy arrangement of this theme, titled "Field", was created by Ishikawa. The staff credits theme, "Yume o Miru Shima e" was later arranged for orchestra by Yuka Tsujiyoko, and performed at the "Orchestral Game Music Concert 3" in 1993. "Super Smash Bros. Brawl" includes a remix of the game's "Tal Tal Heights" theme.
Koji Kondo (credited as Konchan) composed the game's five music tracks. He had planned to use Maurice Ravel's "Boléro" as the title theme, but was forced to change it late in the development cycle after learning that the copyright for the orchestral piece had not yet expired. As a result, Kondo wrote a new arrangement of the overworld theme within one day, which has become an iconic motive echoing throughout continued entries of the series.
The script for cinematic scenes was written by Naoki Mori, who joined the project for one and a quarter years in his role: the cinematic director was Shigeki Yoshida, who was brought on at the same time as and worked on the storyboards with Mori. The initial script was proposed by Fujibayashi based on his perception of the game's structure. As the game's theme was the use of the sword, and the sword most associated with the series was the Master Sword, the team decided to make it an origin story for the weapon. An early element was whether to incorporate the creation of Hyrule, while also needing to explain the creation of Skyloft: this initial stage of story development ended up being difficult as their initial story plans were full of contradictions to established series lore due to them wanting to create an origin story for the entire series. These issues were further complicated by the third year of development with the necessity of finalizing the gameplay and environments. Feigning illness, Fujibayashi shut himself away in a hotel room and wrote the synopsis in a single day. Mori wrote the dialogue based on Fujibayashi's synopsis, who needed to work out the fine details with Fujibayashi. A scene Fujibayashi was intent on including was where Zelda jumped from the edge of Skyloft and Link caught her: this was fitted in for the two characters after the end of Link's exam. The early part of the story was quite different from earlier "Zelda" games, playing out in a similar way to a school drama. Once the script was finished, it was handed to Yoshida so his team could create the cinematics. The total number of cinematics was estimated as 79, coming to over 120 minutes.