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The Talos Principle
In Area B: Room 5, it is possible to reach the top of the building just above the teleporter that brought you there in the first place. To do this, you must go to the puzzle "Behind the Iron Curtain" and while completing it, maneuver your way so that a box and fan used in the puzzle are blown out of the puzzle's walls into the Room's map. Afterwards, take the box to a nearby hole that leads to the river until you find a connector for the fan and place it there. After going back to retrieve and place the fan, jumping into it will blast you through the air across the map and onto the top of the building, which will then suddenly teleport you to a dark cave. Walking further into the cave will reveal a glass triangular prism with a light shining through to create a rainbow. This is a recreation of the cover art of the band Pink Floyd's 1973 album "The Dark Side of the Moon", and interacting with the prism will play a short cover of the instrumental opening to the first part of the song "Shine On You Crazy Diamond" from Pink Floyd's 1975 album "Wish You Were Here".
Contributed by MehDeletingLater
Kingdom Hearts
According to series composer Yoko Shimomura in a KH Ultimania interview with the game's sound team, they believed the operatic song "Destati" was "cursed":

"In the beginning and ending of the game, there is a song with a chorus. That chorus is a phrase that expresses the dark side of Kingdom Hearts, and it was used in several songs. However, once we tried loading the chorus data in when we were creating the songs, something bad would happen. The worst thing that happened was when the electricity to the building was cut off. (laugh)"
Contributed by PirateGoofy
During the fight against Spoiler:Spamton NEO in Chapter 2, a sped-up voice can be heard at the end of his battle theme, "BIG SHOT", muttering phrases such as "they've come for me" and "please pick up the phone" before laughing. On the official soundtrack album, however, this voice is absent; it is unknown whether this is a deliberate omission or an oversight.
Contributed by game4brains
Late into the game, if the player enters the medbay where Warren is, he can be heard humming the song "Prisoner" by Stumfol. This song is played when the player dies in the first game, and is likely a nod to how often the then-player character (Warren) would have heard it.
Contributed by DrakeVagabond
In a 2001 interview with the game's director Jun Kobayashi featured at the game music column of allabout.co.jp, he was asked who his target audience for the game was. He responded:

"At first, I was thinking of a game for people who liked club music, something they could enjoy without actually going to the club."

"However, after mulling it over, we finally decided on targeting people who are new to video games with Rez. I mean people who maybe bought a Playstation 2 and watch DVDs on it, but hardly play any games. Or people who think “games today are too difficult, I can’t play them.”"

"By the way, I’ve been playing games since the Famicom era, so for most games today I don’t need to read the instruction manual, I can just start playing. That’s all good for people like me who grew up with and experienced the evolution of Famicom, Super Famicom, Sega Saturn, and Playstation… but Rez was aimed at those who don’t have that experience, the kind of people who have just bought a PS2 for the first time. The PS2 may be their first experience with a video game controller, and I wanted to create a game that even those new users could enjoy."

"With Famicom games you have a directional pad that moves a character, and when you press a button your character immediately jumps or attacks. I’m very familiar with those kinds of controls. Most games today are released for people like me, who are familiar with those kinds of controls, and developers then try to take that formula further and do more refined things with it."

"Consequently, people whose first video game console is the PS2 see these more complex games and have no idea what’s going on. The buttons are too complicated and the appeal of the game is lost on them. Of course with a player like me, I prefer those kinds of games, but with Rez I wanted to immerse new players in a different world: one where a brand new sensation has been added to the traditional formula of “aim and shoot the enemy”-type games. "
Contributed by ProtoSnake
Street Fighter II
In a 1991 interview with the game's composer Yoko Shimomura published in vol. 62 of Gamest magazine, she stated that she almost wrote all the songs in the game based on how she pictured each different country in her mind, and also tried to match the music with the stage backgrounds.
Contributed by ProtoSnake
According to game's artist Ben Fiquet on his Twitter account, the elevator platform from "Stage 11: Airplane" was inspired by the manga series Akira. The name of the stage's soundtrack is even "A Ki Ra".
Contributed by ProtoSnake
Super Smash Bros. Ultimate
Minecraft World's soundtrack was taken directly from two other spin-offs within its series, Minecraft Earth and Minecraft Dungeons. The game's director Masahiro Sakurai stated in a Nintendo Direct that adding in the original music from the game would have been impossible due to the music's ambience not being suitable for the game, also adding that it would "make players relax."
Contributed by Tuli0hWut
The theme for the Sky Noah stage is Chopin's "Revolutionary Etude Op.10 No.12." The inclusion of this song on the Neo Geo system required a huge amount of memory which overwhelmed the voice data of other characters.
Contributed by DrakeVagabond
The Legend of Zelda
In a 1994 interview with the game's creator Shigeru Miyamoto, featured in the liner notes of "The Legend of Zelda: Sound and Drama" CD, he was asked what were the things he struggled with during the game's development. He responded:

"We were brimming with new ideas on how to fully utilize the Disk System’s new capabilities: a name entry system, using better music, recording the player’s progress, and so forth. In that sense it was a very fun game to create. The flip side of doing something new, however, is that Zelda was a game where we were very concerned whether players would understand what they were supposed to do (much like the fear Nakamura had when Dragon Quest was first released). Once we decided there’d be riddles and puzzles in Zelda, that carried a lot of anxiety with it as well. Some of the puzzles are quite difficult to solve, after all."

"Since we were working on Super Mario at the same time, once Mario was finished, we grabbed the Mario programmers and used them for Zelda in a final programming sprint. That was really tough."
Contributed by ProtoSnake
WWF No Mercy
The "Raw is War" intro theme was used for Undertaker's entrance by default due to the World Wrestling Federation (now the World Wrestling Entertainment or the WWE) not owning the licensing to the song "American Badass" by Kid Rock during the game's development. Oddly enough, the "Original Theme 4" found in the Create-a-Superstar option is a generic remake of said song, and his bike entrances do not appear in the game.
Contributed by Tuli0hWut
In a 1995 interview with the game's producer Noriyoshi Ooba, found within the Sega Saturn Magazine (JP), he stated that the opening CG cutscene took almost 6 months to make. His team then recorded and produced the song featured in the cutscene at Sega's in-house digital recording studio, stating:

"It’s kind of amazing, to be able to do that kind of professional music recording at Sega offices. (laughs) I thought the song was really good too. It matched the visuals quite well, and the country style evoked the suburban American landscape."
Contributed by ProtoSnake
Super Mario Bros. 2
In a prototype version of the game, the Underground theme was originally meant to be an updated version of the Underground theme from Super Mario Bros. with added kick percussion, but this was scrapped in the final release. A similar-sounding Underground theme to that of Super Mario Bros. 2's prototype would end up being used in Super Mario Bros. 3.
Contributed by MehDeletingLater
When composer Jason Gallaty wanted a wholly traditional Balinese score, he reached out to Balinese music group Gamelan Çudamani for their assistance since their traditional music fit his ideas. However, the group was initially thinking of turning down the offer because as traditionalists, they viewed Video Games and their music as things they were "working against". The Gamelan group eventually put their prejudices aside and warmed up to the idea however, because the game and it's themes as described by Gallaty really struck a chord with them.

"...The themes [of the game] are so beautiful and so resonant with our culture and our values and philosophy. And you know, it’s exciting to see that."
Contributed by PirateGoofy
In "John Wayne" by Lady Gaga, the lyrics "so here I go to the eye" does not contain the word "here" when appearing on-screen.
Contributed by CuriousUserX90
In "Heartbeat Song" by Kelly Clarkson, the lyrics "and I'm so used to feeling numb" are misinterpreted on-screen as "and I'm still used to feeling numb".
Contributed by CuriousUserX90
Final Fantasy X
According to a 2001 developer interview published in V-Jump magazine, the game's composer Nobuo Uematsu stated his team started including theme songs in the Final Fantasy games since Final Fantasy VIII, and that each time, Uematsu & Yoshinori Kitase would hold a meeting to decide who would sing the theme song. The developers brought in various music CDs of singers they liked to listen to and would share their opinions. At some point during the meeting for Final Fantasy X's theme song, they could not decide on who to pick. Around the same time, a member from their staff happened to buy one of Rikki’s independent releases at a CD shop, and showed it to Uematsu. He loved it after listening to it, and said in a excited mood "This is great!", leading the team to contact Rikki right away to perform the song, called "Suteki Da Ne", for the game. Uematsu considered it a memorable song for FFX, and that from the beginning the music would be a central part of the soundtrack.
Contributed by ProtoSnake
Street Fighter II
In a 1991 interview with the game's composer Yoko Shimomura published in vol. 62 of Gamest magazine, she stated that her idea for Dhalsim’s theme was inspired by a CD she owned of Indian and Pakistani music, and that she "may have gone a little too far" in selling the idea to the development team. She also thought using tsuzumi drums in the music would make it sound more Japanese, and more akin to "that fusion sound, the king of music that's great to listen to when you're driving around."
Contributed by ProtoSnake
Street Fighter II
In a 1991 interview with the game's composer Yoko Shimomura published in vol. 62 of Gamest magazine interview, she was asked about the in-game music speeding up when the fighter's health gets low, and if the tempo of the songs themselves was actually speeding up. She responded:

"Ah, yeah, actually I wrote them all as separate compositions for that purpose. At first they only asked me to write one song for each stage, but later I said “it would be cool if the tempo got faster during the fight” and they liked the idea. Unfortunately it meant writing twice as many songs for me."
Contributed by ProtoSnake
In a 2019 IGN Japan interview with the game's creator Tonnor, he was asked why he chose to release the game's soundtrack as DLC on Steam? He responded:

"The publisher was pushing hard for it (and there were requests from the testplayers too) so it was something I looked into after considering the need both for additional content for the Steam release, and as a nod to existing players who have been dedicated of fans of Hellsinker for a while now. I also managed to dig up a utility to extract the music resources from my old development machine, which allowed me to release the music in a lossless format."
Contributed by ProtoSnake
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