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Dance Dance Revolution A
1
Attachment The song "First Time", despite being credited as "BEMANI Sound Team 'Metal Stepper'", does not reflect this in the song's jacket, simply referring to the composer as "Metal Stepper".
This suggests that the song's jacket was created prior to the BEMANI Sound Team rebranding.
person aa1205 calendar_month September 28, 2023
Final Fantasy VII Rebirth
1
In an interview with the game's music supervisor Keiji Kawamori published on the PlayStation.Blog on September 14, 2023, he was asked what he could reveal about the soundtrack and music for the game. He responded that because the game's world is much larger than Final Fantasy VII Remake, the team made a variety of new music to go alongside it and also expanded the variety of musical genres used, so he thought there would be a lot to enjoy. They also made many re-arrangements of classic tracks from the original Final Fantasy VII, and Kawamori hoped fans would enjoy comparing both iterations of the same song to see what's the difference. He cited the Release Date Announcement trailer's music being a re-arrangement of the Final Fantasy VII main theme as a battle music track as an example of this to give players a taste of the direction the team chose to take in Final Fantasy VII Rebirth.
Pop'n Music: Usagi to Neko to Shounen no Yume
subdirectory_arrow_right Sound Voltex IV: Heavenly Haven (Game), Bemani (Franchise), Konami (Company)
1
The Pop'n Music songs "Dance to Blue (Respect Style)" and "Mychronicle", along with the Sound Voltex song "GERBERA" were all initially credited to "BEMANI Sound Team" (Or "伊藤賢治 Remixed by BEMANI Sound Team" in the case of "Dance to Blue (Respect Style)").
These songs marked the first usages of such a moniker in BEMANI games.
It wouldn't be until December 2017 that these songs received the altered credits "伊藤賢治 Remixed by BEMANI Sound Team 'PON'", "BEMANI Sound Team 'positive MAD-crew'", and "BEMANI Sound Team 'TAG'" respectively.
Since then, all in-house BEMANI songs have been credited as BEMANI Sound Team "Artist Name".
Though no official breakdown for the BEMANI Sound Team moniker has been given, some theorize the change was either to distinguish in-house composers from commissioned artists (i.e. kors k and Ryu☆), or due to policies from a pachinko company merger with Konami, mandating reduced visibility of staff.
person aa1205 calendar_month September 26, 2023
RemyWiki page on BEMANI Sound Team:
https://remywiki.com/BEMANI_Sound_Team

RemyWiki page on Dance to Blue (Respect Style):
https://remywiki.com/Dance_to_Blue_(Respect_Style)

Pop'n Music footage of Dance to Blue (Respect Styel) with BEMANI Sound Team credit:
https://youtu.be/5ttNrmlyApU?si=XoBpYu99YFNM7nzn

RemyWiki page on Mychronicle:
https://remywiki.com/Mychronicle

Pop'n Music footage of Mychronicle:
https://youtu.be/lPAyl856a8g?si=2fXsyAuHC75V-8RR

RemyWiki page on GERBERA:
https://remywiki.com/GERBERA

Sound Voltex footage of GERBERA:
https://youtu.be/-10mmR24P_0?si=KTfLSB7eqCpD-CRi
Metroid Prime
1
According to programmer Zoid Kirsch, the reason why Metroid Prime had elevators were because, as a mainstay of the 2D Metroid series, they were used for three primary technical reasons that were also present in the series' first 3D game: world maps could only be up to a certain size, sound banks needed to be changed, and the transitions helped to clear up any memory fragmentation.

1. The world size limit was due to floating point precision. If Samus got too far from the origin, her movement would start stuttering since the values would get too large. When this story was originally posted to Twitter in 2022, Robin Lavallée, a former lead programmer at Ubisoft, suggested that Retro Studios could have shifted floating points where after a certain distance, everything would be shifted back closer to origin, citing this as something done during the development of Assassin's Creed IV: Black Flag. However, Kirsch replied back that the team deliberately avoided doing this out of concern that it would cause bugs. Instead, Samus moves consistently through the world as it loads around her.

2. For the sound banks, the MusyX sound system can stream music but it couldn’t for sound effects. Each world had a different set of sounds that were loaded while the elevator cut scene is running.

3. The GameCube doesn't have any virtual memory and everything is allocated from the physical RAM. The elevator loads caused all memory to be freed between the worlds, cleaning up any fragmentation.

One of the game's tech leads Jack Mathews hardcoded the different elevator cutscenes into the game. It's not a "room" at all, nor is it a prerendered video file, but it's coded directly in C++ and does not run through the usual game systems for camera control, etc. They also feature crossfades since it had fixed rendering, one of the only places the developers could afford to render overlapped scenes.
Donkey Kong 64
1
The infamous DK Rap was featured in the 2023 film "The Super Mario Bros. Movie", with the chorus portion used to chant Donkey Kong's name as he enters the Great Ring of Kong to battle Mario. Donkey Kong's voice actor Seth Rogen reacted to the DK Rap prior to the film's release, referring to it as "objectively one of the worst rap songs of all time." The original songwriter Grant Kirkhope expressed excitement upon hearing about the song's inclusion in the film but was dismayed upon seeing that he was not credited as the song's original composer in the movie's credits.
person NintendOtaku calendar_month September 12, 2023
Chrome Dino
2
During development, Chrome Dino was named "Project Bolan" affter Marc Bolan, lead singer of the band T. Rex.
Dimahoo
1
In an 2000 interview with the game's composer Atsuhiro Motoyama published in the Great Mahō Daisakusen OST liner notes, he stated he had a great deal of personal affection for the first game in the Mahō Daisakusen series since he wrote the music for it. Before he started to compose Dimahoo, he chose to go back and listen to the old songs from Sorcer Striker for reference.

In Sorcer Striker, he stated that the approach he took to the songs was "melodious and colorful", but for Dimahoo he decided to try something else, not over-emphasizing the melodies and instead attempting to evoke a sense of atmosphere. In his mind, by contrasting these two approaches he was trying to explore the theme of what background music is supposed to be:

"When a video game composer writes melodic, busy pieces with tons of notes, and lots of progressive, complex chord structures, those songs make a good impression on the listener as songs, and they can also be quite effective in making the stages seem more exciting… but if you make a single misstep in this approach, it's very easy for the BGM to stand out too much (of course, if you can pull it off, the results can be spectacular). For Dimahoo I tried to do "both" (melody and atmosphere)… but how do you think it turned out?"

He also stated that he was not only plagued with technical difficulties with his sound equipment, but his air conditioner also broke. This made his working experience worse for a few days as Motoyama was "extremely sensitive to the heat":

"The sun would gradually heat the room up by midday, and on top of that, there was heat from the three computers and a rack full of music modules… I wasn't going to get through this with some dinky little table fan! The repair guy couldn't come for three days, and during that time I filled a bucket with ice water and put my feet inside while I worked (yes, I really did this). Damn! Now I can't use the damper pedal on my keyboard!"

He also thanked composer Manabu Namiki for assisting him with assembling the game's music data, saying he was "very indebted" to him. The way Namiki handled the music data for Dimahoo was different compared to the way he normally did it. Although he endeavored to keep his original data clean and simple to understand, it ended up being "idiosyncratic and confusing", and Namiki ended up spending many extra overtime hours dealing with it. So, he expressed his gratitude towards him by thanking him for cleaning all that up.
X
1
Nintendo fans generally acknowledge X to be the first game to implement "Totaka's Song," a 13-note melody composed by Nintendo music veteran Kazumi Totaka.

Totaka often implemented this melody for games he worked on, including Luigi's Mansion, The Legend of Zelda: Link's Awakening, and the Animal Crossing franchise.
Hotel Mario
1
The music used in the game's opening cutscene, main menu/map screen, and end credits is taken almost note-for-note from Max Steiner's "Polka Melody", featured in the 1933 film adaptation of the novel "Little Women".
Tomba!
1
In a 2011 interview with the game's composer Harumi Fujita published in issue #2 of STG Gameside magazine, she stated that at the time when she heard about Tokuro Fujiwara starting his own company named Whoopee Camp, she went to him and asked him to “Please use me somehow!”. Both of them had been working together on Famicom games since they worked at Capcom.
Haunting Ground
1
Attachment In an early unused version of the "Mountain of Rubble" cutscene, Fiona is voiced by a different voice actress, but she is completely silent in the final version. In addition, there's a unique music in the cutscene that was removed in the final version, and the dirt effects when Fiona falls back down were originally brown instead of grey.
The Legend of Zelda: Breath of the Wild
1
If you listen closely to the music being played in the Divine Beasts, you can make out Morse code for "S.O.S." This is very likely a distress call the Champions made when they were attacked by the Ganon Blights 100 years prior to the start of the game.
Petal Crash
1
Milla from Freedom Planet was added as guest character in the Version 1.1 update.
Her theme song is based on her theme from Freedom Planet 2.
Mario + Rabbids Sparks of Hope
1
The game's title theme sounds similar to the Space Junk Galaxy theme from Super Mario Galaxy.
Ristar
1
On the first round of Planet Sonata, after delivering the last metronome to the bird robot, if you sit and wait for nearly a minute before going to the boss, a rendition of the nursery rhyme "Mary Had a Little Lamb" will start playing.
Kirby's Adventure
1
Part of Grape Garden's background music greatly resembles the song "Silver and Gold", sung by Burl Ives, from the animated holiday musical film "Rudolph the Red-Nosed Reindeer".
Diddy Kong Racing
1
The music for Frosty Village seems to be a faster-paced, copyright-law-friendly version of the popular Christmas song "Winter Wonderland".

Part of the Walrus Cove theme also resembles Gene Autry's "Here Comes Santa Claus" in the same regard as well.
Persona 2: Innocent Sin
1
In the PlayStation version of the game, if you wait on the Load screen for 4 minutes and 15 seconds, a short acoustic version of the game's ending theme "Next to You" will play.
Moon: Remix RPG Adventure
1
Attachment In the Castle, in order to obtain Love from the castle guard Fred, Spoiler:if you wait on the balcony above Fred and Bilby's bedroom until night time, at some point, Fred will emerge and walk to the castle's throne room. If you follow him there, you will be treated with an extravagant rock performance where Fred is dressed up as his idol and namesake Freddie Mercury, the frontman of the British rock band Queen.

If you go into Fred and Bilby's bedroom, Spoiler:Fred's side of the room is adorned with Freddie Mercury and Queen posters, even on his bedsheets, hinting at this connection.
Hotel Mario
1
As Mario and Luigi approach Ludwig's hotel, Mario comments "We ain't afraid'a no Koopas!", a reference to the theme song to the 1984 film "Ghostbusters".
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