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It is exactly this innovation that Kondo stresses in his many press appearances: "the [Super Mario Bros.] music is inspired by the game controls, and its purpose is to heighten the feeling of how the game controls." In essence, if music does not reflect the rhythm of the game, and, by extension, that of the gamer, it becomes background music. Unfortunately, it's quite difficult, if not impossible, to identify the exact mechanisms by which Kondo's music meshes with a player's movement. But that doesn't relegate his philosophy to the realm of esoteric hullaballoo by default. When I play Super Mario Bros., the music is always eerily in sync with my on-screen marionette. Individual experience aside, Kondo was convinced that game sound could lessen the gap between Mario and the hands that move him. With Kondo's visionary techniques, players do more than control a character on screen; they form an intimate bond with it—a bond forged by the motional spark at the heart of Kondo's music.From this perspective, the curiosity that initiated our discussion becomes far less curious. Why does Kondo take the most pride in his earliest hits? Because it was in these early pieces that he first understood how he was different from those who came before him. More than just a handful of catchy tunes, Super Mario Bros. is the cradle of Kondo's lifelong contribution to video-game music. So it is only natural that he should cherish it as he does.On Motherboard: Mario Has Become Self-Aware
Andrew Schartmann's 33 1/3 book on the Super Mario Bros. soundtrack is published by Bloomsbury on the 16th of July. More information here.Follow Mike on Twitter.