It was what made him one of the most accomplished composers over the course of previous console generations, while so many others failed. In working on the N64 game, Kondō once more faced difficulties due to the limited hardware, a practice he was already so accustomed to, it forced him into being very creative and straightforward in what each piece of music needed to express. The first remains the most simplified and textbook example of how to express a sense of magic, a fairy tale, the second is so joyously in expressing the relaxing atmosphere of a small village.
There are two in particular themes I love the most the fairy fountain music and the Kakariko Village theme. I have many fond memories of the themes in the Zelda games, some of which would often be reprised throughout its legacy. Disregarding the secondary line of three games on Philip’s CD-i, showing great musical decline, and even the Gameboy’s Link’s Awakening, not scored by Kondō, but still very good, I consider The Legend of Zelda: Ocarina of Time (Zeruda no Densetsu: Toki no Okarina) the next important evolution in game music, and the franchise. Yet, nothing could have prepared me for the evolution the franchise went through, esthetically, conceptually and musically, in 1991, for the Super Nintendo with The Legend of Zelda: A Link to the Past. From the very start, I was startled by the evocative music he wrote for the first game, The Legend of Zelda (1986) on the NES, followed Zelda II: The Adventure of Link in 1987. Kōji Kondō is an iconic Japanese game composer responsible for vital contributions to both the Mario and Zelda game franchise.
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