Interview:Iwata Asks: Twilight Princess (Part 1): Difference between revisions

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{{Interview|YYYY-MM-DD

|date =  

|interviewee = [[Yoshiyuki Oyama]] <br> [[Keisuke Nishimori]] <br> [[Koji Kitagawa]] <br> [[Atsushi Miyagi]] <br> [[Kentaro Tominaga]] <br> [[Aya Kyogoku]]

|source = [http://www.nintendo.co.uk/NOE/en_GB/news/iwata/iwata_asks_-_wii_32854_17948.html]

{{Interview/A|Iwata|I would like to start talking about "The Legend of Zelda: Twilight Princess" today. Since many developers are involved with this project, I would like to have as many of them participate in this discussion as possible. First, I will talk with six young staff members who experienced being team leaders for the first time on this project. Just so you know, I am planning to talk with more experienced developers later on, and towards the end I will talk with the director (Eiji) Aonuma-san and (Shigeru) Miyamoto-san. So, let's start by having our young developers introduce themselves.}}

{{Interview/A|Oyama|I'm Oyama from Entertainment Analysis and Development (EAD). I was mainly responsible for designing the enemies in Zelda. Before this project, I worked on The Legend of Zelda: Majora's Mask, Pokémon Stadium 2, Luigi's Mansion, The Legend of Zelda: The Wind Waker, Pikmin 2 and The Legend of Zelda: Four Swords Adventures.}}

{{Interview/A|Nishimori|My name is Nishimori, and I also work in EAD. I was mainly in charge of designing the player, in other words, Link. Before that, I worked on the animations of the non-player characters (NPCs) in Wind Waker and the characters in Mario Kart: Double Dash!!}}

{{Interview/A|Oyama|Let's see...we are always discussing in the development team what it means for a game to be called a Zelda game, and I really think that there's no clear definition that is shared by everyone. It isn't like there are any rules written down on a piece of paper somewhere. What we do have are the unbroken traditions from the very first "Legend of Zelda" for the Famicom Disk System. So we know for instance that Link holds his sword with his left hand...}}

{{Interview/A|Kitagawa|That's right, because as Oyama-san mentioned, there is nothing like a textbook where these things are written down. So I did my best to find what Zelda meant for myself by playing The Legend of Zelda: Ocarina of Time, Majora's Mask and Wind Waker. What I came away with regarding the puzzles is that each one should build on what the player has already experienced. For example, after the player solves a puzzle by destroying a rock, just when they think that the next puzzle will be the same, you put the rock up somewhere high where it can't be reached. I feel that this gradual stepping up of puzzles is the essence of a Zelda game.}}

{{Interview/A|Miyagi|I remember being very perplexed! (laughs) When I re-played all of the Zelda games starting with the first one, I realised that although what was just mentioned about meeting the expectations of the user is certainly a core part of the Zelda experience, so too is cutting out all of the unnecessary elements. Something that is all too common with games nowadays are movie scenes that the user can't interact with. In Zelda, these are removed to the greatest extent possible in order to allow the player to do what they want. In this respect, Zelda games have a very high level of quality. So when I approached the development of this title, rather than thinking about what Zelda is or means, it was more important for me to preserve the quality of the Zelda series. Rather than thinking about what Zelda is, I thought about where the real quality of Zelda games should lie. For example, the story in Ocarina of Time starts when a small fairy called Navi flies from far away to find Link, an innocent young boy. Then, rather than just watching a movie, the player learns what kind of boy Link is by actually becoming him in the game, and the player is actually introduced to the town when Navi is flying around and bouncing from place to place. These were very effective devices in the introduction to that game.}}

{{Interview/A|Miyagi|That's right. I'm ashamed to admit it, but when I wasn't able to find the right balance I had to seek support from Miyamoto-san. This made me realise how little experience I have! (laugh)}}

{{Interview/A|Iwata|I will be sure to ask you about how much Miyamoto-san "upended the tea table" with his last-minute suggestions later in the interview! (laughs) Tominaga-san, what are your thoughts about what Zelda means?}}

{{Interview/A|Kitagawa|Honestly, I was one of the people who was happy to hear about the delay. At the beginning of the project, the director (Eiji) Aonuma-san told me how many dungeons to make, and it wouldn't have been possible to make that many by the original deadline. But with the delay, it was possible to put together a realistic plan to create that many dungeons. Of course, I mean this in terms of quality as well as quantity. The dungeons in Zelda games are the biggest part of the gameplay, so it wouldn't make sense if only the outside parts of the game were complete. We constantly received feedback from people whom we have asked to test play, about how to have the player use certain items or at what angle to place the camera, and we used that feedback to improve the dungeons. With the extra year, I felt that we were able to polish the dungeons to a level that I am personally satisfied with.}}

{{Interview/A|Kitagawa|That's right. When you use the remote for pointing with items such as the bow and arrow and other projectile weapons, you really feel like you have become Link. Now, if I had to choose between one controller or the other, I would choose the Wii Remote every time. Swinging the sword, using the bow, doing Link's spin attack: they all become completely different. It may feel confusing at first, but I honestly feel that you won't know how good this controller really is until you get your hands on it.}}

{{Interview/A|Miyagi|For field design, which I was responsible for, there were not that many things which he changed. But actually my opinion varies a little from everyone else here, in that I think that Miyamoto-san limited his demands on us to ensure that everything we developed had that fundamental Zelda feel. To give an example, when we showed the game at E3, the feature allowing you to fire arrows at enemies was included in the game, but I had serious doubts about the controls for this. Not to beat around the bush, I thought that it was much simpler to use the GameCube controller. It was then that Miyamoto-san introduced the slingshot, which had not featured up to then, in the early stages of the game, which acts as a tutorial. At the same time, he put in a feature where, when you go to hit something with a projectile, the action stops to give you a second to line up your pointer. That brief pause is a great feature, and renews the player's feeling of excitement and urgency. The second I experienced this, my view of the game changed right away. I have the impression that by Miyamoto-san adding those subtle refinements to the game, elements that had caused me concern were dealt with one by one. Thanks to Miyamoto-san's guidance, the introductory stages that draw new players into the game in particular, became extremely "Zelda-like". So although he didn't shake things up in a dramatic way, I would say that Miyamoto-san made a remarkable difference in changing the finished product into a Zelda game, through making numerous small changes. But rather than feeling awestruck by this, personally I felt strongly that I needed to work a little harder as a game developer! (laughs)}}

<b>Iwata:</b> How about you, Kyogoku-san?<br><br>

<b>Kyogoku:</b> Personally, I definitely experienced that tea table being upended! (laughs)<br><br>

<b>All:</b> (laughter)<br><br>

<b>Kyogoku:</b> The reason we had to change things boils down to the fact that in the first village, there were a lot of things particular to the GameCube version. This meant that there were many aspects of the Wii version that did not take into consideration the fact that players wouldn't be familiar with the game itself or the Wii Remote. Because of this, and I think this again goes back to what Iwata-san just referred to as "ideas born from functionality", there were still a huge number of things that needed to be communicated to the player at the beginning of the game so they would be able to enjoy playing it on Wii. At first, the idea was that the player would spend one day in the village, but out of the blue it was decided to make it three days. We got a sheet of paper with a specification plan written on it, a kind of "Miyamoto-san's Three-Day Plan"... <br><br>

<b>Iwata:</b> Ah, a "specification plan?" That's always an indication that he wants to make some major changes!<br><br>

<b>All:</b> (laughter)<br><br>

<b>Kyogoku:</b> This really was at the latter stages of development... Well, to be precise, it was just after E3... <br><br>

<b>Iwata:</b> (laughter)<br><br>

<b>Kyogoku:</b> Localization had already gotten underway. To suddenly go and make a change like this, well I was speechless... The programming had to be changed, the number of items increased and of course the positioning of the characters also changed. It also required some adjustment of the field design. Naturally, all of the lines spoken by the characters were affected so I was frantically getting in touch with Europe and America. I had to tell them: "That village is going to be completely changed, so please wait a couple of weeks! Please don't translate anything yet!"<br><br>

<b>All:</b> (laughter)<br><br>

<b>Kyogoku:</b> So we made the changes, and just as I was thinking we were going to make it in time, the table was overturned again when it was decided to tie a sub-event into the game's main narrative, as Tominaga-san just mentioned. So I got in touch with everyone around the world and told them: "It's going to change again!" Personally speaking, I felt that the table was being constantly overturned. When we somehow managed to finish in time for the release date, I thought: so that must be the "legend" of Zelda... <br><br>

<b>All:</b> (Roaring laughter)<br><br>

<b>Kitagawa:</b> You were just dying to say that, weren't you? <br><br>

<b>Iwata:</b> Trust the scriptwriter to get the best lines! (laughs) But seriously, I think that, as you said, Miyamoto-san probably viewed that first part of the game as performing an absolutely crucial function. That's why he had such a definite idea of precisely what needed to be communicated to the player at that point. This is exactly why he gave such clear directions that there was something missing, or that things needed to be introduced to the player in a specific order. As the project draws to its conclusion, and the development team are working like crazy, they will naturally become increasingly less sensitive to what kind of things might confuse a first-time player. For that reason, I think it's actually inevitable that Miyamoto-san will come in at the last moment and upend the tea table. Now that things have calmed down, when you look back at those major changes made to the first village, do you think those changes were a good thing?<br><br>

<b>Kyogoku:</b> Yes. It's not only easier for the first-time player to become familiar with the Wii Remote, but in terms of the story the player will be drawn straight into the world of Zelda. As a result, I am really glad that we made those changes. <br><br>

<b>Iwata:</b> Incidentally, I remember being told a long time ago that Miyamoto-san's definition of an idea is apparently: "something that solves multiple problems at the same time with just a single adjustment." What you've just told us seems to fit that definition to a tee. Now, I've got a final question I would like to ask each of you. Can I get each of you to give me one aspect of The Legend Of Zelda: Twilight Princess which you are particularly proud of, and that you want everyone to see? Let's begin with you, Oyama-san. <br><br>

<b>Oyama:</b> There are just too many to mention! (laughs) Naturally, as I was in charge of the enemies, I think it's the battles. The fighting techniques, the effects you see when an enemy is hit, falls to the ground and disappears, and what Link does during that time as well. I certainly want players to enjoy savoring those details. Also, several familiar enemies from previous Zelda games make an appearance, and it wasn't simply a case of giving the graphics a polish. We have also given them slightly different methods of attack, so both people playing for the first time and experienced Zelda fans will be able to enjoy a fresh challenge. <br><br>

<b>Iwata:</b> Nishimori-san?<br><br>

<b>Nishimori:</b> Firstly, as the Wii version is being advertised so widely, I would like to say to everyone that the GameCube version is also packed with great features, so please give it a go! Of course, it has a completely different feel from the Wii version. Something which I gave a lot of attention, and which I think is one of the game's outstanding features, are the horse-riding scenes. In particular, the parts where you are fighting enemies while on horseback is something I've been dying to do ever since Ocarina of Time. When we let people have a go at a horseback battle scene at E3, there was an incredibly positive response, but within the team there were those who felt that this part of the game needed a little more work. After Miyamoto-san suggested it, I even went horse-riding! <br><br>

<b>Iwata:</b> You actually went horse-riding?<br><br>

<b>Nishimori:</b> I really did. Miyamoto-san just said: "Go and ride a horse!" (laughs) I got the designer responsible for the horse and the person responsible for the animations of Link and the horse, and the three of us went to do some field work. As we were beginners, we weren't able to fully master horse-riding, but we got to appreciate that feeling of the size of the horses you get by standing beside them as well as the sensation of riding a large animal, that kind of enjoyable sense of not being fully in control. We experienced a whole range of things, including the way riding a horse affects your line of vision, and I think there were elements of the game that we couldn't have made unless we had actually ridden a horse. So that's what I really want players to notice. <br><br>

<b>Iwata:</b> How about you, Kitagawa-san?<br><br>

<b>Kitagawa:</b> Well, as the person in charge of the dungeons, I want players to enjoy the rich variety and the attention to detail that has gone into all the dungeons. To give a more specific recommendation, there are some unexpected old-school elements making a 3D appearance, and I am sure they will bring smiles to the faces of long-time fans. I hope players enjoy the hard work that has gone into them. <br><br>

<b>Iwata:</b> And you, Miyagi-san?<br><br>

<b>Miyagi:</b> If I'm asked to give a recommendation or an aspect that I am particularly proud of, I think I have to speak on behalf of all of the staff who worked on the field design, so it's very difficult to narrow it down. Firstly, of course, is the fun of galloping on your horse across the vast plains of Hyrule. I think the sense of speed is something the players will really enjoy. Another thing I secretly like is that once you have progressed to a certain point in the game, there is a place that has been designed so that the player can look out from Hyrule Plains and see exactly where the mountains, lakes, deserts and rivers you have journeyed through are located. Of course, it isn't perfect, but it has been made with the greatest effort to make it all consistent. You can enjoy that view in-between your adventures! <br><br>

<b>Iwata:</b> Tominaga-san, please.<br><br>

<b>Tominaga:</b> As I feel like I want to recommend everything, I would urge players to get side-tracked and explore every corner of this world. To give an aspect of the game I paid particular attention to, I would make a slightly unusual choice. I really put a lot of effort into naturally leading the player in a particular direction when we didn't want them straying too far from the main plot of the story. The fact that you can move around freely is one of Zelda's great points, but there are situations where you definitely don't want the player to wander into a particular place. So you have to make sure you guide the player along the flow of the game without them noticing they are being guided. This is extremely difficult, and as I worked hard on it, I'd like to say that everyone should pay attention to it... But this is something that players aren't supposed to become aware of so we can't have them thinking: "Wow, someone has really put a lot of effort into making this seem so natural!" So in the end I can't really recommend that players pay attention to that! (laughs) <br><br>

<b>Iwata:</b> And finally, Kyogoku-san.<br><br>