Interview:Ocarina of Time Development - Parts They Want You To See Part 2: Difference between revisions
Jump to navigation
Jump to search
Want an adless experience? Log in or Create an account.
(Created page with "{{IncInterview}} The original interview can be found in its entirety at <a href="http://www.1101.com/nintendo/nin1/nin1-13.htm" target="new">1101</a>. Translation thanks to <...") |
m (Text replacement - "<br>" to "<br/>") |
||
Line 5: | Line 5: | ||
The Legend of Zelda: Ocarina of Time news, direct from the production area! The Zelda team chosen by Shigeru Miyamoto | The Legend of Zelda: Ocarina of Time news, direct from the production area! The Zelda team chosen by Shigeru Miyamoto | ||
created Zelda 64 with surprising stubbornness! One part of that stubbornness was to do a stubborn interview. We'll pass | created Zelda 64 with surprising stubbornness! One part of that stubbornness was to do a stubborn interview. We'll pass | ||
on a small part of that interview from the top of Hobonichi's nearby tree. <br><br> | on a small part of that interview from the top of Hobonichi's nearby tree. <br/><br/> | ||
<hr> | <hr> | ||
<br> | <br/> | ||
<b>(1-13) The Parts They Want You to See in This Zelda (Part 2)</b><br><br> | <b>(1-13) The Parts They Want You to See in This Zelda (Part 2)</b><br/><br/> | ||
<b><u>We Want You to Experience a Cinematic Atmosphere</u></b><br><br> | <b><u>We Want You to Experience a Cinematic Atmosphere</u></b><br/><br/> | ||
<b>Naoki Mori (Cinema Scene Director):</b> At the beginning, Miyamoto told us “I want to project an atmosphere”. I remember thinking that | <b>Naoki Mori (Cinema Scene Director):</b> At the beginning, Miyamoto told us “I want to project an atmosphere”. I remember thinking that | ||
I wanted that idea to be our foundation. For example, for the sunset we had to figure out how to return the sun to the top of the | I wanted that idea to be our foundation. For example, for the sunset we had to figure out how to return the sun to the top of the | ||
sky. We were always thinking about how to best project the atmosphere. Everyone planned to have that in mind.<br><br><br><br> | sky. We were always thinking about how to best project the atmosphere. Everyone planned to have that in mind.<br/><br/><br/><br/> | ||
<b><u>We Want You to Experience the Atmosphere of a Field</u></b><br><br> | <b><u>We Want You to Experience the Atmosphere of a Field</u></b><br/><br/> | ||
<b>Makoto Miyanaga (Field Design):</b> We didn’t get that tone, that feel, because we decided on it in the beginning. It came to us as we | <b>Makoto Miyanaga (Field Design):</b> We didn’t get that tone, that feel, because we decided on it in the beginning. It came to us as we | ||
worked on it. While we were doing storyboards, we drew and coloured detailed sketches of the field as if it were real.<br><br> | worked on it. While we were doing storyboards, we drew and coloured detailed sketches of the field as if it were real.<br/><br/> | ||
I myself had the atmosphere in mind. When I joined the development team, the sky’s complete transformation from morning to | I myself had the atmosphere in mind. When I joined the development team, the sky’s complete transformation from morning to | ||
afternoon, evening, and night was already finished. More and more, I found myself thinking “why can’t we do things like air and | afternoon, evening, and night was already finished. More and more, I found myself thinking “why can’t we do things like air and | ||
atmosphere and wind and smell and temperature?” and ended up pouring all my energy into achieving that.<br><br> | atmosphere and wind and smell and temperature?” and ended up pouring all my energy into achieving that.<br/><br/> | ||
At least in that regard, I couldn’t let Ocarina of Time’s atmosphere be outdone by any other game. I made it with the thought | At least in that regard, I couldn’t let Ocarina of Time’s atmosphere be outdone by any other game. I made it with the thought | ||
“from now on, we won’t fail to our competitors.” I’m kind of vain.<br><br> | “from now on, we won’t fail to our competitors.” I’m kind of vain.<br/><br/> | ||
The N64 hardware is able to produce fog. If you use too much of it, it will become cliched, but by tuning the amount subtly we got | The N64 hardware is able to produce fog. If you use too much of it, it will become cliched, but by tuning the amount subtly we got | ||
Line 33: | Line 33: | ||
working until the results were satisfactory and not usually having time to touch it up further. Even so, a short time later I’d | working until the results were satisfactory and not usually having time to touch it up further. Even so, a short time later I’d | ||
usually find myself thinking “This is a little dark, isn’t it?” and even though things were already finished I went back and tuned | usually find myself thinking “This is a little dark, isn’t it?” and even though things were already finished I went back and tuned | ||
it a little better.<br><br><br><br> | it a little better.<br/><br/><br/><br/> | ||
<b><u>Ganon is Totally Metal</u></b><br><br> | <b><u>Ganon is Totally Metal</u></b><br/><br/> | ||
<b>Chie Takizawa (Character Design):</b> We created Ganondorf’s clothing in the style of an 80’s Visual Kei band. He looks like a | <b>Chie Takizawa (Character Design):</b> We created Ganondorf’s clothing in the style of an 80’s Visual Kei band. He looks like a | ||
metal-head. *laughs* Ganondorf is recognizable as a person of the desert. Osawa-san suggested that this time we use red and black | metal-head. *laughs* Ganondorf is recognizable as a person of the desert. Osawa-san suggested that this time we use red and black | ||
and gold to create his colour scheme, so I kept that in mind.<br><br> | and gold to create his colour scheme, so I kept that in mind.<br/><br/> | ||
<b>Yoshiki Haruhana (Character Design):</b> Zelda’s apron is quite an elaborate piece of clothing. *laughs* I was the one who filled in | <b>Yoshiki Haruhana (Character Design):</b> Zelda’s apron is quite an elaborate piece of clothing. *laughs* I was the one who filled in | ||
the designs on it, like the Triforce and the bird spreading its wings. I redrew it so many times that, of all the female characters, | the designs on it, like the Triforce and the bird spreading its wings. I redrew it so many times that, of all the female characters, | ||
I’ve now come to hate Zelda the most. *laughs*<br><br> | I’ve now come to hate Zelda the most. *laughs*<br/><br/> | ||
<b>Satoru Takizawa (Character Design):</b> Creating the characters was really difficult. I was never sure how much I should tamper with | <b>Satoru Takizawa (Character Design):</b> Creating the characters was really difficult. I was never sure how much I should tamper with | ||
the initial character designs and draw out the process. Even though I didn’t want to tamper with it anymore, I kept at it. After | the initial character designs and draw out the process. Even though I didn’t want to tamper with it anymore, I kept at it. After | ||
all, it’s difficult to make attractive characters. Creating villains is much better. There’s always a little bit of good inside | all, it’s difficult to make attractive characters. Creating villains is much better. There’s always a little bit of good inside | ||
them, which makes it interesting.<br><br> | them, which makes it interesting.<br/><br/> | ||
“(1-13) The Parts They Want You to See in This Zelda (Part 2)” has ended. The interview continues from here, so please check back | “(1-13) The Parts They Want You to See in This Zelda (Part 2)” has ended. The interview continues from here, so please check back |