Interview:Gamekult E3 2005

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Gamekult: Can you say some to us more on advance of the development of this new Zelda ? Eiji Aonuma: We revealed this new Zelda for the first time at E3 last year. The essence of our efforts since then concentrated on the realism felt while playing, which they are purely the gameplay or its environments. The game is from now on complete, we just endeavour to polish the unit as well as possible, by polishing to the maximum each aspect during time that it remains us.

Gamekult: The majority of the players were particularly astonished to see Link transforming itself into wolf. What does this new capacity do? Eiji Aonuma: In this new play, we are interested especially in adult Link. For many elements, it is simply able to make much things which were not possible being for him child. But to also enrich the gameplay, we chose this time to give him this transformation into wolf. There are particularly dark places in the play, which we call the Twilight Realm. When Link passes this border towards the Twilight Realm, it tranformes him into a wolf. He then loses some of his human capacities, but gains of them also news in the place. To summarize the game in addition, the principal search of Link will be to push back this Realm.

Gamekult: Visually, the game is fantastic. Do you have the feeling to have been to the maximum of the possibilities of GameCube, and are there elements which you would have wished to include and who could not be it? Eiji Aonuma: When games are developed, it happens obligatorily that one butts against technical limitations at one time or another. For example, whatever the hardware on which you develop, there will be obligatorily a limit with the number of animated characters whom you will be able to post in front of only one camera. However, I should not perhaps say it thus, but there are certain developers of games which, when they come up against a technical problem, complain about the hardware and its capacities. And perhaps they do not try all that they can. From our point of view, we know these limitations, and we try to make the best possible game while remaining in these constraints.

Gamekult: Many gameers complained about the lack of dungeons in Wind Waker. Would you say that this new episode is focused more on the dungeons, or all at least proposes some more? Eiji Aonuma: The dungeons are an element pleasant to integrate in a game for us, because they are relatively simple: they have a beginning, an end, often with a confrontation against a boss : the objective of the player is simple and clearly exposed. We mix then this element with freer and more opened environments, and Wind Waker stressed much this aspect. Indeed, I had wind of a players number disappointed by the presence of the dungeons in too small quantity in Wind Waker, and I thus made so that there are in this episode as many dungeons as in Ocarina of Time.

Gamekult: Is, in terms of size of the world, Twilight Princess vaster than Wind Waker ? Eiji Aonuma: In Wind Waker, by including the ocean, the surface of the game was enormous. Ca was perhaps not obvious because it acted of an ocean constellated with small islands... But to go from an end to the other of the chart, that took much time all the same. This time, since we turn over in a more terrestrial environment, we have a space which is smaller than the whole of Wind Waker if we count the ocean, but approximately three times vaster than that ofOcarina of Time.

Gamekult: Do you work on a project on the Revolution? Eiji Aonuma: We think of course of new topics for Zelda on the Revolution, the next console of Nintendo, but as it will be also compatible GameCube, we have in the idea, currently, to use The Legend of Zelda: Twilight Princess as bases for the development of this new Zelda game.

Gamekult: Being more mature, is this Zelda more difficult as Wind Waker ? Eiji Aonuma: When one speaks about difficulty of play, people often become complicated the life. A game is either frustrating, or it constitutes a challenge. In the latter case, even if one begins again oneself there at several times, one always knows what it is necessary to do, and one feels that one can reach that point. In a frustrating play, one dies in repetition without knowing why. For Zelda we seek before very eliminating all these frustrating aspects, while preserving those which represent a challenge, that it acts of the rather intellectual puzzles, or of the action.