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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>(1-14) Looks Like This Zelda Was Half Done by Mario</b><br><br> | <b>(1-14) Looks Like This Zelda Was Half Done by Mario</b><br/><br/> | ||
<b>Toru Osawa (Script Director):</b> I spent a lot of time thinking about how to expand the direction of the 3D N64 games that | <b>Toru Osawa (Script Director):</b> I spent a lot of time thinking about how to expand the direction of the 3D N64 games that | ||
sprung from Mario. You can see that the other games are similar to Mario, but their internal workings are more advanced.<br><br> | sprung from Mario. You can see that the other games are similar to Mario, but their internal workings are more advanced.<br/><br/> | ||
We were thinking about making this Zelda a basic model of operation for all future 3D games, so we tried to boil it down | We were thinking about making this Zelda a basic model of operation for all future 3D games, so we tried to boil it down | ||
to that level as we developed it. I think we were able to achieve the standards we set.<br><br><br><br> | to that level as we developed it. I think we were able to achieve the standards we set.<br/><br/><br/><br/> | ||
<b>Tezuka (Supervisor):</b> Because Ocarina of Time was being released after Mario, we wanted to try doing the things we weren't | <b>Tezuka (Supervisor):</b> Because Ocarina of Time was being released after Mario, we wanted to try doing the things we weren't | ||
able to put in Super Mario 64. That was the development team's chief motivation. If what we did in Mario used about 60% | able to put in Super Mario 64. That was the development team's chief motivation. If what we did in Mario used about 60% | ||
of the N64's capabilities, I think we were able to get Zelda to reach 80 or even 90.<br><br> | of the N64's capabilities, I think we were able to get Zelda to reach 80 or even 90.<br/><br/> | ||
We got children to test the game during its development, but children can enjoy games just by playing around with them. | We got children to test the game during its development, but children can enjoy games just by playing around with them. | ||
We didn't know if it was actually interesting or not.<br><br> | We didn't know if it was actually interesting or not.<br/><br/> | ||
However, we were able to accomplish a variety of things. Everybody enjoys something different, so we can use that to | However, we were able to accomplish a variety of things. Everybody enjoys something different, so we can use that to | ||
defend ourselves.<br><br><br><br> | defend ourselves.<br/><br/><br/><br/> | ||
<b>Miyamoto:</b> Zelda was about half finished when we were making Mario.<br><br><br><br> | <b>Miyamoto:</b> Zelda was about half finished when we were making Mario.<br/><br/><br/><br/> | ||
<b>Makoto Miyanaga (Field Designer):</b> How would we be able to create a rich presentation cheaply and easily? It was | <b>Makoto Miyanaga (Field Designer):</b> How would we be able to create a rich presentation cheaply and easily? It was | ||
necessary to think about these things in new ways. In order to make the things we wanted to try possible, we had to | necessary to think about these things in new ways. In order to make the things we wanted to try possible, we had to | ||
find a way to create them on the hardware. The designers were also groping for ways to present the content on a | find a way to create them on the hardware. The designers were also groping for ways to present the content on a | ||
television screen. The scope was huge and we put in all the technological expertise we could muster. Still, it was difficult.<br><br><br><br> | television screen. The scope was huge and we put in all the technological expertise we could muster. Still, it was difficult.<br/><br/><br/><br/> | ||
<b>Yoshiaki Koizumi (3D Systems Director):</b> I often get asked about what sort of work I do. My answer is that I'm making a | <b>Yoshiaki Koizumi (3D Systems Director):</b> I often get asked about what sort of work I do. My answer is that I'm making a | ||
netscape using the N64. In short, I intend to make a 3D browser. In the case of games, there are many people who have | netscape using the N64. In short, I intend to make a 3D browser. In the case of games, there are many people who have | ||
information. You have to go to this part of the world to find out.<br><br> | information. You have to go to this part of the world to find out.<br/><br/> | ||
You have to use this, you have to walk there, you have to jump, you have to go back, etc. My job is to make those plans | You have to use this, you have to walk there, you have to jump, you have to go back, etc. My job is to make those plans | ||
at the very beginning. Making 3D environments and system tools is my work. First I make a tool, then make a system to | at the very beginning. Making 3D environments and system tools is my work. First I make a tool, then make a system to | ||
the point that I can insert story elements. That's my job.<br><br><br><br> | the point that I can insert story elements. That's my job.<br/><br/><br/><br/> | ||
<b>Eiji Onozuka (Dungeon Design):</b> While we're basically making the same type of game as the old 2D Zeldas, we have to | <b>Eiji Onozuka (Dungeon Design):</b> While we're basically making the same type of game as the old 2D Zeldas, we have to | ||
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on it continually. It's always been a battle. The terrain changed as well. For example, now that you can fight on more | on it continually. It's always been a battle. The terrain changed as well. For example, now that you can fight on more | ||
than one level, the methods of fighting and the way enemies appear has changed. We never had to deal with these issues | than one level, the methods of fighting and the way enemies appear has changed. We never had to deal with these issues | ||
in the 2D era.<br><br> | in the 2D era.<br/><br/> | ||
When the program checked the terrain's topography to determine how enemies with feet should walk, it slowed down. When | When the program checked the terrain's topography to determine how enemies with feet should walk, it slowed down. When | ||
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However, ghosts are really the only characters that float. That made it a little bit odd. Even when considering problems | However, ghosts are really the only characters that float. That made it a little bit odd. Even when considering problems | ||
like when the enemy should appear, sorting out the enemy's relationship with the terrain was extremely difficult. Because | like when the enemy should appear, sorting out the enemy's relationship with the terrain was extremely difficult. Because | ||
of the type of terrain, we were slow in figuring out how to do it, and it tortured us to the very end.<br><br> | of the type of terrain, we were slow in figuring out how to do it, and it tortured us to the very end.<br/><br/> | ||
Designers created a variety of effects, and decided what sound should come at what time. This process also went very | Designers created a variety of effects, and decided what sound should come at what time. This process also went very | ||
slowly. Designers often wanted to give up in the middle. Consequentially, I wonder if the number of enemies in Ocarina | slowly. Designers often wanted to give up in the middle. Consequentially, I wonder if the number of enemies in Ocarina | ||
of Time is good where it stands. I think that any more than this would be impossible to sort.<br><br> | of Time is good where it stands. I think that any more than this would be impossible to sort.<br/><br/> | ||
The 3D world has a camera, so it's important that the player be able to see what routes to follow and not overlook | The 3D world has a camera, so it's important that the player be able to see what routes to follow and not overlook | ||
something important. By changing the camera viewpoint just a little you might not be able to see something you ought. | something important. By changing the camera viewpoint just a little you might not be able to see something you ought. | ||
For this reason we put in Navi, your little follower. She'll help you notice something that you'd previously be able to | For this reason we put in Navi, your little follower. She'll help you notice something that you'd previously be able to | ||
see using a fixed-point camera. We couldn't do everything we wanted due to memory constraints.<br><br><br><br> | see using a fixed-point camera. We couldn't do everything we wanted due to memory constraints.<br/><br/><br/><br/> | ||
<b>Toshio Iwawaki (Program Director):</b> For this Zelda, we wanted to really develop the items available to the player. If | <b>Toshio Iwawaki (Program Director):</b> For this Zelda, we wanted to really develop the items available to the player. If | ||
you have the right weapon, you'll be able to easily defeat enemies. That's what we were aiming for. We had begun the | you have the right weapon, you'll be able to easily defeat enemies. That's what we were aiming for. We had begun the | ||
process with Mario, but we had to deal with problems like not having enough function available for what we wanted to do.<br><br><br><br> | process with Mario, but we had to deal with problems like not having enough function available for what we wanted to do.<br/><br/><br/><br/> | ||
<b>Naoki Mori (Cinema Scene Director):</b> In the beginning, there was nothing. When we started this Zelda from scratch, we | <b>Naoki Mori (Cinema Scene Director):</b> In the beginning, there was nothing. When we started this Zelda from scratch, we | ||
begun by building the programming tools we'd need. We thought about what was necessary, what operations we'd be using, | begun by building the programming tools we'd need. We thought about what was necessary, what operations we'd be using, | ||
and what we would have to deal with. It was necessary to figure out what we couldn't do as well as what we wanted to try.<br><br><br><br> | and what we would have to deal with. It was necessary to figure out what we couldn't do as well as what we wanted to try.<br/><br/><br/><br/> | ||
<b>Eiji Onozuka (Dungeon Design):</b> We had to decide how many objects to use. We can't differ from traditional dungeon enemies | <b>Eiji Onozuka (Dungeon Design):</b> We had to decide how many objects to use. We can't differ from traditional dungeon enemies | ||
and events, but anyone can change things using programming tools. The staff came up with ideas for about 50 objects, | and events, but anyone can change things using programming tools. The staff came up with ideas for about 50 objects, | ||
arranging and fixing them using the tools.<br><br> | arranging and fixing them using the tools.<br/><br/> | ||
"(1-14) Looks Like This Zelda Was Half Done by Mario" has ended. The interview continues from here, so please check | "(1-14) Looks Like This Zelda Was Half Done by Mario" has ended. The interview continues from here, so please check |