In this section, we will make a profound journey through the creative development of Ocarina of Time, in order to understand its concept so we can find clues that make us reinforce or reject the theory Brothers of Time.
When Ocarina of Time was half only development he had worked in the video game with Link as an adult. When remaining year and a half for the release date of the game, the team decided it would be interesting to play with Link as a child. This was a headache for Toru Osawa, as he had to rewrite the script so that it could sustain the need to play with Link in two different stages of his life.
That's when Toru Osawa created the legend of Hero of Time (possibly the most impressive of the whole saga), leading to advance the hero and back seven years.
This decision to include Link as a child, was the brainchild of Miyamoto, but as we progress in the investigation of the process of gestation of the game, understand that the work was being created by a (somewhat chaotic) free association of group of developers. Arguably Ocarina of Time It was through this method of free labor in which artists created different departments independently, communicating with them after discussing new ideas. Development in this respect was somewhat chaotic, the creators think Ocarina of Time It resulted masterpiece by chance. Somehow, amid all this chaos, all fitting perfectly finished.
It must be curious to Toru Osawa have to consider creating a story for children of Link. The return to childhood hero, no doubt, had to make the same writer to his childhood (consciously or unconsciously) is fought back. Perhaps this made Link and Zelda desprendieran one that romantic fraternal deal ... Maybe that's why all those curious elements are put there, unfinished confirmed.
Toru Osawa's role in the development of OoT
Today I met the original development team Nintendo 64 game The Legend of Zelda: Ocarina of Time, Which was launched in Japan in November 1998. Could you please introduce and tell us what you were doing at that time?
Clear. I'm Osawa, Department of development and program design. When he started the development of The Legend of Zelda: Ocarina of Time, I was transferred to the Department of Analysis and Development Entertainment (EAD) and I set to work on the project, which had many managers already, but I was the oldest of all so somehow he served as CEO.
About how many directors were there?
A total of five. I listened to the views of each and trying to coordinate them. He also worked on the story and script.
- Toru Osawa: script director.
- Eiji Aouma: game system director
- Yoshiaki Koizumi: 3D system director/character design
- Toshio Iwawaki: program director
- Takumi Kawagoe: cinema scene director
Directors emphasized that among Shigeru Miyamoto is not. Miyamoto appears in the credits of the game as "producer / supervisor".
The next part of the interview reflects something important: how Ocarina of Time He changed the professional lives of all involved, especially giving importance to Toru Osawa script.
SRD was actually the company that Iwawaki, which was in charge of programming the camera belongs The Legend of Zelda: Ocarina of TimeI participated as a consultant. Osawa but the script was starting to grow so much, so many film sequences were needed.
So you started as a consultant and you end up totally immersed in the project.
So is. Before I knew it, I was working on storyboards and parts of sequences.
Could you say it was The Legend of Zelda: Ocarina of Time the game you started in this job?
Yes. The Legend of Zelda: Ocarina of Time It was the first time I worked clearly as a member of the production of videos.
So Osawa huge script changed your destiny.
That's right, yes! (Laughs)
Looking back, The Legend of Zelda: Ocarina of Time was a project that determined the future employment of many people.
Ocarina of Time was a huge project, but only three people were involved from the beginning in its development ... Who were those three people? Was Toru Osawa between them?
At the end, The Legend of Zelda: Ocarina of Time eventually it became a huge project that mobilized almost the entire department of ODL, but how many people you began?
And before we join Koizumi, we were only Jin Ikeda and me!
Osawa, how you came to join the development of The Legend of Zelda: Ocarina of Time?
He asked me to direct it and I accepted immediately. I had no idea that it would become such a daunting task! (Laughs)
Yes. And to solve these problems, we had to create a lot of extras. One was the fixing of the target with the Z button.
How did the idea?
Super Mario 64, for example, when you wanted to read a poster, you gave turns around.
That the axes did not match.
That's. We wondered how we could resolve it and when Koizumi joined the group said: "As we will include action style chanbara (Kind of swords and samurais), come to Toei park! " (Toei Kyoto Studio Park: part of movie studios Toei Kyoto which is open to the public as a park where you can see shows and decorated period).
Sorry? Do you were going to Toei park ... because you wanted to include action style chanbara in the game?
I do not get it. (Laughs)
We thought that would inspire us. We got approval from our head and went three: Koizumi, Ikeda and me. And I remember it was incredibly hot this summer!
We spend so much heat while touring the park just getting into a theater to freshen up. There was a show of ninjas. A group of ninjas was surrounding a samurai and one of them attacked him with a kusarigama (A sickle chain). The samurai caught with the left arm, the chain tensed and ninja started moving around the samurai.
And ... that led you to fix the target with the Z button?
Yeah true. Watching that show, I had the idea of creating a kusarigama you can not see when you use Z button set with white
A kusarigama you can not see?
Yes, when the Z button is used to set the target, I imagined a kind of kusarigama not seen between Link and his opponent. If you push the analogue stick forward, you can go slowly getting closer and if you move it to one side, you can move around in a circle surrounding your enemy to put yourself behind him to find a hole to attack.
And there you rush.
Yes. I remember something about fixing white with the Z button When we were creating a prototype of setting targets in combat, we wanted it to be easy to see what the enemy was your goal, so we created a bookmark.
I get it.
An inverted triangle.
As the head appearing over enemy target.
Yes. But I was a designer and did not want to use something so simple. I wanted to create something else, so it occurred to me what the fairy. After all, we were in The Legend of Zelda.
So you started to create a bookmark and you end up creating a fairy?
Yes. Normally when you design a fairy you think of a cute girl, but with the Nintendo 64 that could not be done, so I created a simple ball with wings.
I called Fairy Navigation System. I took it to Osawa to see what he thought and immediately said, "Let's call Navi". By the "navigation"! (Laughs)
It's what Osawa called "apply common sense to the names." (Laughs)
Navi "navigation". (Laughs) games The Legend of Zelda There are many names as well. Link English means "union" or "connection" for example. We choose names that are functional symbols.
Functional symbols are important to Miyamoto.
I think. I did not call the fairy Navi just common sense. Rather, I thought I should be called that out of respect for tradition Legend of Zelda.
And I, when I heard Navi Osawa call was delighted. Until then for me it was just a system, but ...
When he received a name that came alive impersonal marker.
Exact. I thought, "This is Navi" and I started many ideas happen. Like that he could know by the color if the person opposite you is good or bad, and if Navi talked, could be a very important guide for the story. So calling Navi system, contribute to it was developed.
Navi also gives strategy tips.
So the amount of text I had to write Osawa increased considerably.
(Laughter) Well if he did! (Laughs) Adding Navi also helped to improve the script. So we could go to expand the story around the idea of meeting and saying goodbye to a fairy.
Not only the script, gameplay also went benefit. Consider the village of kokiri. It has many trees and many inhabitants, but it was very difficult to show them all at once.
The Nintendo 64 had limitations that made it difficult to display many characters at once.
That's why I had the idea that each person who lived there had a fairy. Thus, even if only we showed the fairies ...
I get it. If you see the fairy, you know there is also his character.
That's. We solved the problem by making the "owner" of the fairy appeared when you near it.
We also did the scenario surrounding Link not have a fairy at first.
And that led us to the whole idea of meeting and saying goodbye fairy: start looking for a fairy and eventually have to leave.
I get it.
As I mentioned earlier, at the beginning of game development, he appeared only watched adult Link, but one day, Shigeru Miyamoto came who wanted could also play with Link as a child. I wanted to respect that was indicated as the hero of the previous games, which so far had been quite a kid. In the following excerpt, we talk about the impact of this decision on the script.
As far as that is concerned, it is often said that when a game is created The Legend of ZeldaThe gameplay goes first and the script, then. Osawa, think of the script was your job, right?
For example, you thought from the beginning to divide Link Link between the young and the adult Link?
No, at first I was only the adult Link.
Is it only appeared the adult Link?
Yes. At first only we are going to show it in its adult form. If you think about the item chanbara, makes sense. Link a child, the sword would be small and would not have much scope, which would be a great disadvantage, especially against large enemies.
And of course, there was no question of shrinking enemies.
Well, no. But halfway through development, Miyamoto and others started saying they would like to see a little boy Link.
That would change the script a lot.
Yes. We thought about how we could combine the two forms, child and adult, in the same game and we thus came up with travel seven years into the future taking the Master Sword and then return to their infantile form when the sword back to the pedestal .
Instant time travel.
Yes. It was a scenario we added later.
It's amazing that such a big change did not make the whole project fell apart.
Why do you laugh? Yes that collapsed? (Laughs)
Not exactly, but yes that caused quite heated discussions!
And the idea of creating a young Link when it arose?
I think it was during the second year of development. Do you remember, Iwawaki?
Yes, I think it was a year and a half before the release of title
A year and a half…
Most of these things were deciding on the fly.
But I think it is an important part of our work.
Koizumi talks about the spontaneity that prevailed in the development, sometimes it was so much that was difficult to know where began and ended the responsibilities of each worker.
The boundaries between different jobs were somewhat vague at the time. Most of the time, if you saw something that had to be resolved, you did it yourself, whatever it was.
It is true. Staff who participated in The Legend of Zelda: Ocarina of Timand, not only that we are here, almost no one could say precisely where it began and where it ended its work.
In this conversation that follows begins to glimpse that Ocarina of Time work was unparalleled, and that much of the magic and innovation, emerged from the chance of free association between creators. The clearest example of this example is the story of the development of the sequence of introducing the game menu ...
In addition to the sword in The Legend of Zelda: Ocarina of Time there are many objects, such as bow and arrows and hook. How did you did you create?
Well, because we thought we created the "It would be great to have something like this." And I said, "The hook is ready, you can use it," to which I replied: "And where we put it?".
True. (Laughter) we had an object did not mean he knew where to put it. We decided the number of objects at first, but that ended up giving problems.
Because you had to meet the number of objects that you Had you set at the beginning.
Yes And after designing the first dungeon, when a new object appeared to me saying. "Make sure this object does not give trouble when Link enters the dungeon with him." And I thought, "you could not have told me before?". (Laughs)
I am sorry. I was creating the objects, so ...
Nothing, do not worry. (Laughs)
Is that if you're doing what you want on the fly, just creating you problems.
But on the other hand, if you choose the items that you are adding from the start it does not guarantee you that everything goes smoothly. And I do not think we would have gotten that variety of such special items if we worked well. We were doing something unprecedented, so we could not know what we should create or what purpose could set ourselves.
Indeed, if there is no precedent, it is difficult to establish a precise plan of action.
That's. At first, when we talked about the script, we thought the whole process would end up falling apart, and the truth is that, as we went, we were never sure not going to be. (Laughs)
It was chaos from the beginning to the end.
We did not know what kind of game would be until all the pieces come together.
Did you create The Legend of Zelda: Ocarina of Time without knowing what kind of game was until I joined yourselves its different parts. How did you feel, Kawagoe, while creabas sequences in these circumstances? (Laughs)
What can I say? (Laughs) Even when the game was almost done, we had to adjust many things. Much is heard of that, "You know that the object of that dungeon? Because we need to use it in another dungeon. "
And answeredst: "Now you tell me?". (Laughs)
And that sort of thing tend to be concentrated towards the end of development. The script changed from time to time ... and changed drastically.
Our ability to adapt to those drastic changes was the challenge that allowed us to measure our ability.
And of those videos in real time, the introduction is especially impressive. How did that?
Well, today you can use a GC-Tool to move the camera, but back then we could not do it the way it was built the game, so we ask that your system so became the Nintendo 64 console I could move the camera.
First you had the music of Koji Kondo, what then did you add the images you?
No, the music came later. The land of the plain of Hyrule was not created for film sequences, so even if you thought: "I want a video like this ..."
It may be that the game did not exist in the right place for him.
Exact. So I moved the camera on the ground, as if he were walking on foot, while looking for the perfect place: "Here? How about there? ". It was like looking for the perfect setting for a film.
Only you were doing it virtually.
That's. At the beginning of the sequence, there is a scene in which Link is riding his horse. I thought it was perfect. I waited a bit and then left the moon.
Yes. I knew immediately that I had found the perfect place.
Too good to be true! (Laughs)
I think many coincidences like that contributed to the creation of The Legend of Zelda: Ocarina of Time. As happened with the moon came out on the horizon, many things fell into place by chance.
We worked for hours on something and suddenly we realized that we had achieved.
We did many things that neither would have imagined.
I feel we were very lucky with such chance.
You put another way, did you create the plain of Hyrule as the basis for all put their ideas together, and so ended up being the place it is now.
Clear. That same way we create Kakariko.
We never have a perfect plan to create a Zelda game. Basically, we create a canvas and bring all their ideas without stopping and pooling.
So is. Everyone was arguing about everything, putting thoughts together and creating things. For example, instead of asking the manager to make a decision, we did as a group.
That is, that you were not organized hierarchically.
Precisely. Regardless of position or role, we said, "what I like more," and shared the views naturally. This became more important as the end approached development.
Arriving at the end, it was like, "That Leave him to me."
That's. If you realized something, it solucionabas for yourself.
The artistic design of Characters
Where did all those unprecedented characters come from?
I dedicated myself to draw innocently.
For example, someone told you that unmistakeable do?
No, but I made it very complicated, such as drawing a ghost buyer requests. But in my life had I seen anybody like that! (Laughs) I thought, "What kind of person would buy a ghost?" And then I sat smiling thinking: "How can I pull this off?". It's easy to focus on the look of the characters, but I do not become distinctive until you see them act when their dialogue and demo videos come together.
In other words, you're not the only one that you contribute to its characteristics.
True. They are the work of all.
So a totally distinctive characters are not merely the result of your work, but the combination of everyone's ideas.
That's. My job is to give the initial form, but Osawa script contains the material to be developed.
The script contains in words the kind of function required for the character.
So, raptors, there you have it: Toru Osawa was who defined the material to develop the basis for the artistic aspect of the characters, including Zelda and Link ...
Miyamoto I started talking about how we could create The Legend of Zelda for the Nintendo 64 console and asked: "What if we do it so that Link does not appear?".
Sorry?! !? Miyamoto said that ?!
Yes. I wanted him to become a first-person game.
Ah, that was his idea.
Yes. At first he had the image of a game in which you moved out there with a first-person view. When an enemy appeared, the screen would change and would fight and Link'd see from a side perspective.
Because it was said that with the Nintendo 64 to create a character was the same amount of work to create all funds.
That's. And after my experience with Super Mario 64, I knew that show a character constantly while running through a huge field can be incredibly difficult. But even if a bit ugly to say, and I'm sorry for Miyamoto, I did not try a single scene in first person!
Why did not you test the first-person perspective?
He was creating the model for Link and could not bear the thought that does not appear on screen.
I understand, because in the first-person perspective, you can not see.
That's. And Link is great, so I wanted to see it all the time.
Yes. But you do not seem to have to use the whip at the right time and the idea that the game does not require difficult actions are somewhat contradictory things? (Laughs)
But it added that Miyamoto .... (Laughs)
When you learn to handle yourself well on the horse you fancy trying something else.
That's why he started saying that if Link was going to ride, wanted to include equestrian archery bow and fighting one on one. The first thing we got, but fighting one on one, no.
But if you incluisteis later, The Legend of Zelda: Twillight Princess.
Miyamoto is fixed ideas, do not ever leave! (Laughs)
Miyamoto also makes drastic changes sometimes.
I was always concerned with that. But thinking it could happen, I prepared a tool to make those changes easier. We were creating real-time sequences, so even change clothes or objects, I could include them in the video.
And then, prerendered sequences prepared beforehand-which were common, but sequences The Legend of Zelda: Ocarina of Time They were being rendered in real time, so the clothes or mask you were wearing on, appeared in them.
That's. But he did not give many problems.
However, Miyamoto does not really like cinematic elements.
Maybe it's exaggerating a bit, but probably not need Miyamoto sequences at all.
Mmm, no, maybe not.
He says he can do without them, but if we're going to do, want they can change again and again.
Because the last thing you want to hear is: "I can not fix this because the sequences are already created."
He says it's OK to create sequences but we must be able to change them until the last day.
Well ... (laughs)
I suspect that Miyamoto still believes that real-time sequences are easy to change.
Oh yes, certainly thinks so. (Laughs)
But it is not so easy! (Laughs)
So I'm worried about what might happen. Even now! (Laughs)
Well, the poor Miyamoto her ears were ringing during this interview. Actually, the job of a supervisor is very important and necessary, although sometimes generate displeasure and discomfort in the team. Must understand that Ocarina of Time Y Mario 64 They were developed at a time and Miyamoto was the director of legendary plumber game, so it was passing from time to time by the development of Ocarina of Time to change things at will, something that, as reflected in these interviews generated some anger and concern on the computer.
We were all very impressed when we could cut a poster with the sword.
Yes. That put Miyamoto when he saw that we were all exhausted. (Laughs)
And Kazuaki Morita scheduled. Not only the short, well you do float in water. When Miyamoto saw him, he laughed and said, "Now that's The Legend of Zelda!"
Morita, you were the one that made it possible to cut posters with the sword. Because you did?
No, (Shigeru) Miyamoto was the one who suggested it.
Well, do not tell me. So as usual, Miyamoto showed up, dropped a pearl, and disappeared, right?
Yes. He said: "The poster can be cut, right?". (Laughs)