A game from the Legend of Zelda series: Ocarina of Time, which has held the critical 99 Metacritic mark and the title of best game in the world for 23 years.
“Many game designers have professed their love for the series, citing it as one of the sources of inspiration for their creations. For example, the Hauser brothers called Grand Theft Auto III nothing more than the meeting between Zelda and the godfather. How did this 35-year-old legend come to be?”
Fathers of Zelda
But it’s worth not starting with the development of the first part, but a little earlier, at a turning point for the whole Nintendo. In 1977, Shigeru Miyamoto, a young artist and toy designer, began exploring a new niche in video games. His work impressed management and opened the world of game development to a future game designer. Although still a decorator, he scored the Sheriff (1979) and Donkey Kong (1981) games in this role. Interestingly, Donkey Kong was originally intended to be a game based on the comic book and Popeye Sailor anime series, but due to licensing issues, the characters had to be redesigned.
Meanwhile, Nintendo noticed the growing popularity of home consoles and began developing the home computer, better known outside Japan as the Nintendo Entertainment System. When the game came out in 1983, the launch schedule included the porting of already well-known arcade games such as the aforementioned Donkey Kong with a sequel, and another game based on Popeye the Sailor. The arrival of a new platform has also necessitated new games. Fortunately, Nintendo was lucky enough to hire another designer who will play a big role in the company’s development – Takashi Tezuka.
Miyamoto and Tezuka can be considered not only the fathers of Mario, but also of platforming as a genre. The developer duo was interested in many aspects of their game: how it would feel, how the movement itself would be, how the enemies would behave. How to make a game that will appeal to hardcore gamers and beginners alike. And it was worth it: Super Mario Bros. was a success and the main reason people bought the NES. But despite the game’s incredible popularity, Miyamoto started making a lot of money during the development of Super Mario Bros. to think about a completely different concept.
Birth of a legend
While Super Mario Bros. was in development, Nintendo planned to release the Famicom Disk System, a Famicom / NES expansion device for reading and writing data to discs. And he needed a demo game to promote this addon. Miyamoto expressed interest and came up with a game concept where two players make mazes and then explore each other’s creations. But the prototype showed that it’s not very interesting or fun for normal players to create levels that have already been invented by someone else, instead of exploring them.
At the same time, Miyamoto felt that the new game should be different. Not like Mario. That we need to move away from linearity and let the actors think about the way forward and what needs to be done.
As with the Mario series, the concept for the Zelda series came from the adventures I had as a child exploring different places around my home. Many caves and mountains. We didn’t have many toys, so I had to build catapults or make dolls out of sticks and twigs and somehow entertain myself (Miyamoto).
Shigeru Miyamoto
Game Designer
The original concept of the new game, then called Adventure Title, was to bring the player into the dungeon from the first screen. Around the same time, the Druaga Tower of Namco’s Enlightenment RPG became popular in Japan. It may have served as a model for the development of the new concept at the time. But over time, the idea evolved from exploring a single dungeon to a journey through an open world, exploring many different labyrinths. The team also decided to rethink the process of player interaction with the game world itself.
Simply put: We decided to make a real-time adventure game. Nobody wanted to do anything like click and drag with menu options. If you have to push something, use a force in the right direction.
Takashi Tezuka
Game designer
The team had originally planned to use time travel as the basis for the story and plot. From this idea comes the name of the main character of the series – Link (in English connection, connection, link). Move from the past to the future, connect the connected times. Although the idea was later abandoned, the name stuck.
It’s also interesting to note that Link is one of the few left-wing protagonists in the games. But he was originally right-handed. But during development, the game was redesigned for left-handed players to make it easier to create pixel art. This will become a permanent part of Link’s image in the future, minus the two parts on the Nintendo Wii.
As previously mentioned, the game’s plot changed during development until Keiji Terui, the writer of Dr. Slump and Dragon Ball. He proposed a much simpler idea, based on medieval European conflicts. And it unexpectedly played into the hands of Miyamoto, who re-enacts the damsel in distress trope from his first Sheriff game. And this time the damsel in distress was Zelda, a princess named after the wife of American writer Scott Fitzgerald. In an interview, Miyamoto said he was so inspired by the beauty of the sound of his name that he decided to name the entire game after him.
But with Legend of Zelda, it wasn’t so much about the plot as it was about the player’s own story. How he will explore the world and what he will encounter along the way. So Miyamoto paid a lot of attention to the seemingly insignificant little things that invisibly affect pressing. Music, for example.
I remember he (Miyamoto) made me make a lot of different notes for the flute. He was very picky about the sound. It doesn’t just have to be good. I want him to be more mysterious, he’s told me several times.
Koi Kondo Composer
During development, the team encountered some limitations of the Famicom hardware. As with the development of Super Mario Bros., it was possible to implement some interesting mechanisms, but at the same time some ideas had to be abandoned.
We had a lot of things we wanted to implement but couldn’t because of equipment limitations. For example, for level 7 with the entrance to the dungeon, we changed the texture to clay when the water dried up, but we wanted the water to actually evaporate. And you can burn a few small trees there, but we were planning to let you burn a big one.
Shigeru Miyamoto
Game Designer
Mistakes have also been made during development. One is the duration of the game itself. The dungeons were therefore originally drawn on grid paper, so that a cell is a room. Tezuka, who came up with the whole game plan, gave the papers to programmer Toshiko Nakago to put into the game. However, a mistake was made and the card used in the game ended up being half the size of the original card. Fortunately, Miyamoto thought that was the best solution and suggested that the second half be used as a second free-to-play track.
But despite all the difficulties in development, Legend of Zelda was released in Japan on the 21st. February 1986 on the Famicom record system and became an incredible success. The game offered incredible timing features and became one of the first games with a non-linear history. As a result, The Legend of Zelda sold 6.5 million copies for the Famicom and the NES, has been acclaimed by critics and mainstream gamers alike, and is still often cited as one of the best games of all time.
The legend of Zelda had many ports on different consoles. Today, one of the easiest and most legitimate ways on NES / Famicom for Nintendo Switch Online.
Contingency
The second installment of The Legend of Zelda did not turn out to be the game many had hoped for. If only because the game is called Zelda II: Link’s adventure was not originally planned for a game in this series. It was developed by a completely different team, although it was based on the ideas of Miyamoto and Tezuka, who wanted to implement the same Zelda but in a side-scrolling format.
So the new team consisted of graphic designer Tadashi Sugiyama, who helped develop Ice Climbers and baseball, as game designer and development manager, and Yasuhisa Yamamura as assistant. The directors of the first part have Super Mario Bros. 2 and 3, but they did help a bit. So Tezuka came up with the basic concept for the story, and Miyamoto came up with the idea of a combat system that would fit into the game from a different perspective than its predecessor.
Yet the view from above remained, if only in the movement around the world. The dungeon exploration and battles were more like Mario’s. It is also the only volume in the series that uses the experience gained from killing monsters for full characterization. Therefore, Connection Adventure can be considered the only role-playing game in the series.
Although the old games seem difficult by today’s standards, Adventure Link was considered challenging back then.
I remember a client calling me one day and saying I couldn’t beat the last boss. When I asked him how the game was going, it turned out he was perfectly rested. This meant he had to rely solely on his skills to defeat the boss, which was quite difficult. Looks like he’s playing for his son… So I feel sorry for him.
Tadashi Sugiyama
Game designer
The Link adventure was released in Japan in January 1987 for the Famicom record system, and then worldwide in 1988 for the NES. Although the game was better received than the first part, a total of 4.3 million copies of the game were sold. Even if fans don’t really remember The Adventure of Link because they don’t think it was very successful, this episode somehow influenced the development of the series. For example, the legendary items that will appear later in Ocarina of Time are placed here. This is where the use of magic to progress appears for the first time, as well as the elements that would be part of the entire series.
Like the first part, The Adventure of Link on the NES / Famicom can be tested online for Nintendo Switch.
Progress
A year later, in July 1989, Nintendo unveiled the prototype of a new 16-bit system, which later became known as the Super Nindo – Electronic System. Immediately following the series, development began on two games: the sequel to Super Mario Bros. and The Legend of Zelda. However, development of the new Zelda component began even earlier, before the release of Adventure Connection.
At the beginning of development, Shigeru Miyamoto tried to define what made Zelda a special game that was different from the others. And I have come to the conclusion that it is a player’s freedom. The freedom to experiment with mechanics, to try out different ways of interacting, to work towards victory through your own mistakes, to recognize and overcome them. And with that, Miyamoto wanted to build on the ideas from the previous installments and add even more ways to interact with the game world to provide even more freedom. The first year of development therefore consisted more of plans and collecting ideas.
Once the team had the SNES prototype, experimentation entered an active phase. It is these ideas that have been actively transferred to the reality of the new material, some have taken root, some have not. So the sliding mechanism has evolved since the first part. With the new D-pad controller, the player could not only pull over objects and switches, but also point them in eight directions, which opened up a lot of room for experimentation, both for the player exploring the world and the developer creating puzzles.
However, some ideas were not adopted. In addition to experimenting with the final version of talking, pushing/pulling, lifting/throwing and running, Miyamoto’s team also experimented with dancing and eating. But in the end, they were abandoned. As well as the ability to do diagonal sword strikes, which proved to be a challenge for the player. Instead, they simply increased the attack radius of their sword. Or trade and match weapons like bombs and bows. Miyamoto insisted that Link always have a sword and shield in his hands.
At the same time, unacceptable ideas were not rejected at all, but simply waited to be implemented. Like the idea of time travel that gave Link his name in the first episode, he makes an appearance in Link to the Past. But in the original version, Zelda III already evoked the idea of moving not just between the past and the future, but between three worlds that would somehow affect each other through Link’s actions. One of these worlds could even be in an imaginary environment.
However, Tezuka, who was in the middle of developing the game, found the concept of three worlds very confusing and the idea was scrapped, reducing the number of dimensions to two. Additionally, the game’s designer and producer of Super Mario Bros. 2, Kensuke Tanabe, proposed the concept of the transition from the world of light to the world of darkness. It is interesting to note that this idea will serve as the basis for many parts of the series.
When developing the story and setting, the team wanted to make Link to the Past an inspiring adventure that Nintendo fans from overseas would enjoy. They even changed the image of Link to make him look more mature. However, Miyamoto insisted that the hero not look too cool and serious, so Link retained some of the gameplay elements.
It was also in Link to the Past that the emblematic Master Sword appeared for the series.
Kensuke Tanabe imagined a memorable awakening scene when we started this project. In the middle of the forest, where the light filtered through the leaves, the Master’s sword was waiting for someone worthy to wield it. Link draws his sword as light streams through the leaves.
Takashi Tezuka
Game designer
And with that came the evolution to the Sword of the Master, which has become a staple of the series. So Link doesn’t get it at the beginning, but acquires it over the course of the adventure. So this development is shared by the hero and the player who has also travelled this road. However, this path was originally intended to be non-linear, so that each player’s experience would be unique. However, due to the limited memory capacity of the console and the complexity of the structure, this idea had to be abandoned. And also of the many other elements of the world’s interactivity, such as the burning grass, which was embodied in later episodes.
At the time, our game designers had a good idea of what was possible with the hardware, so I don’t think we had any unexpected ideas. We still had a long time with the memory capacity, and I remember very well that the development team worked very hard to optimize the game.
Takashi Tezuka
Game designer
It is interesting to note that the development team was very small in the beginning, but gradually grew larger as the release approached. This was necessary in order to make the best use of the available staff rather than assembling a team larger than necessary. And each new person on the team really made an impact on the whole game. For example, Yoshiaki Koizumi, one of the authors of the game. As a graduate of Osaka University of the Arts, where Tezuka also studied, he became interested in storytelling. Koizumi thought games as a medium had more potential for dramatic storytelling than books and movies, so he decided to try his luck at Nintendo.
This passion for history through play is reflected in A Link to the Past. Koizumi has therefore tried to convey the story through the visual representation of the game’s characters and universe.
Oddly enough, people at the time didn’t seem to understand the meaning of most elements of the game. So I had to come up with a story and everything else while I worked on the game manual. For example, the drawings of the goddesses and the signs of the zodiac attributed to them.
Yoshiaki Koizumi
Script
Despite the intrigue, however, the new Zelda was not originally called Link with the Past, but Trine Force of the Gods. Under this name, the third volume of the series went on sale in Japan in November 1991, one year after the release of the SNES. For the Western release, however, Nintendo of America felt compelled to give the game a more familiar version, as the American division wanted to avoid possible religious overtones. At the same time, the number of characters in the dialogue lines had to be changed, and characters resembling Egyptian hieroglyphs had to be removed from the game world’s alphabet.
The famous logo of The Legend of Zelda also comes from this series. It’s interesting to note that it was designed specifically for the western version by a Seattle-based design studio. Later this logo was also used for the versions for the Japanese market.
From wooden dolls to video games
After the success of the NES and SNES, Nintendo continued to look for new talent in the field of design. And not necessarily those who like games. In addition to the aforementioned Kensuke Tanabe and Yoshiaki Koizumi, who not only made significant contributions to The Legend of Zelda series but also to the design of Nintendo’s signature game, Eiji Aonuma, for example, also joined the development team after the release of A Link to the Past.
Unlike many other Nintendo employees, Eiji Aonuma did not graduate from Osaka University of Art, but from the National University of Fine Arts and Music in Tokyo, where he earned a master’s degree in composition design and worked with Japanese karakuri puppets. Growing up in a family of carpenters, Aonuma discovered a passion for making woodwork. So much so that as a child he made almost all of his toys with his own hands.
This talent for woodcarving led him to college. At one of the exhibitions where he displayed his mechanical dolls, he was discovered by Yoshi Kotabe, a licensed animator and character designer who designed the iconic packaging for Super Mario Bros. He was working for Nintendo at the time, which interested Aonuma, who had never played a video game before.
On Kotabe’s recommendation, Miyamoto personally interviewed Aonuma and was impressed by his work when he joined Nintendo as a graphic designer for the NES Open golf tournament. At the same time, future game designer The Legend of Zelda was introduced to video games. To at least understand what he needed to work on, Aonuma asked his girlfriend to teach him how to play. His first games were Dragon Quest and The Portopia Serial Murder Case.
I stayed up all night playing, and she [Aonuma girl] was always there to coach me with words like you have to take five steps to the south and now four steps to the east.
Eiji Aonuma
Game designer
Over time, Aonuma began to like video games, and he especially liked Link to the Past, from which he developed his game Marvelous: Another Treasure Island, published in 1996. After introducing the game in development, Miyamoto invited Aonuma to join the development team for the next installment of The Legend of Zelda for the Nintendo 64.
Monochrome Pocket Dreams
However, the next chapter in the series’ history was very different. Parallel to the development of the SNES in 1989, another Nintendo team released the Game Boy. For a long time, she was not expected to play her role in The Legend of Zelda. Still, some developers on the Zelda team have fantasized about it. After the game’s release, Kazuaki Morita, the lead programmer of Link to the Past, bought a Game Boy Development Kit and began experimenting with it as a hobby to create a prototype in the spirit of the Zelda series.
We hadn’t really planned on making Zelda for the Game Boy, but we thought we should give it a try. So there was no official project in the beginning. We just did our work outside of normal office hours and then ran it like a leisure club.
Takashi Tezuka
Game designer
After realizing the potential of the console, Tezuka offered to connect with the past and asked for a second group of Game Boy developers to work with him. When Tezuka himself began working on this development part, he wanted to add innovations that he had not been able to implement until then. But as new ideas were added, the Game Boy game changed so much that it became a standalone game rather than just a port.
So Kensuke Tanabe also joined the game as character and world designer, and Yoshiaki Koizumi as screenwriter and director of introductory photography. Tezuka himself was a fan of David Lynch’s Twin Peaks and wanted to make a game that was similar in feel and scope. Especially village dramas with suspicious characters. To that end, he’s compiled a list of plot requirements: no Zelda per se, no Triforce, no Hyrule.
Twin Peaks was very popular at the time. The series focuses on a small group of characters in a small town. So, as for the legend of Zelda: Link’s Awakening I wanted to do something similar, small enough to be easy to understand, but at the same time deep and different.
Takashi Tezuka
Game designer
Shigeru Miyamoto asked game designers to focus on fun and intuition. So Mario and The Legend of Zelda were not very intriguing in the past. However, during the development of Link’s Awakening, Miyamoto was busy with other projects, giving the team creative freedom. Koizumi, who has long considered video games a great way to tell unusual stories, took advantage of this.
The development of Link’s Awakening was more of an adventure behind the boss’ back. The team consisting of Morita, Koizumi, Tanabe and Tezuka has begun to transform their Zelda into an adventure, side events and character-based quests. They did their best to surprise the player and sometimes even went over the edge of the net. Thus, NPCs from other Nintendo universes appeared in the game. Often even without the knowledge or consent of their creators.
This experimental approach has led to some very unexpected results. Without realizing it until the end of the plot, with this game the team laid many of the foundations of the series, mysterious fishing characters, which Morita added almost secretly from others, simply because he was a passionate fisherman.
I’m sure it was an important part of the escape series. If we went from Linking to the Past to Carina of Time, without Linking Awakening in between, Carina of Time would be a completely different game.
Eiji Aonuma
Game designer
The first real game I made was Link’s Awakening. But at the same time, I just wanted to write a guide like I did for the previous game. But there was nothing in it. I ended up writing a whole story to complete the game. Dream on, the island is mine. So this was my first experience with what we now call event design. But there weren’t many people with experience in that field at the time, so I really had the freedom to do whatever I wanted, as long as Miyamoto wasn’t mad.
Yoshiaki Koizumi
Screenwriter
Link’s Awakening was released worldwide in 1993 and was well received by critics. Since then, 3.83 million copies of the original have been sold, while the DX version has sold 2.22 million copies. In 2018, a remastered version was released for the Nintendo Switch, in which some episodes were modified (the Photo Quest was truncated, for example), but the overall gameplay remained the same.
Time for a new measurement
But there’s another event that made Ocarina of Time what it is in history: the attempt to remake The Adventure of Link on the SNES. Miyamoto and Koizumi planned to make a new version with polygons and again experimented with the side view. This remake never saw the light of day though, so both turned to other projects. But they left the team with the idea of making a new Zelda based on swordplay.
In 1995, Nintendo introduced its new system that promised a third dimension to the once two-dimensional games: the Nintendo 64. The game was supposed to launch Super Mario 64, but then there were plans to release a new The Legend of Zelda. Also in 3D. That same year, a techno-demo version of Link was presented at the Nintendo Space World event, displaying 3D polygons in real time on the Nintendo 64 system. It was written by Giles Goddard, the Star Fox programmer for the SNES and the interactive face of Mario for the start menu of Super Mario 64, the already famous Yoshiaki Koizumi and Takao Shimizu, the co-director of Donkey Kong for the Game Boy. However, Shimizu was appointed developer of Star Fox 64, after which he was replaced by Toru Osawa, game designer of Kid Icarus and one of the designers of the Metroid and Fire Emblem series.
A year later, the console was released at the same time as Super Mario 64. Miyamoto, Tezuka and Koizumi, who had gained valuable experience in 3D game development and were encouraged by the acceptance of their new game by critics and players, returned to the Zelda teams and began experimenting with Osawa’s work. Like the first Legend of Zelda, the new installment should come with additional hardware alongside the main console. In this case, 64DD is an extension with additional RAM and storage. And originally, in the new Zelda, the idea was to make the most of this module. Thus, the felled trees and traces of the character in the first trials have been preserved. The game is made on the Super Mario 64 engine with some modifications.
During the first half of the development period, the team experimented with different concepts. For example, one of Miyamoto’s first ideas was to have the game take place exclusively in a castle, with a first-person perspective and a side view, as in The Adventure of Link. However, Koizumi, who spent a lot of time animating Link, was opposed to this and wanted the character to always be seen on screen. At the same time, I had to give up 64DD because of the limitations in reading data. This has created another problem: the memory available to developers has been greatly reduced.
But the 3D battles were a much bigger headache for the team. For a long time they could not solve the problem of choosing a comfortable camera angle. And the decision was made in a rather unexpected place – in a theme park and on a film set in a studio in the Edo-Toei Kyoto era.
As we walked around and looked around, it was too hot outside and we went into the theater to cool off. They put on a play about ninjas. Many ninjas surrounded the samurai, and one of them threw a kusarigama (sickle on a chain). But the samurai grabbed his arm, the chain tightened, and the ninja began moving in a circle away from the samurai.
Tohru Osawa
game designer
It was during this production that the team came up with the idea of Z-targeting, a system of focusing the shot on a single subject where he and the hero are captured by the camera simultaneously. This approach has become an alternative to manual control of the camera. Team members also learned more about how to make sword fights spectacular and intense – by having opponents attack one at a time instead of simultaneously.
In addition to the idea of Z-targeting, it also appeared to implement one of the ideas that had fallen by the wayside during the development of Link to the Past – an NPC companion. When Koizumi designed the castle marker to indicate the destination of the conquest, he made it in the form of a fairy, which he called Navi Navigator. This not only implemented one of Miyamoto’s ideas, but also unexpectedly solved the problem of memory optimization. The team decided that each character in Link’s village should have their own fairy, consisting of a simple circle model. This allowed you to only show fairies outside the area on the map and load related character models if needed. From this idea the story Link – the boy without a fairy was born.
During development, the number of ideas for the game increased. The ambition and size of the team increased as the ideas grew. It’s interesting to note that some ideas were meant to be part of Super Mario 64, and vice versa. For example, the castle in Mario looks like something taken from Zelda, and one of the integral symbols of the Ocarina era, Epona’s horse, must have appeared specifically in Mario 64. They even planned to bring a real horse to the studio to model and animate, but ended up not having any photos.
With the advent of mechanics to move a horse, the demand for suitable places arose. Thus was born the area of Hyrule Field, which became the center of the world map. But many people found the place too empty for its size and decided to give it their own twist. And in a rather unexpected way.
When I made my first [Hyrule speech], it caused a real controversy. The people said: We can’t make it that big. Even if you meet him on a horse, he’s too big and boring, you need to add something. ” And then these people took matters into their own hands: They made enemies, added holes with secrets here and there. At the thought of this place being a bit empty, you should make a hole in it and fill it with something.
Makoto Miyanaga
Environmental designer
The Link model has not received the slightest attention. They tried to make it convincing and vivid. As in The Adventure of Link, it was an adult Link, but Koizumi made him more beautiful than in previous games at his wife’s request: He removed his paws, pointed his nose and put holes in his ears to look more spectacular. However, the overly cool reference didn’t fit Nintendo’s style, so the clothing remained classic.
For three years we talked about how Link was going to open the treasury. When we came up with the idea of using the layout, there were both supporters and opponents among the staff. In the end, we decided it was possible, but not by much. My company sometimes worries about losing money. When we were asked to do a motion capture, we were faced with a question: Do you really need that many devices? Not satisfied with what you already have? ” and things like that. We started by capturing motion on wired footage, but quickly developed our own method, which ended up costing twice as much. But what’s the point of doing something that’s already been done? While photographing the horses, we even brought a real horse into the studio. But we ended up with two footstools and a board, so we made our own horse.
Shigeru Miyamoto
Producer
The day I walked into the studio, there was a fantastic iron treasure chest with a sword and shield in it. Of course, that cost a lot of money. When I asked: Why all this? was a triumphant reply: Moo has figured out how to open the treasure chest! They concluded that, before opening the chest cavity, the hinge must be removed first, otherwise the operation appears unrealistic. I wonder if the Mucap team made it …. It was a very good job. (Miyamoto).
Shigeru Miyamoto
Producer
But Miyamoto didn’t like the idea of yet another rock-hard hero; he wanted Link to remain childlike and playful, like in previous installments. This gave him the idea of creating a younger version of the character, and at the instigation of Miyamoto Koizumi, he began testing the application of the same animation to two different character models. Thus began the story of time travel after you had the master sword.
Link’s biggest enemy is Ganon, so I figured they should just meet when he’s still a kid. A child’s innocent eyes see the truth, so young Link instinctively sees Ganon as the villain. When adult Link meets him again and Ganon says he’s the same guy he was last year, it really gets to you. You think to yourself: That’s right, I’m the kid from back then. I had a lot of fun in that scene.
Shigeru Miyamoto
Producer
With the transition to the third dimension also came the design problems of a key element of the series – the dungeons. And this is where Aonum’s talent came into play, as a puppeteer capable of creating complex and ever-changing temples and tombs, despite his lack of experience in the field.
After playing in the previous games, I was trying to figure out how to fix their bugs. For example, a very frightening rule to begin with entry in case of death. I decided to make the player understand that he was entering the boss’ room. I guess you could say I took the bait.
Eiji Aonuma
Game designer
One of the programmers who helped Aonume in the dungeons was Kazuaki Morita, who had previously worked on Link’s Awakening. And while he was working on the water temple, a tank that looked like a swimming pool caught his eye, and Morita himself had a model of a fish at hand. For example, the Angel mini-game was introduced in Ocarina of Time. Only this time Morita decided to make it more elaborate, and even recorded all the sound of this mini-game himself.
So the Ocarina of Time began to grow in size and detail. Miyamoto wanted maximum interactivity in the world, and the rest of the team supported him in that. The smallest details have been adjusted, even the angle of the trees during the various attacks. This attention to detail is reflected in both the characters and the game’s story. The team behind the Link’s Awakening experiment has been working with the Ocarina of Time team, and it shows in this episode. Includes a performance by Kapor Gabor and Talon Von Malone, transcribed by Tarin and Marina.
Ocarina of Time went on sale in November 1998. At the time, the Nintendo 64 was competing fiercely with the Playstation, and the game was a very important release for the company. Although it failed to change the console’s position in the market, with 7.6 million copies sold, it has become a real cult among many gamers. Ocarina of Time not only changed the entire Legend of Zelda series and is still considered by many to be one of the best roles, but also revolutionized the genre of 3D action-adventure games for years to come and became the most popular game of all time. by Metacritic.
In addition to versions for the Nintendo 64, there’s also a port on the GameCube (but we’ll get to that later), as well as a remake for the 3DS with custom controls, featuring a second screen that displays a map and buttons with additional items. The graphics have also been updated with support for stereoscopic 3D and gyro camera control. At the same time, small changes have been made to the world, in part to make it easier to perform the most difficult tasks.
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frequently asked questions
What is the story of The Legend of Zelda?
Inspiration. The Legend of Zelda is largely inspired by the explorations Shigeru Miyamoto did as a young boy in the hills, forests, and caves surrounding his childhood home in Sonoba, Japan.
What is the history of the Breath of Zelda?
Breath of the Wild is part of the Legend of Zelda franchise and is located at the end of the Zelda timeline. The player controls Link, who awakens from a centuries-long sleep to defeat Ganon Calamity and save the kingdom of Hyrule.
How did Zelda get her powers?
While exploring Hyrule Castle, Link finds Zelda’s journal in Princess Zelda’s room and her science notes in Princess Zelda’s office. … After Link touches Ganon’s weak spot, Zelda herself appears, freed from her own seal magic. Then she uses her powers to lock Ganon up forever, chasing him away with a beam of light.
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