The Legend of Zelda: Ocarina of Time remake is framed as a legend retold. It opens on a tapestry depicting Hyrule’s people and places, as a narrator reflects on Link’s journey like it’s a valuable story worth passing down. For Zelda producers Eiji Aonuma and Hidemaro Fujibayashi, a desire to pass the original game down to a younger group of Zelda developers is one of the main reasons this remake exists:
“There are much younger developers who are working on this game, and I do think this is a really valuable experience for them to familiarize themselves first with the original Ocarina of Time and then have their own reinterpretation of it,” Aonuma said. “And to have those conversations throughout the course of development that may aid them in future projects as well.”
This is just one way the pair is reflecting on this franchise they’ve spent decades working on. I spoke to Aonuma and Fujibayashi for nearly an hour ahead of the release of Ocarina of Time, and we discussed the elements that make a Zelda game, how real-world inspirations and expertise play into game development at Nintendo, and their strongest memories and reflections as the Zelda franchise celebrates its 40th anniversary. Read on for my full conversation, including one of Aonuma’s key memories with Zelda creator Shigeru Miyamoto: "Hey, Mr. Aonuma, you know you can't really cut a wooden crate with a sword, right?"
IGN: It is great to meet you both. I'd like to start by congratulating you on tonight's launch of the Legend of Zelda: Ocarina of Time, as well as the 40th anniversary of The Legend of Zelda.
IGN: The opening cutscene of Ocarina of Time's remake and its tapestry present this remake as a legend being passed down. I can't help but think of the parallels with its development. Mr. Aonuma, you said that you wanted your team to understand the significance of Ocarina of Time. In a way, you're passing down a legend of your own, and I'm wondering if this connection was on your mind throughout development.
Eiji Aonuma: So the specific cutscene with the tapestry was not necessarily something that I had created with that in mind in terms of handing down a legacy, as you say. That was something that developers who were working more directly on the game contributed to. But for me, certainly as you mentioned, there are much younger developers who are working on this game, and I do think this is a really valuable experience for them to familiarize themselves first with the original Ocarina of Time and then have their own reinterpretation of it. And to have those conversations throughout the course of development that may aid them in future projects as well.
IGN: I'd like to ask about that more because one of my takeaways from this game is how much value I find in the traditional 3D Zelda formula, and you’ve said newer developers understanding the structure is one of the purposes of this remake. But it's also caused you both to revisit this traditional Zelda formula after several years away. Revisiting it with fresh eyes, what positive aspects of this more linear type of 3D Zelda have stuck out the most?
Hidemaro Fujibayashi: As you mentioned, Ocarina of Time perhaps could be described as simpler. And going back to Zelda as a whole, regardless of whether it's an old Zelda game like the initial original Zelda or newer ones, I think the core of what makes a Zelda game, from my experience and thinking, is that it's the combination of exploration and discovery. And that's something that has been with the Zelda series, starting from the very first Zelda game all the way to recent games like Tears of the Kingdom. And I think that's a common through line. And even as we’ve gotten into newer games that have the open-air gameplay style, it becomes a little bit more complex. But as we return to a more focused 3D Zelda experience, as you mentioned, it's kind of given us an opportunity to bring the comforts and the play styles of the modern games.
سەرچاوەی فەرمی بە زمانی ئینگلیزی: https://www.ign.com/articles/our-big-interview-with-ocarina-of-time-producers-eiji-aonuma-and-hidemaro-fujibayashi
