The Legend of Zelda - Series Sales

Shigeru Miyamoto Joins Nintendo
In 1977, a young artist and toy designer named Shigeru Miyamoto joined Japanese toy maker Nintendo. Having impressed company president Hiroshi Yamauchi with his work, Miyamoto was assigned to create art work for an arcade game named Sheriff, where the player found themselves surrounded by bandits and needed to fend them off, saving a young woman they had captured in the process.

Sheriff was Nintendo's first "damsel-in-distress" game—a concept Miyamoto would subsequently re-use across many of his own products. The first of his original titles was an arcade unit named Donkey Kong, which materialized when plans for Nintendo to create a game based on the Popeye license ran into complications. Drawing inspiration from the trio of Bluto, Popeye, and Olive Oyl, Miyamoto conceptualized three characters of his own: Donkey Kong (a large ape), Jumpman (the protagonist of the game), and a female character that would later be given the name "Pauline" (the damsel in distress that Jumpman would need to rescue). Nintendo repurposed the circuit board of Radar Scope, one of their earlier arcade units, to produce Donkey Kong, and the game was released in 1981 to critical acclaim—although not without a slight change. By the time Donkey Kong shipped, the Jumpman character had been renamed "Mario" by Nintendo's American branch.

The game went on to be popular in the North American market and Miyamoto got started on his next project: a sequel titled Donkey Kong Jr., where the characters' roles were reversed. Donkey Kong, the ape from the first game, had been imprisoned by Mario, who was standing guard over his cage. The player would assume the role of Donkey Kong Jr. and attempt to rescue his father from his captor. Eventually, the Mario character proved popular enough to receive his own game, co-starring a brother, Luigi. Miyamoto titled the new game Mario Bros. and when it was released in 1983, it allowed two players to team up and play together.

The Famicom and Takashi Tezuka
By 1980, Nintendo wanted to branch out of the arcade business and had begun researching the possibility of developing a device on which users could play games at home. Inspired by the Atari 2600 and ColecoVision (to which the company later ported their Donkey Kong game), Nintendo's goal was to create a piece of hardware that would be cheaper than the competition, less intimidating to those unfamiliar with technology, and more appealing to children. They dubbed their invention "Family Computer".

The "Famicom" was released in July 1983, and launched with ports of Donkey Kong, its sequel Donkey Kong Jr., and Popeye. The following year, Nintendo found itself another employee that would prove to be a talented designer and make immense contributions to the company's Famicom library: an Osaka University of Arts graduate, Takashi Tezuka.

Tezuka would go on to be a valued collaborator of Shigeru Miyamoto's, and their first collaborative project was Devil World, a Pac-Man-styled maze game where the player controlled a green dragon. It was Miyamoto's first game that was designed specifically for the Famicom and Tezuka served as co-designer on the project.

Super Mario Bros.
Collaborating with one another through 1984, Miyamoto and Tezuka had established a comfortable working relationship and were keen to continue pushing the boundaries of what Nintendo called the "athletic game" genre (later dubbed "platform games") established by its prior titles. Noting that Mario Bros. continued to be popular, Tezuka suggested their next project make use of Mario and Luigi as well. Alongside Miyamoto, he began design work on the game, and the two began to rethink a lot of the logic that had been established in the original Mario Bros. project, such as the consequences of making contact with various enemy types, the game's setting, and how to work around the Famicom's hardware limitations.

The final product, titled Super Mario Bros., was designed to be a culmination of everything Miyamoto and his team had learnt about game design and the possibilities afforded by the Famicom technology. The player would take on the role of Mario and Luigi, running and jumping past an invasion of turtle-like creatures known as the Koopa Troopas, led by their king, Bowser. The game was set in the "Mushroom Kingdom" and commenced after Bowser kidnapped its princess, Toadstool. Mario set out to rescue Princess Toadstool and defeat Bowser and his army in the process, marking a return to the familiar damsel-in-distress concept.

Super Mario Bros. was released in 1985 in Japan. When the Famicom was launched in North America the following year as the Nintendo Entertainment System, it debuted alongside Super Mario Bros., making it one of the system's most popular launch games.

The Legend of Zelda
In 1984, while Super Mario Bros. was in development, Miyamoto began conceptualizing a second game in parallel. The Famicom Disk system, an add-on peripheral for the Famicom that was capable of writing data, was about to release, and Nintendo needed to develop a flagship game for the device. Miyamoto felt that it would be interesting to create a game that allowed two players to create labyrinths and then explore each other's creations. A prototype was created, but the overall sentiment was that exploring these labyrinths was more fun than actually creating them, and so the team shifted its focus to that aspect.

Whatever form this exploration game ended up taking, Miyamoto felt it needed to be the polar opposite of Mario. Where Super Mario Bros. was linear and would always make it clear what the player needed to do next, Miyamoto wanted this new game to make players think about where to go and what to do. Namco's maze-like RPG, The Tower of Druaga, was popular in Japan at the time, and it's possible that it served as a point of reference for Nintendo. The team working on both Super Mario Bros. and this new game was the same, and brainstormed ideas they found appropriate for each.

"As with the Mario series, I came up with the concept for the Zelda series from my adventures as a child exploring the wide variety of places around my home," Miyamoto would recall in an interview with Superplay magazine years later. "There were plenty of caves and mountains. We didn't have that many toys to play with, so I would make slingshots or use sticks and twigs to make puppets and keep myself amused."

The initial design for Nintendo's new game—which they had codenamed "Adventure Title" in their design documents—called for the player to enter labyrinthine levels straight from the title screen. Since the game originated from Miyamoto's experiences exploring underground caverns as a young boy, it was originally meant to focus on the exploration of caves-like areas. Over time, this idea of exploring caves evolved into the player exploring a number of labyrinthine areas all connected by a large, open field. The player would be able to traverse this open environment, and would be required to think on their feet about where to go and what to do next.



"We basically decided to do a real time adventure game," Tezuka recalled in an interview many years later. "No one wants to do physical things like pushing and pulling by selecting them from a menu [like in command-based RPGs]. If they’re going to push something, they want to put some force behind it."

During development, Miyamoto and his team also began forming an image of just what their new adventure game's story was about. They named the main character "Link," as he was to be emblematic of the game's setting—a combination of the past and the future, with the player being able to travel between the two settings and serve as a connection between them.

Link was initially designed to be right-handed, but in order to aid in the creation of the game's pixel art and the way he would appear in in-game screens, he was altered to be left-handed instead.

At some point, Nintendo enlisted the aid of Keiji Terui, a screenwriter that had worked on anime shows such as Dr. Slump and Dragon Ball, to create the game's full backstory. This story would be included in the game's manual and give the player better context as to just what their character's motivations were. Sometime during this process, the idea of time-travel was dropped, and Terui instead penned a much more straightforward setup inspired by medieval conflicts in Europe. Miyamoto's fondness for the damsel-in-distress setup also worked its way into the tale, and the game's damsel was named "Zelda," after the wife of famous novelist F. Scott Fitzgerald whose name Miyamoto took a liking to. It was her name that would also help solidify the game's title: "The Legend of Zelda".

Miyamoto wanted The Legend of Zelda to evoke a sense of mystery in the player. "I remember he had me make a lot of different sounds for when you use the flute (when you warp)," the game's composer, Koji Kondo, would recall years later. "He was very particular about that one sound. 'It shouldn’t just be ‘pretty’. I want it to evoke something more mysterious', he told me."

As development progressed on Zelda, Miyamoto and Tezuka began encountering the limitations of the Famicom hardware. As with Super Mario Bros., the development team worked around these in creative ways, but certain ideas needed to scrapped entirely. "Back then, there were a lot of things we intended to do but weren’t able to because of hardware constraints," Miyamoto would reveal a few years later. "For example, for the Level 7 dungeon entrance, we just changed the colour of the ground when the water drained, but we intended to have the water actually disappear. And you can burn small trees, but we intended for you to be able to burn down big ones."

Mistakes were made during the development process as well. Labyrinths (later known as dungeons) in The Legend of Zelda were mapped out on graph paper first. Each square on the graph represented a single room, and the pieces were laid out like a jigsaw puzzle. Tezuka, having created the entire map for the game, handed it off to programmer Toshihiko Nakago, who put the map data together exactly as it had been provided to him. Unfortunately, due to an error on his part, Tezuka only used half the data Nakago had coded, and the game ended up being half its original size. As luck would have it, Miyamoto felt the reduced map size made for a better game, and suggested that the other half of the data be used to create an unlockable "Second Quest" for the player to discover.

Difficulties were encountered with the game's soundtrack, too. Composer Koji Kondo had composed a total of five musical tracks for the game, and had intended to use the classical piece "Bolero" by Maurice Ravel for the game's opening title screen. Unfortunately, just as development was wrapping, Kondo was informed that the copyright to Bolero hadn't expired yet, which meant Nintendo couldn't use it and he was instead forced to re-arrange the game's overworld theme for its title screen.

Despite difficulties during development, The Legend of Zelda was an immense success following its release. It went on to sell well over 6.5 million units over the course of its life and served as the template for a whole brand of Nintendo games going forward. It birthed an entire genre and still serves as the inspiration for a number of modern videogames today.

Zelda II: The Adventure of Link
Zelda II was developed by a different team than the first game, partly because it initially wasn't intended to be a Zelda game. Development began with Shigeru Miyamoto contemplating how a side-scrolling action game that used "up and down movements" for attacking and defending could be fun to play. Miyamoto wanted to include the kinds of actions that couldn't be incorporated in the original Legend of Zelda into a new game, and Tadashi Sugiyama, a graphic designer at Nintendo that had contributed to games such as Ice Climber, Baseball, and Pinball, was attached to direct.

Joining Sugiyama as co-director was Yasuhisa Yamamura, while Takashi Tezuka came up with the concept for the game's story. Tezuka did not contribute map designs as he had on the first Zelda game, and was instead working on Super Mario Bros. 2 and Super Mario Bros. 3. Meanwhile, replacing Koji Kondo as composer was Akito Nakatsuka, who had composed music for Ice Climbers two years prior.

Games that were difficult were popular at the time. In the late '80s, the thinking was that a higher difficulty often helped games last longer, and this appealed to videogame enthusiasts. And so, Sugiyama and his team approached Zelda II the same way—by designing it to be something they would personally find challenging.

"One thing I remember is a call from a client at the time saying 'I just can't seem to beat the last boss.' When I asked more about his progress in the game, he was already fully equipped," Sugiyama would reveal. "Meaning that there was nothing to do but to beat the boss with his own skill, which was rather hard to say straight out. It seemed that he was playing the game for his son... so I felt bad for him."

Zelda II borrowed elements from role-playing games, which is something that subsequent Zelda titles would do as well. In Zelda II, this took the shape of a stat growth system, meant to encourage players to fight monsters over and over. Link could gain experience points and upgrade his life, attack, and magic stats, and each of these attributes could be raised to a maximum of 8 levels. The game also made use of symbol encounters, since routes on the overworld map were fairly narrow and this would add an element of luck to encountering enemies.



This wasn't the only idea the game borrowed from role-playing games, though. At this point, Miyamoto was already planning the third Zelda game, which was to be produced by the team responsible for the original. In Zelda 3, Miyamoto wanted to introduce a party system, where the player's party would consist of a fighter-like elf character, a magic user, and a fairy. This fairy character was actually designed, and while she wasn't used in the third Zelda, her design was utilized for a "Fairy Spell" in Zelda II, which would cause Link to turn into a fairy and allow him to access smaller spaces.

Zelda II was played from two different viewpoints: a top-down overworld like the original Legend of Zelda, serving as a hub to other areas, and a side-scrolling perspective, which is how most of the game is played and how combat encounters take place. Miyamoto would later state that the hardware limitations of the Famicom had a hand in influencing what the team could achieve, and express regret that the game hadn't been more surprising or interesting.

Zelda II: The Adventure of Link went on to sell over 4.3 million units and introduced a number of new features that would later be used throughout the series, including magic, the Triforce of Courage, the towns of Rauru, Ruto, Saria, Nabooru, and Darunia (which would later serve as the names of the Sages in Ocarina of Time), as well as Dark Link. Years later, Nintendo would later investigate the possibility of remaking Zelda II using polygons on the Super Famicom, but this idea would be shelved and indirectly lead to the creation of an entirely new Zelda game instead.

A Link to the Past
Two games in, Nintendo had determined that interactivity—being able to experience cause and effect—was of paramount importance to The Legend of Zelda games. What defined a Zelda, Shigeru Miyamoto felt, was the freedom to try different things and fail, until the solution clicked inside your head. The game's logic, above all, needed to make sense.

As the Famicom was reaching the end of its tenure, Nintendo released the Super Famicom. Work on a new Zelda game for the system had begun while Zelda II was still in development and was being undertaken by the team responsible for the original Legend of Zelda. Unlike Zelda II, Miyamoto wanted a return to the familiar top-down perspective for this third game. The primary concern, however, was that games had come a long way since the original Legend of Zelda and features such as fantasy settings and puzzle-solving were no longer surprising or particularly original.

Instead, Miyamoto wanted to place an even greater emphasis on players interacting with the world and performing different kinds of actions that would have different effects. For instance, the player would be able to stand in front of a switch and push or pull it, by holding down the A button in tandem with a direction. This, Miyamoto felt, would require thinking and was a much more deliberate action on the part of the player. It would lead to a greater sense of satisfaction than simply standing in front of an object, pressing A, and having the game perform the appropriate action for you.

A small team began work on the new game, experimenting with different ideas along these lines for the Super Famicom hardware, with the goal being to add more staff once the basic systems had been worked out. The idea was to utilize development staff as efficiently as possible, and not end up with a team that was larger than it needed to be. The team dedicated its first year entirely to planning, while the second year of development was spent on experimentation. At one point, there were plans for the player to be able to perform more actions such as eating or dancing, but the team ultimately opted to limit player actions to essentials like Talk, Push/Pull, Lift/Throw, and Run.

Another concept Miyamoto wanted to explore early on was the idea of diagonal sword swings—being able to attack enemies at an angle. While experimenting with this concept, the team concluded that it was too difficult an action to ask of the player and circumvented the issue by creating an attack where Link would swing his sword in a 360-degree arc around himself instead. This move was dubbed the "Spin Attack".

The team also wanted to revisit ideas they couldn't use in the original Legend of Zelda. That game was originally conceived as a time-travel adventure where Link would be able to move between the past and the future, and the same idea was seemingly discussed once again for Zelda 3. Takashi Tezuka, who was brought on to serve as director halfway through development, revealed that the team initially experimented with a multi-world structure, where events in the hub world would have an effect on the other overlapping worlds. Three worlds were initially conceived, and concept art suggests that one of them might have involved a sci-fi setting. Unfortunately, the team feared that three worlds might get confusing for players and the idea was shelved. The number of worlds was cut down to just two, and Kensuke Tanabe, the director behind Super Mario Bros. 2, thought up the idea of players switching between a "Light World" and a "Dark World".

"Kensuke Tanabe already had an idea for a truly memorable hero-awakening scene when we started this project," Tezuka would recall. "In the midst of a forest, with light filtering down through the leaves, the [Master Sword] stood waiting for someone worthy of wielding it to arrive. Link draws the sword out as the light trickles through the leaves."



The team wanted A Link to the Past to be a moving adventure, and one that would appeal to Nintendo's foreign fans. To aid this, they redesigned Link to appear more mature than he did in Zelda II. Miyamoto had never wanted Link to appear overly cool and serious, though, so the character retained elements of playfulness.

The team was also careful not to have Link begin the game with his sword in hand. The way Tezuka and Tanabe envisioned the game, players would feel an emotional connection with Link as they guided him through his adventure, culminating in the aforementioned hero-awakening scene when Link would find and draw the Master Sword from its resting place. To accommodate this goal, a number of adjustments was made to the placement and ordering of weapons and items, so that players would sense Link's growth throughout, no matter their play style. They also wanted the player to be able to use weapons other than a sword and shield, and also to combine weapons, so you would be able to set the Bow & Arrows to the one button and a bomb to another button. Pressing both buttons in tandem would then cause Link to shoot an arrow with a bomb attached to it.

In contrast, Miyamoto felt that Link should always have his sword equipped, and so this idea was shelved until the next game in the series. What he did want to include, though, was an RPG-like party where Link would be accompanied by companion characters. Miyamoto had been telling his team that he wanted the third Zelda to include a mix of characters—a fighter-like elf, a magic user, and a fairy whose role would consist of reconnaissance. This idea was shelved during development as well, and the design for the fairy was instead utilized in Zelda II: The Adventure of Link, which was being developed in parallel.

Another idea that was scrapped during development included multiple paths through the world, so that the player's experience would be more open-ended. This idea was abandoned due to memory constraints (with Miyamoto hypothesizing that it would have required 150% more memory than the Super Famicom possessed) and the complications it would have caused in terms of game structure. Time and memory constraints also called for the team to scale back some of the ambitions they had for the game's level of interactivity. For instance, they had wanted to make it so using the lantern on a grassy area would cause an "endlessly expanding fire" or bombing the swamp breakwater would cause water to rush into the hole. Such ideas would later be utilized in games such as Four Swords Adventures and Breath of the Wild.

"Our game designers had a pretty good idea of what could be done on the hardware back then, so I don’t believe we had any unexpected implementations," Tezuka would say in an interview with RetroGamer magazine years later. "Having said that, though, we had a long battle with the memory size, and I remember very clearly that the engineering team worked extremely hard to optimize it."

While the game was in development, a new member of Nintendo's staff, Yoshiaki Koizumi, was assigned to work on the game's manual. A graduate from the Osaka University of Arts—the same university Takashi Tezuka had graduated from—Koizumi was interested in telling dramatic stories. Games, he felt, afforded an opportunity to create the kind of drama one couldn't get from films and so, when the opportunity arose to be hired at Nintendo, Koizumi took it. As the years would go by, Koizumi would take every opportunity to sneak as much story into Nintendo's games as he could, and that habit began with Zelda.

"What was funny was that at the time, it didn’t seem like they’d really figured out what most of the game elements meant," Koizumi would reveal. "So it was up to me to come up with story and things while I was working on the manual. So, for example, the design of the goddesses as well as the star sign associated with them."



Once all the pieces were in place and development was nearing its end, the team needed to decide on a title for their new game. In Japan, the game was given the title "Triforce of the Gods," but Nintendo of America had this changed to A Link to the Past for the game's western release. The American division wanted to avoid any overt religious references and also had the development team make changes to characters and text within the game along these lines. For example; the Hylian script was originally created for A Link to the Past, and it initially contained alphabets that looked like an ankh and other Egyptian hieroglyphs.

During their localization process of A Link to the Past, Nintendo of America also contracted Seattle-based design firm Girvin to create a logo for the game. Girvin had already worked with NOA to create packaging for the Nintendo Entertainment System (the American variant of the Famicom) and designed the logo that would be used for all subsequent Legend of Zelda games in the West. Meanwhile, the Japanese release would retain the original logo until the next console game in the series.

A Link to the Past was released in Japan in November 1991, and a western release followed in '92. The game would go on to sell 4.6 million copies worldwide. It is often considered one of the best Legend of Zelda games, and formed the basis for a number of elements that would appear in later Zeldas.

Eiji Aonuma Joins Nintendo
All throughout their success with the Famicom and Super Famicom, Nintendo had remained on the lookout for promising new talent, and a number of capable designers had joined their ranks since. These included stalwarts such as Kensuke Tanabe and Yoshiaki Koizumi—designers that had helped shape the company's games in new and interesting ways, and proved the importance of nurturing young, passionate talent.

A number of these talented developers had also graduated from the same university—the Osaka University of Arts, which was situated close to Nintendo's headquarters at the time and made for a convenient connection between the two. Even so, Nintendo had made a habit of hiring interesting talent regardless of background, and one of their up-and-coming hires had neither been a fan of videogames nor an Osaka University of Arts graduate prior to joining the company.

In fact, he had never really played a videogame prior to being hired by Nintendo. What got him hired was his love for creating puppets.

Eiji Aonuma graduated from the Tokyo National University of Fine Arts and Music in 1988, where he had completed a masters in composition design, working on Japanese Karakuri puppets. Aonuma's grandfather and uncle were carpenters, and he had grown up watching them make things, which had inspired him to do the same as a young boy. Whenever there was drafting or craft homework from school, Aonuma would pick up a piece of work and put nails on it to create something. Since his parents weren't in the habit of buying him toys as a child, he would create his own.

Aonuma's talent for wood cutting would guide him through university. It so happened that one of the alumni that had attended the Tokyo National University of Fine Arts and Music was Yoichi Kotabe, an animator that had provided key animation for the Heidi: Girl of the Alps animated show by Toei Animation. Kotabe had then gone on to join Nintendo, where he had helped create package designs for Super Mario Bros. While he was searching for a job, Aonuma exhibited his puppet creations at an exhibition where he ran into members of the games industry, and began to take an interest in companies that made videogames. Subseuquently, his university provided him with Kotabe's business card, and the two established contact. Kotabe recommended Aonuma to Shigeru Miyamoto, who interviewed him and was impressed by his work.

After he began working at Nintendo, Aonuma was assigned to the department that made games and served as a graphic designer on NES Open Tournament Golf. Since he had never been interested in videogames prior to joining the company, he turned to his girlfriend at the time upon landing the job, and asked her to provide him with an introduction to games. In response, she lent him a copy of the first Dragon Quest and the PC version of The Portopia Serial Murder Case, both of which were designed by a rising star at Enix named Yuji Horii.

"I stayed up all night to play it and she kept by my side the whole time, coaching me like, 'You need to go south five steps' and 'Now go to the east four steps,'" Aonuma would recall in an interview years later.

Over time, Aonuma began to appreciate the fun of playing videogames and found himself particularly fond of The Legend of Zelda: A Link to the Past. After working on a number of projects in collaboration with external developers—including an unreleased game with one Satoru Iwata of HAL Laboratory—he eventually developed a game of his own: Marvelous: Another Treasure Island—which was released in 1996 and drew inspiration from the SNES Zelda. Upon playing the game, Miyamoto invited Aonuma to work with him and the Zelda team on a project they were developing for the Nintendo 64.

Link's Awakening
While development on Zelda II: The Adventure of Link on the Famicom and A Link to the Past on the Super Famicom was in progress, a different team at Nintendo released the Game Boy, a portable system capable of playing black-and-white games using physical cartridges that the user could slot into the the device.

The Game Boy was released in 1989, and launched alongside Super Mario Land—the first Mario game to be developed without the involvement of Shigeru Miyamoto, whose teams were occupied developing games for the Famicom and Super Famicom. After development wrapped on A Link to the Past in 1991, the game's chief programmer, Kazuaki Morita, managed to acquire a development kit for the Game Boy and began experimenting with it as a hobby project of sorts. At the time, the Zelda department only had access to a single Game Boy development kit and Morita used to it to create a prototype for a Zelda-like game.

"We weren't particularly planning to make a Zelda game for Game Boy, but we thought we'd try it out to see how it will work," Takashi Tezuka would recall in an Iwata Asks interview. "So at first there was no official project. We'd do our regular work during normal work hours, and then work on it sort of like an afterschool club activity."



As the team discovered what the Game Boy was capable of, Tezuka suggested they attempt porting A Link to the Past to the device, and requested a second Game Boy development kit. Because Tezuka had only joined development of the SNES game halfway through, he wanted to add new features that couldn't be implemented in the original project. As these ideas piled up, the Game Boy game eventually began to morph into a completely original title instead. Kensuke Tanabe, who had written the story for A Link to the Past, joined the team early on and began working on sub-events for the game. Meanwhile, Yoshiaki Koizumi, who had worked on the manual for A Link to the Past, was invited to join the team as well.

Koizumi was put in charge of the game's main story, as well as its opening cinematic. Tezuka was fond of an American television show named Twin Peaks by a director named David Lynch, and wanted to design a Zelda game that was similar in scope and feel. In particular, Tezuka wanted the characters to convey a suspicious vibe similar to Twin Peaks, and requested that the team work toward this. "At the time, Twin Peaks was rather popular. The drama was all about a small number of characters in a small town," Tezuka would recall. "So when it came to The Legend of Zelda: Link's Awakening, I wanted to make something that, while it would be small enough in scope to easily understand, it would have deep and distinctive characteristics."

Shigeru Miyamoto was focused on other projects at the time, and so the team was largely free to do as it pleased. Miyamoto had mentored his developers to prioritize fun, intuitiveness, and game flow above all else, which is why Mario and Zelda games were often light on storytelling. Koizumi, however, was a romantic and viewed videogames as a medium through which you could experience a kind of drama that was different from films and television. Without Miyamoto's oversight, Morita, Koizumi, Tanabe, and Tezuka began to turn their Zelda into a character-driven adventure filled with engaging side events and subplots.

The team spared no effort in surprising the player, even breaking established boundaries by featuring characters from the Mario and Kirby games—sometimes without the explicit permission of the handlers of those franchises. One of these elements was the inclusion of a fishing minigame. Kazuaki Morita, who had originally kicked off the Game Boy Zelda project, was fond of fishing and programmed a fishing activity into the game—something that would be present in nearly every Legend of Zelda game going forward. Without realizing it, Morita, Koizumi, Tanabe, and Tezuka were establishing the template for all Legend of Zelda games that would follow, particularly the tendency to draw inspiration from Twin Peaks and the idea of characters with an air of mystery about them.

"I'm certain it was an important element in the series making a breakthrough," Eiji Aonuma would say years later. "If we had proceeded from The Legend of Zelda: A Link to the Past straight to The Legend of Zelda: Ocarina of Time without The Legend of Zelda: Link's Awakening in between, The Legend of Zelda: Ocarina of Time would have been different."

"The first real game work that I did was on Link’s Awakening," Koizumi would recall in an interview. "But at the same time, I came in to write the manual, as I did on the previous game. But they had nothing in place. So I ended up making an entire story to go along with the game. The dream, the island, that was all mine. And so that was my first experience doing the kind of work that we would now call 'event design'. But there were not too many people at the time with expertise in that area, so I really had free reign to do what I wanted, so long as I didn’t make Miyamoto angry."

The Legend of Zelda: Link's Awakening took a year-and-a-half to complete and was released in 1993 for the Game Boy. The game went on to sell over 3.83 million units worldwide and is credited as being the first Legend of Zelda game to tell a proper story. It is directly responsible for the stronger story focus in future Zelda games, beginning with the game developed immediately after it.

Ocarina of Time
Following the release of The Legend of Zelda: Link's Awakening, Shigeru Miyamoto and Yoshiaki Koizumi began working on a version of Zelda II: The Adventure of Link for the Super Famicom designed using polygons. The two had been experimenting with a thin, polygonal Link viewed from a side-scrolling perspective similar to the original game. Plans to turn this concept into a full game fell through, and both developers moved on to other projects. However, the team maintained its desire to create another Zelda with swordfighting as its focus in the future.

In the interim, two important events that would help shape the future of Zelda had transpired. The first was the career path of Eiji Aonuma, an artist that had joined Nintendo in 1988. Aonuma had worked on games such as NES Open Tournament Golf, and eventually began working on his own game—one heavily inspired by The Legend of Zelda: A Link to the Past—on which he served as director. The second was the development of The Legend of Zelda: Link's Awakening, a game developed by a smaller team that would set the tone and aspirations for Nintendo's next major Zelda title.

1995 was when the very first signs of this title would manifest. Nintendo had revealed its next game videogame system, the Nintendo 64, to the public. Alongside the new console, the company announced an add-on peripheral for the device, similar to the Famicom Disk System. Dubbed the "64DD," this a disk drive that would provide the Nintendo 64 with additional RAM, as well as rewritable memory that would allow for user-created content to be saved to the disk. Nintendo's first game for the Nintendo 64 was going to be Super Mario 64—the first fully 3D Mario game the company had worked on—but following its release, Nintendo intended to release a new 3D Legend of Zelda as well.



A tech demo presenting Link rendered using 3D polygons on the Nintendo 64 hardware was shown to the public at Space World in 1995, prior to the release of the system the following year. It was programmed by Giles Goddard (one of the programmers on the original Star Fox, and the programmer behind the interactive Mario face in Super Mario 64), while Yoshiaki Koizumi provided the character models and animation work. Lastly, Takao Shimizu, who had co-directed the Game Boy Donkey Kong directed the short reel. After completing work on the demo reel, Shimizu went on to direct the next Star Fox game, Star Fox 64. Shortly thereafter, another Nintendo employee, Toru Osawa, was asked by Miyamoto if he would like to direct the company's next Zelda project for the Nintendo 64. Osawa agreed, and picked up where Shimizu had left off. The desire to create a Zelda game based around swordfighting persisted, and Osawa began penning a script for the project around this idea.

The following year, the Nintendo 64 was released alongside Super Mario 64. Shigeru Miyamoto, Takashi Tezuka, and Yoshiaki Koizumi had been spearheading that game's development, and successfully released it to critical acclaim in 1996. As development on Super Mario 64 wrapped, Koizumi and a programmer named Jin Ikeda joined Osawa, and began to experiment with how they could use their learnings to develop a new Zelda game in 3D. Similar to the way the original Legend of Zelda was conceived for the Famicom Disk System, the initial goal for this game was to make full use of the 64DD, utilizing its hardware to create a persistent world with lasting effects such as trees remaining cut once the player had chopped them down, or Link leaving permanent footprints behind him wherever he walked. The small team began experimenting with the hardware, using the game engine created for Super Mario 64 and modifying it as required to help build their new Zelda. Koizumi would be in charge of creating the character model and animations for Link, owing to his experience serving as one of the character animators on Super Mario 64 in addition to serving as that game's assistant director.



The first half of development would be spent on a this phase of experimentation. One of the initial ideas Miyamoto had was that the game would take place entirely within the confines of a castle. Similar to the castle in Super Mario 64, each room would lead to a different kind of environment such as a meadow or an ocean, and Link wouldn't actually be able to venture outside the castle at all. This idea was shortlived. Another suggestion from Miyamoto involved having the game play out from a first-person perspective, and when you'd encounter an enemy, the camera would shift to a side-scrolling viewpoint, similar to Zelda II and other role-playing games. This suggestion was rejected by Koizumi, who was putting a great deal of effort into the character model and animation for Link, and wished for it to be visible at all times. Unfortunately, like a hard disk, the 64DD consisted of mechanical moving parts, and depending on where on the disk the data was stored, it would take longer to retrieve. This limited the number of movements and animations that could be programmed for Link, and the idea of using the 64DD had to be shelved as a result. However, without the 64DD the development team would now have access to less storage space, which was a challenge in itself.

One of the other major problems the team faced was how combat in a 3D space would work. Since this Zelda was going to be in 3D, choosing the appropriate camera angle was one of the earliest issues the developers needed to solve. And so, since the game was to be based around the idea of swordfighting, Osawa, Koizumi and Ikeda decided to visit Toei Kyoto Studio park to seek out inspiration and a solution to their problem.

"As we went along looking at everything, it was so hot that we ducked into a playhouse to cool off," Osawa would recall in an Iwata Asks interview years later. "They were doing a ninja show. A number of ninja were surrounding the main samurai and one lashed out with a kusarigama (sickle-and-chain). The lead samurai caught it with his left arm, the chain stretched tight, and the ninja moved in a circle around him."



This show led the team to conceive of Z-targeting, or what is more commonly known as a "lock-on" in videogames—an invisible line connecting the player character and the enemy, which would cause you to circle around your opponent once you had locked on to them. It would ensure that the enemy remained within the player's line of sight, providing a practical alternative to camera control. A similar concept had appeared in Super Mario 64 where, if the player tried to read a signpost, they would sometimes end up going around it in circles. Additionally, the ninja show at Toei Kyoto Studio Park also demonstrated to the team that in staged swordfights enemies would attack the protagonist one at a time, so that he could engage them one-on-one. The combination of this knowledge and the idea for Z-targeting gave the developers a foundation upon which they could begin building the game's swordfighting system. Koizumi designed a lock-on marker that could be used to indicate what the player was locked on to, and created it in the shape of a simple fairy, which Osawa named "Navi"—referring to someone that would help navigate Link through the world. Without meaning to, Osawa, Koizumi, and Ikeda had provided Link with his first companion character—something Miyamoto had originally wanted to do in The Legend of Zelda: A Link to the Past.

The conception of Navi also allowed the developers to deal with some of the memory challenges they were facing. It was decided that, in the world of this new Zelda, every character in Link's village would have their own personal fairy. This made it so you could get away with just displaying someone's fairy (which consisted of a simple round model) if the player was standing far away from them, and have the actual character model appear as the player got closer. This system, in turn, led to a story idea whereby Link wouldn't have his own fairy companion at the start, meet one during his adventure, and have to part with her at the end of the game. It was a trademark example of Nintendo allowing practical game mechanics to dictate story ideas. And as ideas for the game's story began to expand, so did the team and its ambitions.



During the development of the original Super Mario Bros. and Legend of Zelda, the team working on the games would brainstorm ideas for both, and categorize them into "Mario ideas" and "Zelda ideas" as they deemed appropriate. During the development of Super Mario 64, Yoshiaki Koizumi had been doing the same, and would often refer to his notes while working on this new Zelda. One of the ideas that had been discussed for Mario 64 was the inclusion of a horse that the player would be able to ride. While that idea hadn't made it into Mario, Miyamoto wanted to include it in Zelda, and so the team began working on implementing it. They started by photographing horses for reference and even discussed bringing an actual horse into the studio to help with planning. (Although, eventually, they had to settle for balancing a plank across two footstools) As a result of the horse's inclusion, the game would need larger fields that the player could ride across, and so designer Makoto Miyanaga began creating Hyrule Field—a large central area that would connect the game's other locales.

Hyrule Field was initially densely populated with trees, but the team discovered that this led to the player having to slow down too often while on horseback, and so the number of obstacles in the player's path was reduced. Routes were included across the enormous field to help steer players towards places of consequence, and to prevent them from getting lost. The team also began implementing weather effects and a day-and-night cycle, in addition to littering the field with hidden secrets and discoverable items.

"It created quite a fuss when I first made [Hyrule Field]," Miyanaga would recall. "People were like, 'You can't make it that big!' Even riding a horse, it was so big that you would get bored riding around it, so we had to add something. Then lots of people took a hand in it, having enemies appear and putting holes here and there. We'd be like, 'This area's a bit empty, so I'll make a hole and put something in it.'"

In parallel, attention was being lavished on the character model for Link, and no expense was being spared to animate the character in a convincing fashion. This Zelda, like Zelda II, featured a more grown-up Link and Koizumi had designed him to look more "handsome" than in prior games at the request of his wife. The character's sideburns were reduced and he was given a sharper nose. Additionally, Koizumi pierced Link's ears to give him a more striking appearance. (Although, he noted it wouldn't have suited Nintendo's style to have Link appear "too cool," and so he also gave Link his trademark long, white underwear.)

"We’d been fussing over how Link should open a treasure chest for three years," Miyamoto would recall in an interview in 1998. "When we got the idea of using motion capture, there were some in the staff who were against it. We ended up deciding that just a little would be okay. My company is sometimes worried about losing money, so when motion capture was suggested we were met with a 'Do you really need that much equipment? Isn’t what you’re doing now okay?' sort of reaction. We started out using wireframe motion capture, but soon we made our own method which actually cost twice as much. But what’s the point of doing something that’s already been done before? When we were photographing horses, we even went as far as discussing how to bring a real horse into the studio. In the end we got two footstools and a plank and making our own horse like that."

"On the day I went to the studio, there was a fantastic iron-frame treasure chest with a sword and shield inside. It clearly had cost a lot of money. When I asked 'What is all this for?' the triumphant reply was 'We figured out how to open a treasure chest!' Their conclusion was that before you opened the chest you needed to kick the hinge first or there’s no way the action looked realistic. I wonder if the motion capture team made that, too… It was really good stuff."

The costs and workload required to create a game using 3D graphics spilled over to concept design as well. Up until that point, Nintendo had often outsourced illustrations and promotional art to companies that specialized in creating artwork. However, 3D graphics had started to become mainstream and digital art featuring 3D-rendered models needed to be produced for games like Super Mario 64. Finding that it wasn't technologically or financially feasible to outsource these renders to other companies, Nintendo had purchased an SGI supercomputer and its artists had begun learning the PowerAnimator tool to create key artwork for Nintendo 64 games. As this workflow was still in place after Super Mario 64 was completed, the team carried it over to the new Zelda as well.

Partway through development, it occurred to Miyamoto that he would like to see a younger version of Link appear in the game. He was against the idea of Link being "just another cool hero" and noted that he had remained a playful, childish character in most of the Zelda games he had personally worked on. At Miyamoto's insistence, the team began exploring the idea of a younger Link and Koizumi began testing the idea of applying the same animations to two separate character models—one older and one younger. The presence of two Links was justified by adjusting the game's story. At some point in the game, the younger Link would withdraw the Master Sword from its pedestal and would be transported several years into the future, where he would be an adult.

"Link's archenemy is Ganon, so I thought they should meet once when he's a child," Miyamoto would recall. "The innocent eyes of a child are able to see through to the truth, so Young Link knows instinctively that Ganon is a bad guy. When Adult Link meets him again, and Ganon says he's that boy from years before, it really hits you. You think to yourself, 'That's right. I'm that child from before.' Putting in that scene was really fun for me."

As development on progressed, Miyamoto began adding more members to the team. The year prior, Nintendo had released Marvelous: Another Treasure Island for the Super Famicom. The game had been directed by Eiji Aonuma, an artist that Miyamoto had personally had a hand in hiring, and was heavily influenced by The Legend of Zelda: A Link to the Past. Aonuma had also worked on a number of games in collaboration with external developers such as HAL Laboratory, but wanted to create more in-house titles with teams at Nintendo. Noting his interest in games that were similar to Zelda, Miyamoto invited him to join his team.



The Zelda team lacked someone that was capable of designing the game's dungeons in three dimensions. Despite having no prior experience with work of that nature, Aonuma was assigned the task and began brainstorming ideas on paper, trying to maintain a sense of logic within his dungeons while striving to constantly surprise the player. The first dungeon he worked on was the Forest Temple, where the path would twist and warp as Link traversed it. Aonuma would later state that the Forest Temple was his favourite dungeon in the game.

"While playing the previous [Legend of Zelda game], I tried to put in elements to solve the questions that I had for those games," Aonuma would recall in an interview years later. "For example, it is a terrible rule to restart from the entrance if the player fell inside the a dungeon. I made it clear for the player to see the entrance of the room where the boss is as he walks into the dungeon. You can say I put baits."

Aonuma's talent as a puppet designer helped him visualize the logic and moving parts for complex, three-dimensional dungeons, including the game's infamous Water Temple. He collaborated with other members of the development team, routinely tweaking his dungeons to be able to accommodate different items such as the Hookshot and so on, ensuring that none of them would disrupt progress within any of the dungeons. Eventually, Aonuma grew into the role of a systems director and was made one of several sub-directors that would lead different aspects of development.

One of the programmers assisting Aonuma with the creation of his dungeons was Kazuaki Morita, who had spearheaded development of The Legend of Zelda: Link's Awakening when he had begun experimenting with a development kit for the original Game Boy. Morita was fond of fishing and had included a fishing minigame in Link's Awakening, among other complex side events. Whilst working on the boss for Aonuma's Water Temple dungeon, Morita noted the presence of a pool-like water body. He happened to have the model of a fish on hand, and began experimenting by having the fish swim around inside the pool. This led to the creation of Morita's second fishing game for a Zelda title, and he began fleshing it out, even handling elements such as the sound and the music by himself.

Meanwhile, other parts of the game had begun to grow in scope and detail as well. Miyamoto was of the opinion that if Link could ride a horse, the team should include mounted archery and one-on-one duels. The team was able to include the former, but not the latter. One-on-one duels would later be implemented in The Legend of Zelda: Twilight Princess, which would serve as a spiritual successor to this game. Additionally, Miyamoto's fondness for including realistic logic in his games had persisted, and the team was working on adding minute details to objects in the game, such as wooden signboards. At Miyamoto's behest, the team had designed it so that swinging your sword vertically would cut planks in half, while swinging it diagonally would cut it a different way. If the resulting pieces of wood happened to fall into a body of water, they would float. Just as with A Link to the Past, Miyamoto believed in a strong sense of interactivity, and other members of the team such as Aonuma and Morita shared his obsession with detail, leading to constant iteration and polish.

This attention to detail spilled over into the game's story and characters as well. Yoshiaki Koizumi and Kazuaki Morita had been in charge of the story and events for The Legend of Zelda: Link's Awakening. Inspired by the characters and atmosphere of an American TV named show Twin Peaks, Link's Awakening had featured a cast of peculiar and memorable characters. Since the team for this new Zelda consisted of members of the Link's Awakening team, the staff pushed further in that direction. An owl-like character similar to the one in Link's Awakening was included, as were others inspired by those in the prior game—most notably Talon and Malon, a father-daughter pair that bore a striking resemblance to Tarin and Marin from the Game Boy game.

"When we decided to handle Link growing up from a 9-year-old child to a more mature 16-year-old, I wanted lots of characters to fulfill various roles," Miyamoto would recall. "For example, [the owl] Kaepora Gaebora is a grandfather figure who gives Link all kinds of advice and looks out for him. And since Link is a boy, I wanted girls besides Princess Zelda to show up."

The latter half of development on the new Zelda was spent almost exclusively on adding content to the game, in the form of dungeons, events involving the ocarina and music mechanic, and other sub-events. At its peak size, the development team for the game reached about 120 people—forty or fifty of which were in-house Nintendo employees, with the remaining staff comprised of people from external companies. The end result was a game that had five directors, one of whom was Yoichi Yamada—the co-director of Zelda II: The Adventure of Link, further strengthening this game's ties to that one.

Following multiple days to ensure "Zelda 64" was the best it could be, the team was under pressure to send it out into the world by fall of 1998. The Nintendo 64 was facing stiff competition from the PlayStation, and Nintendo needed a major title release to keep their platform competitive. After close to three years of development, The Legend of Zelda: Ocarina of Time was released in November 1998. In Japan, Nintendo would begin to use the new logo designed for The Legend of Zelda franchise by Girvin and continue to use it globally across the brand for the next several years.

While it couldn't turn the fortunes of the Nintendo 64 around, The Legend of Zelda: Ocarina of Time is generally considered one of the best and most memorable games in the series. It created the template for a number of 3D action-adventure games and for a number of 3D Zelda games after it. Selling over 7.6 million units, Ocarina of Time would become the benchmark by which all future Zelda games would be measured for years to come. Its immense success and cultural importance would cast a long shadow over the Zelda development team for years thereafter, and would lead to the retooling of The Legend of Zelda a number of times, as Nintendo would attempt to create a game that could surpass their first 3D Zelda.

Majora's Mask
By 1998, Nintendo found itself faced with a new challenge. Over the last few years, developing videogames had become an expensive prospect with the advent of 3D technology. Budgets had ballooned, team sizes had increased, and the amount of time, money, and effort required to create games was on the rise. Developers needed to learn to manage 3D cameras, physics, lighting, and a number of other technical minutiae that had been introduced with games like Super Mario 64, The Legend of Zelda: Ocarina of Time, and Eidos Interactive's Tomb Raider, and player expectations were at an all-time high.

Nintendo in particular had felt the full brunt of creating a big-budget 3D blockbuster with Ocarina of Time, and it had happened at a time the company was facing stiff competition from Sony's PlayStation. The PlayStation had deprived the Nintendo 64 of the third-party support previous Nintendo platforms such as the Famicom and Super Famicom had enjoyed, and the console had been getting by primarily off the back of Nintendo's own games.

The writing was on the wall—Nintendo needed to be able to release games faster if they wanted to continue supporting the Nintendo 64 in any reasonable capacity until their next platform was ready. With this in mind, Shigeru Miyamoto decreed that the company needed to do more with less—to create high-selling games with lower budgets than Ocarina of Time and Super Mario 64, and much quicker turnarounds.

"I feel there is a bad atmosphere that you can't do something new at Nintendo these days," Miyamoto would say to Japanese magazine 64 Dream. "I never thought things like this before. So now we are changing ourselves to an organization that allows people to do new things and energize ourselves. I'm saying to my people that from now on let's go for the game that can be developed within six months and sell a million copies. If you want to finish a game within six months, you have to make it within two months because you need to polish it for another four months. If someone asks me who can make such a thing, I'd tell them that I used to do it. It isn't a great thing to take three years. [Ocarina of Time] would have been finished in a much shorter period if we had cut some parts."

Ocarina of Time was originally meant to be compatible with the Nintendo 64DD, a Japan-only peripheral for the Nintendo 64. While the DD wasn't ready in time for that game's release, it was on track for release in the year 2000. By plugging in this Disc Drive underneath the console, it allowed the system to expand and rewrite a large amount of data. Nintendo had already released an updated version of Link's Awakening for the Game Boy Color, and Miyamoto asked his team to do the same with Ocarina of Time for the 64DD, in order to give the Nintendo 64 a second Zelda game in a short amount of time. This project, titled "Ura Zelda," was meant to use remixed dungeons from Ocarina and add other enhancements such as fleshing out unresolved plot threads. Eiji Aonuma, who had designed the dungeons for Ocarina of Time single-handed, was put in charge of the project.

However, Aonuma quickly grew bored at the prospect of remixing his older designs from Ocarina of Time and began working on new dungeons instead. Eventually, he mustered up the courage to request that he be allowed to create an entirely new Zelda game, and was granted the permission to do so—provided he could manage it within one year.

"It’s a shame when a game takes 3 years to make. So, I figured, why not do it in 1?" Miyamoto would say to Japanese publication Hobo Nikkan Itoi Shinbun. "I wanted to be able to say 'We can do it too!' I thought that if we just used the engine for Ocarina of Time and layered a new scenario on top of that, we’d be able to create a reasonably large game in 12 months."

Development of this new Zelda game began using just half the team behind Ocarina of Time, with a few new members bringing the total count to 30 -50 developers at the outset. However, it quickly became evident that a team this size would not be able to produce a new Zelda game in a year. As a result, Miyamoto and Aonuma began to pull other members of the original Ocarina team into the project. At the time, Yoshiaki Koizumi had been working on a board game that loosely involved the concept of playing with time. In in-game time, this game took place over the course of one week, but could actually be completed by the player in an hour through the manipulation of time. The idea was to develop a compact game that could be replayed over and over. Eventually, the game was cancelled and Koizumi recalled by Miyamoto to work on the new Zelda alongside Aonuma.

By the time the new team was assembled, there were six directors working on the game, similar to Ocarina of Time's multi-director system. Having directed a game entirely by himself before, Eiji Aonuma was put in charge of the overall project as the supervising director and the director in charge of the entire overworld. Meanwhile, Yoshiaki Koizumi was put in charge of sub-events and characters. Mitsuhiro Takano was in charge of the game's script. Kenta Usui involved with dungeon design. Yoichi Yamada was head of system management. Finally, Takumi Kawagoe was the director in charge of cutscenes. With this team in place, development began in earnest and the new game was tentatively titled "Zelda Gaiden". Aonuma and Koizumi used the latter's ideas for the time travel game, refined them, and began putting them into Zelda Gaiden, creating the Groundhog Day-like three-day system in the process. The idea was to create a game that took place in a single location with fewer dungeons, but provide a greater sense of depth and replayability. Rather than focusing on a story that was grand in scope, this new Zelda would involve Link being intimately involved with the inhabitants of a single town. The Twin Peaks influence returned for a third time, and in a much more obvious manner than in Link's Awakening and Ocarina of Time.

Koizumi's time-travel concept called for the game to play out over the course of a week, but the team felt that a week might be too long and the townsfolk's schedules might become too hard for players to remember. The Groundhog Day idea was trimmed to three days instead, which better fit the idea of Zelda Gaiden being a more compact experience. Meanwhile, the team also began developing sub-systems that would tie into the time-travel mechanic.

"The development of Ocarina of Time was so long, we were able to put in a whole lot of different elements into that game," Aonuma would reveal in an Iwata Asks interview several years later. "Out of those, there were ideas that weren't fully utilized, and ones that weren't used to their full potential. One of those was the mask salesman. So in Majora's Mask we felt it would be fun if Link himself transforms whenever he puts on those masks. As a basis of Zelda games, you're able to use items to do all sorts of different things, and we felt it would be a lot of fun if Link would acquire all these abilities by putting on these different masks. We felt that would expand the gameplay. So we made the game so Link could transform into Deku Link to fly in the air, Goron Link to roll across land, and Zora Link so that he could swim underwater. We also gave each of them a storyline. Once we decided we were going with masks, everything just came into place."

Zelda Gaiden, which would later be titled The Legend of Zelda: Majora's Mask, began to take on a sense of challenge. While Ocarina of Time was designed to be a "hospitable" experience for the player, Majora's Mask would challenge them to see if they had what it took to complete it. The game was being designed for players that had already played Ocarina of Time, and so the thinking was that a more challenging affair would be appropriate. Meanwhile, the notion of using the Nintendo 64DD had been shelved a second time, owing to the device being delayed, and the team instead opted to make use of another peripheral: the Expansion Pak. This smaller, more compact device added an additional 4MB of RAM to the Nintendo 64, bringing its total memory to 8MB. The plan was to release the Expansion Pak as part of the Nintendo 64DD package, but due to the delay of the latter device Nintendo opted to release the Expanion Pak sooner. A demo for Zelda Gaiden that was 50% complete was shown off at Nintendo's Spaceworld event in 1999 and by this point, the central theme involving masks had been implemented, and attendees had a chance to sample the game's story, set in the land of Termina—a parallel world that was not connected to Hyrule in any manner. The 4MB Expansion Pak had been implemented as well, allowing for higher resolution textures and fully 3D interiors, as opposed to the pre-rendered interiors found in Ocarina of Time. It came off as a different kind of Zelda game, created by a confident team with no inhibitions.

At the same event, Shigeru Miyamoto informed the media that Ura Zelda was still in production, and was still meant to be be compatible with the 64DD upon its release. The game, he said, had been put on hold so that the team could concentrate on Zelda Gaiden, but would be finished and released as a remixed version of Ocarina of Time with randomized elements at some point in the future.

As development on Majora's Mask progressed, members of the team began inserting more of themselves and their families into the game. Jason Leung, the screen writer for the English version of the game, revealed in an interview: "Normally, we wrap things up around 10 p.m., but tonight we finished up early since Mr. Miyamoto was taking the Zelda team out to dinner. There, game system director Eiji Aonuma and supervisor Takashi Tezuka told me how they've incorporated things from their everyday lives into the game. Development began in August, 1999 (though ideas for a sequel began right after Ocarina was finished), and the team rarely got to go home. As a result, many of the characters—like the Deku Scrubs, who are involved in a cross-country trading sequence—talk about not being able to spend time with their wives. During the development process, the programmers would often say, 'Let's not bring my wife into this,' which was their way of saying that they didn't want to be reminded of their home life. They already felt bad that they were spending so much time at the office to work on perfecting the game. As a little in-joke, Mr. Takano scripted that the mayor in the game says "Let's not bring my wife into this," during his exhausting, overlong council meeting."

The end result of these efforts was a sequel to Ocarina of Time that, while built on the same underlying technology, was incredibly unique. In fact, Majora's Mask's controversial Groundhog Day mechanic even ruffled feathers among Nintendo's in-house debugging team. In an interview, Miyamoto would state: "Even though it's a forbidden thing for a Zelda game, we still decided to have the clock tick in the dungeons. When we first sent it to the Mario Club, we had loads of angry feedback saying ‘It doesn't fit Zelda!’ But after a while that feedback would change to ‘It's actually a good thing’."

Following a year of strenuous overtime and crunch, The Legend of Zelda: Majora's Mask was released on April 2000 in Japan and later that fall in the U.S. and Europe. The game went on to sell just 3.36 million units on the Nintendo 64—less than half the sales of Ocarina of Time. While this was largely down to low sales of the Nintendo 64 platform, it would emerge in the years that followed that the development philosophy Majora's Mask was the beginning of an identity crisis that would afflict The Legend of Zelda brand for the next decade. As Nintendo would struggle to determine its priorities, Zelda would go through a tumultuous few years.

The Formation of Flagship
In 1997, prior to the release of The Legend of Zelda: Ocarina of Time, a designer at Capcom, Yoshiki Okamoto, established a new studio dedicated to creating games for multiple platforms. During his time at Capcom, Okamoto had directed a number of well-respected games such as Final Fight and the incredibly popular Street Fighter II, and was also the supervisor overseeing the company's new Resident Evil series of games, the first of which had just been released to immense success on the PlayStation.

Okamoto's new studio, named Flagship, was set up as a subsidiary under Capcom and was jointly funded by Capcom, Sega, and Nintendo. The idea was that Flagship would specialize in developing story scenarios for Sega Saturn, PlayStation, and Nintendo 64 games in collaboration with the three companies. Among these projects was a game meant to serve as a prequel to Resident Evil, titled Biohazard Zero (eventually better known as Resident Evil Zero). The idea for the project initially came about due to the Nintendo 64 hardware itself when Capcom's designers discovered that the Nintendo 64's cartridge format would allow for quick switching between two separate playable characters without the need for a loading screen like on the CD-ROM format used by the PlayStation. Eventually, despite starting production on the Nintendo 64, Resident Evil Zero would be rebooted as a Gamecube project and released in 2002.

In 1999, while Flagship was involved in the scenario creation for Resident Evil Zero, Okamoto approached Nintendo about the possibility of the studio contributing to first-party games, including a new Legend of Zelda. Nintendo's Shigeru Miyamoto agreed to his proposal, and the staff at Flagship that weren't on other projects began drafting a story for a remake of the NES Legend of Zelda on Nintendo's Game Boy Color platform. Okamoto would supervise the project, with the intent being to introduce a new generation of players to the appeal of that first game.

While Flagship was starting with a remake of the first The Legend of Zelda, the team planned to use that project as a launching-off point for entirely new Zelda games developed in collaboration with Nintendo. Okamoto assumed that porting the first Zelda over to the Game Boy Color would take three or four months. Following this, the team would use the same infrastructure used for the remake to create two new entirely new games, with the stories of all three being connected in some fashion. The three-game trilogy would be titled Legend of Zelda: The Mysterious Acorn, with the three chapters titled Chapter of Courage (the remake),Chapter of Power, and Chapter of Wisdom—named after the three pieces of the series' Tri Force artifact.

Oracle of Ages/Seasons
The first screenshots for The Legend of Zelda: The Mysterious Acorn appeared in Famitsu magazine in August of 1999. Nintendo announced that they would demo the new Game Boy Color series of games at their upcoming Spaceworld event, along with Zelda Gaiden (which hadn't yet turned into The Legend of Zelda: Majora's Mask). The Game Boy Color titles, Nintendo said, comprised a trilogy that could be completed in any order, with each game having the ability to affect the stories of the other two. The following year, all three games were given tentative English titles: The Mystical Seed of Power, The Mystical Seed of Courage, and The Mystical Seed of Wisdom. Nintendo intended to release one of the three games in late summer, with the second following in early Fall, and the final game in time for Christmas.

Flagship designer Hidemaro Fujibayashi was in charge of leading development. Yoshiki Okamoto, founder of Flagship and supervisor of these new Zeldas, had originally assigned Fujibayashi to serve as his assistant of sorts on the trilogy. Fujibayashi would compile the ideas Okamoto and his team had, and eventually used them to write the original proposal Flagship had presented to Nintendo. Eventually, Fujibayashi began taking an active part in development himself and was promoted to director by Okamoto. Fujibayashi then began approaching Capcom artists and programmers to put a full-fledged development team together—one capable of developing the entire game instead of just the story.

"The core of the games was pretty much decided," Fujibayashi would recall in an interview. "That is to say, the fact that [the games] would be on the Game Boy Color, the use of the four seasons, and the decision to retain the feel of the 2D Zelda games. It was also decided that it would be a series, so I thought the link system up as a way to make use of that idea. I wanted, for example, that if you missed an enemy in the first game, you would encounter it in the next one. That’s the kind of game I wanted to make it. Zelda is a game with a solid world, so I thought we could express the characters’ 'existence' like in the N64 games on the Game Boy, too."

"We wanted to go in a different direction from the big serious story games like Final Fantasy," Okamoto would say. "This is an action-oriented RPG. It's a 'lighter' style, kind of like a weekly TV drama (as opposed to an epic film). We knew that we could use the same basic style as the existing Zelda games and make two really fun games. We also liked the possibility of having multiple endings and the replay value that you get from two linking games. I knew that we could project a fun, entertaining style with multiple titles."

By mid-2000, one of the three games in the trilogy had been shelved. The original intention had been to remake the NES Legend of Zelda for the Game Boy Color, followed by two new games. The idea was that Flagship would use a remake as a test bed of sorts and eventually develop two entirely new games using the same underlying technology. All three games would serve as a single trilogy, and would allow the player to complete them in any order. Unfortunately, the Flagship team's desire to create an entirely new Zelda right off the bat, combined with unforeseen complications on the remake, eventually led to that part of the project being shelved.

Prior to development kicking off, Flagship had failed to account for the fact that the Game Boy Color used a narrower screen than a television. As a result, the GBC wasn't able to display rooms built for the NES Zelda in their entirety. The player was required to move around to be able to view the full extent of the room they were in, which meant it was easy for them to miss details such as stairways or cracks in the wall and other similar clues meant to steer progress. Additionally, because Flagship primarily specialized in writing story scenarios for videogames, the studio had trouble reconciling its story ambitions with how the game would actually play. Essentially, the developers would constantly need to rework the story and environments to fit one another.

Instead, it was decided that Flagship and Nintendo would only release the two new games, both taking place in a new setting: the land of Holodrum. When the team was about 60% through development, Nintendo's Yoichi Yamada joined the project as an additional supervisor, and Fujibayashi began consulting directly with Yamada and Miyamoto, strengthening his relationship with Nintendo in the process.

Since the two games—whose final titles were revealed to be Oracle of Ages and Oracle of Seasons—were being developed alongside The Legend of Zelda: Majora's Mask, references to that game, as well as its predecessor, were included. Oracle of Ages contained characters that appeared in Majora's Mask, while in Oracle of Seasons the player would meet characters from Ocarina of Time. Flagship and Capcom's development staff would also insert their own personalities into the game, with Fujibayashi later stating that the Oracle games are indicative of the differences between the people of Kyoto (where Nintendo was headquartered) and the people of Osaka (where Capcom's office was located). Nintendo's Yusuke Nakano collaborated with Flagship to design the game's characters. Nakano would listen to how the development team envisioned the in-game sprites and create illustrations based on these notes.

Despite cutting their work down from three games to two, developing two separate, yet connected Zeldas continued to prove challenging for the Flagship team, with team members crunching to have the project completed on time. "There’s a 'Black Tower' in Oracle of Ages, with people made to work there," Fujibayashi would reveal in an interview. "Their dialogue is along the lines of 'There’s no end to this work' or 'I can’t go home'. There were also team members that couldn’t go home much during development, so we put those characters in as a parody. But our team feels really cozy, so the general atmosphere was great. People who’d just come by with a message would end up in a meeting and chat with us for two hours before leaving again."

"After we started to produce a three-title concept, where players would reach the same goals no matter in which order they chose to play the games, it was difficult for us to see all of the problems in making three linking games," Okamoto would reveal in an interview. "When Mr. Miyamoto said, 'Wouldn't it be simpler to create two titles, instead of three?' we said, 'Yes, of course!' He really saved us. Then, we moved in the direction of the two-title concept. To be honest, I think that it would've been impossible to develop three titles like that. Even now (with two titles releasing simultaneously) we are working very hard to prevent program bugs."

The Legend of Zelda: Oracle of Ages and The Legend of Zelda: Oracle of Seasons were eventually released on the same day, first in Japan and then in North America and Europe. As intended, the games were designed to be played in any order, with the second serving as a sequel to the first. Due to the fact that they'd been delayed, both were published just a month prior to the release of Nintendo's next portable platform, the Game Boy Advance. They went on to sell a combined total of 3.96 million units worldwide and would eventually lead to director Hidemaro Fujibayashi joining Nintendo as a full-time employee of the company.

Spaceworld 2000


In May 1999, prior to the release of The Legend of Zelda: Majora's Mask and the two Oracle games, Nintendo announced a codename for its next home console: "Project Dolphin". The console's GPU was being developed in collaboration with a company named ArtX led by Dr. Wei Yen, who had been responsible for the Nintendo 64 graphics chip. ArtX was later acquired by ATI, which would remain the graphics provider for Nintendo consoles for the next several years. Meanwhile, for the Dolphin's CPU, Nintendo partnered with the technology firm IBM, which produced a custom chip named "Gekko" to power the device.

As development on Majora's Mask was wrapping up, the development team began working on plans for the next Zelda title, which would be released for Project Dolphin. The team experimented with different art styles and rendering techniques to determine what the next Legend of Zelda game for home consoles should look like. Coming off the failure of the Nintendo 64, there was pressure for this new system and its games to perform well. By this point, Eiji Aonuma, the director of Majora's Mask, had been put in charge of the next home console Zelda game as well, and was slowly gaining the confidence to take the reins of the Zelda franchise.

In August 2000, Nintendo officially revealed their upcoming new console: the Nintendo GameCube. At E3 the following year, they unveiled fifteen launch games for the platform, including Luigi's Mansion and Star Wars: Rogue Squadron II. Alongside these, Nintendo also presented a tech demo for what a Legend of Zelda game could look like on the Gamecube hardware, similar to their Nintendo 64 tech demo years ago. The demonstration featured an adult-looking Link, modeled after his Ocarina of Time design, engaging Ganon in a one-on-one duel. The short reel was extremely positively received, with most assuming it represented how the next Legend of Zelda game would look.

The Wind Waker
By late 2000, The Legend of Zelda: Majora's Mask had shipped. While the game itself had been well-received, there wasn't much it—or any other title—could do to resuscitate the Nintendo 64, which had ceded both the Japanese and Western videogame markets to Sony's PlayStation. Knowing the Nintendo 64 was on its way out, Nintendo had revealed its next videogame console—the GameCube—to the public. The Zelda team had already begun experimenting with this new system, with the intent of getting a game out as quickly as possible.

Under the direction of Eiji Aonuma and Yoshiaki Koizumi, Majora's Mask had set itself well apart from The Legend of Zelda: Ocarina of Time. The game's unique three-day system, cast of oddball characters, and short development cycle had made for a happy accident of sorts, giving Majora's Mask an opportunity to stand out in contrast to Ocarina, even though the two games shared several art and design assets in common. Now it was time to do it again, but the development team would quickly realize that this was easier said than done. Retreading old ground wasn't something Shigeru Miyamoto encouraged, but at the same time entirely new ideas were a rare occurrence and the team couldn't come up with any.

Chief among the challenges involved was determining what the next Zelda game would even look like. Earlier in the year, a small team had produced a tech demo for the GameCube's public reveal that depicted a semi-realistic Link and Ganondorf locked in a duel, and while the short reel had fans excited, the development team was apprehensive about whether it was the right direction to proceed in.

Character designers Satoru Takizawa and Yoshiki Haruhana—both of whom had worked on the Spaceworld 2000 tech demo—felt the need to create something new. Takizawa had been in charge of creating enemy character models for Ocarina of Time, while Haruhana had been in charge of NPCs.

"At the time, [Yoshiki] Haruhana-san and I were a part of the core staff from the start, and we had been trying to figure out which graphical direction to take for the next Zelda game," Takizawa would recall in an Iwata Asks interview years later. "And we wondered whether continuing the path taken by Ocarina of Time, and evolving upon it by giving it more detail was really the right path."

Director Eiji Aonuma would add: "It was difficult for us to imagine ourselves easily coming up with new ideas and expanding on that world if we had chosen that path. Of course, while a game is more than its visuals, it was going to be made mostly by the same people, and the ideas we had within the same team has its limits."

Eventually, it was Yoshiki Haruhana that found a way forward, when he presented the team with a cartoon-ish illustration of Link. According to Haruhana, he had been browsing through a videogame magazine and felt that all the games within looked too similar to one another. He grew concerned that the next Zelda would end up feeling the same way, and began thinking about what needed to be done with its art to make it stand out. The piece he presented to the team accomplished just that, and sparked the imaginations of the other artists. In turn, Takizawa illustrated a Moblin character fashioned after the new Link's stylized design, believing that this new style would allow for better animation. Test animations soon followed and the team began experimenting with how Link and the Moblin would fight. The resulting demo reel convinced the designers and director Eiji Aonuma to use cel-shading (or toon-shading) as the basis for how their new Zelda game would look.

"At the time, when the GameCube came out, within the computer graphics world, within the industry, 'toon shading' was kind of a buzzword," Aonuma would recall in an interview several years later. "There was a lot of chatter about it, but no one had really explored it in games yet, at the time. The staff that I work with was curious, so we challenged it. We tried it."

Inspired by their striking new visual style, the development team began brainstorming ideas around Zelda's core foundations: interactivity and an in-game logic that would make sense to the player. Animation aside, one of the other advantages of the stylized new visuals was that it made it easier to highlight in-game objects and puzzle mechanics in a way that would stand out. The belief among the team was that photorealistic visuals made it more difficult to convey things to the player. For example; if you needed the player to bomb a breakable wall, it was harder to make the wall stand out from non-bombable walls if the artwork was overly realistic. And so, the team leaned into the idea of a highly-stylized, animated world filled with moving parts and visual flourishes. Moblins would have strands of rope hanging from their spears, while suspension bridges would feature them as well. In order to make these animate convincingly, they were handed to a programmer that had been in charge of Majora's Wrath, an enemy in Majora's Mask that used whips.

It was decided early on that the new game would be set among the seas, in order to help it stand apart from prior Zeldas. The team liked the idea of using the open sea to design the mechanics of the game world, and what sort of characters would reside in it. They began working out just how large they could make the sea in a way that the GameCube hardware would be able to process. In order to make transitions seamless between sailing and docking at an island, the team experimented with the sizes of the sea as well as the islands themselves. The GameCube wouldn't load environments in quickly enough if the islands were too large, placed too close together, or if Link approached them too quickly.

By August 2001, the development team had made enough headway on the game for Nintendo to show a clip off at Spaceworld 2001. The following year, the company presented a playable demo to the public at E3. Reactions to it were predictably mixed, due to the fact that the actual game looked so different from the Spaceworld 2000 GameCube tech demo, which had used a more realistic visual style. To many, the dramatic change to the game's art indicated that Nintendo was trying to appeal to children, instead of expanding upon the edgier style of Ocarina of Time and Majora's Mask, which had now cemented itself as the norm for Zelda games on home consoles. This perception was something that the company would spend the next several months combating, up until release. Meanwhile, the split opinions also made their way back to the development team, who acknowledged the controversy but pushed ahead with development, hoping to win the public over with a finished product.

"If I think back, people were cleanly split into two groups. With one happy and saying 'The characters are so expressive that it’s like I’m controlling an anime,' and another resisting it, saying 'It’s like a game for small kids with the characters this cute,'" late Nintendo president Satoru Iwata would recall many years later.

"We never hesitated in our desire to make a completely new Zelda game," Aonuma would say. "But we did notice the negative reaction when we announced it, so we were uneasy. But developing the game timidly would have been the worst thing, so we plunged ahead, determined to go all out hoping to gain acceptance."

Development on the game—ultimately titled The Legend of Zelda: The Wind Waker—was completed in late 2003. In order to complete it on time, the development team had to cut two entire dungeons from the scope of the game and replace them with a quest to recover Triforce pieces scattered around the sea. Nintendo marketed the game heavily as its release drew close, advertising it as "animation you could touch" in the Japanese market. To spur pre-orders of the game, Nintendo also offered a bonus disc to fans, containing a GameCube port of The Legend of Zelda: Ocarina of Time. The port contained a bonus mode titled "Master Quest," which was based on Ocarina's previously unreleased expansion, Ura Zelda, which had been in development for the Nintendo 64. As a result, The Wind Waker quickly saw Nintendo's most successful pre-order campaign in history, with Nintendo of America announcing that the game had seen 560,000 pre-orders in North America alone.

While pre-orders and initial sales for The Wind Waker were satisfactory, Nintendo found that they began to lose steam quickly afterwards. In Japan, this was attributed largely to the fact that the videogame market had begun to decline. Meanwhile, in the west it was initially assumed that the lower sales were primarily due to the The Wind Waker's cartoon-ish visual style, which had proven unpopular with The Legend of Zelda's primary audience in North America. However, the actual answer eventually proved to be more complicated.

By this point, director Eiji Aonuma had a concrete idea of what Zelda's audience expected from each subsequent game. He would state: "Basically, most of the things we try to change in new Zelda games come from experiences in developing improvements and expansions on past Zelda games. What I like to call inevitable changes. The question of whether what the creators see as being inevitable or necessary changes will be considered so by the consumer is a difficult one to answer. But, we think that as long as we're able to add new elements of fun without losing what was good about the last installment, then we believe the new games will continue to be games that Zelda fans are happy with."

The problem with The Wind Waker was that it hadn't struck the balance of new-versus-existing appeal well enough. Nintendo's unintentional misdirect with their Spaceworld 2000 GameCube tech demo had led players to believe that they would expand upon the moody visual style introduced in Ocarina of Time. When the actual game ended up going in an entirely different direction, it alienated a large portion of the audience that wanted a successor to Ocarina. At the same time, The Wind Waker also failed to offer enough new features that felt genuinely fresh and exciting to the mainstream market, which meant that it wasn't able to attract new fans to make up for lost ones. Most of the items in the game were the same as those seen in prior Zeldas and Aonuma conceded that the team hadn't been able to add any truly new ideas to the core Zelda gameplay since the series had gone 3D. This had resulted in seasoned gamers growing tired of the formula, while those that weren't fond of videogames found Zelda too complicated. These issues, combined with low sales of the GameCube, led to The Wind Waker selling just 4.43 million units worldwide—far lower than Ocarina of Time's 7.6 million.

For the next several years after The Wind Waker's release, the Legend of Zelda development team would find itself struggling to balance the needs of the Japanese and western videogame markets. As it would transpire, player habits between the two would go in completely different directions, and various Zelda games would prioritize one over the other in how they were designed. Meanwhile, Nintendo on the whole would be far more careful in terms of setting consumer expectations, keen to avoid another Spaceworld 2000 situation.

Four Swords
Following the release of The Legend of Zelda: Oracle of Ages and The Legend of Zelda: Oracle of Seasons in 2001, work began on a new portable Zelda game, this time for the Game Boy Advance, which had been released the same year. The new game would be developed by Flagship and Capcom in collaboration with Nintendo once more, and Hidemaro Fujibayashi would direct. Shortly after it began development, however, the project was put on hold in favour of getting another game out first: a remake of The Legend of Zelda: A Link to the Past.

A remake of an older Zelda for one of Nintendo's portable platforms had been a long time coming. Nintendo had already experimented with the idea of remaking A Link to the Past for the Game Boy, but that project had eventually morphed into The Legend of Zelda: Link's Awakening. Later, Flagship had attempted to remake the original Legend of Zelda for the Game Boy Color, but that project would turn into Oracle of Ages and Oracle of Seasons. This time, there was a simpler, clearer vision in place for the project: A Link to the Past would be re-released with minimal changes for the Game Boy Advance, and an entirely separate multiplayer game dubbed The Legend of Zelda: Four Swords would be included as bonus material.

Nintendo had grown increasingly wary of a phenomenon dubbed "Gamer Drift" in Japan. It referred to the ongoing decline of the videogame market, and the company had been experimenting with different ways to combat it across their various franchises. In the case of Zelda, one of the experiments the main development team had attempted was allowing the GameCube game, The Wind Waker, to connect to the Game Boy Advance, similar to the way Pokémon games were able to connect across home and portable consoles.

Nintendo wanted to explore the concept of connectivity further with a separate Zelda game, which led to the creation of the Four Swords mode. Daiki Iwamoto, who had served as a programmer on Super Mario 64 and created cinematic sequences for Ocarina of Time, was one of the programmers in charge of porting A Link to the Past to the Game Boy Advance. Meanwhile, Hidemaro Fujibayashi served as the director for Four Swords, which required at least two players to play. Playing the Four Swords' quest would, in turn, unlock bonus material in A Link to the Past''.

Four Swords allowed up to four players with Game Boy Advance devices and four copies of the game to play together. Each player would be represented by a Link of a different colour, and Link's overall design was modeled after the Toon Link concept created for The Legend of Zelda: The Wind Waker.

The Legend of Zelda: A Link to the Past & Four Swords was released in 2002 for the Game Boy Advance and sold 1.89 million units on the device. Nintendo of America used the game's re-release as an opportunity to redo A Link to the Past's English text, unifying its terminology with that of future Zelda games.

Gamer Drift & Aonuma's Conundrum
By 2003, the Japanese videogame market had declined visibly, both in terms of hardware and software sales. This phenomenon was being referred to as "Gamer Drift"—where existing customers were losing interest in videogames and not enough new customers were being created to take their place. Gamer drift was something Nintendo in particular took very seriously. They had attributed low sales of the GameCube and The Legend of Zelda: The Wind Waker in part to the phenomenon, and the general sense was that the next Zelda game was going to face an uphill battle in the Japanese market. While the North American videogame market was much healthier, The Wind Waker hadn't sold to expectations in the Americas either, owing to the game's divisive visual style and the fact that it hadn't been able make up for lost fans with new ones. As a result, there was a sense of uncertainty about where The Legend of Zelda needed to go next, and what exactly the future would hold.

Meanwhile, director Eiji Aonuma faced a personal conundrum. Aonuma had served as one of many directors on The Legend of Zelda: Ocarina of Time and as the sole director of the two console Zelda games succeeding it. By the time development on The Wind Waker had wrapped, Aonuma found himself exhausted by the heavy workload. While on tour in Europe to promote the game, he also realized he was uncomfortable conducting interviews alongside his mentor Shigeru Miyamoto. Miyamoto had invented the Zelda franchise and had strong opinions about just what constituted the "Zelda-ness" that made the games appealing. While Aonuma had directed the past few games, Miyamoto still had the final say in what was allowed and what wasn't, and his reasoning was often unclear to the director.

"Mr. Miyamoto points out every mistake that I made in front of the reporters!" Aonuma would jokingly reveal in an interview several years later. "For example, the most frequently asked question from the reporters is about that 'Zelda-ness (What makes a game a Zelda game)'. It’s a hard question to answer, even for us. Even Mr. Miyamoto is inconsistent with his answers. In one interview he answered, 'Zelda games are unique,' and then in another he suggested, 'Zelda games demonstrate growth'. I’m like, 'which one is it?' But in an interview, I must give an answer to every question. So I would talk about that 'Zelda-ness' just as Mr. Miyamoto would describe, only to be interrupted by Mr. Miyamoto himself disagreeing with me saying, 'No, that’s different,' in front of all the reporters!"

There were other differences between the two developers as well. While storytelling in games didn't necessarily matter to Miyamoto, Aonuma did care deeply telling stories with his games. It was why he had made an effort to tie the story of The Wind Waker to Ocarina of Time, and officialized the split timeline that would arise out of Ocarina's ending. Eventually, fatigued by The Wind Waker's development and the subsequent promotional tour, Aonuma eventually informed Miyamoto that he wanted to step down as director of the Zelda games and work on something new instead. In turn, the latter requested he stay and asked that Aonuma take on the role of a producer, acting in a supervisory role and focusing on making the series better. Inspired by the opportunity, Aonuma agreed and began brainstorming a variety of different Legend of Zelda games—one of which would ultimately save the franchise from an untimely demise.

Four Swords Adventures
text

The Minish Cap
text

Twilight Princess
text

Monolith Soft Joins Nintendo
text

Phantom Hourglass
text