Aonuma on fans’ new affection for Toon Link, thought cel-shading would be used in other games more commonly, no real budget constraints, more

GameSpot has put up a new article/interview with Zelda producer Eiji Aonuma. Topics include Toon Link, cel-shading technology, budgets, and more. You can find the Q&A rundown after the break.

On why fans have come to like Toon Link…

“Our first reaction was that we really wanted to know why this had changed. In this case, when we thought about why this reaction change occurred, we realize there’s mainly two factors. One is that, at the time when we first released Toon Link, the art style was a huge change to previous games, and users are often scared of this change–or at least people react in a big way if something changes and doesn’t change to what they expect.”

“I personally like Toon Link, so after Wind Waker we created Phantom Hourglass and Spirit Tracks with the new artwork style. As we did that, then new users joined the franchise and the recognition of Toon Link became widely accepted. This is also one factor why Wind Waker has been remade.”

On Nintendo’s expectations that the cel-shading technology would become part of many other games…

“This artwork style of Toon Link, we thought this would be the same sort of style used in a lot of other games. But it didn’t really get used. Even though it’s not brand new now, it’s still something that’s unique, and the specialness has not been taken away. That’s another reason why we could release The Wind Waker [HD in 2013], because it’s recognized but has remained unique.”

On how the change in attitudes towards Toon Link made it pleasing to create Wind Waker HD…

“We were supported and got more confidence from that, so it was a really pleasing experience for us to create the game.”

Aonuma also spoke about his favorite moments in The Wind Waker, explaining some of the reasons why the game has become so iconic since its original release in 2003. Here’s what he pointed to specifically:

On the game’s opening cutscenes on Outset Island…

“I was writing cutscene scripts, so people could design it how I wanted it, and one really important part of the cutscenes is when Aryll gets taken away. It’s really where the adventure begins, because Link then starts off on this journey. I really enjoy that as one of my favorite moments of playing the game.”

On the Forsaken Fortress…

“This scene where you have to hide and then you plan to get sent over in the barrel is something that’s quite exciting, and really one of my favorite scenes. I think it’s really important how the user feels connected to Link, his behavior and his actions, because as you play you get better at playing the game. Link himself also evolves, and becomes better. This connection is something that’s really important in the game.”

Aonuma on the Wind Temple boss Molgera…

“The boss when he comes out of the sand, the background music to that particular scene is really exciting for me, so this is really a moment that I cherish as one of my favorites.”

Aonuma on how the Zelda team is not subjected to the same kind of budget and sales pressures of average developer…

“I usually get instruction from Miyamoto-san to create a new Zelda game, and then what I need to do is to state roughly an estimation of budget and the staff numbers we’d need in order to create such a game. In our case, we don’t often experience budget constraints, it’s more that we need to negotiate how much budget and stuff we need in order to create the game which we’re aiming to achieve.”

“So that’s probably a different situation than some other development teams.”