Crrash
04-12-2007, 14:42
tenho visto muitas intervistas com o Yoshiaki Koizumi, e tenho de dizer que ele lá subiu na minha consideração quase ao nivel do Miyamoto.
É que enquanto o Miyamoto gosta de fazer os jogos divertidos (que é muito necessário e sempre ajudou a nintendo) ele fica preso na era pacman e donkey kong em que há pouca historia e nenhuma no jogo (apesar de ele ter sido um dos primeiros a realmente usar historia nos jogos com o Zelda).
O Koizumi é a pessoa que trouxe a historia para os jogos, desde o Zelda Links awakening, passando pelo Ocarina of Time e finalmente o Super mario galaxy
http://blog.wired.com/games/2007/12/interview-super.html
Ever been touched by a storyline element in a Mario or a Zelda game? You can thank Yoshiaki Koizumi, director of Super Mario Galaxy and a 16-year veteran of Nintendo's top development teams. Educated as a filmmaker, Koizumi wanted to get deeper stories into Nintendo's games -- even if Mario creator Shigeru Miyamoto didn't.
"I would sort of try to find sneaky ways to get [story elements] in without them noticing too much," Koizumi said of his early work. "These are aspects of the games that Miyamoto wasn't nearly as fond of, and occasionally didn't like."
[...]
YK: My first assignment was to do the art and layout and eventually the writing for the manual for The Legend of Zelda: A Link To The Past. 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. 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. WN: Have you seen things change since then, where the story is now coming from the game rather than the instruction manual?
YK: The situation is totally different now. There are so many people with so many different job titles. But back then, the people who wrote the manuals often became the people who came up with most of the backstory for the entire game. The first real game work that I did was on Link's Awakening. 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.
[...]
WN: So after Link's Awakening, was your work mostly concentrated on writing for the games themselves? Also, in a broader sense, Nintendo's games don't usually pursue big, dramatic stories. How would you compare that to the way other cinematic video games are done? What style is better for getting the story across?
YK: You're right, EAD doesn't tend to focus on the big story in most of their games. But I was the one coming up with scenarios, just on my own, ever since the time of Link's Awakening. But even at that time, I felt like I came up with this entire scenario and a backstory for Link, but nobody really seemed to care. They were always saying, let's not try to push the story forward too much.
So I would sort of try to find sneaky ways to get it in without them noticing too much. For example, I always liked the idea of you coming upon another character and hearing little bits of conversation that slowly begin to reveal different parts of the story. And that was the way that I tried to work on Ocarina of Time and Majora's Mask. A lot of the EAD games that do seem to have a lot of story, a lot of that came from my influence. But those are aspects of the games that Miyamoto wasn't nearly as fond of and occasionally didn't like.
[...]
WN: And staying on that subject, one of the things that struck me the most out of Super Mario Galaxy were the storybook sequences. That was the closest a Mario game ever got to getting an emotional reaction out of me. Was that your influence?
YK: For a long time, it really felt like telling a story in a Mario game was something that wasn't allowed. But I felt in this case that the Lumas and Rosalina really needed a story to explain what they were doing out there and to give the players a deeper understanding of their presence. So telling her story as a fairytale by reading the book to all the Lumas as if they were young children at storytime just seemed like the mood-appropriate way to accomplish this.
Dropping it into the game in the middle of the hub right there as something you could choose if you wanted to, I felt worked very well. If the book was standing all alone on its own, or if the game story was standing on its own, neither of them work very well as separate elements. But together, they reinforce each other quite nicely. And people have the option of hearing that story if they want to, or never going into that room if they don't want to hear it. Even so, just making the children's book was quite a feat. It was a bit of a struggle for us to get it done. And a couple things that we cut from the book ended up going into the main story as well. So it was a pretty good process.
[...]
WN: Do you feel that at some point you'll have to take over for Miyamoto and be the one putting these questions to people?
YK: Certainly, if that situation presents itself, I'll be happy to do so. But I already feel like I've incorporated that style of working. When there are members of my team who come to me, even if I know the solution to the problem, I won't give them the solution, just the direction. And they know what they're supposed to do, from that point.
[...]
YK: When making Galaxy, there were a lot of ideas that didn't make it into the final product. And those are very likely to go into the next game that I work on. But having said that, there's no real demo, a proof of concept tech demo or anything like that -- it's just ideas, at this point.
leiam a entrevista, tambem tem mais alguns detalhes sobre o miyamoto
É que enquanto o Miyamoto gosta de fazer os jogos divertidos (que é muito necessário e sempre ajudou a nintendo) ele fica preso na era pacman e donkey kong em que há pouca historia e nenhuma no jogo (apesar de ele ter sido um dos primeiros a realmente usar historia nos jogos com o Zelda).
O Koizumi é a pessoa que trouxe a historia para os jogos, desde o Zelda Links awakening, passando pelo Ocarina of Time e finalmente o Super mario galaxy
http://blog.wired.com/games/2007/12/interview-super.html
Ever been touched by a storyline element in a Mario or a Zelda game? You can thank Yoshiaki Koizumi, director of Super Mario Galaxy and a 16-year veteran of Nintendo's top development teams. Educated as a filmmaker, Koizumi wanted to get deeper stories into Nintendo's games -- even if Mario creator Shigeru Miyamoto didn't.
"I would sort of try to find sneaky ways to get [story elements] in without them noticing too much," Koizumi said of his early work. "These are aspects of the games that Miyamoto wasn't nearly as fond of, and occasionally didn't like."
[...]
YK: My first assignment was to do the art and layout and eventually the writing for the manual for The Legend of Zelda: A Link To The Past. 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. 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. WN: Have you seen things change since then, where the story is now coming from the game rather than the instruction manual?
YK: The situation is totally different now. There are so many people with so many different job titles. But back then, the people who wrote the manuals often became the people who came up with most of the backstory for the entire game. The first real game work that I did was on Link's Awakening. 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.
[...]
WN: So after Link's Awakening, was your work mostly concentrated on writing for the games themselves? Also, in a broader sense, Nintendo's games don't usually pursue big, dramatic stories. How would you compare that to the way other cinematic video games are done? What style is better for getting the story across?
YK: You're right, EAD doesn't tend to focus on the big story in most of their games. But I was the one coming up with scenarios, just on my own, ever since the time of Link's Awakening. But even at that time, I felt like I came up with this entire scenario and a backstory for Link, but nobody really seemed to care. They were always saying, let's not try to push the story forward too much.
So I would sort of try to find sneaky ways to get it in without them noticing too much. For example, I always liked the idea of you coming upon another character and hearing little bits of conversation that slowly begin to reveal different parts of the story. And that was the way that I tried to work on Ocarina of Time and Majora's Mask. A lot of the EAD games that do seem to have a lot of story, a lot of that came from my influence. But those are aspects of the games that Miyamoto wasn't nearly as fond of and occasionally didn't like.
[...]
WN: And staying on that subject, one of the things that struck me the most out of Super Mario Galaxy were the storybook sequences. That was the closest a Mario game ever got to getting an emotional reaction out of me. Was that your influence?
YK: For a long time, it really felt like telling a story in a Mario game was something that wasn't allowed. But I felt in this case that the Lumas and Rosalina really needed a story to explain what they were doing out there and to give the players a deeper understanding of their presence. So telling her story as a fairytale by reading the book to all the Lumas as if they were young children at storytime just seemed like the mood-appropriate way to accomplish this.
Dropping it into the game in the middle of the hub right there as something you could choose if you wanted to, I felt worked very well. If the book was standing all alone on its own, or if the game story was standing on its own, neither of them work very well as separate elements. But together, they reinforce each other quite nicely. And people have the option of hearing that story if they want to, or never going into that room if they don't want to hear it. Even so, just making the children's book was quite a feat. It was a bit of a struggle for us to get it done. And a couple things that we cut from the book ended up going into the main story as well. So it was a pretty good process.
[...]
WN: Do you feel that at some point you'll have to take over for Miyamoto and be the one putting these questions to people?
YK: Certainly, if that situation presents itself, I'll be happy to do so. But I already feel like I've incorporated that style of working. When there are members of my team who come to me, even if I know the solution to the problem, I won't give them the solution, just the direction. And they know what they're supposed to do, from that point.
[...]
YK: When making Galaxy, there were a lot of ideas that didn't make it into the final product. And those are very likely to go into the next game that I work on. But having said that, there's no real demo, a proof of concept tech demo or anything like that -- it's just ideas, at this point.
leiam a entrevista, tambem tem mais alguns detalhes sobre o miyamoto