Another thing you could do was use four boards to create a tube, then use a remote-control bomb to turn it into a cannon and make objects fly. “We tried attaching those to a board – and realised you could make a car. “There were various objects you could ride around on or move around, such as gears that turned on their own,” he explains. Almost immediately after Breath’s release, the team started tinkering, to see if they could get more out of the world they had created. It is a technological and creative marvel.Ĭreative fireworks … Eiji Aonuma, left, and Hidemaro Fujibayashi.įujibayashi tells me that the idea for Tears coalesced, appropriately, through experimental play – the same kind of messing around that Breath’s players have been doing in thousands of hours of YouTube videos over the past six years. Tears of the Kingdom asks that you approach its puzzles and environments even more creatively, smooshing together self-made weapons and contraptions from parts left lying around. The ultimate aim, as it always has been, is to track down Princess Zelda and save the realm from an encroaching evil, but how you get there is up to you. Set in the same world as Breath, it expands the game upwards to gorgeous sky islands, and downwards through gaping chasms to Hyrule’s dark and dangerous underworld, letting players move freely between them.
The sequel, Tears of the Kingdom, was released on Friday and had critics (including me) displaying an unbecoming lack of restraint. Remarkably, they now appear to have managed it. So what do you do after you’ve just released one of the best video games ever? For director Hidemaro Fujibayashi and the rest of Breath’s team, the answer was simple: try to make something even better. Gaaahh, how do I do this? What? I can’t – oh wait, I did it!
0 kommentar(er)
