“Are we really doing this?
Development is going to be chaos.”
The Zelda developers at Nintendo would probably disagree.
“The more I thought, the more I worried.
I realised that sometimes, it’s important to have the courage to push forward.”
Takayama then showed a montage of chaotically buggy clips from Tears of the Kingdom’s early development.
“As expected, the world fell apart.”
“Practically speaking, this meant chaos for us,” Takayama said.
“It went something like this,” Takayama said, acting out a conversation with his team.
“I would hear something like: “It broke!”
or “It went flying!
“, and I would respond with: “I know - we’ll deal with it later!
Just focus on getting the gameplay together and trying it out.”
“The physics animation would fall apart, because this was a kinematic-controlled gate.”
The soup pot, for instance, would tip over when placed on uneven ground.
“I’m happy to say your soup is now safe,” Takayama added.
Finally, an even more subtle layer of changes was required, which was sound.
The tying-in of the two came from the way those sounds combined.
At first, this caught the Zelda team themselves by surprise.
“It’s making sounds I have no memory of creating!”
Osada jokingly recalled telling his director.
Physics and sound are two different fields, Dohta concluded, but they have a few things in common.
“With Tears of the Kingdom, we aimed to create an even higher level of freedom.
I believe this was the essence of the evolution of physics and sound in Tears of the Kingdom.”
