Within a year of the release of The Legend of Zelda: The Wind Waker in 2003, Nintendo announced that a new installment for the GameCube was undergoing development. In the following year during the Game Developers Conference, Eiji Aonuma, the man who had directed the previous three console The Legend of Zelda installments, inadvertently revealed the projects working title: The Wind Waker 2. However, before any promotional materials could be released, one factor got in the way of these plans. Though The Wind Waker had little trouble becoming a critical favorite like its predecessors, winning the highly desired “Game of the Year” award in various publications, it didn’t fare quite as well among fans. Nintendo of America informed Mr. Aonuma of how its cartoonish visuals lent the impression that The Wind Waker was designed for a younger audience. This perception was fueled by preconceived notion regarding animation in the United States at the time. Whether a cartoon was indeed intended for kids or intentionally made as raunchy and irreverent as possible, people generally considered the medium sophomoric and therefore didn’t take it seriously. Because of this, The Wind Waker experienced sluggish sales compared to Ocarina of Time or Majora’s Mask.
Mr. Aonuma, concerned that its sequel would run into similar problems, expressed his doubts to producer Shigeru Miyamoto. He said that he wanted to create a realistic look for the next Zelda installment in an effort to appeal to their North American fanbase where the series historically had the most success. Mr. Miyamoto was a little hesitant about this proposition, believing the team’s focus be on innovative gameplay than aesthetics. Nonetheless, he advised Mr. Aonuma that should he and his team settle on a more realistic art style, the best place to start would be to attempt what couldn’t be done in Ocarina of Time. Four months later, Mr. Aonuma and his team managed to produce a short clip featuring gameplay, which was later revealed to the public with a trailer during the Electronic Entertainment Expo of 2004. Slated to be released in 2005, it was here that the game being produced had a name: Twilight Princess. It was also revealed that it would not be a follow-up to The Wind Waker as originally planned, placating the vocal, skeptical fans who expressed annoyance over its art style.
The scenario of Twilight Princess was conceived by Mr. Aonuma himself, though it underwent several changes courtesy of scenario writers Mitsuhiro Takano and Aya Kyogoku. Leaving the task of working with the new ideas to his subordinates, he oversaw development of The Minish Cap, the then-upcoming Game Boy Advance Zelda installment. To his dismay, he found that the Twilight Princess team was struggling when he returned. Many of the ideas regarding Link made his character unbelievable. Furthermore, a third Zelda installment was being developed for the Nintendo DS: Phantom Hourglass. This game would have players exclusively use the DS’s touch screen to control the protagonist’s actions, and Mr. Aonuma wished for Twilight Princess to boast a similar caliber of innovation.
His answer seemed to arrive in the form of Nintendo’s newest console – codenamed “Revolution” at the time. Mr. Miyamoto thought the infrared pointer embedded in the Revolution’s controller was well suited for firing arrows from a bow, and suggested Mr. Aonuma to consider the idea. When the console was in its earliest planning phases, Mr. Aonuma had anticipated creating a Zelda title for it, but assumed he would need to finish Twilight Princess first. He began to change his mind when he used the console’s pointer to aim at the screen, believing that it would give the game a new feel – just like Phantom Hourglass. Suddenly, he felt that releasing Twilight Princess on this new console, later named the Wii, was the only way to proceed.
However, things weren’t quite that straightforward. By the time he considered having his project jump platforms, Nintendo had already heavily promoted Twilight Princess. Consequently, consumers were anticipating a GameCube release. Here, Mr. Aonuma reached something of an impasse. Making the game unavailable to those expecting its release on the GameCube would have assuredly resulted in a loss of goodwill. Meanwhile, had they attempted to develop two separate versions of the game, it would have no chance of meeting its previously announced 2005 release. It seemed as though no matter what he did, he would disappoint his audience. It was Satoru Iwata who felt having both versions would satisfy users in the end – even it meant waiting a bit longer for the game’s release. This way, those who expected it to be released on the GameCube wouldn’t miss the opportunity to play it. At the same time, the Wii now had a highly anticipated launch title, incentivizing their audience to become early adopters.
As the Wii was backwards compatible with the GameCube, transferring assets between the two platforms proved to be relatively simple. Developing a control scheme to fit this experimental platform was a more difficult task. Mr. Aonuma thought it was strange to swing the remote with the right hand to mimic the sword slashes of the traditionally left-handed Link. To make matters worse, when playable demos began circulating, many new problems arose. Nintendo’s staff reported that demo users complained about the difficulty of the control scheme. Mr. Aonuma realized from this that he and his team implemented the controls with the mindset of forcing users to adapt to them rather than making the system intuitive. More talks with Mr. Miyamoto ensued, and the team proceeded to address these issues.
At long last, Twilight Princess saw its release in November of 2006 for both the GameCube and the Wii. It didn’t seem to matter which version critics played, for it proceeded to win “Game of the Year” awards from several publications. At the time, fans felt it was the return to form the series needed after The Wind Waker. Was Twilight Princess able to ascend a series no stranger to critical acclaim to the next level?