The Legend of Zelda

HYRULE GRAPHICS ART & ARTIFACTS
NAO YAMAMORI MIKE RICHARDSON
Editor and Planner Editor

KAZUYA SAKAI PATRICK THORPE
Assistant Editors Assistant Editor

DAISAKU SATOU • MIKA KAN CARDNERCLARK
FLORENT GORGES • TAKENOSUKE
Art Director CARY GRAZZINI
SHION SAITOU (FREEWAYLTD.)
Design CARY GRAZZINI
FREEWAYLTD. CHRIS HORN
CoverDesign
AKINORISAO CARY GRAZZINI
Photography
SHOUJINAKAMICHI
The Legend ofZelda: Hyrule Graphics was published by Ambit Ltd. First edition: August 2016.
Special thanks to Eiji Aonuma and the Nintendo staff as well as Nick McWhorter, Annie Gullion, Vanessa Todd-Holmes, and Chris Warner.
President and Publisher Mike Richardson • Executive Vice President Neil Hankerson • Chief Financial Officer Tom Weddle • Vice President of Publishing Randy Stradley • Vice President of Marketing Matt Parkinson • Vice President of Product
Development David Scraggy • Vice President of Information Technology Dale LaFountain • Vice President of Production and Scheduling Cara Niece • Vice President of Media Licensing Nick McWhorter • Vice President of Digital and Book
Trade Sales MarkBemardi • General CounselKen Lizzi-Editor in Chief Dave Marshall • Editorial Director Davey Estrada • Executive Senior Editor Scott Allie • Senior Books Editor Chris Warner • Director of Specialty Projects Cary Grazzini
Art Director Lia Ribacchi • Director of Print Purchasing Vanessa Todd • Director of Digital Art and Prepress Matt Dryer • Director of Product Sales Sarah Robertson • Director of International Publishing and Licensing Michael Gombos
The Legend ofZelda © 1986 Nintendo
Zelda II: The Adventure of Link © 1987 Nintendo
The Legend ofZelda: A Link to the Past © 1991 Nintendo
The Legend of Zelda 1 © 1986,1992 Nintendo
The Legend ofZelda: Link's Awakening © 1993 Nintendo
The Legend ofZelda: Ocarina of Time © 1998 Nintendo
The Legend ofZelda: Link’s Awakening DX © 1993,1998 Nintendo
The Legend ofZelda: Majora'sMask © 2000 Nintendo
The Legend ofZelda: Oracle of Seasons / Oracle of Ages © 2001 Nintendo
The Legend ofZelda: The Wind Waker © 2002 Nintendo
The Legend ofZelda: A Link to the Past & Four Swords © 2002,2003 Nintendo
The Legend ofZelda: Four Swords Adventures © 2004 Nintendo
The Legend ofZelda: TheMinish Cap © 2004 Nintendo
The Legend ofZelda: Twilight Princess © 2006 Nintendo
The Legend ofZelda: Phantom Hourglass © 2007 Nintendo
The Legend ofZelda: Spirit Tracks © 2009 Nintendo
The Legend ofZelda: Ocarina of Time 3D © 1998,2011 Nintendo
The Legend ofZelda: The Wind Waker HD © 2002,2013 Nintendo
The Legend ofZelda: A Link Between Worlds © 2013 Nintendo
The Legend ofZelda: Majora’s Mask 3D © 2000,2015 Nintendo
The Legend ofZelda: Tri Force Heroes © 2015 Nintendo
The Legend ofZelda: Twilight Princess HD © 2006,2016 Nintendo
The Legend ofZelda: Breath of the Wild © 2017 Nintendo
Mario Kart 8 © 2014 Nintendo
THE LEGEND OF ZELDA: ART & ARTIFACTS
The Legend ofZelda™ © 1986-2017 Nintendo. All rights res i® and the Dark Horse logo are registered trademarks of Dark Horse
Comics, Inc. All rights reserved. No portion of this publicatio
1 Licensing: (503) 905-2377

ART & ARTIFACTS
T^fV
Translated by
ARIA TANNER • HISASHIKOTOBUKI
HEIDI PLECHL • MICHAEL GOMBOS
All concept illustrations that originally

contained handwritten notes in Japanese have been
translated into English for this book.
DARK HORSE BOOKS

COUTEUTS MASTERPIECE GALLERY
ILLUSTRATIONS FROM THE LEGEND OF ZELDA
TO TRI FORCE HEROES
The Legend of Zelda.6
Zelda II: The Adventure of Link..12
A Link to the Past.16
Link’s Awakening.27
Ocarina of Time.30
Majora’s Mask.44
Oracle of Seasons / Oracle of Ages.52
The Wind Waker.56
Four Swords.66
Four Swords Adventures.67
The Minish Cap.68
Twilight Princess.74
Phantom Hourglass.84
Spirit Tracks.87
Skyward Sword.90
A Link Between Worlds.98
Tri Force Heroes. 107
CHARACTER ILLUSTRATIONS
FRIENDS AND FOES
The Legend of Zelda.114
Zelda II: The Adventure of Link.. 124
A Link to the Past. 134
Link’s Awakening. 146
Ocarina of Time. 150
Majora’s Mask. 182
Oracle of Seasons / Oracle of Ages.202
The Wind Waker. 218
Four Swords.246
Four Swords Adventures. 252
The Minish Cap. 258
Twilight Princess.266
Link’s Crossbow Training. 303
Phantom Hourglass. 304
Spirit Tracks.314
Skyward Sword. 326
A Link Between Worlds. 350
Tri Force Heroes. 362
TEMPLE OF TIME
THE FIRST THIRTY YEARS
Logo and Package Gallery. 374
Pixel Art. 382
Bonus Gallery. 394
Breath of the Wild.402
Encoded in Illustrations:
Another Side to The Legend of Zeldas History.408
Masterpiece
Gallery
Illustrations from The Legend
of Zelda to Tri Force Heroes
The Legend ofZelda
Zeldall: The Adventure of Link
The Legend of Zelda: A Link to the Past
The Legend of Zelda: A Link to the Past
The Legend ofZelda: A Link to the Past \ The Legend ofZelda: A Link to the Past & Four Swords A
The Legend of Zelda: A Link to the Past | The Legend ofZelda: A Link to the Past & Four Swords A
The Legend of Zelda: A Link to the Past \ The Legend ofZelda: A Link to the Past & Four Swords A
28 I The Legend of Zelda: Link’s Awakening \ The Legend of Zelda: Link’s Awakening DX A
ofZelda:
M
The Legend ofZelda: Ocarina of Time
37
The Legend ofZelda: Majora's Mask 47
The Legend ofZelda: Majora’s Mask \ The Legend ofZelda: Majora's Mask 3D A
The Legend ofZelda: The Wind Waker \ The Legend ofZelda: The Wind Waker HD A
The Legend ofZelda: The Wind Waker
The Legend of Zelda: A Link to the Past & Four Swords
egend ofZelda:
The Legend ofZelda: The Minish Cap
The Legend ofZelda: Phantom Hourgla
The Legend ofZelda: Phantom Hourglas
The Legend ofZelda: Spirit Tracks
The Legend ofZelda: Skyward Sword
98 I The Legend of Zelda: A Link Between Worlds
The Legend ofZelda: A Link Between Worlds
The Legend ofZelda: A Link Between Worlds
The Legend ofZelda: Tri Force Her 107
110 The Legend ofZelda: Tri Force Her
Character
Illustrations
Friends and Foes
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ZELDA
Characters
The Legend of Zelda

The Legend ofZelda \ The Legend ofZelda 1994 rerelease (Japan only) A
The Legend ofZelda 119
Ghint
Pols Voice
Bubble
Stone Statue
The Legend of Zelda

Manhandla
Gleeok
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11
Digdogger
Gohma
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LINK
Characters
Zelda II: The Adventure of Link

Zelda II: The Adventure of Link 127
Enemies
Aruroda
Tektite
Megmat

Zelda II: The Adventure of Link 131
Mazura

Characters
A LINK TO THE PAST
134 I The Legend ofZelda: A Link to the Past \ The Legend ofZelda: A Link to the Past & Four Swords A
The Legend ofZelda: A Link to the Past \ The Legend ofZelda: A Link to the Pa : Four Swords A
143
The Legend ofZelda: Link’s Awakening \ The Legend ofZelda: Link's Awakening DX A 147
The Legend ofZelda: Link's Awakening
OCARINA OI; TIME"
Characters
The Legend ofZelda: Ocarina of Time 151

The Legend ofZelda: Ocarina of Tin
The Legend of Zelda: Oc
The Legend ofZelda: Ocarina of Tin 161
The Legend ofZelda: Ocarina of Time \ The Legend ofZelda: Ocarina of Time 3D A 163
The Legend ofZelda: Ocarina of Time | The Legend ofZelda: Ocarina of Time 3D A 165
The Legend ofZelda: Ocarina of Time | The Legend ofZelda: Ocarina of Time 3D A
Kokin Tribe
172 The Legend ofZelda: Ocarina of Time 173

King Zora
L fr //
174 The Legend ofZelda: Ocarina of Time 17S

Enemies
176 The Legend ofZelda: Ocarina of Time

Items
The Legend ofZelda: Majora's Mask \ The Legend ofZelda: Majora’s Mask 3D A 183
The Legend ofZelda: Majora’s Mask
188 I The Legend ofZelda: Majora’s Mask | The Legend ofZelda: Majora's Mask 3D A 189
The Legend ofZelda: Majora’s Mask \ The Legend ofZelda: Majora's Mask 3D A
The Legend ofZelda: Majora's Mask | The Legend ofZelda: Majora'
The Legend ofZelda: Majora's Mask | The Legend ofZetda: Majora’s i ■ 3D A 195
196 I The Legend ofZelda: Majora’s Mask | The Legend ofZelda: Majora's Mask 3D A 197
Enemies
Pamela's Father
Poe Collector
The Legend ofZelda: Majora's Mask \ The Legend ofZelda: Majora's Mask 3D A 199
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The Legend ofZelda: Oracle of Seasons \ The Legend ofZelda: Oracle of Ages
The Legend ofZelda: Oracle of Seasons \ The Legend ofZelda: Oracle of Ages
Stockwell
Cap'n and Pirates
The Legend ofZelda: Oracle of Seasons \ The Legend ofZelda: Oracle of Ages 207
208 The Legend ofZelda: Oracle of Seasons \ The Legend ofZelda: i leaf Ages
212 The Legend ofZelda: Oracle of Seasons \ The Legend ofZelda: i leaf Ages
The Legend ofZelda: Oracle of Seasons \ The Legend ofZelda: i leaf Ages
The Legend ofZelda: I le of Seasons \ The Legend ofZelda: Oracle of Ages
Oracle of Seasons
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Characters
The Legend ofZelda: The Wind Waker | The Legend ofZelda: The Wind Waker HD A 219
The Legend ofZelda: The Wind Waker | The Legend ofZelda: The Wind Waker HD A
228 The Legend ofZelda: The Win • | The Legend ofZelda: The Wind Waker HD A
230 The Legend ofZelda: The Wind Waker | The Legend ofZelda: The Wind Waker HD A
The Legend ofZelda: The Wind Waker | The Legend ofZelda: The Wind Waker HD A
Mila’s Father
236 The Legend ofZelda: The Wind Waker | The Legend ofZelda: The Wind Waker HD A
Enemies
240 The Legend ofZelda: The Wind Waker

244 I The Legend of Zelda: The Wind Waker
The Legend ofZelda: A Link to the Past & Four Swords
Great Fairy of Flame
The Legend ofZelda: A Link to the Past & Four Swords
The Legend ofZelda: Four Swords Adventures
254 The Legend ofZelda: Four Swords Adventures 255
256 The Legend ofZelda: Four Swords Adventures
258 The Legend ofZelda: The Minish Cap 259
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2 66 The Legend of Zelda: Twilight Priti 2 67

The Legend ofZelda: Twilight Princess \ The Legend ofZelda: Twilight Princess HD A
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270 The Legend ofZelda: Twilight Princess | The Legend ofZelda: Twilight Princess HD A 271
WolfLink
The Legend of Zelda: Twilight Princess | The Legend of Zelda: Twilight Princess HD A
274 The Legend of Zelda: Twilight Princess | The Legend of Zelda: Twilight Princess HD A
276 The Legend ofZelda: Twilight Princess \ The Legend ofZelda: Twilight Princess HD A
278 The Legend ofZelda: Twilight Princess \ The Legend ofZelda: Twilight Princess HD A
Beth
The Legend of Zelda: Twilight Prir

282 The Legend of Zelda: Twilight Prir
The Legend of Zelda: Twilight Princess \ The Legend of Zelda: Twilight Princess HD A 285
286 The Legend of Zelda: Twilight Priti 287
288 The Legend ofZelda: Twilight Prir
Enemies
The Legend of Zelda: Twilight Prir
294 The Legend ofZelda: Twilight Princess 295
296 The Legend of Zelda: Twilight Prit,
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The Legend ofZelda: Phantom Hourglass

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The Legend ofZelda: Skyward Sword 337
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Moblin
The Legend ofZelda: Tri Force Heroes
Communication Icons

Logo and Package
Gallery
Here are the logos and packages of each of the main-
series Legend ofZelda titles sold in North America and Japan.
The games are presented in the order that they
were released in North America.
374 Logo and Package Gallery

376 Logo and Package Gallery
380 I Logo and Package Gallery
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392
Bonus Gallery
THE LEGEND OEZELDA SERIES ARTWORK
This Legend ofZelda artwork isn’t specific to a single title.
Rather, it was created to represent the series as a whole.
The Wingcrest
THELEGEND OF ZELDA: SKYWARD SWORD TEASER ILLUSTRATION
This early illustration was shown to the public when The Legend ofZelda: Skyward Sword was first unveiled at E3 2009.
At the time, neither the identity of Fi nor even the game’s title had been officially announced.
i Gallery
THE LEGEND OF ZELDA 25TH ANNIVERSARY ILLUSTRATION
In 2011, a campaign to commemorate the twenty-fifth anniversary of the series’ creation took place, kicked offby
The Legend ofZelda 25th Anniversary Symphony concerts. This commemorative illustration was drawn for the occasion.
From the first game right up until The Legend ofZelda: Skyward Sword (which was, at that time, the latest release),
this elaborate piece features a gathering of Links both past and present.
397
MARIO KART 8
DLC PACK ILLUSTRATION
The CURBED LIMES In 2014, Link appeared in a DLC pack
DEPICTIMG THE HACK AM for Mario Kart 8 on the Wii U. Instead of
highs should re disvMguish-
ARLE AMD immediately his trusty steed, Epona, however,
DISEERMlRLE AS he rode the Master Cycle.
DIFFERENT PARTS
Preliminary Sketc
Lower the posmoM

THE LEGEND OF ZELDA: A LINK BETWEEN WORLDS TEASER ILLUSTRATION RIGHT SHOULDER AMD ARM. WRIST
This illustration was shown to the public at E3 2013. Link’s proportions, among other details, differ from those SHOULD RE HIGHER, AMD LOWER
seen in the released game, making him appear more like the Link from A Link to the Past, released twenty-two years before. UMK’S (EMTER OF GRAYlTY.
r Gallery
SUMMER GREETING CARD ILLUSTRATION
This illustration was sent out in the summer of 2014 to those who had registered Nintendo Network IDs on the Wii U.
The finalized version of the image depicts Link with Majora’s Mask on his head.
400 I Bonus Gallery

THE LEGEND OF ZELDA: TWILIGHT PRINCESS HD TWITTER ILLUSTRATIONS
The illustration at bottom right on the opposite page was shared via the official Twitter account at the time
of The Legend ofZelda: Twilight Princess HD’s 2016 release on the Wii U, as was the series of images on this page.
Every day, a new character was added to the series, and on release day, all the main characters were present.
BREATHf„E^yiLD
Encoded in Illustrations
Another Side to The Legend of Zelda s History
T hirty years have passed since the creation of The Legend of Zelda in 1986. The enormous number
of illustrations produced for each title have played a huge part in expanding the Legend of Zelda
universe. In accordance with the theme of this hook, the following pages feature the voices of four
artists who represent the multiple generations of Nintendo designers who produced the over two
thousand illustrations contained in this book. These individuals speak about their memories of
working on each game and the thought process behind their illustrations.
July 2016
Nintendo Co., Ltd., Headquarters
Kyoto, Japan
408 Encoded in Illustrations: Another Side to The Legend ofZelda’s History

I’ve gathered you here today from not hear from you until the latter NAKANO: By including those
Nintendo’s Entertainment Planning part of the interview, Wada-san. My details in the illustration, they might
dr Development division to hear apologies about the wait. have wanted to appeal to consumers
the stories behind the artwork and with the Overworld.
character design for each generation WADA: Don’t worry about it. I’m a
of the Legend of Zelda series. My Zelda fan too, first and foremost, so TAKIZAWA: In the NES era, devel¬
first question is for Nakano-san, I’m going to enjoy listening, [laughs] opers were limited to expressing
Haruhana-san, and Takizawa-san. Shall we? the worlds of their games via flat
It wasn't until after the release of A planes of pixels. With that in mind,
Link to the Past on the SNES that I’m sure that their desire was to tell
you three started at Nintendo, correct? JUST LOOKING AT players, “Actually, this is the world
you’re exploring.”
NAKANO: That’s right. We weren’t
THE ILLUSTRATIONS
involved with the series’ artwork and IS EXCITING Link's facial features are also
character design until Nintendo 64’s The Legend of Zelda (1986) hard to convey via pixel art, so the
Ocarina of Time and the games that The Adventure of Link (1987) illustrations give more insight into
followed it. what he’s meant to look like.
Were you about high-school age when All right, let’s start with The TAKIZAWA: When you sawpictures
the original Zelda came out in 1986? Legend of Zelda, released on the like these in the manual and so
NES. Taking a look at the main forth, they were complementing the
TAKIZAWA: I think I might’ve illustration [page 6], we see Link image in your brain. That was the
been the only one of us still in middle kneeling at the very center of the role art played at the time. In fact,
school then. image, and the setting for his adven¬ when I was a kid, when I picked up a
ture serving as the backdrop. Does new game, the first thing I’d do was
And Wada-san, you didn’t join the anyone happen to know who was carefully read the manual, etching
company until quite a while later, behind this picture? visions of the world into my mind’s
say, around the time o/Spirit Tracks' eye, before finally starting to play.
release on the Nintendo DS? NAKANO: This dates from before That was my roundabout method of
I joined the company, so I’m not gaming, [laughs]
WADA: That’s right. one hundred percent certain, but I
believe it was done by someone from HARUHANA: Just looking at the
So how old were you when the origi¬ an outside animation studio. During illustrations is exciting.
nal The Legend of Zelda came out? the NES and SNES eras, artwork
was frequently outsourced for The next game in the series was The
WADA: It was thirty years ago, so I components like game packaging and Adventure of Link, released one year
was three. manuals. Even within the company, after the first title.
I think that “send it to the pros” was
Three?! considered common sense when it NAKANO: Link had a sudden
came to illustration. Because of this, growth spurt.
WADA: Yes, I was born the year that it was customary for Nintendo’s in-
theNES came out. [laughs] house staff to create a rough concept The game was set in the same world as
sketch in order to indicate what they the original, albeit several years later.
I see! So, the first Zelda game you were looking for, and then illustrators So, if Link was around twelve in the
were involved with was Skyward from an outside firm would polish it first one, that would make him about
Sword on the Wii, correct? into a finished work. sixteen in The Adventure of Link.
WADA: Yes, that’s correct. The scenery in this image feels very HARUHANA: Sixteen, huh ... ?
map-like to me. You can see Death [straight-faced] He’s got some nice
Today, we’ll be going through The Mountain in the background, as hips.
Legend of Zelda's artwork in chro¬ well as something that looks like a
nological order, so I suspect we might dungeon entrance. All: [laughter]
NAKANO: Link’s appearance has end up becoming visual noise. I HARUHANA: Before A Link to the
always been a little androgynous, feel that keeping little details like Past, I was just a little boy playing
and he has some effeminate traits that in check helped the design games without putting much thought
as well. One might say that those come together nicely. So, no matter into them. It was the title that
are his roots. Perhaps the fact that what Miyamoto said, I laughed and made me realize, “Wow, games are
in that Japanese A Link to the Past brushed it off. amazing,” and really gave me a sense
commercial featuring Scha Dara of their enormous potential.
Parr’s Zelda rap, the person dressed So no matter how many times Miya¬
up as Link was female was also moto asked,you didn't budge, right? TAKIZAWA: Playing the game,
symbolic of that. I thought from the bottom of my
HARUHANA: Yup. [laughs] heart, “I can’t believe that it’s possible
HARUHANA: You can see some to make a world like this where you
stitching across the chest of Link’s Anyway, in the first Zelda game, Link can do anything. Video games sure
tunic. Seeing it reminded me—I was wearing a V-neck. So, in that are amazing!”
think Miyamoto1 might consider this sense, you could say it was a return
stitching to be an important element to his origins. HARUHANA: For that reason,
of Link’s design. You see, when I was when I look at the illustrations for
working on The Wind Waker, I was HARUHANA: Yeah, when you put A Link to the Past, it brings back
drawing a new version of Link... it that way! the same ripples of excitement I
got back then. This is especially
So, Haruhana-san,you were the one true of the action shots of Link that
behind the design of the so-called were featured in the manual [pages
HIS EARS ARE LONG,
"Toon Link"? 136-140], because playing the game
BUT SO S HIS NOSE meant reading the manual, and
HARUHANA: That’s right. When A Link to the Past (1991) reading the manual meant playing
I was creating Toon Link, I needed Link’s Awakening (1993) the game.
to figure out which aspects of Link’s
previous designs to keep, and which While we’re on the topic of A Link
to get rid of. Continuing on, let’s turn the con¬ to the Past’s artwork, the first
versation to A Link to the Past/or illustration [pages 16-17] depicts the
You were trying to make his design as the SNES. Master Sword resting in the middle
simple as possible, I take it. of the forest...
HARUHANA: I actually never had
HARUHANA: During that process, an NES at home. As such, I don’t WADA: It’s an amazing image, isn’t
the stitching was one of the aspects have a very strong attachment to it?
I opted to leave out. When I did, The Legend of Zelda or The Adventure
though, Miyamoto came to me of Link, but A Link to the Past is a Absolutely. Who did this one?
multiple times, asking, “You’re not different matter entirely. It wouldn’t
going to put the stitching on his be an exaggeration to say that playing NAKANO: I believe that this
chest?” this title was what got me into the piece also dates from the era where
world of gaming and set the course illustrations were outsourced to
EVERYONE: Huh... of my life. animation studios. Therefore, it may
have been created by a background
HARUHANA: For Miyamoto, I TAKIZAWA: It’s the same for artist.
think that stitching on his design me, in that A Link to the Past was
might be a big part of what makes what inspired me to try my hand at It certainly does look like it could be
Link Link. However, when you Nintendo’s employment examina¬ the backdrop to an anime.
add a lot of details to a design, they tion. It was truly sensational.
1. Shigeru Miyamoto. Nintendo company director and Creative Fellow. Creator of a large number of Nintendo’s flagship titles, from the
Legend of Zelda series to Super Mario and Pikmin. In 2006, he was awarded the title of chevalier of the Order of Arts and Letters by the
government of France. Born in 1952.
410 I Encoded in IUustrattions: Another Side to The Legend ofZelda’s History

NAKANO: It does have that sense Nakano-san was thus left in charge aiming for was a distinct “uniqueness”
to it, doesn’t it? of the artwork, which had previously and “coolness” that seemed as though
been outsourced. Why the switch to it would be well received by foreign
What about Link’s Awakening, the in-house production ? players. In order to achieve this, my
first game in the series to be released belief was that the design itself would
on the Game Boy ? NAKANO: Back then, 3D graphics have to convey something that set it
had come into the mainstream. apart from everything else that had
NAKANO: Ibelieve its artwork was Digital art featuring 3D-rendered come before. That’s why I started
also outsourced to an animation models had started to be produced pushing the idea of doing the digital
studio. within the company for games like 3D artwork in house. It was while
Super Mario 64 and Mario Kart 64. I was showing rough sketches to
The animation-style art does stay This may have been the trigger for the Koizumi and the other higher-ups
consistent from the first game move toward in-house illustrations. of the day that I tried broaching the
through to Link’s Awakening. One At the time, such digitally rendered subject, asking, “Can I just draw
could also say the same about Link's images were, both technologically everything myself?”
physical characteristics. His ears are and financially, not easy to outsource.
long, but... What was Koizumi's response?
Ah, I see.
TAKIZAWA: So’s his nose. [laughs] NAKANO: Well, naturally, if I were to
NAKANO: That’s when talk started receive his blessing, it would mean that
ALL: [laughter] about how we’d have no choice but once I started, I’d be up to my neck in
to start doing the artwork ourselves. work. There was also no real precedent
H ARUH ANA: I really like the long
To this end, we brought in an SGI3 for my request. As such, I put a lot of
nose, but Koizumi2 went and omitted
supercomputer, and desperately work into my proposal. In the end, it
it in Ocarina of Time.
struggled to learn how to use the was almost a letdown how quickly he
PowerAnimator tool as we created responded, “Sure, why not?”
Koizumi really revolutionized
the illustrations for titles like Mario.
Link’s character design for Ocarina
So, you just picked up a pencil and
of Time, which began development
So, it was out of necessity that you started churning out illustrations of
based on the concept of a "cool¬
started doing the illustrations in Link, using no references at all?
looking Link."
house.
NAKANO: No, by that time, we
NAKANO: Right. However, when had a polygonal model of Link up
I’LL DO ALL we started work on Ocarina of Time, and running, so I referred to it as I
THE ARTWORK the workflow we’d been using prior drew. That being said, the fact that it
Ocarina of Time (1998) to this was also still in place, so was an N64 model meant that it was
we outsourced the art to the usual a bit rough.
animation studio. To test the waters,
So, on Ocarina of Time, Koizumi we began by requesting several I see what you mean; the same could
created Link’s model, Haruhana- sketches of Link. Unfortunately, when be said of the textures back then. Not
san mostly constructed the character the director, Koizumi, and I were to mention, the model must have had
models, and Takizawa-san mainly examining the drawings we received, a low polygon count. Link's facial
worked on the enemy models. we felt that there was something features were a little fuzzy, too.
about them that didn’t quite fit with
HARUHANA: Yes, that’s right. what we’d had in mind. What we were TAKIZAWA: Urn... Nakano-san?
2. Yoshiaki Koizumi. Employed by Nintendo Entertainment Planning & Development. Contributed to the development of a large num-
ber of titles, including Super Mario Galaxy on the Wii. One of the key people involved in the Zelda series, as outlined in this interview.
Also the originator of the three-day system that served as the foundation of Majoras Mask. Born in 1968.
3. An abbreviation for the American company Silicon Graphics, a developer of industry computers.
NAKANO: Yes? HARUHANA: He is one good- was the one creating all the enemies.
looking guy. So the work became divided between
TAKIZAWA: Are you saying that the three of us in an organic fashion.
you didn’t see the picture of Link NAKANO: Yeah. At that time, if
that Koizumi drew back then? you were to talk about a really good- In Ocarina of Time, when compared
looking actor, people immediately to the titles that came before it,
NAKANO: There wasn’t any picture. thought of this guy. So I recall Princess Zelda's outfits were very
keeping in mind the point of his detailed and gorgeous. Did that
TAKIZAWA: There was, though! nose and that strong-willed look in come about from the back-and-
That quick watercolor of Link he did. his eyes when I was drawing. forth exchange of ideas between
Haruhana-san and Nakano-san?
NAKANO: Huh... TAKIZAWA: Actually, I remember
Koizumi saying something similar HARUHANA: I would make the
TAKIZAWA: Could it be that he as well. When the watercolor version base model and Nakano-san would
never showed it to you... ? was being worked on, that actor’s expand on it with his illustrations.
name also came up.
NAKANO: I wonder . . . ? I don’t NAKANO: There was a program
remember seeing it. NAKANO: Is that so? When I was that allowed us to view the polygon
presenting this piece, I did mention model and spin it around. I would
TAKIZAWA: Maybe Koizumi how I incorporated a little bit of use it to refine those areas where the
wanted you to be free to draw Link that actor, but that tidbit didn’t textures were lacking and think about
according to the vision of Link that seem to win or lose me any points. the details that weren’t in the model.
you imagined from his model on the In actuality, maybe it was just an
screen, without being influenced by unspoken approval of how I “got it” HARUHANA: So I wouldn’t really
his version. back then. [laughs] call it a back-and-forth. It was more
like, “You take it from here...” [laughs]
So, what did you end up drawing?
WHAT KIND NAKANO: Yeah, that sounds about
NAKANO: It was this picture [top right, [laughs]
OF GUY IS WORTH
of page 157], I created it as a design
proposal for Link’s facial features, DEFEATING? HARUHANA: And once I was
as an attempt to realize Koizumi’s Ocarina of Time (1998) done with Princess Zelda, I had to
desire for a “handsome, cool Link.” start on the next job, too.
When it got a thumbs-up, I raised
my hand and said, “OK then, I’ll do So how was Princess Zelda illustrated So, Haruhana-san, I’m told you
all the art just like this!” [page 16S]’ made over sixty characters?
Not just Link, you said you would NAKANO: Like Link, there was a HARUHANA: Yes. That sounds
do all the artwork, right? Princess Zelda model that we used about right, not that I’ve ever actually
as the starting point for her illustra¬ counted...
NAKANO: That’s right. tion. Haruhana-san was the one that
created the polygon model for her. I’m sure all the models created by
So when you were illustrating Link, Haruhana-san were a lot of work, but
was there an inspiration for the How did you come to work on the mod¬ the job of illustrating them all must
character? el of Princess Zelda, Haruhana-san? have felt like an insurmountable
amount of work as well.
NAKANO: Yes. A rather world- HARUHANA: Koizumi was
famous Hollywood actor... focused on Link in each and every NAKANO: Yeah, it was quite a
aspect. It got to the point where workload. At the time, we had just
TAKIZAWA: Huh? You mean that he wasn’t able to handle any other started using tablets to work on and
actor? characters, so all other characters there was the learning curve of that
were sent to me. And Takizawa-san as well. But once I got used to using
412 I Encoded in Illustrations: Another Side to The Legend ofZelda’s History

the tablet, it would only take me a half
day to a day to create an illustration. YUSUKE NAKANO
I see. And Takizawa-san made the

model for Ganon, since he was in charge
of the enemies [pages 168,170-171]?
TAKIZAWA: That’s correct.
Ganon is basically a pig, but the

humanoid Ganondorfmade his first
appearance in Ocarina of Time.
What was your inspiration when you
started designing him?
TAKIZAWA: Well, I started by

thinking to myself, “What kind of
guy is worth defeating?”
So he couldn’t just be incredibly

strong?
TAKIZAWA: Right. The enemies

you feel the best about defeating are
the ones that outclass you in every
way, from abilities to experience. He
also had to be an appealing character,
even though he was the enemy. After
a lot of trial and error, I slowly com¬
pleted his model. Then Nakano-san
took that and improved upon it.
Come to think of it, of all the illus¬
trations that came from Nakano-san,
I had very few comments on this one.
NAKANO: Hardly any, in fact.

However... was the one point I wasn’t willing to model I created for Ganondorf had
back down on. him looking a lot thinner, and his
TAKIZAWA: Yeah, I did have one head almost looked bird-like. One
request that I felt strongly about. He NAKANO: I remember it well, and of the backstories for Ganondorf
initially looked like a brute who had how tenacious he was about it too. referred to him as the “Gerudo
nothing but raw strength. I wanted [laughs] The first illustration I did King of Thieves,” so I imagined him
him to have clever eyes so you knew for Ganondorf had these wide-open to be lean and not well muscled. I
he was a man of high caliber. eyes. Not exactly an intelligent look, wanted him to move gracefully, like
but more like he might have been a a whip. But when I saw the finished
NAKANO: Right. little mad. In the end we arrived at a illustration for Ganondorf, it was
design that made him look not only quite different from how I imagined
TAKIZAWA: At that time, I had more intelligent but also, at the same him to be ...
been at the company for three years, time, like the epitome of an evil ruler.
and Nakano-san was three years NAKANO: Emphasizing muscles
my senior. I might have been out of TAKIZAWA: He is the final boss, more than necessary is just my style.
line making such a request, but it after all! And another thing: the first [laughs]
TAKIZAWA: I guess so! [laughs] force patterns are separate, but they HARUHANA: Well... you’re right.
Then again, it did become the basis became one later, right? I guess it does look like a bat. And
of the Ganondorfin The Wind Waker I’m the one that drew it too! [laughs]
and the Ganondorf in Twilight NAKANO: Yeah, when we were
Princess. The design you came up working on Twilight Princess, we ALL: [laughter]
with became the foundation for his were asked to design a new symbol to
design in several other titles, so I represent the Legend ofZelda series. Majora’s Mask is pretty dark overall
think it was a good thing. So we discussed the idea of taking compared to Ocarina of Time. Child
the shield’s design and making it the Link’s expressions changed from one
crest of the Hyrule Kingdom with to the other as well, didn’t they ?
the producer, Aonuma,4 and it was
LET THIS
decided. NAKANO: In Majora’s Mask, we
BE OUR CREST wanted Link to look like a child with
Ocarina of Time (1998) HARUHANA: There was an official a touch of grown-up expressions. In
Majora's Mask (2000) announcement too: “From this day Ocarina of Time, he went through
forth, let this be our crest.” some bittersweet experiences as
adult Link. After all, Majora’s Mask
Also in Ocarina of Time, the crest ALL: [laughter] does take place right afterward.
on the Hylian Shield takes its now- Right from the development
familiar form. Who made that? NAKANO: So after Twilight Princess phase, it was decided that Majora's
the crest of Hyrule is used frequently, Mask was going to have a dark
NAKANO: It was me. In the first but it was based on the pattern on the atmosphere, so we wanted his
title and in The Adventure of Link, the shield from Ocarina of Time, which expression to match. So we set out
pattern on the shield was a cross, and was redesigned for Twilight Princess. to depict a character that seemed
in A Link to the Past, it was a Tri force rather mature for a child. We put a
and bird feather pattern. I used that After Ocarina of Time, the next lot of shadows on him.
as a base, made it a touch more bird¬ game on the N64 was Majora’s Mask.
like, and cleaned it up. And the shield design changes again. Even on Link’s face, the shadows
really stand out.
Is there meaning behind the bird HARUHANA: I was the one that
motif? designed the shield for that game. In NAKANO: That’s partially because
Ocarina of Time, child Link couldn’t of an overseas comic that I was a
NAKANO: At the time, there were equip the Hylian Shield. I could have fan of at the time. But overall, I feel
no plans to have that bird have any had him continue to use the Deku that it came across well in creating
kind of meaning. Shield in Majora’s Mask, but it was a a dark and mysterious mood. This
new title, so I wanted it to stand out. is probably the first illustration I
WADA: Huh? Is that true? That’s a That’s why I designed something new. created for it [page 45].
bit of a shock to me... I thought that if I put a bird on it, it
would be reminiscent of the Hylian At that point, it wasn't called
ALL: [laughter] Shield, but since the world of the Majora’s Maskyef; it was tentatively
game was on the dark side, I decided titled "A Side Story," correct?
NAKANO: It was retrofitted for to design it with a nocturnal bird,
Skyward Sword. Birds became deeply which is why I went with an owl motif. NAKANO: That’s right. The official
connected to the creation story of title hadn’t been set yet. I created this
Hyrule. Oh, I see. So below the owl is the illustration for the announcement to
Triforce, and is that a bat beneath be made at the Nintendo-sponsored
At this point, the bird and the Tri¬ the Triforce? event Nintendo Space World ’99. At
4. Eiji Aonuma. Producer of the Legend ofZelda series. Made his debut as the director otMarvelous: Mohitotsu no Takarajima (Marvelous:
Another Treasure Island), which was released in 1996 for the SNES but never localized for the North American market. Joined
the Zelda series for Ocarina of Time, where he was put in charge of the monsters and dungeons and, as of Majora's Mask, became the
codirector of the game, along with Yoshiaki Koizumi. Since then, he has been a central figure in the Zelda series. Born in 1963.
tions: Another Side to The Legend ofZelda’s History

that time, I took all the information
I had and put it into this piece. YOSHIKI HARUHANA
I notice the moon doesn’t have a face
NAKANO: The design of the moon

hadn’t been set yet. The same goes for
the clock tower in Clock Town, so I
drew what I imagined it should look
like. Additionally, the staff members
wanted me to emphasize the many
creepy masks that would appear
in the game. The designs for Link’s
transformations and Skull Kid were
more or less set, so I threw all of them
into the illustration. Of course, many
of the things you see were not in the
game but from my imagination.
DISPELLING
THEDARKAND
RETURNING TO THE
LIGHT WORLD
Oracle of Seasons (2001)
Then came Oracle of Seasons for

the Game Boy Color. This was the
first game from the Zelda series to he Born in 1970 in Osaka. Joined the company in 1994. His first job was working on
developed outside of Nintendo and Kirby's Dream Course for the Super Nintendo (1994). Worked on illustrations in the
instruction booklet. Artists he respects are Toru Narita, Noriyoshi Ohrai, and Tsubame
that was handled by Capcom. Kamogawa. His favorite Zelda piece is the illustration of Link and Impa from the
Legend of Zelda instruction booklet.
NAKANO: Yes. And because of
that, at the start of the project we
frequently traveled to Osaka for translates into character designs. the design for Link, we brought
meetings with Capcom. We discussed it in detail. in aspects from the Link in Link’s
Awakening and A Link to the Past, but
Was there a need to travel to Osaka Even though it was pixel art, I’m sure as I mentioned before, there was the
so often?
the person who created it had an idea issue with the nose...
of what the character should look
NAKANO: It was really important
like, so it must have been important Right. [laughs]
to ensure that we saw eye to eye on
to make sure that the final product
the content of the game; otherwise
matched the image that both sides NAKANO: And it was supposed to
the vision each of us had would begin
to shift. By the time I got involved, take place after Ocarina of Time as
the pixel art was already finished, well, so we thought we should update
so I had them observe my process NAKANO: Yes. Oracle of Seasons his look a bit. So we made his nose a
of coming up with rough sketches was a game in the style of Link’s bit shorter and made his eyes a touch
based on the pixel art and how that Awakening. So when considering larger...
He’s wearing white tights too. NAKANO: I’m happy to hear that.
It’s one ofmypersonalfavorites, and
THE CHARACTERS
NAKANO: Correct. The basis I put a lot of work into it. I learned
for the design was the Link from a lot working on Majora's Mask and BEGAN TO MOVE ON
Link’s Awakening, but since it was I felt like I had a good grasp of the THEIR OWN
after Ocarina of Time as well we characters and knew what I was The Wind Waker (2002)
thought it was okay to have him doing.
in the white tights. We also made
a few anime-like touches and gave Since Majora’s Mask was so dark, Then there was the title that had a
the art style a little brighter look. We did it feel like you were clearing huge impact on Zelda fans, The Wind
took this newly redesigned Link to out the impurities in your body, in Waker on the Nintendo GameCube.
Miyamoto, but he didn’t seem to like a sense? As mentioned before, Haruhana-san
it very much. was the one that created Toon Link...
NAKANO: I guess so. [laughs] I have
What do you think the reason was ? to agree that when I was working on HARUHANA: Yes. I apologize for
Majora's Mask, I was intentionally the commotion, [laughs]
NAKANO: Maybe the nose wasn’t keeping my mood dark while I
long enough... ? worked on the illustrations. But for Before we get into how Toon Link
Oracle of Seasons, I felt like I was came to be, let’s talk about the promo¬
ALL: [laughter] dispelling the dark and returning to tional footage from the 2000 event.s
the light world. Additionally, since I It featured a realistic Ganondorf and
NAKANO: What seems most likely was working with Capcom, I wanted Link fighting each other. That footage
is that Miyamoto still had a strong to challenge myself and make the was created by Haruhana-san and
attachment to the Link from A Link artwork look like someone from Takizawa-san, correct?
to the Past. But it was exactly ten Capcom created it... but that just
years since the release of A Link to might have been my competitive HARUHANA/TAKIZAWA: Yes.
the Past, so for me, I felt like it was spirit coming out! [laughs]
better for Link to look more in line And everyone who saw that footage
with the preferences of the customers ALL: [laughter] believed that the new Zelda title
at the time. I tried really hard to coming out for the GameCube would
explain this to Miyamoto and he was WADA: I have to say the art doesn’t be realistic looking. So tell us: what
like, “Fine. Whatever.” [laughs] quite feel like Nakano-san’s work to happened?
me. Then again, I think I sense a hit
TAKIZAWA: Actually, this art style of insanity hiding in his normal art HARUHANA: Well, as we created
is pretty popular with the Zelda fans. style... [laughs] that footage, we came to the
These days, I find that it’s often the realization that the realistic route
case that people talk more about the NAKANO: But that’s not necessarily wasn’t the way to go.
high-definition artwork on a large the case. I feel that Oracle of Seasons
screen on a home console rather than is where I discovered the balance TAKIZAWA: [nods deeply]
a portable device, but people still between my usual style and doing
seem to talk about Oracle of Seasons something new that fits the world So it was creating that footage that
often. They say things like “I really of the game, and when I need to made you realize the realistic route
like the character design” and such. differentiate the two. wasn’t the right course?
5 .Legend of Zelda footage shown as part of the technical

demo for the GameCube new-product announcement
held a day before the Nintendo-sponsored event Space
World 2000 (August 24,2000).

HARUHANA: That’s right. We So we decided to simplify not only
were asking ourselves, “Is this the Link, but the overall design as well.
USED CELLOPHANE
right direction to go?” and “Does
realistic equal a good game?” At the And by doing so, you felt that the TAPE TO MAKE
time, as the console’s hardware specs player could easily enjoy the basic IT LOOK LIKE A
went up, many games were heading fun of a Zelda game.
WOODBLOCK PRINT
in a more photorealistic direction.
The Wind Waker (2002)
HARUHANA: Yes.
A Link to the Past & Pour Swords (2003)
They were.
So you created the simplified
HARUHANA: And, at that time, sketch of Link first and that got
And so Toon Link was born. I believe
when I was flipping through a game Takizawa-san started.
that is when you started on the
mag, all I saw were really similar¬
looking games, and I began to worry TAKIZAWA: Like a switch was artwork, Nakano-san. What was
we would be making one of them. So flipped, [laughs] yourfirst impression of the design?
we thought about what we needed to
do with our art to make it stand out. What was your first impression when NAKANO: It was a big shock. I
How could we make the readers of that you saw the new Link? said, “So this is the direction you’re
magazine stop and look at our proj¬ taking?” It seemed like a great
ect? We decided that making a realistic TAKIZAWA: It wasn’t something challenge, and I felt like I had a fire
Ganondorf and Link wasn’t it... I had in my own wheelhouse, so I lit under me. The artwork would be
was, frankly, shocked. But at the so different from everything I’d done
So you felt that a realistic-looking same time I saw it as a worthwhile before, and I wanted Haruhana-san
Zelda would be lost in the sea of challenge. In any event, I thought it to say, “Nakano-san really gets it.”
many other games? looked easy to make move. You know
how writers and manga artists say, That's when you created the Link that
HARUHANA: Right. So we cleared “The characters began to move on looks sort of like he was made from
our heads of everything and thought their own” ... ? cut pieces of paper [pages 218-224].
about all the other games in the
Zelda series. Toon Link came out of Yes. NAKANO: That’s right. I used the
that process. texture of washi, which is a style of
TAKIZAWA: When I saw Japanese paper, as a base, and altered
As mentioned before, it was such a Haruhana-san’s sketch, I felt possi¬ the color sections so that the paper
simple design that even the stitching bilities begin to stir within myself. texture wasn’t lost. As Takizawa-san
was removed. Why did you go to such All of these images and ideas began to said earlier, “The characters began to
lengths to simplify the design? well up inside me. “If Link looks like move on their own.” The character
this, then the enemies would looklike designs looked easy to animate. I
HARUHANA: One of the very this...” and it went from there. worked hard to figure out a way to
ZeWfl-specific things you do in the make the still image move as elegantly
games is destroy a wall with a bomb. And that’s when Takizawa-san drew and as boldly as we needed.
But as the walls become more and theMoblin?6
more detailed, it becomes harder to Of the many pieces of art created for
spot which walls can be destroyed. TAKIZAWA: That’s right. The Wind Waker, one of the most
6. Link illustrated by Haruhana and Moblin

illustrated by Takizawa.
NAKANO: I did the woodblock style
SATORU TAKIZAWA as an experiment. The first thing I did
was the battle between Ganon and
Link. When I showed it to him, he
said, “I like it!” so I ended up doing
the others in the same manner.
How did you create the woodblock-

style artwork?
NAKANO: I first created the rough

concept in Photoshop,7 printed it out
onto paper, and then used cellophane
tape to peel away the toner to make it
look like a woodblock print.
So the reason it looks like a wood¬

block print is because you used
cellophane tape?
NAKANO: That’s correct. Then

I scanned the artwork back into
Photoshop and placed the washi
texture on top of it and blended it.
By combining this analog method
with the digital image I created, I was
able to make the artwork look like a
woodblock print.
Then there was the stained glass illus¬

tration, which was very memorable.
Born in 1972 in Nagano. Joined the company in 1995. His first work was Yoshi's
Island for the Super Nintendo (1995). Created the pixel art for the international NAKANO: That piece was illus¬
version. The artists he respects are "too hard to pick only a few. [laughs] I have so trated by the manga artist Akira
many, ranging from famous artists to friends and family and even my senior and
Himekawa-san.8 If I recall, it was a
junior colleagues. I'm constantly being influenced by them." Favorite Zelda piece is
the illustration of the three goddesses from A Link to the Past. request from overseas. They had
asked for a piece with a slightly dif¬
ferent hair color and a background.
memorable was the woodblock print the demo in a short amount of time?” We had a previous relationship
style that was used for the opening When I asked, “How much time do with Himekawa-san from the Zelda
manga series, so by having this piece
[page 62]. I have?” the answer was, “Maybe a
done, I feel that the overall look of
week or two.” Then he says, “I’ll leave
the series was expanded, and it
NAKANO: I was the one who the style to you.”
worked out really well.
worked on that. Aonuma had come
to me out of the blue and asked, “Can That's a pretty crazy request. A year after the release of The
you create something we can use for [laughs] Wind Waker, A Link to the Past &
7. Digital creation and editing software produced by Adobe Systems.
8. Manga artist team consisting of A. Honda and S. Nagano. They’ve worked on the Legend of Zelda manga for Shogakukan since 1999
with their adaptation of Ocarina of Time. Since then, they’ve released eleven volumes, the latest of which is Twilight Princess.
418 I Encoded in IUustrattions: Another Side to The Legend ofZelda’s History

Four Swords was released on the completely with The Wind Waker, but we heard that people were wanting
Game Boy Advance. As of this title, I feel that’s when the direction for a realistic-looking Zelda game
the Toon Link character created by Zelda started to revert. That might again. Also at the time, there was an
Haruhana-san became the main be going a bit far. I feel as if Zelda is epic fantasy movie which was very
character for the portable video once again heading for a change. popular. So after reexamining the
game releases. situation, we said to ourselves, “Let’s
And so the fact that Toon Link was do this thing!” I was brought on as
HARUHANA: I guess so. By going born to take part in The Wind the art director, and the first thing I
with a Link with such large eyes, Waker and in the new portable games did was askNakano-san to start on
we were able to expand the level of is a sign that the level of artistic the new design for Link.
artistic expression we can have in the expression for the Zelda series has
Zelda series. expanded, and there’s value in that So Nakano-san’s new Link design is
in and of itself? where this project started?
The bigger eyes are well suited to
the smaller screens on the portable HARUHANA: I’d like to think so. TAKIZAWA: Determining the look
game units. and feel of the title with a computer
model or rough sketch from another
FIARUHANA: That was a fortunate artist had, up to that point, been one
LET’S DO
turn of events for us. By the way, of the first steps. Having Nakano-san
some people say that Toon Link was THIS THING! come onboard so early was a first for
the turning point for the Zelda series, Twilight Princess (2006) the series.
but for me, I think that was Ocarina
of Time. That’s what changed the NAKANO: That’s true. For a Zelda
franchise. Four years after the release of The title created internally, it was a first
Wind Waker, Twilight Princess for me.
So you're saying Ocarina of Time was released on the GameCube and
was the first watershed moment? Wii. In this title, Link is once again For Ocarina of Time, you had
realistic looking. The pendulum has polygon models to work from, and
HARUHANA: That’s right. The swung back. What happened in the for The Wind Waker, you had the
games for the N64 went from pixel interim? sketch by Haruhana-san. So why
art to polygons, so the graphics did you decide to have Nakano-san
in the games became something TAKIZAWA: Actually, we were do the initial artwork for Link?
different, requiring us to learn a starting to plan Wind Waker 2,
new way to express the artwork. but requests were coming in for a TAKIZAWA: The answer is simple.
And in that time, going from The title more like Ocarina of Time. I In order for the project to match
Legend of Zelda to Ocarina of Time personally felt that The Wind Waker the scope we wanted, we needed
was a natural progression. But Zelda was such a critical hit that we’d done to collaborate with external artists
has, since the days of the NES and everything we could with it already. to move forward and not just our
the SNES, had a naive sensibility internal designers. For that to work,
about it. HARUHANA: I think we did. we needed detailed sketches for the
early stages of development. That’s
Link used to be more of a rambunc¬ TAKIZAWA: And the proposed why I wanted to have Nakano-san
tious young boy. setting for Wind Waker 2 was not on onboard from the start.
the sea, but on land. The desire to
HARUHANA: I think that in a depict Toon Link on a horse riding And this is the first piece of art you
manner of speaking, the games around the great plains was great; released as a part of your announce¬
themselves were idyllic and didn’t however, with his small stature and ment [page 7S]?
take themselves too seriously, and short arms and legs, it would have
I mean that in a good way. When been difficult to make him look NAKANO: That’s right. I believe it
Ocarina of Time came out, the good on a horse. It wasn’t like we was shown at E3. This one was the
pendulum swung the other way, could create an adult version of Toon standing pose [page 266] and also
and I wouldn’t say that it swung back Link. And that was about the time this one [page 269].
The amount of detail is amazing. making him around twenty-five... It seemed like she was wearing Jomon-
maybe even thirty. period pottery on her head [pages
NAKANO: Yeah. It took me a long 272-273].
time to complete it. About ten times TAKIZAWA: Meaning it was an
as long as it took me to do a piece for adventure that an adult Link was NAKANO: At the time, when I
The Wind Waker. taking on. was thinking up a design for the
character, I wanted to search through
I can even see that he has chain mail NAKANO: He would be well some image sources not typically
on underneath his usual green clothes. built ... A skinny man with a used in games. So I searched in
pretty face wouldn’t stand a chance various places and eventually ended
NAKANO: I wanted to make sure against a large enemy, so we thought up looking at bronze artifacts from
that I got across all of the separate about making him quite sturdy. the Shang dynasty. I felt like I could
pieces and how they fit together. So the first illustrations were, in a feel life within them, and their shape
way, pretty amazing. and form were really interesting.
What drove you to go that far?
TAKIZAWA: They certainly were. It’s certainly something you’re
NAKANO: As Takizawa-san said, There was even a square-jawed, not likely to forget. For that matter,
I heard that many fans, especially burly-looking Link too. [laughs] neither is the design for Zant
those in North America, wanted a [page 279].
realistic-looking Zelda game. And if NAKANO: When I showed the
so many people were asking, it was sketches to the overseas staff, the re¬ NAKANO: Far be it from me to say,
the least I could do... sponse I got back was, “What the fans but the design I like best is the one
want is the Link they saw in Ocarina for Zant.
Another fire was lit, and you were of Time.” So in the end, his face and
inspired by the challenge? body type were made similar to that And how did your favorite come
of the adult Link from that game. to be?
NAKANO: Yes! [laughs] So in the
end, I wanted Link to look realistic, One of the most notable aspects of NAKANO: I came up with the
so I put in details to make him look Twilight Princess is that Link can design on the bullet train.
dusty and a bit dirty, along with transform into a wolf.
other little touches. I really wanted I guess you were on it for a business
to give Link a new look. NAKANO: Yeah, so I made sure trip or something?
that the look of his eyes matched
the eyes of Link as a wolf. NAKANO: When you’re seated for
A SQUARE-JAWED, an extended period of time, you get
TAKIZAWA: But the detail about bored. Sol start to sketch. I first clear
BURLY-LOOKING him changing into a wolf came after my mind and start to draw whatever
LINK TOO the initial designs. So the sketches of comes to mind. At one point, I was
Twilight Princess (2006) Link later on had him looking much drawing shapes that made me think
more wolf-like and wilder. At one of Southeast Asia. I made that shape
point, there was talk about giving into the head, added hands and feet,
So at that point, the story hadn't been him a Japanese haircut style called and when I started to clean up the
set yet, but you needed to design the a wolf cut, which would have given character, there was Zant.
face for the new Link. What things him a more wolfish look.
didyou keep in mind asyou worked? So the image of Zant just came to you
NAKANO: I remember that. But the from the sky?
NAKANO: For the face, I talked sketches I made for the front, back,
at length with Takizawa-san as I and side views didn’t make him look NAKANO: I suppose so. Instead of
started to sketch. I wanted him to very wild... having a destination in mind, letting
be a little bit older. The Link up the subconscious move my pen to
till now had been in his teens, but Let’s move on to Link’s sidekick come up with doodles is the way I
for this one we were talking about Midna. She had a very unique design. often get ideas that I can use.

TAKIZAWA: Being the art direc¬ that has influenced me over the years. piece, but this time, each team sort
tor, even though Nakano-san is my Sol was able to put everything I have of had specific needs, so I ended up
senior, if he comes to me with some¬ fulfilling the needs of the teams and,
thing I don’t like, I have to tell him as a result, doubling my work.
to do it over. But in the case of Zant, I see.
I approved the design immediately. But it’s not like you did it begrudg¬
TAKIZAWA: In 2016 we did a ingly, right?
NAKANO: Ooccoo, the human¬ remake of this game and called it
faced bird lady,9 was an instant Twilight Princess HD. We needed NAKANO: No, I did it happily.
approval as well. to create some new artwork for [laughs]
its release. I was placed in charge
TAKIZAWA: You were doodling of overseeing this work, and ALL: [laughter]
her on your notebook during a Nakano-san comes to me and says,
meeting and I said, “Can I have her?” “I want to draw some more.” TAKIZAWA: And once I was told
we needed two pieces, I needed to
NAKANO: So it was an instant NAKANO: I was already in a see it through.
approval. [laughs] managerial role and had very few
opportunities to draw. But since it NAKANO: [Quite happily] That’s
TAKIZAWA: I guess you’re right. was a remake of Twilight Princess, I right, [laughs]
[laughs] almost had to insist. [laughs]
Next up is the first Zelda title for
TAKIZAWA: He was so excited Nintendo DS, Phantom Hourglass.
about working on it that I said, and
PUT EVERYTHING
it just slipped out, “Aren’t you going HARUHANA: It was similar to The
I HAVE INTO IT too far, Nakano-san?” [laughs] Wind Waker. It wasn’t my intention
Twilight Princess (2006) originally, but we had learned
Phantom Hourglass (2007) NAKANO: This isn’t an excuse, that Toon Link was well suited to
Spirit Tracks (2009) but when I came up with two rough the portable game systems, so the
designs for the main visuals and grouping of the teams came about
asked the company to choose which naturally. The realistic Link was for
Looking at the artwork for Twilight one they wanted, they were split the home consoles and Toon Link
Princess, Nakano-san, I can feel the down the middle. Since they couldn’t was for the portable systems.
tremendous energy you put into it. make up their minds, I said that I
What drove you that hard? would do both. That's how things are now, but in the
future Toon Link could appear on the
NAKANO: Being able to be So is that why Takizawa-san said home console again?
involved from the beginning with you were going too far? /laughs] So
the character designs allowed me which pieces were they? HARUHANA: That’s true. It’s not
to put more of myself into the title like we drew a line in the sand.
and made my attachment to it that NAKANO: This one [page 81] and
much stronger. And furthermore, it this one [pages 82-83]. Normally So in the opening of Phantom
had that art style that was closest to you’d only need to create one piece Hourglass there is a picture play
the realistic fantasy art from overseas and the teams would all use that one [page 86], Who worked on that?
9. Ooccoo.
NAKANO: A woman on my staff HARUHANA: Leaving behind So how did you come to be in charge
did it. Toon Link like a parting gift for the of the artwork for Skyward Sword?
next generation, [laughs] The people
Since there was a woodblock print who led the designs on this project WADA: The decision of who
style in The Wind Waker, I guess that were the art director of Animal would be in charge of the artwork
paved the way for something like this Crossing: New Leaf for the 3DS, Koji for Skyward Sword was decided by
to come along as well. Takahashi, and the art director of a competition among the group.
Splatoon, Seita Inoue. During the At that time I had only been at the
NAKANO: I suppose so. production of Spirit Tracks, Inoue’s company for two years, so it was an
proficiency was amazing. honor to be chosen.
TAKIZAWA: Revealing a bit of
what goes on behind the scenes during TAKIZAWA: He drew a ton of Why didn’t you take on the role,
development, the creation of the demo sketches. Nakano-san?
movie is a lot of work. But since we
needed to advance the story several HARUHANA: He was originally NAKANO: As I said earlier, I had
times during the course of the game, it in charge of the menu screens, but to consider my position in the
was decided to make all of the cut scenes he was involved in the designs of the company, and frankly, I was hoping
in the style of a picture play. That’s trains and areas around the main for the younger staff to be more
where Nakano-san’s team comes in. dungeons as well.10 central in the process. That’s how
the competition came about and
NAKANO: Right. Because I had Looking at some of the rough Wada-san was chosen.
worked on the woodblock print sketches, they might have worked in
Splatoon as well.
opening for The Wind Waker, Before the announcement of Skyward
whenever there’s an opening movie Sword, there was a piece of art
to be made, they bring it to my team. HARUHANA: Quite possibly. that was revealed [page 396]. Did
Wada-san work on that piece?
But the creation of the opening movie
is a job for the development team— CREATE NAKANO: Actually, I drew that.
don’t you ever want to tell them that? APPEALING When I created it, many of the game’s
story aspects weren’t locked down
ART WHILE
NAKANO: Oh no, I enjoy drawing yet, but we needed it for the preview
too much. [laughs] MAINTAINING atE3 in 2009.
UNIVERSALITY
HARUHANA: For my sake, I was Skyward Sword (2011) I see Fi featured in front.
happy that the job of creating the
picture play had gone away. [laughs] NAKANO: The design for Fi was also
Thank you for waiting, Wada-san. a competition. I participated in that,
ALL: [laughter] We’ve finally come to Skyward and my design ended up being picked.
Then came Spirit Tracks. For this It kind of reminds me of the Great
title, Haruhana-san, the creator of WADA: Oh no, it felt like an instant. Fairy from The Wind Waker [page
Toon Link, was only backup support. [laughs] 233]. Is there a reason behind that?
10. Rough sketches by Inoue.
422 I Encoded in Illustrattions: Another Side to The Legend ofZelda’s History

NAKANO: Actually... there isn’t any. It looks like a watercolor illustration. WADA: Yes. Link up to that point
had very sleek and smart features,
ALL: [laughter] WADA: It had been decided that the but the pants that Link is wearing
game would have a watercolor look, in Skyward Sword are rather baggy
NAKANO: Fi is an embodiment of but due to hardware limitations, it compared to previous versions. You
the sword, so I wanted to give her a wasn’t realized as well as we had can feel a wild strength coming from
metallic feel. hoped. So we wanted the illustration him. We wanted a contrast to how
to get across how the watercolor sleek he looked previously, so we
TAKIZAWA: And as a result, they styling was supposed to look. At gave him loose-fitting pants.
looked similar. [laughs] the same time I wanted the slightly
oppressive feel that Twilight Princess When drawing Link’s face, what
NAKANO: I mean, it was in the back had as well. parts did you pay close attention to?
of my head. Thinking, “Wasn’t there
a character with metallic features be¬ Is that why the ink seems blurred WADA: Well, here’s one particular
fore?” [laughs] But I thought the fans together? detail. Nakano-san used to say to me,
might appreciate the implications of “Make sure he has lower lashes!” so
what her metallic features might mean. WADA: Yeah. Had I illustrated it I made sure I paid attention to that
normally, it wouldn’t have taken as detail, [laughs] I came to understand
And so, after that point, Wada-san much time, but I used Photoshop that the Link drawn by Nakano-san
started on the artwork. What was on to make it look like it was created has very detailed lower eyelashes...
your mind then? with watercolors. I had difficulty
finding the right balance of what I’m sure you’ve created many illustra¬
WAD A: The first thing I did was look to paint in detail and what not to. tions, but among them, which one is
over all the work that Nakano-san I didn’t want it to lose that water- the most memorable for you?
had done. I thought, “Wow, that’s color feel.
amazing.” I felt that it had a universal WADA: That would be this one [page
appeal to it. What other things did you do to give 330]. The reason is that this is the one
this art a sense of universality? that Nakano-san first looked at me face
Like anyone looking at it during any to face and complimented me on. And
era would find it appealing because WADA: When you use a trendy that made me really happy. [ laughs]
it’s unaffected by trends? drawing style in your work, you look
back on it later and can feel the age ALL: [laughter]
WADA: That’s right. Which is why of the illustration. So I wanted to
when I look at Nakano-san’s art, avoid that. But using an older style WADA: He said that the way Link is
it doesn’t feel old at all. So when I doesn’t mean it can’t feel nostalgic, standing and thrusting his right arm
which I think is a good thing. So I
started working on Skyward Sword, I forward is really great.
personally think using the watercolor
thought long and hard about how to
create appealing art while maintaining style was a good thing.
NAKANO: It’s actually pretty diffi¬
universality. cult to depict the arm and hand being
thrust forward like that...
So with that in mind, what was the HAS A LITTLE
first piece you created? BIT OF EVERYTHING, Even an amateur looking at it can feel
the power emanating from it.
WHICH KEEPS IT
WADA: The first piece I created
[page 328] was revealed at E3 in INTERESTING HARUHANA: I like everything
2010. Because of the tight schedule, Skyward Sword (2011) about this piece.
I didn’t have time to come up with A Link Between Worlds (2013)
rough concepts on my own, so Tri Force Heroes (2015) TAKIZAWA: It is definitely very
Nakano-san and I worked together
discussing the layout and what poses
would be good, and in the end I Link in Skyward Sword had very NAKANO: You can really feel the
finished the design we came up with. muscular-looking legs and hips. weight of his feet digging in...
TAKIZAWA: It might become a A Link to the Past, so it should be So who was in charge of the artwork
tradition passed down from the regular Link. We had a long debate for A Link Between Worlds and Tri
Official Zelda Art Masters to the over it. Force Heroes?
next generation. Both Nakano-san
and Wada-san love creating pieces The people who played the first NAKANO: I stepped back onto the
with complex poses... [laughs] game on the SNES may have had field to work on them both.
an issue if the main character was
WADA: Yeah... Toon Link... You did, Nakano-san? Said some¬
thing like “I can’t be a manager right
NAKANO: You might he right. HARUHANA: Exactly. Since A now!” or something?
[laughs] Link to the Past was the original,
it only made sense to go in that NAKANO: It was more like “Let me
By the way, Wada-san. How did it direction. And since it’s been draw too!” [laughs]
feel to be in charge of the artwork twenty-two years since the previous
that Zelda fans worldwide had been title, the expectation about the ALL: [laughter]
lookingforward to? art style became what it is. I found
myself thinking that the Zelda series NAKANO: So that’s how I got
WADA: I certainly felt the pressure. certainly has a bit of everything, back into being on the frontlines.
But if anything, that made me really which keeps it interesting. But with Aonuma’s announcement
happy. that the character designs would be
So it isn’t necessary for the main changing partway into production,
Normally it's not a task that would character to be Toon Link just it was a time of turmoil in regards to
be given to a second-year employee, because the game is on a portable artwork.
right? game system.
So there are no set rules in the
WADA: Which is why I kept on HARUHANA: Yeah, that’s how it production of a Zelda title.
asking, “Are you sure I should be worked out.
doing this?” the whole time I was HARUHANA: That might be the
working on the artwork. It didn’t But for Tri Force Heroes, the main case. In fact, even on the home con¬
feel real to me. I was enjoying myself character went back to being Toon soles, the design of Linkhas changed
instead of feeling the pressure. Link. with every release.
Next up is the sequel to A Link to the HARUHANA: Actually we had TAKIZAWA: I think Link is a
Past, A Link Between Worlds. our share of trouble for this title as character that evolves over every
well. For a while into production, release. And the world as well as
HARUHANA: For this title there the main character was the Link the era he interacts with change as
was a difference of opinion on used in A Link Between Worlds.11 well. Even the game play itself is
which Link to use. Since it was for But one day, Aonuma made an different from game to game, and
the Nintendo 3DS, some felt that announcement: “Were going with the requirements for the artwork to
it should be Toon Link, since it’s a Toon Link!” go along with it. So there’s nothing
title for a portable game system, but wrong with seeing a different-looking
others said that this was a sequel to ALL: [laughter] Link with every outing.
icoded in Illustrations: Another Side to The Legend of Zelda s History

but when I looked carefully... “It’s you get to show all the equipment
moving!”12 [laughs] Link’s carrying, so that was kind of
REVIEWING WHAT’S
exciting for the fans to see.
RECOGNIZABLE ALL: [laughter]
ABOUT ZELDA The shield is not the one we’re used
Breath of the Wild (2017) NAKANO: Recently, computer to seeing, and you can see a number
graphics have become extremely of items on his waist. And he's hold¬
high definition, so when it comes ing a bow and arrow instead of the
So lastly, I’d like to ask about Breath to making an illustration from usual sword?
of the Wild. I've been told that them, I have to wonder what value it
Wada-san will be taking charge of would have. WADA: The bow is an important
the artwork once again. item this time around. It can be used
WADA: And the graphics on this right from the start and has many
NAKANO: Yes, that was my title have cell shading, so having uses. Even in the 2014 promotional
intention all along. It seemed a to come up with artwork that sur¬ video, it’s being used throughout.
natural progression after Skyward passes that has put a lot of pressure From the early stages Aonuma
Sword that Wada-san was the right wanted to go with the bow as a
man for the job. primary weapon.
So being under such pressure, what
How did you feel being picked for was the first illustration you created? His outfit is also different, and he’s
the job? not wearing his signature cap.
WADA: It was an illustration of
WADA: I felt like, “Yayf The truth Link shooting an arrow [page 404]. I WADA: Not going with his green
is, I was really hoping for it. [laughs] took the same layout and made three outfit and cap was a decision that
versions with different styles.13 took some courage. But in this
You must be more confident since this game, Link can change outfits, so we
will be your second title. So in the end, which one did you go wanted to emphasize how different
with? this Link is going to look. A lot of
WADA: Oh no, that’s not the case work was put into this design to
at all. I mean, I saw the footage WADA: I went with the one that set him apart from his usual look.
for Breath of the Wild when it was was a nice middle ground of being Since he can wield a variety of
announced at E3 in 2014 and I very neat but a little bit on the bows, swords, shields, and other
thought to myself, “Is there anything rougher side. equipment, deciding what to show
for me to draw?” took a long time.
The pose of Link from behind is
Oh yeah, that game footage looked something we haven’t seen before So one of the key factors of the
like a beautiful illustration. Is that [page 40S]. development of this Zelda title is
why you thought that? reviewing what's recognizable about
WADA: I created the various poses Zelda and rethinking it, and this
WADA: Yeah. When I first saw the based on discussions I had with the illustration is an example of that.
footage, I thought the background art director, Takizawa-san. When
behind Aonuma was an illustration, you do an illustration from the back, TAKIZAWA: That’s correct.
12. Video footage from E3 2014. 13. Rough sketches of Link with a bow. From left: “Image painted with a lot of precise detail,”
“a watercolor-like style,” and “a rougher touch to make the image look wilder.”
AN HOMAGE TO
THE ORIGINAL
LEGEND OFZELDA
ILLUSTRATION
Breath of the Wild (2017)
I want to put the new main illustration

into a frame and display it [page
402]. I can feel that universality that
Wada-san has been talking about.
WADA: Thank you very much.
The background looks like an oil

painting.
WADA: In the game, the characters

and the backgrounds are shaded
differently, so I wanted to treat this
main illustration the same way.
That’s why I gave the background
an oil painting touch—so that Link
stands out more on the cliff side.
And with the sunset hitting Link, he

really pops.
TAKIZAWA: That was Wada-san’s

idea. To capture the feeling you get Bom in 1983 in Fukushima. Joined the company in 2009. First work was Zangeki
no Reginleiv for the Wii (2010). His job was to create rough sketches to be sent to
from the game graphics and play with
outside contract illustrators. Artists he respects are Jamie Hewlett, Yuichi Kumakura,
the dance of the light to feature the and Atsuya Uki. His favorite illustration is a piece from Skyward Sword.
main character rather than showing
him in extreme detail. To depict a
cinematic scene rather than going the show the contrast between what’s real main character ofthis illustration
traditional game illustration route changed from past Zelda titles and is the setting, so Takizawa-san and I
that puts a lot of detail and lighting what’s remained the same. If the discussed it and decided that Link
on the character’s face. Allowing for
thing that hasn’t changed is Link, didn’t need to be drawn very large.
the face to be hidden in shadow and
then the act of him climbing a cliff is
using dramatic lighting to give it that
something that’s different. I wanted So with this one illustration, you
cinematic feel.
to combine the two in one image. want to say, “You can go anywhere
in this world.”
I see. So this is why you chose to
So you’re saying that seeing the usual
show Link climbing a cliff rather
than swinging a sword. Also, it Link in a different outfit and doing WADA: Right. And what I depicted
emphasizes the notion that Link can brand-new actions will leave a strong is true to the game, so everything
climb anywhere in this game. impression. you see in this illustration actually
exists in the game. Looking at the
WADA: Yes. First of all, in creating WADA: I would be happy if that’s illustration from that point of view
this illustration, I really wanted to what people take away from it. The could be entertaining as well.
426 I Encoded in Illustratdons: Another Side to The Legend ofZelda’s History

HARUHANA: Like you can see Zelda for the NES and brought it then explain Toon Link,” but I think
that item over here and such? back to life thirty years later? this in itself is an example of how
we challenged the idea of how Link
WADA: Exactly. By the way, the WADA: It sounds really dramatic could be expressed, and it’s part of
illustration from The Legend ofZelda when you phrase it like that. [laughs] the fun that is The Legend ofZelda.
for the NES was mentioned earlier. In other words, I think it’s a first step
This image was created using that Okay, here is the last question. As in readying artwork for Zelda that
illustration as a motif. artists and illustrators working on will have a reaction worldwide and
the Zelda series, what do you hold challenge the preconceived notion
NAKANO: The slight redness of it as being most important to you? of what something in the Zelda
is similar. franchise should be.
WADA: As I said before, universality
WADA: Actually, it looks more like is very important to me, but also TAKIZAWA: I think the most
it in the rough sketches. having the flexibility to change the important thing is to catch the
art style with every title is important. attention of the person seeing the
Is that so? I feel that every time I look at the artwork of Zelda and allow them to
artwork from one of the titles that imagine many things. To make them
WADA: Before we arrived at the Nakano-san worked on. The theme want to enter our world and go on an
final version, I went through several we want to convey differs from title adventure—I think that’s the best.
roughs, and some of them were even to title, so if we want to pass that Even before they play the game, I
more similar. along to the player, the art style needs would love for them to get excited
to change along with the message. about the world they’re about to
HARUHANA: I remember that. So I think it’s important not to push enter. And giving this to the players
Weren’t you drawing Link in the your artistic style onto others but to who imagine our world and then
same pose as the original Link? make them say, “Who drew this?” showing them something even more
That is my strong belief and wish. grandiose—I think that’s the goal for
WADA: That’s right! The Link in us creators to strive for.
Breath of the Wild is in the same NAKANO: Creating artwork that
pose as that image from the original appeals not only to the fans in this Thankyou all very much.
Legend ofZelda. country but also to fans all over the
world. I’m always thinking about TAKIZAWA: Um ... can I say one
HARUHANA: He was kneeling that balance when I work. Of course, last thing?
with a sword and shield. we’re all Japanese, so I’m sure there
will always be that “Made in Japan” Please, go ahead.
WADA: In the end, I thought about nuance and feel.
it a lot, and the piece eventually TAKIZAWA: As of 2016, The
came to be in the form that it’s in Japan does have a unique way of Legend ofZelda has had its thirtieth
using color... anniversary. I want to express our
gratitude to the fans who have
NAKANO: That’s why when you NAKANO: Taking all that comes supported the series up to this
look at this illustration, it feels like from our art and making use of our point. We hope to continue creating
an homage to the original Legend of unique individuality and appeal new artwork to excite fans all over
Zelda illustration. to make it our strength. I want to the world. As a creator, I want to
present artwork to the world that continue our “adventure,” [laughs]
Even the logo seems similar to the will draw everyone in and pique their so please be on the lookout for more
old design. interest. artwork and illustrations from the
world of Zelda\ A
NAKANO: That’s correct. HARUHANA: What I want to say
is similar to what Nakano-san said.
So basically, Wada-san, who was Paying attention to the eyes of the
three years old at the time, took the world being on us is very important.
image from the original Legend of You might say, “If that’s the case,
THE LEGEND OF
ELDA
ART & ARTIFACTS
T HE LEGEND OF ZELDA™ series has produced
some of the most iconic and memorable art¬
work in video game history. Nintendo® has thrown
open the vault to collect your favorite masterpieces
from this storied franchise, as well as rare and
never-before-seen content.
The Legend of Zelda": Art and Artifacts contains
over four hundred pages of illustrations from
the first thirty years of the series. This oversized
hardcover includes game box art, official character
designs, artwork from the instruction booklets,
sketches, rare promotional pieces, pixel art, a
foldout poster, interviews with the artists, and
much, much more!
The Goddess
Collection
DarkHorse.com | Nintendo.com

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HYRULE GRAPHICS ART & ARTIFACTS

NAO YAMAMORI MIKE RICHARDSON

Editor and Planner Editor

Assistant Editors Assistant Editor

1 Licensing: (503) 905-2377

All concept illustrations that originally

DARK HORSE BOOKS

The Legend of Zelda

Zelda II: The Adventure of Link

Zeldall: The Adventure of Link

Zeldall: The Adventure of Link

A LINK TO THE PAST

The Legend ofZelda: Ocarina of Time 151

172 The Legend ofZelda: Ocarina of Time 173

174 The Legend ofZelda: Ocarina of Time 17S

176 The Legend ofZelda: Ocarina of Time

Cap'n and Pirates

240 The Legend ofZelda: The Wind Waker

^fc™^TwiLic;f7t PRincess \^x >

2 66 The Legend of Zelda: Twilight Priti 2 67

The Legend of Zelda: Twilight Prir

The Legend ofZelda: Phantom Hourglass

The Legend ofZelda: Spirit Tracks

The Legend ofZelda: Skyward Sword

The Legend ofZelda: Tri Force Heroes

374 Logo and Package Gallery

BOOMERANG MAP COMPASS

fM i It.'-* WALKING CROUCHING SLASHING

■Jfe. .Jfc, ■Jfc.

HOARDER ARMOS BEE ZORA BUZZ CUKEMAN

SAND CRAB DEADROCk GELDMAN RAT ROPE

MAGICAL HOOKSHOT POWER TITAN'S LANTERN MOON

MAGIC BOTTLE AND POTIONS ZORA'S PEGASUS

FLUTE BUG-CATCHING SHOVEL MUSHROOM BOOK OF MAGIC

BOMBOS ETHER QUAKE

Lower the posmoM

400 I Bonus Gallery

408 Encoded in Illustrations: Another Side to The Legend ofZelda’s History

410 I Encoded in IUustrattions: Another Side to The Legend ofZelda’s History

412 I Encoded in Illustrations: Another Side to The Legend ofZelda’s History

I see. And Takizawa-san made the

TAKIZAWA: That’s correct.

Ganon is basically a pig, but the

TAKIZAWA: Well, I started by

So he couldn’t just be incredibly

TAKIZAWA: Right. The enemies

NAKANO: Hardly any, in fact.

tions: Another Side to The Legend ofZelda’s History

NAKANO: The design of the moon

Then came Oracle of Seasons for

5 .Legend of Zelda footage shown as part of the technical

416 I Encoded in Illustrations: Another Side to The Legend ofZelda’s History

6. Link illustrated by Haruhana and Moblin

How did you create the woodblock-

NAKANO: I first created the rough

So the reason it looks like a wood¬

NAKANO: That’s correct. Then