为什么任天堂是游戏界公认的神？
—— 任天堂以及它「塞尔达传说」与「超级马里奥」等游戏作品系列，对其他游戏开发者和游戏作品，有多大的影响力？
本专栏文章的后半部分，附带双语引用资料对照
5小时超长任天堂纪录片：
盘点一下世界著名任天堂粉丝们、业界顶尖游戏大佬们都是怎么吹老任的
中文&外文引用资料对照
▲丹•豪瑟 （R星创始人）
「塞尔达传说」与「超级马里奥」系列显著地影响了GTA系列的开发。如果哪个3D游戏制作人说自己没从「塞尔达传说」和「超级马里奥」身上学过什么，那他一定是在扯淡。
Dan Houser, the 39-year-old chief writer of Rockstar Games and a co-founder of the studio that's delivered the Grand Theft Auto series, admitted to some screen-looking in an interview this weekend with The New York Times:
"Anyone who makes 3D games who says they've not borrowed something from Mario or Zelda is lying," he said.
■ https://kotaku.com/grand-theft-autos-writer-talks-women-writing-and-creat-5959390 ■ https://www.bilibili.com/video/BV1m4ydB7Ew7
▲山姆•豪瑟（R星创始人）
「侠盗猎车手3」可以说像是「塞尔达传说」与「四海好家伙」的融合。 （「四海好家伙」，「Goodfellas」，1990年的美国黑帮犯罪电影）
Grand Theft Auto III is like a cross Between a gangster movie and an RPG (Zelda meets Goodfellas?), with the most intense action and driving gameplay.
■ https://www.ign.com/articles/2001/09/10/rockstars-sam-houser-mouths-off
▲丹•豪瑟 （R星创始人）
Lex Fridman：还有《超级马力欧》。
Dan Houser：比如N64的那款，所有那些早期的3D游戏，当你第一次看到它们时感觉非常神奇。在N64，PS1上。沉浸在游戏中时会让人感觉栩栩如生，这一切都以不同的方式令人信服，我认为这非常有趣。
Lex：它看起来如此地与之不同。
Dan：任天堂就是那样的气质，一直都是。
Lex：任天堂以精心的打磨而闻名，每个像素都有其目的。
Dan：是的。
Lex：我想《俄罗斯方块》也有同样的侧重点：提供纯粹的游戏体验，（叙事）越少越好。
Dan：真的很漂亮。
Lex：当然还有《塞尔达传说》也十分具有开创性。
Dan：带来了一个「世界」的感觉。
Lex：但《时之笛》还并非开放世界。
Dan：确实还不是，但它太棒了。
Dan：新作《王国之泪》几乎让我觉得像是「希区柯克」。他们只是在以电子游戏的语言进行表达。所有的一切都会自然地发生。这是相当系统的。但如何将一切粘合在一起的做法着实令人称奇。感觉你就像是在看希区柯克的电影。
Dan：这不是现实。它像是在用强烈的口音叙说一种影视化的语言。非常非常地有戏剧效果。它完全不是现实主义。这就是《塞尔达传说》游戏给我的感觉。
Dan：这些美妙的东西，只能由电子游戏赋予，而非其它任何事物。
Lex Fridman: And Super Mario.
Dan Houser: I think the N64 ones. All of those early 3D games were very amazing when you first saw them. On the N64, PS1, when you went it suddenly it was like these games are alive, and it did all they're believable in a different way. I think that was very interesting.
Lex: It looks nothing like anything else.
Dan: Nintendo has that look. Always.
Lex: Yeah. They're known for this Nintendo polish, every pixel has a purpose.
Dan: Yes
Lex: And I mean, I suppose Tetris has that same real focus on delivering a pure gaming experience, with as little as possible.
Dan: It's really beautiful
Lex: And of course Zelda really pioneered a lot of,
Dan: Sort of the feeling of a world.
Lex: But it's not quite open world.
Dan: No, but it's amazing.
Dan: The new ones, they almost to me feel like Hitchcock. They're just speaking the language of video games. You know, everything's gonna work this way and that way. It's quite systemic. But it's so how it all glues together is so amazing, it feels like when you watch a Hitchcock film.
Dan: It's not reality. It's speaking the language of cinema with a very strong accent. It's very, very cinematic. It's not realism at all. And that's what those Zelda games kind of feel to me.
Dan: They are these amazing things, that could only be video games. They couldn't be anything else.
■ https://youtu.be/o3gbXDjNWyI?si=5KKi28HkFpOTCIiR
《游戏的力量：任天堂故事》纪录片第 1 集 34min 02s，菲尔·斯宾塞
▲菲尔·斯宾塞，微软游戏CEO，Xbox部门主管
在将我们带到新世界和新冒险方面，游戏有着悠久的历史，这些旅程融入了我们自己的生活经历并成为我们的一部分。「塞尔达传说」系列是一个标志性的IP，为许多人带来了欢乐。 35 年过去了（2021年），到现在也依然很强劲。
PHIL SPENCER, CEO MICROSOFT GAMING
"Gaming has a rich history of transporting us to new worlds and on new adventures, these journeys fold into our own lived experiences and become a part of us. The Legend of Zelda is an iconic franchise that has BROUGHT JOY TO SO MANY PEOPLE over the past 35 years and is still going strong."
■ https://www.inverse.com/gaming/zelda-35-anniversary-phil-spencer-impact-legacy
■ https://gamerant.com/xbox-praise-zelda-breath-of-the-wild/
▲菲尔·斯宾塞，微软游戏CEO，Xbox部门主管
菲尔·斯宾塞对 Big N （Nintendo）大加赞赏，称他们“精通于自己的工作”，并且拥有“最强的第一方血统”。称它们为“我们游戏行业的掌上明珠”，最后说它们应该受到保护、帮助其成长。
斯宾塞长期以来一直是 Switch 的支持者，在Switch上发布了诸如《我的世界》和《奥日与黑暗森林》等 Xbox 游戏。
Xbox boss Phil Spencer lavishes Nintendo with praise
He then went on to heap even more praise on the Big N saying that they’re “masterful at what they do,” and have “the strongest first-party pedigree out there.” Calling them a “jewel for us in the games industry,” and finished by saying that they should be protected and helped to grow.
Phil Spencer has long been a supporter of the Switch, releasing Xbox Game Studio games like Minecraft and Ori and the Blind Forest on the system, among others. These latest comments, however, shift that support to outright admiration and we love it!
■ 【动森访谈】https://youtu.be/1-DdCjlH99U ■ https://nintendowire.com/news/2020/08/13/xbox-boss-phil-spencer-lavishes-nintendo-with-praise/
■ 菲尔·斯宾塞参加《动森访谈》 https://youtu.be/1-DdCjlH99U
微软Xbox部门主管菲尔·斯宾塞，对《塞尔达传说》系列大为称赞
▲Eric Williams，圣莫妮卡工作室，《战神5：诸神黄昏》总监
在接受 IGN 采访时，《战神5：诸神黄昏》的新总监 Eric Williams 与 IGN 分享了 5 部影响了他的职业生涯的 NES 游戏，他告诉 IGN，这些经典游戏让他明白了一部好的游戏要如何处理一些关键的要素。
其中 1986 年经典的初代《塞尔达传说》作品，为世界带来了林克、塞尔达公主、海拉鲁，也给童年的 Williams 留下了很深的印象。他告诉IGN：「作为来自美国中西部的孩子，我小时候经常在树林中玩耍，这个游戏让我感到既熟悉又奇异。」
■ https://www.ign.com.cn/baseball-stars/41672/interview/zhan-shen-zhu-shen-huang-hun-zong-jian-fang-tan-nes-you-xi-dai-lai-de-qi-di
Eric Williams，Santa Monica Studios，Director of God of War: Ragnarok
Santa Monica Studios' God of War: Ragnarok recently launched to critical acclaim (including a glowing review from our good pals over at Push Square), and its director Eric Williams has recently shared some of the games that inspired him and influenced his career.
Speaking with IGN (thanks, GoNintendo), Williams listed off five classic NES titles, that informed how he approaches various aspects of game design, including combat, statistics, and day/night cycles. As expected, a few of his choices might seem pretty obvious to many of our readers here, but there are a couple that might come as a bit of a surprise.
The first game listed is, of course, The Legend of Zelda. While not exactly a game, that ranks highly in Nintendo's Zelda franchise these days, the impact of its introduction on the NES cannot be overstated. Williams states that “Being from the Midwest and playing in the woods as a kid made this game feel so familiar and fantastical all at the same time.”
■ https://www.ign.com/articles/how-god-of-war-ragnaroks-director-found-inspiration-in-classic-nes-games ■ https://www.ign.com.cn/baseball-stars/41672/interview/zhan-shen-zhu-shen-huang-hun-zong-jian-fang-tan-nes-you-xi-dai-lai-de-qi-di
▲雷吉·菲尔斯-艾梅，美国任天堂前总裁：这个行业因为 Xbox 而变得更好。
Xbox 发布的那一刻，还有现在，以及20 年后，这个行业正因为 Xbox 的发布而变得更好，我坚信这一点。雷吉说，事实上，每一家公司都在产出这些精彩的内容，生态系统是如此强大，而 Xbox 是其中重要的组成部分。
The moment in time of the launch, the moment in time now, 20 years later, the industry is Better because of the Xbox launch, I passionately believe that, Fils-Aimé stated. And the fact that there are all of these companies making all of this wonderful content, the ecosystem is so robust, Xbox is a big part of that.
■ https://www.nme.com/news/gaming-news/ex-nintendo-president-says-the-industry-is-Better-because-of-the-xbox-3102685
▲约翰·卡马克，Id Software创始人
当卡马克在家里和六岁的儿子一起时，他并不是一个铁杆的FPS玩家。他说「我是一个老派的马里奥粉丝，我没有十个小时的周末时间来玩游戏，但我很喜欢坐下来玩一些简单的东西」。
Carmack admitted to Graft that he's not much of a hardcore shooter player while at home with his six-year-old son.
"I'm an old-school Mario fan," he admits, "I don't have ten hours over the weekend to spend gaming, but I do have fun sitting down and playing simple things."
■ https://www.ign.com/articles/2011/08/19/john-carmack-talks-rage-and-mario ■ https://arstechnica.com/gaming/2021/07/museum-obtains-rare-demo-of-id-softwares-super-mario-bros-3-pc-port/
▲Gabe Newell（G胖），Valve Software（V社）创办人，《半条命》系列制作人
G胖最喜欢的游戏是《超级马力欧64》、《毁灭战士》和 Burroughs 版的《星际迷航》。
《毁灭战士》改变了他，使他认为电子游戏是娱乐的未来；而《超级马力欧64》使他确信，电子游戏是一种艺术。
In 2011, Newell said his favorite video games included Super Mario 64, Doom, and a Burroughs mainframe version of Star Trek. Doom convinced him that games were the future of entertainment, and Super Mario 64 convinced him that games are a form of art.
■ https://en.wikipedia.org/wiki/Gabe_Newell
Speaking with Computer & Video Games back in 2011, Newell said that Mario 64 was: Still my favourite game of all time. I still have vivid memories of all the different levels. The control is still pretty much unrivalled. It convinced me that games were art.
■ https://www.nintendolife.com/news/2014/03/valves_gabe_newell_thinks_super_mario_64_is_just_swell
■ https://twitter.com/nintendoamerica/status/441362130491957248
■ https://en-us.reddit.com/r/IAmA/comments/1zkfmv/wearea_videogame_developer_aua/cfuf24t/?context=3
▲Riot Games（拳头游戏） 《英雄联盟》《瓦洛兰特》开发商
▲Nicolo Laurent，Riot Games，首席执行官CEO
终于在飞机上玩到了 Switch 上的塞尔达，它是任天堂的伟大的游戏设计教科书。
Nicolo Laurent，Riot Games，CEO
Finally played Zelda on the Switch in the plane. Great game design lesson from Nintendo.
■ https://x.com/niiicolo/status/841209861710917633
拳头公司CEO Nicolo Laurent：《塞尔达传说》是游戏设计教科书。
▲Scott Gelb，Riot Games，首席运营官
《塞尔达传说》 NES 金卡带版，是我（在小学时）玩过的第一个角色扮演游戏，它改变了我的生活——从拆箱体验，包括在甚至都还不知道它是什么的情况下 和母亲一起从 Target 那儿买回来，到游戏给我带来的无与伦比的感受。
它开始了我从 RPG 到 MMO 的热潮，并让我进入了游戏这个行业。我玩过该系列中的大多数游戏（包括《旷野之息》中的 75-100 小时），所以可以说它对我产生了持久的影响。
SCOTT GELB, HIEF OPERATING OFFICER AT RIOT GAMES
The Legend of Zelda NES gold cartridge was the first RPG I ever played (in elementary school) and it CHANGED MY LIFE — everything from the unboxing experience, including buying it from Target with my mom without even knowing what it was, to how the game made me feel.
It started my RPG craze and eventually led to MMOs and getting in the industry. I’ve played most titles in the series (including 75-100 hours in Breath of the Wild), so one could say it’s had a lasting impact on me.
■ https://www.inverse.com/gaming/zelda-35-anniversary-phil-spencer-impact-legacy
▲Lean Jackson，英雄联盟（LOL）电竞的内容制作人
「塞尔达传说」，特别是《时之笛》，对我影响很大。这是我大约六岁时和我的兄弟和爸爸一起玩的第一场游戏（我们轮流玩），它让我看到了电子游戏的无限可能。
我爱上了这个世界和里面的角色，我也因此学会了画画和演奏音乐，这样我就可以在任何时候都能继续“玩塞尔达”了。游戏中各种有趣的时刻，也给予了我很多启发，尽管这些年来我也在玩其他很多游戏，但我会永远怀念《时之笛》，是它促使我从童年时起，就成为了一名热爱游戏的玩家。
LEAH JACKSON, CONTENT PRODUCER FOR LEAGUE OF LEGENDS ESPORTS
Zelda, and specifically Ocarina of Time, influenced me tremendously. It was the first game I got to play with my brother and dad when I was about six (we took turns) and it opened my eyes to what video games could be.
I fell SO IN LOVE with the world and characters that I learned to draw and play music so I could keep "playing Zelda," even when I wasn't. The fun moments and memories have inspired me a lot and even though I've gone on to play so many other games over the years, I will always fondly remember Ocarina of Time as the game that kickstarted me into being a gamer in the first place.
■ https://www.inverse.com/gaming/zelda-35-anniversary-phil-spencer-impact-legacy
■ https://www.youtube.com/watch?v=5Q1s3lOzQ1A
▲Yves Guillemot，育碧联合创始人兼CEO
与任天堂合作，尤其是与宫本茂合作的美妙之处在于，你正在与最优秀的人合作。与业内最聪明的人一起工作很容易，他们非常了解什么是最有效的，而且我们经常就如何解决问题达成一致。
我经常出差，但多亏了 Switch，我才能随时玩塞尔达。这是一款伟大的游戏，我们可以通过了解任天堂的做法来了解我们如何制作游戏。
Ubisoft CEO, Yves Guillemot…
“What is fantastic about working with Nintendo, and with Miyamoto in particular, is that you are working with the best. It's easy to work with the smartest people in the industry, and they have a great understanding of what works, and we are very often on the same page about how to solve a problem.
I travel a lot for work, but thanks to the Switch I've been able to play Zelda. It's a great game, and we can learn a lot about how we make games, by looking at what Nintendo has done.”
■ https://www.reddit.com/r/IAmA/comments/6h1azu/i_am_yves_guillemot_ceo_and_cofounder_of_ubisoft/ ■ https://nintendoeverything.com/ubisoft-ceo-on-working-with-miyamoto-praise-for-zelda-and-nintendo/
Yves Guillemot，育碧联合创始人兼CEO
▲Joshua Mills，育碧《彩虹六号：围攻》创意总监
《塞尔达传说》系列对我很重要，因为每一部作品都像它自己的时之神殿。我可以用它们穿越时空，回到我生命中特定的关键时刻。
比如《塞尔达传说II：林克的冒险》。我小时候玩过它，但这一部格外特别，因为我在成为新手爸爸后重新玩了一遍。为了让我妻子能休息，我不得不在夜里陪着新生儿（她只有抱着才能睡）。我抱着女儿坐在摇椅里，整夜在Switch上玩《塞尔达传说II》。现在每当我想起《塞尔达传说II》，我就能重温那段与她共度的美丽而短暂的时光。
这个系列的每一部作品都连接着我生命中、我的家庭、我的朋友的核心记忆。我热爱这个系列，每一部新作我都会玩，不仅因为我喜爱那些有趣的惊喜和巧妙的设计，还因为我能把当下的时光封存进另一座“时之神殿”里。
最喜欢的作品？《塞尔达传说：时之笛》。
The Zelda Series is important to me because each title acts like their own temple of time. I am able to use them to jump through time to specific key moments in my life.
For example Zelda II: The Adventure of Link. I originally played it as a kid but this one is extra special because I ended up replaying it as a new dad. I had to stay up at night with our newborn (who was a contact sleeper) so my wife could get some rest. I held my daughter in the crook of my arm in our rocking chair while I played Zelda II all night on my Switch. Now when I think of Zelda II I get to relive that beautiful, fleeting moment in time that I shared with her.
Each title of the series has core memories of my life, my family, my friends tied to it. I love the series and play every one that releases not only because I adore the playful surprises and ingenious design but because I get to seal that current time in my life into another “Temple of Time.”
Favorite entry? The Legend of Zelda: Ocarina of Time.
■ https://gameinformer.com/feature/2026/04/07/40-years-of-zeldas-legend
▲Todd Howard，贝塞斯达（Bethesda），《上古卷轴 V：天际》 首席制作人
陶德对《塞尔达传说：旷野之息》大加赞赏，他说： 《旷野之息》是我最喜欢的《塞尔达传说》系列作品！显然，我特别喜欢开放世界的东西。任天堂做得特别特别好的一点是：他们不会限制你。而即便是我们B社做的东西，也会对你进行一些限制。但《塞尔达传说》会说「这就是全部！」你最多也只是受到未获得能力的一些限制，而非随意的阻碍。 《旷野之息》这款游戏做得太棒了！任天堂做了惊人的工作，这真的是无比奇妙的体验！
Todd Howard，Bethesda，Director of The Elder Scrolls V: Skyrim
Lex Fridman (Q): I get to ask you about a game I haven't played but people put up there as one of the greatest, The Legend of Zelda: Breath of the wild. Have you get the chance to play? Todd Howard (A): A lot of it! Yes! Yes! It's fantastic! It's fantastic! Lex: What do you think about? I mean, it's a very difference experience. I've played Zelda game, also an open world game like you created. It is also an open world.
Todd: It is! It's my favorite Zelda. Cause obviously I like open world staff. And, the one thing they do really really well is that THEY DON'T CONSTRAINT YOU. You know, even things we do will constraint you a little bit more. (While) Zelda says:"Here's the whole thing!" And you will constraint by actual player ability you haven't earned yet. Not some arbitrary barriers. Nintendo did a phenomenal job! It's a magical game!
Lex: It really feels open.
Todd: Yes! It truelly is! Yes!
■ https://youtu.be/U195gkLKB-I
陶德：《旷野之息》这款游戏做得太棒了！任天堂做了惊人的工作，这真的是无比奇妙的体验！
▲Andrew Scharf，贝塞斯达（Bethesda），《上古卷轴 V：天际》 首席制作人
我们很高兴能在 Nintendo Switch 上推出我们的游戏，任天堂一直是我们的绝佳合作伙伴，这非常令人兴奋，我们一直梦想有机会能够将「上古卷轴」带到任天堂平台。
在我们开始开发 Switch 硬件后不久，总监 陶德 将《上古卷轴 V：天际》与《塞尔达传说：旷野之息》联动的想法带到了任天堂和「塞尔达传说」开发团队。他们很喜欢这个想法，并提出与我们合作。
Bethesda and Nintendo
Paul Hunter: Skyrim coming to Nintendo Switch is obviously a huge moment in gaming, and especially for Nintendo fans. Who originally approached who about bringing this massive game world to Nintendo Switch?
Andrew Scharf: The team here at BGS has been excited about the Switch and Nintendo’s plans since we first saw the demo of the technology. That got us fired up about the possibilities, and as a broader company, we’re always looking to expand our games to new platforms and new audiences. It was just a no-brainer to join a great partner like Nintendo and bring the massive world of Skyrim, where you can go anywhere and do anything, to a platform that can also go anywhere.
PH: Last October during the much talked about video Reveal Trailer for Nintendo Switch we saw Skyrim being played at home and on an airplane. How did it feel to (sort of) make public the new relationship Bethesda has with Nintendo?
AS: It was very exciting. We’ve always dreamt of the opportunity to be able to bring The Elder Scrolls to a Nintendo platform, and with the Switch we were able to do not only that, but provide a way to play Skyrim a whole new way by being able to bring it anywhere. Nintendo’s been a great partner and it’s been great to work with them.
Zelda + Skyrim
PH: The addition of items from The Legend of Zelda, like the Master Sword, Hylian Shield, and Champion’s Tunic is pretty exciting. How did this idea come about and are there any other items in-game that may surprise us?
AS: It was early on in the project, shortly after we started developing on the Switch hardware and Todd brought the idea up to Nintendo and the Legend of Zelda development team. They loved the idea and offered to work with us to make sure that our depiction of Link’s Champion’s Tunic, Hylian Shield, and of course the Master Sword held true to their design, while being usable weapons/armor in Skyrim.
Bethesda & Nintendo: The Future
PH: The future looks extremely bright for Bethesda and Nintendo. We have Skyrim, DOOM, and Wolfenstein II all coming to Nintendo Switch. As we look towards the future, what would you like to tell Nintendo fans about this rapidly growing partnership with Nintendo?
AS: We’re really excited to be launching our games on Nintendo Switch, and Nintendo has been a fantastic partner for us. The fans of Nintendo’s hardware have been super supportive and excited for these games and we hope they enjoy exploring Skyrim, as well as blasting demons in DOOM and fighting Nazis in Wolfenstein II. We haven’t announced anything for Switch following Wolfenstein II in 2018, but if and when we do, we will let you know.
■ https://nintendosoup.com/Bethesda-reveals-skyrims-zelda-collaboration-came/
▲上田文人，《古堡迷踪》(ICO)、《汪达与巨像》、《最后的守护者》导演，Team Ico.
「塞尔达传说」系列对《旺达与巨像》有着很大的影响。其中的巨人，与其说像是Boss，倒不如说更像是反转的塞尔达式地牢。这是他一开始的哲学理念。
Ico director Fumito Ueda (Team Ico) cited Zelda as an influence on Shadow of the Colossus.
"They're not bosses," says Ueda. "They're more like -- inverted Zelda dungeons." This was his philosophy from the start.
■ https://web.archive.org/web/20170221110345/archives.insertcredit.com/reviews/wanda/
▲Square Enix（史克威尔 艾尼克斯）
《最终幻想XV》无缝开放世界背后的灵感，来自于《塞尔达传说：时之笛》。
Square Enix made it clear that Final Fantasy XV’s game world is being made with exploration in mind: “The FFXV Universe was created to make the main game FFXV Better and create a world people want to get lost in,” it wrote.
“The inspiration behind the seamless open world in FFXV is The Legend of Zelda Ocarina of Time.”
■ https://www.psu.com/news/final-fantasy-xv-inspired-by-zelda-ocarina-of-time/
▲吉田直树，《最终幻想》系列总监
――最近您玩过的游戏中，有哪些作品让您特别感到"震撼"？
吉田直树：最近体验的游戏中，最让我惊叹的作品当属《塞尔达传说：智慧的再现》。虽然这个话题可能涉及专业细节，但从开发者视角来看，这款游戏在资源调配手法、架构设计以及游戏机制规划等诸多方面，都让我不断发出"实在太厉害了"的感叹。
――最近プレイされたゲームの中で、とくに「これはすごい」と感じた作品はありますか？
吉田：最近のゲームはどれもおもしろいですが、とくに『ゼルダの伝説 知恵のかりもの』には感銘を受けました。少しマニアックな話になりますが、リソースの使いかた、作りかた、そしてゲームデザインという点で、制作者としての視点から見ても「すげえな」と思うポイントが非常に多かったです。
■ https://www.famitsu.com/article/202507/46603
▲滨口直树，《最终幻想》系列总监
Q：作为专注任天堂的媒体，Monolith工作室开发的《异度之刃》系列对我们而言是重要RPG作品。请问您是否曾游玩该系列，这些游戏是否对《最终幻想7：重制版》三部曲的创作思路产生影响？
滨口直树：我曾参与过史克威尔艾尼克斯早期《异度》系列的制作，但很遗憾近年任天堂发行的续作我并未体验，对此深感歉意。
不过若论及任天堂游戏中对我产生深远影响的代表作——或许您会觉得这个答案有些取巧——那必然是《塞尔达传说：旷野之息》。这款游戏充满启发性，让我获益良多。从《最终幻想7：重制版》到《重生》的演进过程中，开放世界玩法的转型明显受到了《旷野之息》的重大影响。
对比《最终幻想》与《塞尔达传说》的设计理念，我们的创作路径存在差异。我们始终以叙事为核心出发点，继而构思如何通过玩法设计来承载剧情与沉浸感。而塞尔达系列则反其道而行，首先构建玩法体验，再让世界观与场景为之服务。观察他们如何实现"以玩法驱动叙事"的设计哲学，确实为《重生》的创作带来了重要启示。
Q: As a Nintendo-focused site, one of the big RPG franchises for us is Xenoblade Chronicles. I'm curious if you'd played the Monolith-developed games and if these have influenced your approach to the Final Fantasy VII Remake trilogy?
Naoki Hamaguchi: I remember I was involved with the Xeno games we made in the past with Square Enix, but unfortunately I haven't played the more recent ones from Nintendo, so I'm sorry about that.
But if you talk about other Nintendo games that have influenced me and I've taken a lot from – and you might think this is a bit of a cop out – then it'll be Zelda: Breath of the Wild. It's such an inspirational game and I've learned so much from that. Looking at how its affected the Remake series, moving from Remake to Rebirth and that switch to more open-world gameplay, Breath of the Wild was hugely influential there.
If you compare the kinds of games we make in Final Fantasy with Zelda, in some ways the approach is slightly different. Our games very much start with the story, and then we kind of work out what kind of gameplay experience we want to add to create that story and that feeling of being in that story.
I think Zelda does it the other way around, they start with the gameplay experience and then the setting and world is kind of fitted around that. So telling a story around gameplay first, seeing how Zelda achieved this was definitely an inspiration for Rebirth.
■ https://www.nintendolife.com/features/ive-been-brought-up-by-final-fantasy-naoki-hamaguchi-on-bringing-the-ffvii-remake-trilogy-to-switch-2
▲堀井雄二，「勇者斗恶龙」系列游戏的创造者
浜村弘一，曾担任《Fami通》主编：
当浜村弘一问堀井雄二「你玩游戏吗？」时，堀井说他喜欢「塞尔达系列」，并提到了任天堂的第一代磁盘系统和《时之笛》。
还有，当他（工作）卡住的时候，他说玩《任天堂战争》会让他在困倦时感到神清气爽。 他目前正在 GBA SP 上玩 GBC 的《游戏男孩大战》。
浜村氏の「ゲームは遊ぶんですか」という問いにはゼルダシリーズが好きと言ってディスクシステムの初代や『時のオカリナ』の名前を挙げていました。またつまった時などには『ファミコンウォーズ』をすると「すっきりして眠れる」という話も飛び出していました。今はGBASPでGBCの『ゲームボーイウォーズ』を遊んでいるのだとか。
■ https://www.inside-games.jp/article/2003/08/31/11508.html
▲藤泽仁，曾担任「勇者斗恶龙」（DQ）的导演
我其实最喜欢的就是《塞尔达传说：梅祖拉的假面》了。特别是在之后我拿到「夫妇的假面」时，那真是我在塞尔达系列里面最喜欢的场景啊。
藤澤氏：実は、僕は『ムジュラの仮面』が一番好きなんです。特に、後半にあった「めおとの面」が手に入るところ【※】が、全ての「ゼルダ」含めても一番好きなシーンなんですよ。
■ https://news.denfaminicogamer.jp/projectbook/zelda/4
▲FromSoftware社，宫崎英高
当我还是一个学生的时候，《塞尔达传说》系列在游戏史上就已经有里程碑意义了，所以老实讲，看到有人拿「魂」系列和《塞尔达传说》比较的时候，我真的特别替它不值。
而且这两者根本就是分属于两种游戏类型的作品，有着完全不同的设计理念，根本没有谁非得和谁一样的必要。
如果非要找相似点，可能是因为塞尔达早已成为了3D动作游戏教科书（而自己作为后辈会学习塞尔达前辈的经验）。
When I was a student, The Legend of Zelda was truly monumental.
So to be perfectly honest, I feel deeply unworthy of the comparison. The Legend of Zelda and Dark Souls are different games belonging to different genres though, and they're guided by different concepts of game design.
They don't need to aspire to the same ideals. If there are similarities, they probably stem from the fact that The Legend of Zelda became a sort of textbook for 3D action games.
Miyazaki then states that the focus of each game is what truly differentiates them.
Our goal was to allow players to do what they want, define their own goals, make their own discoveries, embrace their own values, and find their own interpretations.
■ https://www.gamespot.com/articles/dark-souls-creator-feels-unworthy-of-comparisons-t/1100-6444200/
▲FromSoftware社，宫崎英高
《塞尔达传说：众神的三角力量》、《勇者斗恶龙》、《巫术》、《上古卷轴4：湮没》、《万智牌》是宫崎英高最喜欢的RPG游戏之一。
To Hidetaka Miyazaki: Before we wrap up, what are your top three RPGs of all time?
Hidetaka Miyazaki: Legend of Zelda: Link To The Past, Dragon Quest III, Wizardry, The Elder Scrolls IV: Oblivion and Magic: The Gathering.
■ https://web.archive.org/web/20120204210941/http://www.edge-online.com/features/dark-matters-0?page=2
▲FromSoftware社，宫崎英高
Q：《艾尔登法环》在开放世界设计方面是否还受到其它游戏的启发？
宫崎英高：虽然并未特定受某款游戏的直接影响，但作为一名玩家，我体验过许多被誉为杰作的开放世界游戏，从每部作品中都获得了宝贵的启发。若具体列举系列作品，《上古卷轴》系列和《巫师3》都是典型范例，而近年来尤其值得一提的当属《塞尔达传说：旷野之息》。
『ELDEN RING』
Q：また、他オープンワールドゲームにインスパイアされた点はありますか？
A：宮崎氏：特定のゲームに特にインスパイアされた、ということはありませんが、ユーザーとしても、名作と呼ばれるオープンワールドゲームを多くプレイし、それぞれから素晴らしい刺激を受けました。
タイトル名を挙げるときりがないのですが、『The Elder Scrolls』シリーズや『ウィッチャー3』などがそうですし、特に近年では『ゼルダの伝説 ブレス オブ ザ ワイルド』が挙げられると思います。
■ https://news.xbox.com/ja-jp/2022/05/26/elden-ring-interview/
I don’t think we were inspired by any particular game, but I’ve personally played many open-world games that are considered classics of the genre and I’ve been influenced by all of them. These include The Elder Scrolls series, The Witcher 3, and more recently The Legend of Zelda: Breath of the Wild.
■ https://www.ign.com/articles/elden-ring-director-hidetaka-miyazaki-influenced-zelda-breath-of-the-wild-elder-scrolls-witcher-3
▲卡普空，中西晃史，《生化危机：安魂曲》总监
初代《塞尔达传说》我当然也玩过，不过，《塞尔达传说：林克的冒险》这款游戏我特别喜欢。虽然它是款偏向核心向的游戏，但我也非常喜欢。 其实呢，我也参与制作了《生化危机：启示录》。游戏里有一种拿着盾牌的敌人，叫「Scarmiglione」。如果你上下瞄准它，它就会做出相应的防御动作。这个设定的灵感来源，其实就是《林克的冒险》里的装甲士兵。这事我今天还是头一回对外说。可以说，我受到任天堂作品的熏陶之深，这么说也一点都不为过。
■ https://youtu.be/4wvYTx5u2HQ?si=5p_sYpenVQzIb4vB ■ https://www.nintendo.com/jp/switch2/creators-voice/index.html
▲卡普空，藤冈要（Kaname Fujioka），《怪物猎人：荒野》执行总监兼艺术总监
祝贺《塞尔达传说》系列40周年。作为粉丝，我对塞尔达团队只有感激，在瞬息万变的行业中，他们从未放弃创新，同时在舒适和奇观的基础上精心构建作品。那种从广阔世界中的小谜题开始，逐渐扩展自由的游戏体验，确实是《塞尔达传说》系列独有的。我相信过去的40年是一段不断探索"《塞尔达传说》游戏可以是什么"的旅程，我期待着塞尔达在未来继续传承和进化。
Congratulations on the 40th anniversary of The Legend of Zelda series. As a fan, I have nothing but gratitude for the Zelda team, who, amidst the industry’s rapid changes, have never given up while carefully building upon a foundation of comfort and wonder. The gaming experience, where freedom gradually expands from small puzzles within vast worlds, is truly unique to the Zelda series. I believe these past 40 years have been a journey of continually exploring what a Zelda game can be, and I look forward to seeing Zelda continue its legacy and evolve in the years to come.
▲卡普空，二瓶贤（Satoru Nihei），《鬼武者：剑之道》总监
衷心祝贺《塞尔达传说》40周年。我小时候玩的第一款《塞尔达传说》游戏是Game Boy上的《织梦岛》。我至今还记得在抓娃娃机里看到耀西玩偶时的那种欣喜。我也清楚地记得割草、用回旋斩收集卢比那种简单的快乐。这些绝妙的细节和乐趣感一直延续到今天的整个系列。塞尔达中的切割感与我们正在开发的《鬼武者：剑之道》中那种爽快的一闪致命击和动态肢解机制也有相通之处。塞尔达无疑影响了作为游戏制作者的我的工作，我再次表示深深的感谢和祝贺。
I’d like to offer my heartfelt congratulations on The Legend of Zelda’s 40th anniversary. The first Zelda game I ever played as a child was Link’s Awakening on Game Boy. I still remember how delighted I was by the playful inclusion of the Yoshi doll in the claw machine. I also vividly recall the simple joy of cutting down grass and using the Spin Attack to collect Rupees. These incredible details and sense of fun and enjoyment have evolved throughout the series to this day. The sensation of cutting in Zelda also shares a connection with the satisfying Issen critical strikes and dynamic dismemberment mechanics we’re developing in Onimusha: Way of the Sword. Zelda has undeniably influenced my work as a game maker, and I’d like to offer my deepest gratitude and congratulations once again.
▲卡普空，中山贵之（Takayuki Nakayama），《街头霸王6》总监
我在参与《塞尔达传说：缩小帽》的制作中获得了宝贵的经验。宫本茂先生给我的建议给我留下了持久的印象，至今仍极大地影响着我做游戏的方式。他过去是、将来也永远是指引所有游戏创作者的北极星。祝贺塞尔达40周年这一了不起的里程碑！
I gained invaluable experience while working on The Legend of Zelda: The Minish Cap. The advice I received from Shigeru Miyamoto-san left a lasting impression on me, which has greatly shaped the way I approach game development even today. He is, and will always be, a North Star guiding all game creators. Congratulations on the incredible milestone of Zelda’s 40th anniversary!
▲卡普空，赵容熙（Yonghee Cho），《识质存在》总监
祝贺《塞尔达传说》40周年！它对无数游戏创作者来说都是灵感的源泉，即使在40年后，它的影响力仍在延续。对于玩家和开发者来说，这个系列总能带来新的发现和体验，一次又一次地让我们惊喜。我非常期待塞尔达继续前行，看看未来的旅程会带来什么。
Congratulations to The Legend of Zelda on its 40th anniversary! It’s been a source of inspiration in countless ways for so many game creators, and even after 40 years, its influence continues to endure. For both gamers and developers alike, it’s a series that always delivers new discoveries and experiences, surprising us time and again. I’m very excited to see what lies ahead on the journey Zelda continues to take.
■ https://gameinformer.com/feature/2026/04/07/40-years-of-zeldas-legend
▲暴雪，Jeff Kaplan，前《守望先锋》《魔兽世界》总监
Q：我们能聊聊那些史上最经典的游戏吗？你心目中有哪些游戏能够上榜？
Jeff：有一款游戏是绝对的榜首：《塞尔达传说：旷野之息》。剩下的才是其它经典游戏的榜单，例如《魔域》《创世纪》……
Q：所以《旷野之息》就是最棒的？
Jeff：有史以来最伟大的游戏！
Q：在你看来，它凭什么能成为史上最佳游戏？
Jeff：这款游戏的方方面面都打磨得无比用心、设计得精妙绝伦美术风格与游戏设计、技术完美契合就连和任天堂Switch的适配方式都独具匠心。
任天堂是怎么做到把《塞尔达传说》系列越做越好的？《塞尔达传说：时之笛》已经是存在着的经典了，可他们怎么又做出了一款更出色的《塞尔达传说》？你能砍倒树木，乘着木筏在河里漂流。整个世界都像一款玩具，所有玩法都能如你所愿、如你所想地实现；游戏里有完整的故事线；战斗和动作玩法趣味十足，道具系统也设计得很棒。这款游戏把太多方面都做到了极致，其它游戏能把其中一个方面做好就谢天谢地了。哪怕能把一个方面做好，就足以成为同品类中的佼佼者。而《旷野之息》则面面俱到，甚至每一项都臻于完美。
Q：《旷野之息》的开放世界给人一种独特的轻盈感。这是其它游戏无法比拟的。这也是任天堂独有的魅力。
Jeff：是的，独一无二！
Q：没有其他人能够复刻这种体验。正如你所说，在已经打造出多款经典《塞尔达传说》的压力下，他们依然能持续交出如此优秀的答卷。
Jeff：任天堂就是游戏界的圣地。他们就是最顶尖的。就是这样，毋庸置疑。
Q：你了解这家公司的运作模式吗？
Jeff：完全不了解，我一点都摸不透。
Q：毕竟这家公司历史悠久却始终能持续推出佳作。
Jeff：我多少有些理性或不理性地崇拜着任天堂，感觉就像是「任天堂出品，必属精品」。即便我的第一印象可能是「哇，他们这次又给手柄设计了什么奇奇怪怪的东西？」可一旦上手玩起来，就会忍不住感叹「天呐！」
我和我的儿子都玩了《塞尔达传说：旷野之息》，他也从事游戏制作相关的工作。有一次他跟我说：「玩完这个游戏，我心里特别难受」，「我知道，这辈子我都做不出这样的作品了。」就是这种感觉，你会打心底里推崇这款游戏，觉得它太过伟大。
■ https://youtu.be/H9rF1CSSh-w?si=rhCi6q4X_3JFM4vB ■ https://youtu.be/H9rF1CSSh-w?si=6cml1EvZGh1kHHe2
▲Raphael Lacoste，《波斯王子》及《刺客信条》系列的导演
《塞尔达传说：风之杖》和《席德梅尔的海盗》极大地影响了《刺客信条：黑旗》的开发。而《风之杖》可能更符合我们的游戏想法，只不过我们想要保持《刺客信条》的写实风格，这很有挑战性。
“We had several games like that as references. So, yes, [The] Wind Waker was one of them. Sid Meier's Pirates! was another.
They were really interesting, because they were successful naval games, which is pretty hard to achieve, and we quickly came to understand why. It's hard to do. How do you keep sailing interesting and not boring? Especially in our case, because we wanted to keep the [Assassin's Creed] style of being realistic, so we had a lot of challenges.
[The] Wind Waker is probably closer to our game than Pirates!, but the opportunity to use fantasy elements that pop up in front of the player was something we couldn't use. Those games were inspirational in terms of knowing a good pirate game was feasible, and [they] helped us identify the areas where we needed to focus.”
■ https://www.zeldadungeon.net/development-of-assassins-creed-black-flag-inspired-by-the-wind-waker/
To wit:
#Me: I assume you guys have played The Wind Waker. Yes, the Zelda thing that was in an open ocean where you get to explore every island.
It's one of the few games I guess you could even look at to see how they handled things. Have there been any interesting findings from that game, about what went well or what didn't?
#Lacoste: I think the guys, the game designers looked at that. We get inspiration from many games. We have to be open-minded.
■ https://kotaku.com/yes-the-new-assassins-creed-is-like-that-lovely-zelda-5988343
▲Benjamin Plich，《刺客信条：大革命》和《荣耀战魂》的首席游戏设计师
Benjamin Plich 相信开发者会从《塞尔达传说：旷野之息》对实验性和新兴游戏玩法的关注中获得灵感，例如“以开放的方式更自由地试验事物的能力”并具有“强烈的自主游玩意识，和对环境和可用工具的实验”。
Benjamin Plich, the designer of Assassin's Creed: Unity and For Honor, said that he believed developers would take inspiration from its focus on experimental and emergent gameplay, such as "the ability to experiment with things more freely, in an open way" and having "a powerful sense of autonomy and experimentation with the environment and the tools at their disposal."
■ https://www.gamesindustry.biz/how-will-the-legend-of-zelda-breath-of-the-wild-change-the-open-world-paradigm
▲Damien Monnier，CD Projekt RED，曾担任过《巫师 3：狂猎》和《昆特牌》设计总监
《塞尔达传说：旷野之息》“设法将经典的开放世界机制结合在一起，而不是依靠它们来引导玩家穿越它的世界”，鼓励玩家“去探索它，因为你想知道那里有什么，而不是因为战利品图标告诉你去哪儿。”
Damien Monnier, designer of The Witcher 3: Wild Hunt, said Breath of the Wild" managed to bring classic open-world mechanics together while not relying on them to guide the player through its world," encouraging players to "go and explore it because you wonder what's out there, not because a loot icon tells you to." '
■ https://www.gamesindustry.biz/articles/2017-06-05-how-will-the-legend-of-zelda-breath-of-the-wild-change-the-open-world-paradigm
▲Michał Zbrzez´niak，CD Projekt RED，《巫师3》《赛博朋克2077》高级电影设计师协调员
我认为《塞尔达传说》是有史以来最具创新性的游戏系列之一。看看《时之笛》如何用Z锁定彻底改变了锁定特定敌人的方式，或者《梅祖拉的假面》如何让NPC拥有完整的生活轨迹，无论玩家在三天循环的时间机制中做什么。这些功能在将近30年前是令人惊叹的，而今天发售的游戏仍在沿用。最近，《旷野之息》是我最喜欢的塞尔达。它的资源管理可能看起来繁琐，但实际上它在鼓励你不断拓展和尝试。它的开放世界机制真正让你自由，让你按照自己的节奏前进。真是天才。
I think The Legend of Zelda is one of the most innovative game franchises of all time. Look at how Ocarina of Time revolutionized locking on to a specific enemy with Z-targeting, or how Majora’s Mask had NPCs living an entire life regardless of what the player was doing with the three-day time loop mechanic. These were mind-blowing features almost 30 years ago and games being released today are still using them. More recently, Breath of the Wild is my favorite Zelda. Its resource management may seem tedious, but it’s actually encouraging you to always expand and experiment. The open-world mechanic is genuinely freeing by allowing you to go at your own pace. It’s genius.
■ https://gameinformer.com/feature/2026/04/07/40-years-of-zeldas-legend
▲Chris Roberts，《Time of Lore》制作人
在1990年2月出版的《电脑游戏世界》杂志的一次采访中，《Time of Lore》制作人Chris Roberts承认他“受到了视频游戏市场的影响”，尤其是任天堂极受欢迎的NES游戏机和畅销的《塞尔达传说》。这也成为了20世纪80年代后期动作类CRPG游戏激增的原因之一。（※P1）
▲Richard Garriott，《创世纪》制作人
《创世纪》制作人Richard Garriott则在采访和书籍中表示，他也受到了《Time of Lore》的启发，并影响到了后来的《创世纪》游戏，如《创世纪 VI：虚伪先知》（※P2）和《创世纪 VII：黑门》（※P3）
■ P1: Dungeons and Desktops: The History of Computer Role-Playing Games ■ P2: The Official Book of Ultima. 1990. ■ P3: Vintage Games: An Insider Look at the History of Grand Theft Auto, Super Mario, and the Most Influential Games of All Time, page 347
▲饭冢隆（Takashi Iizuka），世嘉产品开发副总裁，Sonic Team负责人
《塞尔达传说》对我作为设计师的生活和职业生涯都产生了深远的影响。我玩的第一款游戏是NES和磁碟机上的初代《塞尔达传说》，它革命性的设计——提供自由、探索和直观的机制——塑造了我对游戏开发的看法。自那以后我玩了系列中的每一款游戏，而与塞尔达团队合作《索尼克：失落的世界》是我职业生涯中一个难忘的亮点。虽然每款游戏都独具特色，但《旷野之息》是我在系列中最喜欢的，它广阔的世界和无与伦比的发现感，让我重拾了玩初代时那种快乐和惊奇。
The Legend of Zelda has had a profound impact on both my life and career as a designer. The first game I played was the original The Legend of Zelda on the NES and Disk System, and its revolutionary design, offering freedom, exploration, and intuitive mechanics, shaped how I view game development. I’ve played every entry in the series since, and working with the Zelda team on Sonic Lost World was a memorable highlight of my career. While each game is unique, Breath of the Wild is my favorite in the franchise, as its expansive world and unmatched sense of discovery brought back the same joy and wonder I felt playing the original.
▲坂本宽之（Hiroyuki Sakamoto），世嘉，《如龙》系列首席制作人
我相信《塞尔达传说》系列在游戏行业中一直是一个划时代的存在，从第一款游戏开始就俘获了全世界玩家的心。
在思考游戏设计时，《塞尔达传说》就像一本教科书。无需解释，玩家就能自然地游玩、学习、尝试——这个游戏循环对游戏设计来说极其重要。我期待这个系列继续作为行业的引领者取得成功，同时作为玩家，我也总是期待下一部作品。祝贺40周年。
I believe The Legend of Zelda series has always been an epoch-making presence in the games industry, captivating players around the world ever since the very first title.
When thinking about game design, The Legend of Zelda is like a textbook. Even without explanations, players naturally play, learn, and experiment – and this play cycle is incredibly important for game design. I look forward to the series’ continued success as a frontrunner in the industry, and as a player myself, I always look forward to the next title. Congratulations on the 40th anniversary.
▲青木盛治（Seiji Aoki），世嘉制作人，《Legacy Virtua Fighter Project》
祝贺《塞尔达传说》40周年。
我至今仍清晰地记得初中时在磁碟机上第一次接触这个系列时的那种兴奋和惊奇感。仅凭一些小的视觉线索——比如裂开的石头或石头间生长的草——游戏就激发了我的想象力，让我充满了冒险的激动。
我也愉快地回忆起家人都睡下后我深夜玩游戏的情景，只有电视的光芒照亮房间，我全神贯注。随着年龄增长，这个系列也发生了巨大的演变，成为所有年龄段的人都能享受的作品。
作为游戏开发者，我对它取得的成就只有深深的敬意。
Congratulations on the 40th anniversary of The Legend of Zelda.
I still vividly remember the excitement and sense of wonder I felt when I first encountered the series on the Disk System back in middle school. With just small visual motifs – like cracked stones or grass growing between them – the game stirred my imagination and filled me with the thrill of adventure.
I also fondly recall playing late at night after my family had gone to sleep, engrossed in the game with only the glow of the television lighting the room. As I grew older, the series evolved tremendously as well, becoming a title that people of all ages can enjoy.
As a game developer, I have nothing but deep respect for how far it has come.
▲蒂·洛佩斯（Tee Lopes），作曲家，《Shinobi: Art of Vengeance》《索尼克：狂欢》《忍者神龟：施莱德的复仇》
塞尔达对我很重要，主要是因为音乐。它是首批让我真正意识到游戏音乐可以如此有力和令人难忘的系列之一。那些旋律会伴随你多年，它们塑造了整个体验。作为作曲家，它无疑影响了我创作主题曲和令人记住的音乐的思路。我最喜欢的《塞尔达传说》游戏是《塞尔达传说：风之杖》。我喜欢那种航行于大海的冒险感，以及音乐如何把所有元素串联在一起。这是一款每次玩都感觉很棒的游戏。
Zelda is important to me mainly because of the music. It was one of the first series where I really noticed how strong and memorable game music could be. The melodies stick with you for years, and they help shape the whole experience. As a composer, it definitely influenced how I think about writing themes and making music that people remember. My favorite Zelda game is The Legend of Zelda: The Wind Waker. I love the sense of adventure sailing across the ocean, and how the music ties everything together. It’s one of those games that just feels good to play every time.
■ https://gameinformer.com/feature/2026/04/07/40-years-of-zeldas-legend
▲坂垣伴信，TECMO开发小组NINJA TEAM的负责人、《忍者龙剑传》制作人
为彻夜体验《时之笛》，他破天荒地忘记打卡上班，他事后笑着对《FAMI通》的记者说：“这是我平生第一次为了玩游戏而误工，这样的事情以后恐怕也不会再有了吧。”
在其开发的《忍者龙剑传》中，借鉴《时之笛》之处比比皆是。
A portion of a 1up interview with developer Tomonobu Itagaki…
1UP: Do you feel that your work on the Ninja Gaiden franchise owes anything to what Devil May Cry started on PS2?
TI: Nope. I actually owe thanks to the Legend of Zelda: Ocarina of Time.
1UP: How do you feel about the Team Ninja-doing-Metroid-reinvention news? Is this something you would have welcomed when you were still there?
TI: Metroid is a fantastic game that I played a lot on the Disk System when I was a child. I also know Mr. Sakamoto, the producer at Nintendo, very well. He fathered Samus Aran. He's been making games since I was a child, so he's a veteran I really respect. I think [Yosuke] Hayashi will learn a lot working with him. I hope Team Ninja works hard in making a good game.
■ https://www.gonintendo.com/archives/80239-itagaki-names-nintendo-game-as-inspiration-for-ninja-gaiden-work-offers-kind-words
From your perspective, what kind of games are the titles in the collection?
I've held firm on my thoughts on the first game and from what I hear, it was actually inspired by The Legend of Zelda: Ocarina of Time. You may think I’m lying, but I heard that they were plans for a fishing system at first (laughs). In the end, they doubled down on the action, but some remnants from those early ideas are there, like the exploration elements, puzzle solving and platforming.
■ https://nintendoeverything.com/team-ninja-on-ninja-gaiden-master-collection-zelda-ocarina-of-time-inspiration-ryu-in-smash-bros/
▲吉田修平，索尼全球工作室前总裁
我刚玩过《塞尔达传说：旷野之息》！新的塞尔达游戏。你知道，开放世界和狩猎。我有一种奇妙的感觉，这感觉和《地平线》如出一辙。塞尔达是一款史诗般的大型游戏。等塞尔达发售后，我迫不及待地想再玩玩塞尔达了！
Sony Worldwide Studios president Shuhei Yoshida, during a PlayStation live stream yesterday, Yoshida mentioned the adventure game, Zelda: Breath of the Wild, as one he's very excited about.
And I just played Zelda! New Zelda game. You know, open world, and hunting. And I had a bizarre feeling, you know, this feels like Horizon. This is an epic, huge game. I can not wait to play Zelda again when it comes out!
■ https://youtu.be/Jd2FgTExpZo
索尼SIE前总裁吉田修平：《塞尔达传说》是一款史诗般的大型游戏
▲神谷英树，《鬼泣》《大神》《猎天使魔女》系列作品的导演
神谷英树：我沉迷游戏是在1980年代的2D全盛期。必提的四部作品是：《塞尔达传说：众神的三角力量》（我的游戏制作教科书）、《太空哈利》、《宇宙巡航机》与《恶魔城德古拉》
――おふたりともクリエイターを志す前からゲームをよく遊んでいたとのことでしたが、とくに思い出に残っているタイトルを教えてください。
神谷：僕がゲームに夢中になったのは1980年代の2D全盛期でした。その質問をされたら僕が必ず挙げる作品が4つあります。
まずはスーパーファミコンの『ゼルダの伝説 神々のトライフォース』。これは僕がゲームを作るうえでの教科書になっている作品です。それから『スペースハリアー』、『グラディウス』、『悪魔城ドラキュラ』。この4本ですね。
『モービッド メタル』「ゲームの歴史は点ではなく線でつながっている」開発者Felix Schade氏×神谷英樹氏のアクションゲームクリエイター対談 ■ https://www.famitsu.com/article/202510/55371 ■ https://www.ignboards.com/threads/do-the-zelda-series-need-fixing.137995079/
▲《Fami通》杂志对白金工作室《猎天使魔女3》开发者们的采访，白金工作室
神谷英树：能开发《猎天使魔女》3代真的很感谢任天堂，这真不是夸张，我这辈子都不会忘记任天堂对我们的恩情。......任天堂拯救了《猎天使魔女》系列。尽管有许多粉丝觉得，自从任天堂包下这个IP，游戏的「某些表现」就被限制了。但事实并非如此，任天堂全力支持着我们想创造和表达的东西。
■ 神谷英树谈任天堂如何拯救了《猎天使魔女》系列 https://www.criticalhit.net/gaming/hideki-kamiya-talks-bayonetta-3-nintendo-saved-franchise/
《Fami通》杂志对白金工作室《猎天使魔女3》开发者们的采访：
Hideki Kamiya, the supervising director on Bayonetta 3, has told Japanese gaming magazine Famitsu that he and the rest of the team are forever indebted to Nintendo for allowing them to make both Bayonetta 2 and Bayonetta 3.
That’s why I was really happy that we were able to make the third game. I’m not exaggerating when I say I’m forever indebted to Nintendo.
■ https://mynintendonews.com/2022/10/30/platinum-games-hideki-kamiya-says-hes-forever-indebted-to-nintendo-for-bayonetta-3/
▲Amy Hennig，《凯恩的遗产：噬魂者》和《神秘海域》导演，前任顽皮狗总监，水晶动力工作室
她说「塞尔达传说」曾作为《凯恩的遗产》系列的灵感来源，并指出《塞尔达传说：众神的三角力量》对《凯恩的遗产：血兆》的影响以及《时之笛》对《凯恩的遗产：噬魂者》的影响。
Soul Reaver and Uncharted director, Amy Hennig (Crystal Dynamics and Naughty Dog), cited Zelda as inspiration for the Legacy of Kain series, noting A Link to the Past's influence on Blood Omen and Ocarina of Time's influence on Soul Reaver.
■ http://www.iasig.org/pubs/interviews/eidosjh.shtml
▲Richard Lemarchand，《噬魂者》和《神秘海域》的开发者，顽皮狗，水晶动力工作室
《塞尔达传说：众神的三角力量》将游戏玩法与讲故事相结合的方法，也同样成为了《凯恩的遗产》系列《噬魂者》的灵感来源。
Soul Reaver and Uncharted creator, Richard Lemarchand (Crystal Dynamics and Naughty Dog), also cited A Link to the Past's approach to combining gameplay with storytelling as inspiration for Soul Reaver.
■ https://books.google.com/books?id=tH3TCwAAQBAJ&pg=PA203
▲Peter Molyneux，《神鬼寓言》导演，Lionhead Studios 和 Microsoft Studios
《塞尔达传说：黄昏公主》是他最喜欢的游戏之一，并对《神鬼寓言》系列产生了很大影响。
「我只觉得《黄昏公主》是真的令人瞠目结舌，它对硬件的使用非常出色。而且我已经玩了好几次那个游戏了。」
The Twilight Princess is one of his favorite games and an influence for the Fable series: "I just feel it's jaw-dropping and its use of the hardware was brilliant. And I've played that game through several times."
■ https://www.techradar.com/news/gaming/peter-molyneux-s-top-five-games-of-all-time-1176618
Peter Molyneux's top five games of all time:
▲World of Warcraft
▲Clash of Clans
▲Half-Life 2
▲The Legend of Zelda: Twilight Princess
▲Ico
▲David Adams，《暗黑血统》导演（Vigil Games）
「塞尔达传说」系列在 30 多年前就做到了这一点，而它直到现在也依然像火炬一样照亮着其它游戏（的方向）。它让我们对「游戏可能是什么」有了更深的理解。我们中的许多人仍在效仿着它。
「我们为此而努力」，他说，「《暗黑血统》本质上是我们在说：嘿。让我们做一款成熟的塞尔达游戏吧。」
David Adams 现在是德州奥斯汀 Gunfire Games 公司的总裁，他在 1996 年的电子娱乐博览会上赢得了 Nintendo 64，这要比N64游戏机正式发布的时间早了六个月。 它打开了通往《超级马里奥 64》 的大门，当然还有黄金收藏版《时之笛》。
「Zelda nailed that 30 years ago, and it still carries the torch for other games. It influenced our understanding of what games could be. Many of us are still emulating that.」
His former design partner agrees. As former co-director on Darksiders, David Adams wears his influences on his sleeve.
「We went for it,」he says.「Darksiders was essentially us saying, 'Hey. Let's make a mature Zelda game.」
Adams, now president of Gunfire Games in Austin, won a Nintendo 64 at the Electronic Entertainment Expo in 1996, six months before the console's official release. It opened the door to Super Mario 64 and, of course, the golden collector's edition of Ocarina of Time.
■ https://www.gamespot.com/articles/the-legacy-of-zelda/1100-6434921/
▲Cliff Bleszinski，「战争机器」系列制作人
Bleszinski 将「塞尔达传说」系列列为影响「战争机器」系列的最主要作品之一。
①获得一种新工具——②在这种情况下可以是一种新武器——③并学习它、掌握它，④然后随着游戏的进行用它来征服一个新领域......（这些方法）是「塞尔达传说」系列的设计基石之一。 「塞尔达传说」有它的钩锁。 「战争机器」有它的黎明之锤。
Despite the latter's frantic firefights and cover-based shooting, Bleszinski lists Zelda among its chief influences.
The act of acquiring a new tool--in this case, a new weapon--and learning it, mastering it, then using it to conquer a new area as the game progresses, is one of the Zelda series' design keystones. Zelda has its Hookshot. Gears has its Hammer of Dawn.
■ https://www.gamespot.com/articles/the-legacy-of-zelda/1100-6434921/
▲Toby Fox，Undertale 制作人
MOTHER 3对我来说是一款非常有影响力的游戏。如果我没有玩过它，我就永远不会创造出Toriel的战斗，或者，嗯，游戏中的任何其他boss战斗。它也可能影响了我在歌曲中尝试重复使用主题的方式，现在我想想……
MOTHER 3 was a really influential game to me. If I hadn't played it, I never would have created the Toriel battle, or, well, any of the other boss battles in the game. It also probably influenced how I try to re-use motifs in my songs, now that I think about it...
■ https://x.com/tobyfox/status/1384674744264499202
Undertale 制作人Toby Fox： MOTHER 3对我来说是一款非常有影响力的游戏。
▲小岛秀夫，「合金装备」系列、「死亡搁浅」系列等游戏的制作人、导演
——迄今为止玩得最投入的游戏是什么？
小岛秀夫：《超级马里奥兄弟》。大概玩了一年左右吧？虽然是大学生，但有时也会不去学校在家里玩。如果没有《超级马里奥》，我可能就不会进入游戏行业了。现在完全不行了，但本质上，那是个横向卷轴动作游戏，马里奥只是从左走到右。基本上也只是跳跃。但是有冲刺键，巧妙地使用冲刺键和跳跃键，跳跃方式就会改变，从而进行攻击或躲避敌人。另外，虽然几乎没有故事，却有一种冒险的感觉。看到那个的时候，虽然它没有故事，还是像素点构成的，但我确信游戏这种媒体将来或许会超越电影，并因此进入了游戏行业。
——これまでで最も遊び込んだゲームは何ですか？ 小岛：え、スーパーマリオブラザーズですね。これあの1年ぐらい遊んでたかな？え、大学生だったんですけど、学校休んで家でやってたこともありますし、えー、スーパーマリオがなかったら多分ゲーム業界に来てなかったかもしれませんね。はい。ま、今はもうちょっと全然できませんけど、あの、要は、え、横スクロールのアクションなんですけど、左から右に行くだけなんですね、マリオが。で、ジャンプするだけなんです、基本的には。でも加速ボタンがあって、その加速ボタンとジャンボタンを微妙に使うとこう飛び方が変わってそれで攻撃をしたり敵を避けたりするっていうのとあとストーリーはほとんどなかったんですけどなんか冒険をしてる感じがあってそれであれを見た時にま、ま、ストーリーもなくドットでしたけどこのゲーというメディアがやっぱり今後多分映画を超えるもんになるのではないかというま、確信があったのでゲーム業界に来たということでございます。
■ ゲームクリエイター、小島秀夫だけど質問ある？ | Tech Support | WIRED Japan https://youtu.be/e3GY_Bh5AV4?si=E1mp7E52LFAWY4cf
小岛秀夫公开声称以宮本茂和堀井雄二为师，以及对他影响最大的4款游戏：
《泽比乌斯》
《超级马力欧兄弟》
《港口镇连续杀人事件》
《外面的世界》
小島秀夫@Kojima_Hideo
僕が最も影響を受けたゲーム４本。
・「ゼビウス」
・「スーパーマリオブラザース」
・「ポートピア連続殺人事件」
・「アウターワールド」
「ポートピア連続殺人事件」、楽しみ。
■ https://twitter.com/Kojima_Hideo/status/1649322279606845443?s=20
■ https://twitter.com/GameOverGreggy/status/827376412269047808?s=20
▲Al Hope，Creative Assembly首席创意总监，《异形：隔离》
《塞尔达传说》，哇！40周年了。然而对我来说，塞尔达总让人觉得是永恒的。几十年来，在它的各种表现形式中，它始终既熟悉又富有创作勇气。无论是通过《梅祖拉的假面》那种萦绕心头的怪异，还是《风之杖》大胆的艺术风格，抑或是系列杰作《旷野之息》那令人叹为观止的自由度。这个系列讲述着具有真正叙事深度的故事，然而在众多令人难忘的角色和丰富多彩的居民中，它以一种轻盈、优雅的方式探讨人性，简单而优美。这里一句对白，那里一段忧伤的旋律。对我来说，最突出的一点是它似乎深深地关怀着玩家。每一个谜题、每一处环境或每一种机制，都仿佛是以同理心和对玩家好奇心的信任而精心设计的。我是玩着这个系列长大的，如今自己也成了开发者，我越来越觉得每一款《塞尔达传说》游戏都真实地反映了其制作者——他们的创造力、慷慨以及对玩乐之宝藏的信念。
The Legend of Zelda, wow! The 40th anniversary. Yet for me, Zelda has always felt timeless. Across the decades, in all its expressions it has remained familiar and creatively courageous. Whether through the haunting strangeness of Majora’s Mask, the bold art style of The Wind Waker or the breathtaking freedom of the series masterpiece, Breath of the Wild. The series tells stories with real narrative depth yet amongst the wide cast of memorable characters and colourful inhabitants it explores human nature with a light, graceful touch, simply, elegantly. A line of dialogue here, a melancholic tune there. What has always stood out most for me is how deeply it seems to care for the player. Every puzzle, environment or mechanic feels crafted with empathy and trust in the player’s curiosity. Having grown up with the series and now as a developer myself, I increasingly feel that each Zelda game authentically reflects the people who made it – their creativity, generosity and belief in the treasure of play.
▲Greg Kasavin，Supergiant Games创意总监，《Hades II》《Hades》《堡垒》
自从我第一次玩到那盒金灿灿的NES卡带起，我就觉得《塞尔达传说》系列非常迷人。这个系列的核心是营造强烈的发现感，我认为这恰恰是游戏所能创造的最棒的感觉之一。此外，《塞尔达传说》系列一次又一次地成功自我革新。没有多少其他游戏系列能拥有如此多具有影响力的里程碑作品，从《众神的三角力量》到《时之笛》再到《旷野之息》。不过我必须说，我个人最喜欢的是2002年的《风之杖》，它有着标志性的视觉风格，执行得极好的航海主题，以及令人难忘的最终决战。这么多不同的《塞尔达传说》游戏都能轻易成为某人的最爱，这证明了该系列这么多年来是多么出色和稳定。
Ever since I first played that solid-gold cartridge for the Nintendo Entertainment System, I’ve found the Legend of Zelda series to be really captivating. It’s a series all about creating a strong sense of discovery, which I think is one of the greatest sensations games are capable of creating just in general. As part of this, the Zelda series has successfully reinvented itself time after time. There aren’t many if any other series of games with so many influential, landmark titles in them, from A Link to the Past, to Ocarina of Time, to Breath of the Wild. I have to say, though, that my personal favorite is 2002’s The Wind Waker, with its iconic visual style, amazingly well-executed nautical theme, and unforgettable final confrontation. That so many different Zelda games could easily be someone’s favorite is a testament to how outstanding and consistent the series has been for all these years!
▲崔智媛（Choi Ji-Won），Neowiz总监，《匹诺曹的谎言》
《塞尔达传说》是造就了今天的我的作品。对我来说，《塞尔达传说》系列远不止是一款游戏——它是一部为我指明了成为今天的我的方向的作品。正是通过这个系列，我第一次学会了以正义之名鼓起勇气对抗恐惧，并意识到这样的旅程不仅充满危险，也可以充满快乐和惊奇。
其中，我童年时第一次接触到的《众神的三角力量》至今仍是我心中最伟大的作品。屏幕之外展开的世界、它的音乐、以及冒险的刺激感，至今仍是我创作工作的基石。
我希望林克——这个纯粹勇气的永恒象征——能在未来的岁月里继续活在我的心中。
The Legend of Zelda is the work that made me who I am today. To me, The Legend of Zelda series is far more than just a game – it is a work that showed me the direction toward becoming who I am today. It was through this series that I first learned the courage to stand against fear in the name of justice and realized that such a journey can be not only perilous, but also joyful and filled with wonder.
Among them, A Link to the Past, which I first encountered in my childhood, remains the greatest title in my heart. The world that unfolded beyond the screen, its music, and the thrill of adventure continue to form the foundation of my creative work.
I hope that Link – the timeless symbol of pure courage – will continue to live on within me for years to come.
▲Celia Schilling，Yacht Club Games市场总监，《铲子骑士》《Mina the Hollower》
《塞尔达传说》是让我爱上游戏的那个系列之一，我相信Yacht Club Games的很多人也是如此。作为开发者，这个系列塑造了我们对冒险游戏的思考方式。没有塞尔达，《铲子骑士》和《Mina the Hollower》根本不可能存在。每一场游戏冒险都追随它巨大的脚步！40岁生日快乐，塞尔达。祝未来有更多年的冒险！
The Legend of Zelda is one of the franchises that made me love gaming and I think that is true for a bunch of people at Yacht Club Games! As developers, the series has helped shape the way we think about adventure games. Shovel Knight and Mina the Hollower simply would not exist without Zelda. Every game adventure follows in its giant footsteps! Happy 40th Birthday Zelda. Cheers to many more years of adventure!
▲Eric Barone，《星露谷物语》《闹鬼巧克力工坊》制作人
我最喜欢的《塞尔达传说》游戏大概是Game Boy上的《织梦岛》。这是我第一次接触塞尔达，所以在我心中有着特殊的地位。那款游戏有一种非常“独立”的感觉。它富有创意和独特性，这种品质在现代3A游戏中似乎更难找到了。
《塞尔达传说》游戏对我产生影响的一点是那种探索感和伏笔。你会看到一个当前无法进入的区域，但你知道，最终当你拿到合适的道具时，你就能到达那里。那种兴奋感让你想继续玩下去。
我越想越觉得，塞尔达中有很多小细节影响了我的游戏设计思路......从菜单，到可以砍的小灌木，再到找到能赋予新能力的“特殊道具”这个概念。这些看起来很基础，但这恰恰说明了塞尔达对整个游戏行业的影响力有多么重要。
My favorite Zelda game is probably Link’s Awakening for Game Boy. It was my first introduction to Zelda so it has a special place in my heart. And something about that game had a very “indie” feel to it. It was creative and unique in a way that seems harder to find in modern triple-A games.
One thing about Zelda games that has influenced me is the sense of exploration and foreshadowing. You’ll see an area that you can’t currently access. But you know that, eventually, when you find the right items, you will be able to get there. That’s an exciting feeling that makes you want to continue playing.
The more I think about it, there are a lot of little things in Zelda that have influenced my game design approach... from the menus, to the little bushes you can cut, to the idea of finding “special items” that grant new abilities. It’s kind of basic stuff, but it just shows how important Zelda has been for influencing all of gaming.
■ https://gameinformer.com/feature/2026/04/07/40-years-of-zeldas-legend
▲GameSpot 评测：A breathtaking masterpiece.（旷世杰作）（10/10）
《塞尔达传说：旷野之息》为任天堂制作的最令人印象深刻的游戏，并写道： “它采用在其他游戏中完善的设计和机制，并为自己的目的对其进行重新设计，以创造全新的东西，但仍然感觉像塞尔达游戏的典型......这既是形式的回归，也是进入未知领域的飞跃，并且在两个方面都超出了预期。”
GameSpot called it the most impressive game Nintendo had made, writing that it "takes designs and mechanics perfected in other games and reworks them for its own purposes to create something wholly new, but also something that still feels quintessentially like a Zelda game ... It's both a return to form and a leap into uncharted territory, and it exceeds expectations on both fronts."
■ https://www.gamespot.com/reviews/the-legend-of-zelda-breath-of-the-wild-review/1900-6416626/
▲IGN 评测：余音绕梁而又荡气回肠的开放世界冒险游戏（10/10）
《旷野之息》俨然已经成为了开放世界游戏中的翘楚，也会是这个超过30年系列的分水岭。《荒野之息》带来了一种充满着谜团的沙盒游戏体验，还在玩家面前直接展示出各种诱人的奖励，让玩家更有动力去探索游戏世界。
我在海拉鲁大陆上还体验着许许多多的挑战，它们当中每一支都有驱使我前进的独特故事，让它们成为了种种故事中的一环。甚至在我50小时的海拉鲁大陆探索旅程之后，我依然还在试着穿越一些前所未见的景色。在这些惊人的绝景之前，神不知鬼不觉地，50小时甚至是100小时就已经投入进去了。
The Legend of Zelda: Breath of the Wild is a masterclass in open-world design and a watershed game that reinvents a 30-year-old franchise. It presents a wonderful sandbox full of mystery, dangling dozens upon dozens of tantalizing things in front of you that just beg to be explored.
I've had so many adventures in Breath of the Wild, and each one has a unique story behind what led me to them, making them stories on top of stories. And even after I've spent more than 50 hours searching the far reaches of Hyrule, I still manage to come across things I haven't seen before. I'll easily spend 50 to 100 more trying to track down its fascinating moments.
■ https://www.ign.com.cn/sai-er-da-chuan-shuo-kuang-ye-zhi-xi-game/15866/review/sai-er-da-chuan-shuo-kuang-ye-zhi-xi-ce-ping?p=2
▲专业游戏媒体，对1998年《时之笛》的评价
在那个年代，评分还没有通货膨胀，IGN的评分还是权威，FAMI通还没有看到过4个10分，Gamespot也从来没有给到过任何游戏满分。
然而，就在这种情况下，当时这三大权威网站，齐刷刷地给到了《时之笛》满分的成绩：
FAMI的评分特别标注了史上第一个满分游戏
▲《塞尔达传说》系列为何评价如此之高？
在当时的IGN，游戏的评分涵盖多个技术类别，例如图形、声音和游戏玩法。对于塞尔达，共识是立竿见影的。“我们开始填写数字，他们都非常高，”施耐德说。
《时之笛》成为第一款IGN在其规模上获得完美 10.0 的游戏。“我们刚刚到了这个地步，我们说这是一个真正的里程碑。这款游戏不仅仅是……我们现在在 N64 中最喜欢的游戏。这将是未来几年的里程碑。”
And IGN at the time, games were scored across a number of technical categories, such as graphics, sound, and gameplay. WithZelda, the consensus was immediate. “We started to fill in the numbers and they all came in really high,” Schneider says.
Ocarina became the first game that IGN scored a perfect 10.0 on its scale. “We just got to this point where we said this is a true milestone. This game isn’t just … our favorite game right now in the N64. This will be a milestone for years to come.”
■ https://www.ignboards.com/threads/the-legend-of-zelda-ocarina-of-time-came-out-20-years-ago-today.455218262/
▲GameSpot 也给《时之笛》打了满分10分。该网站的年轻评论编辑 Jeff Gerstmann，对这款游戏如何有效地将其 2D 前辈的众多元素转化为 3D 世界，感到印象深刻。《时之笛》的 任务结构 和 双世界机制 是从超级任天堂的《众神的三角力量》中借用来的。但战斗系统实际上是仿照NES的《塞尔达2：林克的冒险》，从最初的塞尔达自由战斗，转变为更专注的一对一战斗系统。
GameSpot 从来没有给出过完美的分数。Gerstmann 不得不向该网站的编辑主任争论 到底该不该给10分 ，就好像他在为一篇论文辩护一样。“他只是坐在那里，一个小时的时间里，试图在评论中找漏洞，或在游戏中找漏洞。比如，‘哦，如果这个游戏有完整的声音，听起来会不会更好？’”现在是 Giant Bomb 的主编 Gerstmann 回忆道。“我们在这件事上来来回回了很长时间，但我坚持不懈通过了“10分”的满分评价。”
GameSpot, another fast-growing gaming website of the era, also issued a 10 to Ocarina. Jeff Gerstmann, the site’s young reviews editor, was impressed by how the game managed to effectively translate so many elements of its 2D predecessors into a 3D world. Ocarina’s quest structure and twin-worlds mechanic are borrowed from the Super Nintendo’s A Link to the Past. But the fighting system was actually modeled on the NES’s Zelda II: The Adventure of Link, which shifted from the original Zelda’s free-for-all combat to a more focused one-on-one battle system.
GameSpot had never given a perfect score. Gerstmann had to argue for the 10 to the site’s editorial director, almost as if he were defending a thesis. “He just sat there and tried to poke holes in the review or poke holes in the game for over an hour. Like, ‘Oh wouldn’t this game sound Better if it had full voice?’” recalls Gerstmann, who’s now the editor-in-chief of Giant Bomb. “We went back and forth on it for a long time, but I held firm, and the 10 went through.”
■ https://www.theringer.com/2018/10/23/18012564/legend-of-zelda-ocarina-time-best-game-ever-1998
▲在那个时期最杰出的印刷游戏杂志《电子游戏月刊》（EGM）上，《时之笛》被一个由4名工作人员组成的小组进行评估，他们每个人都独立地玩了游戏，而且在出版前都不会公开他们的分数。最后《时之笛》拿了4个满分 10 分（那年《合金装备》也是如此）。
《时之笛》它做了很多新颖和创新的事情，当时的 EGM 编辑约翰戴维森说。有些东西在这些早期的 3D 游戏中开始出现，讨论它们的词汇甚至还不存在。
Z-targeting（Z-注目锁定系统）就是一个典型的例子。任天堂已经为《超级马里奥 64》创造了 3D 冒险的蓝图，它开创了模拟控制和自由移动相机等功能。但该游戏中的战斗很少见，因为在 3D 环境中进行攻击非常挑剔。任天堂的第一款 3D塞尔达，从日本武士剑戟片中，得到了大量灵感。战斗逻辑十分完备。
At Electronic Gaming Monthly, the preeminent print gaming magazine of the period, games were reviewed by a panel of four staffers, who each played the game independently and didn’t share their scores with each other before publication. Zelda nabbed four 10s (Metal Gear Solid also ran the table that year). “It did so much that was new and innovative,” says John Davison, the editor of EGM at the time. “Some of the things that were starting to emerge in these early 3D games, the vocabulary to discuss them didn’t even exist yet.”
“Z-targeting” was a prime example. Nintendo had already created the blueprint for 3D adventuring with Super Mario 64, which pioneered features such as analog control and a free-moving camera. But combat in that game was rare because attacking in a 3D environment was so finicky. Nintendo wanted the first three-dimensional Zelda to feel like Chanbara, a Japanese samurai sword fighting film. The combat had to be airtight.
■ https://www.theringer.com/2018/10/23/18012564/legend-of-zelda-ocarina-time-best-game-ever-1998
▲日本最权威的游戏专业媒体《FAMI通》给予了《时之笛》史上第一个的40分满分评价，时任杂志社总编集长浜村弘一亲自执笔的总结性评语：“满分并不意味着这个游戏是完美无缺的，给予如此的评价无非是向制作人员对游戏本质的不懈追求表示我们最高敬意！”
■ https://www.famitsu.com/news/202111/21241396.html
▲《时之笛》被誉为任天堂美学的代表，对整个游戏产业来说也是教科书式的里程碑，宫本茂团队向广大同业完美诠释了如何表现3D空间的空间感和纵深感，LOCK-ON(视角锁定)系统也为困扰3D游戏多年的视点转换问题提供了最合理的解决方案。
■ 如何评价《塞尔达传说：时之笛》在游戏史上的地位？ https://www.zhihu.com/question/48775151/answer/126919927
塞尔达开发组都曾喜欢玩什么？
▲《旷野之息》制作人，青沼英二
我确实听到开发组里很多人都在玩《荒野大镖客：救赎2》。
同时他还提到了，在当初开发《塞尔达传说：旷野之息》时，游戏导演藤林秀麿也在玩《上古卷轴5：天际》。
而由于自己一直很忙，所有平时休息”时间会玩一玩《节奏海拉鲁》放松。
Speaking in an interview with the outlet, Aonuma was asked what games the younger staff on his team had been inspired by during development. “[Something] I did hear that a lot of people were playing was Red Dead Redemption 2," was the reply.
When pressed on open world inspirations as a whole, he added: "When I was working on Breath of the Wild, the director [Hidemaro Fujibayashi] was playing Skyrim."
In the same interview, Aonuma revealed that he has been playing an awful lot of Zelda lately thanks to the fact that the Switch is getting two new titles in the series this year (Link's Awakening and spin-off Cadence of Hyrule) as well as the aforementioned Breath of the Wild sequel. "Recently I've been very busy, especially with Link's Awakening," he explained. "So on my breaks, I've been playing Cadence of Hyrule. So I've been kind of overloaded with a lot of Zelda recently."
■ https://nintendoeverything.com/aonuma-on-writing-lines-for-king-of-red-lions-in-wind-waker-zeldas-form-and-tingle/
▲《旷野之息》制作人，青沼英二
过去我也说过我曾经玩过《上古卷轴5：天际》，所以说我不是不玩游戏，
但是我们不是从这么个角度：哦！我们能从这游戏里照搬什么东西？
而更像是这样，我们该怎么样才能为此做准备？我们对于类似游戏的期待是什么？同时我们也想到需要多少人手，或我们怎么才能有所改进提升？他继续说，我们从中收集资料，然后看看哪些提升是有效的，哪些提升是无效的。
In the past I've also actually said that I have played Skyrim, so it's not necessarily that I don't play games, Aonuma stated.
But we don't look at it from, 'Oh, what kind of things can we take from this game?'
It's more of like, 'How can we prepare for this? What should we expect from games like this?'
And so we also think about how many people we might need, or how we can make it improved, or with the number of people,
he continued. "We would collect data and then work and see what worked, what didn't."
■ https://www.gamespot.com/articles/how-skyrim-influenced-breath-of-the-wild/1100-6455780/ ■ https://mynintendonews.com/2016/06/26/aonuma-says-zelda-breath-of-the-wild-wasnt-inspired-by-skyrim-or-the-witcher/
▲《旷野之息》制作人，青沼英二
其实自己和《旺达与巨像》的上田文人一直是关系很好的朋友。
你提到《旺达与巨像》这个游戏很有意思，因为我们和上田文人先生是朋友，他也一直在说想要做一款类似于《塞尔达传说》的游戏——所以《旺达与巨像》里有很多相似之处。
上田文人为人非常好，他在去年年底很好心地给我寄了一份《最后的守护者》游戏。在游玩过程中我注意到小男孩攀爬至大鹫头部、或跳跃至建筑平台上的所有路径设计及其过程中，或者当你跳到原来无法到达的高度处的时刻，均与早期《塞尔达传说》如出一辙。
我们并没有见面或者谈论过这些，但我意识到我们有同样的想法。看到我们在不同的时间，都有着相似的灵感、相同的游戏志向，这很有趣。
《旺达与巨像》的攀爬机制受到了早期《塞尔达传说》的影响，而后也同样影响到了《黄昏公主》的设计。
Speaking of the climbing mechanic, there is another game that makes heavy use of this feature: Shadow of the Colossus.
It was influenced by Zelda, and influenced it in turn since Twilight Princess. Do you enjoy the games and style of Fumito Ueda?
It's funny that you’re mentioning this game, because we are friends with Mr. Ueda, and he's always said that he wanted to make a game like Zelda – hence the similarities in Shadow of the Colossus.
Mr Ueda was kind enough to send me a copy of The Last Guardian late last year and as I was playing it, I could notice the moments when you climb on Trico's head to find a path, and jump to reach places that were inaccessible from the height you were at.
Without seeing each other or talking about it, I realize we had the same idea. It's amusing to see we had the same inspirations, the same gameplay velleities at different times.
■ https://nintendoeverything.com/aonuma-on-zelda-breath-of-the-wild-full-gamekult-interview-translation/
▲《旷野之息》游戏总监，藤林秀麿
《我的世界》和《泰拉瑞亚》这两个游戏对我有很大的启发。我能够从中了解并学习游戏玩法和各种可能性，学习它们的冒险、探索，以及引发玩家好奇心的方法。
Fujibayashi cited two games while speaking with EDGE this month about games that inspired him: Minecraft and Terraria.
He told the magazine:
I was rather inspired by playing Minecraft and Terraria. I was able to learn from the gameplay and the possibilities found in. I could learn from the sense of adventure, exploration and how it inspired curiosity.
我们还会（在现实中）进行诸如洞穴探险、潜水、漂流之类的事情。我知道这在西方可能没什么大不了，但在日本却是一场冒险！
As for real life inspiration, Fujibayashi is involved with an adventure club with other Nintendo staff in which they participate in outdoor activities:
[We do] things like cave diving where you actually go down into the water to get into the cave, as well as rafting tours and so on. I know this may not be such a big deal in the west, but in Japan it’s quite an adventure!
■ https://nintendoeverything.com/zelda-breath-of-the-wild-director-inspired-by-minecraft-and-terraria-talks-developing-for-switch/
▲PlayStation Congratulates Nintendo on Zelda Success
■ https://www.pushSquare.com/news/2017/03/playstation_congratulates_nintendo_on_zelda_success
2017年，PS英国对NS英国，为NS新机发售和塞尔达的成功，表示祝贺
2023年，PS官方对《塞尔达传说：王国之泪》的正式发售表示祝贺
▲Xbox Head Praises New Zelda, NX
■ https://www.gamespot.com/articles/xbox-head-praises-new-zelda-nx/1100-6441172/ ■ https://twitter.com/XboxP3/status/837727311201869825?s=20
2017年，现任Xbox部门主管菲尔斯宾塞对NS美国，为NS新机发售表示祝贺
2023年，Xbox官方对《塞尔达传说：王国之泪》的正式发售表示祝贺
