don pelayo escribió:Vale, te contaré dos secretos. El primero; sigo esperando a que matices lo que has dicho sobre que el juego es tan de wii como de cube. Me sentaré a esperar.
No, no esperes.
Iwata: The image of Wii in the lead-up to its launch has been shaped by the fact that most of the attention is being given to games that can also be easily enjoyed by non-gamers, typified by the Wii Sports package. That's partly due to the fact that
Nintendo's primary goal is the expansion of the gamer population. However, that doesn't mean in the least that Nintendo feels the games most enjoyed by our core fans like Zelda aren't important anymore. Quite the contrary - our ambitious plan was to create and launch the ultimate traditional gamer's game at the same time as Wii, a console designed to expand the gamer population. Did the co-existence of these seemingly disparate goals in the company ever make it hard for you to continue with the lengthy development of Zelda, or make you question the value of your work to the company? This is actually a question that I didn't ask the other developers.
Aonuma: You didn't? I would've liked to hear their comments. Well, hmm…let's see. This might not be the best way to put it, but at the beginning of development, we started work on Twilight Princess with the intention of helping the GameCube go out in style. Put another way, we wanted to proceed straight ahead within the framework of traditional gaming and make a game that would really blow people away.
Our focus was clearly different from that of Wii, which was designed to be easy to play and to be something everyone can enjoy.
However, I think the fact that this Zelda can be played on Wii helps build a number of bridges. It will provide a chance for people who bought Wii for the simple and intuitive controls to see how much fun traditional games can be. At the same time, for people who like traditional games and are harboring some doubts about Wii games, or who have already decided that Wii is not for them, Zelda might become a gateway for them to see how much fun Wii is.
(...)
Kitagawa: Honestly, I was one of the people who was happy to hear about the delay. At the beginning of the project, the director (Eiji) Aonuma-san told me how many dungeons to make, and i
t wouldn't have been possible to make that many by the original deadline. But with the delay, it was possible to put together a realistic plan to create that many dungeons. Of course, I mean this in terms of quality as well as quantity. The dungeons in Zelda games are the biggest part of the gameplay, so it wouldn't make sense if only the outside parts of the game were complete. We constantly received feedback from people whom we have asked to test play, about how to have the player use certain items or at what angle to place the camera, and we used that feedback to improve the dungeons. With the extra year, I felt that we were able to polish the dungeons to a level that I am personally satisfied with.
Miyagi:
I had always felt that it wouldn't have been possible to finish everything by the original deadline, so I felt that the one year delay was only natural. Since the game wasn't nearly ready in terms of both quality or volume, and we were lacking a clear roadmap for how to proceed, when the decision to postpone release was made I felt that I had to reassess things. Before that, in the period when I felt that it would be impossible to complete everything with the way things were going, I was personally burned out. Readjusting myself, in all sorts of ways, was really quite a struggle. Before the decision to delay the game was taken, I was working on what had to be done every day with the deadline right in front of me. The release date being moved back felt like a chance to begin afresh, and it was of real significance that we could fundamentally reconsider our approach to completing a whole range of issues.
(...)
Nishimori: Well, this is kind of obvious, but the hard part was making the necessary adjustments to get both versions right. As we had to be absolutely thorough in our fine-tuning of the controls to get them perfect for both
the GameCube and Wii versions of Zelda, it doubled our work, to put it simply. So even though we had an extra year to do it, we didn't feel that we could afford to take our time. Quite the opposite: we were working flat out right to the end.
Hay más, pero quizás tú mismo has dado el mejor argumento para afirmar que es un juego "tan de wii como de cube": que tú llames a la Wii la Cube 1.5.
El segundo, muy aparte de que los cambios que puedas introducir en una novela se hacen cuando te envían las galeradas y los cambios suelen ser nímios, reduciéndose a faltas de ortografía/typos cuando no se trata de un error garrafal de traducción (como en mi caso), que no suele ocupar mucho más espacio que lo que ya había puesto, la cuestión es que lo que tu crees un quebradero de cabeza no lo es tanto cuando todo va por ordenador y el programa que utilizan las editoriales lo hace todo casi automáticamente. Mal ejemplo.
Estoy de acuerdo en que los cambios suelen ser nimios, como cuando el editor del Quijote añadió por su cuenta la indexación en capítulos o algunas de sus leyendas, o como cuando se realiza la edición crítica de una obra. Anda, ve a decirle a Paco Rico y a su equipo que introducir cambios es fácil y que todo va por ordenador, que no se preocupen cuando hagan la revisión de su Quijote. (Por cierto: no sé si sabes que el significado original de la palabra 'nimio' es 'enorme'. En efecto, los pequeños cambios suelen resultar... nimios.) No dudo que en las editoriales que contratan a un traductor capaz de cometer errores ortográficos este tipo de trámites se simplifiquen y tiren de programa.
![[ginyo]](/images/smilies/nuevos/guinyo_ani1.gif "guiñando")
En este campo del diseño industrial, es más lo que Sony (o cualquier otra compañía) le debe a Nintendo que lo que Nintendo debe a Sony.![[sonrisa]](/images/smilies/nuevos/risa_ani1.gif "sonrisa")
![[bad]](/images/smilies/nuevos/malo_ani1.gif "malo")
![[+risas]](/images/smilies/nuevos/risa_ani3.gif "más risas")
