Miyamoto pegs StarFox Zero, Pikmin 3 as his most underrated Wii U games

Coming from a Game Informer interview with Shigeru Miyamoto...

“I think personally Star Fox is a really fun game if you sit down and play it. I think, for example, an elementary school kid who plays it without any preconceived notions, I think it would be really fun for them. I think it’s also really, really fun for siblings to play it together."

Coming from Bill Trinen...

“Personally, I think Pikmin 3 is the most amazing game on Wii U. It’s probably one of my favorite games in the last six or seven years. I think that hardly anyone realizes that the multiplayer bingo battle mode was literally the best new multiplayer mode that has been created since Smash Bros. It is so much fun.”

Coming from Shigeru Miyamoto...

“Pikmin is the kind of game that you have to play maybe three times to get the full effect, but you know, people don’t have a lot of time, so they just clear the stage and just move on. Games are becoming more of a consumable product, and it’s getting harder and harder for people to let a game to sink in and enjoy leisurely.”

Miyamoto, Trinen on why Zelda: BotW is an 'open-air' game & not open world

Coming from an IGN interview with Shigeru Miyamoto...

“I think within the game industry or the tech industry, there’s a tendency to want to name everything, but I think it’s important for what we do that we don’t want to be dependent or swayed by the technology and what’s available now. We want to use the technology and the techniques that are available to make what we want to make. What’s important is to really express how we use that to make our experience unique. We didn’t want to just make a game where you can do anything, but we wanted to make sure that we make a game where the player is able to do anything, but it’s also a form of entertainment. It’s fun to do all of those things. That’s why we felt that coming up with a name that we created would be best. The term ‘Open Air’ is a result of that. That’s what Bill [Trinen] uses a lot.”

Coming from an IGN interview with Bill Trinen...

“From my perspective, I look at a lot of open-world games and the world is a setting for the story the developers want to tell in that space. I look at this game and I see a world that is fully integrated into the exploration and the adventure. It’s not just a world that you’re passing through. It’s sort of a world that you’re a part of. So much of the adventure and exploration is in this outdoor space, and the theme of wilderness collectively seemed like 'Open Air' was the right fit for it.”

Bill Trinen talks Wara Wara Plaza naming, working with Miyamoto

A portion of a KillScreenDaily interview with Bill Trinen...

KSD: Could you talk a little bit about that naming decision?

BT: One of the things we saw coming out of E3 was when we ran the original video on Miiverse, and when Mr. Iwata first introduced it, he described it using the term they referred to it as in development, which is the ‘Mii Wara Wara.’ With ‘wara wara’ being this [Japanese] term that suggests the milling about of people. During that video, people reacted very positively to it on social media. They thought it was something fun, something very Nintendo, uniquely Nintendo that few other companies would necessarily go with. I think it works, I like it. It’s fun.

KSD: Most people know you as your role in translating for Miyamoto during press conferences. I was curious about that relationship. Do you confer with each other about what to say, or do you just go out there and translate what he’s saying as he’s saying it? How much of a back-and-forth is it?

BT: We’ve been doing this since about 1999, which is a long time. I can’t believe how long that is. [Miyamoto] is a lot of fun because he is very free-spirited. He knows what he wants to say. We’ll work together on the script, I’ll put that into English. In that process, I may suggest changes to it, he may suggest additional changes. He’s a tinkerer. He’s a craftsman, by trade, really. It’s what he does. He always wants to make everything as good as it can be, up to the last minute. So there’s always late changes.

But the best part is when we get out on stage, and then the script really just becomes a sort of bullet-point, or a guideline. He doesn’t read off the teleprompter. And so I don’t really get to read off a teleprompter. In fact we’ve had years where he has a teleprompter in Japanese, and I have nothing. [laughs] And so I just have to listen to him.

A lot of times, if you watch closely, if you ever catch him saying something and kind of glancing over at me, that’s his way of saying, ‘That was totally off-script.’ He’s looking to see if I’ve caught it.

Full interview here


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