This Majora’s Mask staff interview was published in The 64 Dream issue #46 from 2000.
These scans have been upscaled so please feel free to save them and use them however you want.

Translated by
Roryj: https://twitter.com/RoryJWhelan
Formatted by
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The Legend of Zelda: Majora’s Mask Development Staff Questionnaire/Survey

The last game’s development staff survey was received very favourably so of course I had to ask the developers again. Anyways, the portraits of the staff have been created in the likeness of the people of clock town and drawn by the art director Imamura. These interviews feature 31 different staff members accounts of various areas of the game’s development. Please enjoy.

Yellow Bubble: 1. Area specific story of difficulty and/or development secret. 2. What we want to convey to users

Kazuaki Morita
- Boss and Enemy Programming. Object Programming Assistant

1. The last boss’ “Special attack!” was actually a scene which came to me in a dream. Also, the fishing mini game! However, this time, I held back because the player is in a world where time is running out! 

2. I recommend fishing carefree.

Satoru Takizawa 
- Responsible for mini-boss, weak Enemy (parts of NPC) design and specifications

1. Not always but, my desires come out. Such as how I wanted to make the Deku princess’ ponytail move completely, kind of like how Skull Kid’s shoulder and neck are separated. The mini-boss’ demo was supposed to be simplified but when is it ever so simple? Because of this, I had a pretty hard time. I hope that these things bring you happiness when you see them.

2. There are many ways of playing this game. The enemy attack patterns aren’t necessarily only one-dimensional. So please try many different weapons and items when the time comes to challenge enemies. You’ll likely be able to see interesting battle strategies aside from the simple ones. Nevertheless, there are many enemies gunning to fight, so please have fun battling them!

Toshio Iwawaki
- Player, Game System, Programming

1. This game’s systems are basically the same as the previous title “Ocarina of Time”. Because of this the game’s appearance was worked on quite quickly which had me worried that the appearance would seem too close to “Ocarina of Time”. 

2. Rather than the previous game I think that “Majora’s Mask’s” time system will really draw players even deeper into the world of Zelda. Really, I get anxious as the moon approaches, so I hope everyone feels that thrill as well! 

Kenzo Hayakawa
- Basic game mechanics, effects, etc programming

1. This time, the Lens of Truth’s has received an upgrade. I used a little technique to properly set the transparency of the lenses. It’s a little heavier (Laughs). Using the lens will probably reveal some gloomy moments. In Majora’s Mask, the placement of the stars is dependent on the player’s name. So, when it turns to night, why not take a look at the constellations in the sky?

2. Please really settle in and play this game slowly. 

Takamitsu Kuzuhara
- Townspeople and enemy character programming

1. The villagers were really given a tough time by the bombers.  Before the places they escape to change every day and when it became night, they weren't anywhere to be seen so it was difficult. Rest assured; we are continuously developing 24 hours a day (Laughs). It's also a secret that I had an eye for Tingle. Wizzrobe's are also another enemy type that I have a certain affinity for. Previously if you attacked the wrong shadow of the Wizzrobe, it would transform into a ice or fire keese, and furthermore if each spell was successfully cast, it would cause a frizzard or 3 fire keese to appear, which was a little bit out of control. 

2. I think achieving the "Perfect Ending" is difficult, so don't give up while playing! As many times as it takes, keep re-trying for the sake of the people of Termina!

Makoto Sasaki
- Environmental and scenario programming

1. The first character I worked on when starting work for this project were the fairy companions Tael and Tatl. For those in the know, this is the character whose name is changed the most.  For my programming work, we still have jokes over what to call these fairies. Sometimes referring to them as "Navi, Bell, and of course Tatl" (in Japanese her name is Chat referencing the pun of being so chatty), the dark fairy we also sometimes made the mistake of referring to as "Mondo (not sure of this but maybe wanting to sound like the French word for the world (le monde)), and Trail (misspelled)".

2. The weather will change a lot during the 3-day period in this world. I think that depending on the time-period each player is at; the world will leave very different impressions. The jungle area is always raining, and you have to kind of experience it by progressing through it for example. If you get tired of trying to solve the puzzles why not walk around and try looking for your own favourite spot?

Hiroshi Umemiya
- Enemy programming

1. In the parts where enemies spawn, it was quite difficult to come up with a way to avoid as much slow down as possible.

2. This Zelda has a repeating 3-day cycle, which changes the systems slightly, because events are happening as time passes. Some of the later developments in Day 3 change depending on whether an event has occurred, and furthermore there are also other events that do not need to be seen to have happened or cleared. Within the 3-day period, try lots of things to get the full enjoyment of this world of Zelda.

Nobuhiro Sumiyoshi
- People (Anju and Postman etc.) related programming

1. In Majora's Mask, time is constantly passing, and NPCs have various schedules that play out. Compared to Ocarina of Time, the sense of a living breathing world is much stronger here (Even though in the case of Anju and the Postman it was a lot more difficult).

2. Typically for a game like Zelda, the main objective is solving puzzles or facing off against enemies in battles but in Majora's Mask I recommend interacting with the different NPCs because all the characters have interesting quirks. Oh, and before you stop the moon from falling, they let you practise the Romani tag-separating game but really, it's more fun without riding horseback. Thank you.

Yoichi Yamada
- Memory management, programming, and coding system design

1. Early on, for the character transformation tests, the characters were Gorons using Link's motion, so we had horse-riding Gorons. It was cute, but ultimately removed from the story. Using the extended memory function of the N64 lots of characters perform different motions. I urge you to enjoy taking a look at the various gestures of each of the characters which show off our designer's sense of style.

2. The world of "The Legend of Zelda" has the creators also creating various ways to play. It's our hope that the players will also find various ways to enjoy the game. It would make me very happy to hear "I'm playing the game this way" from players.

Kenji Matsutani
- Terrain and Collision (3D collision detection), horse-riding related programming

1. Because we already worked on the systems for playable 3D spaces in "Ocarina of Time", we wondered how do we really polish this even more? In what way can we add to it, because making it look different was tough. (We dealt with adding scrolling to the mini-map as one such change). Admittedly, because of the systems not changing too drastically, I think the development of parts related to the previous title were quite smoothly completed.

2. I was involved with the tooling and compared to "Ocarina of Time" and other games I think that Majora's Mask's character schedules are very interesting. I think up until now, the player was the only one who could experience their own actions. No one else could experience that. I think just like in "Ocarina of Time" you could happily play in similar 3D spaces, and in conjunction with the added mask and schedule systems we've created a mysterious world to enjoy in Majora's mask. You have the freedom to act assertively to save the world or separate yourself from the main story and just kind of loiter around (laughs), it would make me happy to see everyone play the way that gives them the most enjoyment.

Mitsuhiro Takano
- Script

1. The development staff's own feelings have been inserted into the people of Termina dialogue. The first would be when the staff would say things like "Tonight again are we stay up all night to finish this?" or "As expected working through the night, I wonder if we'll be in time for this" and it would be said by the carpenter as the game reached closer to its conclusion. Next, the thoughts of the directors caught between work would say "Let's not talk about my wife" which Dotour the Mayor would say. Lastly, when the project was fully completed, we all said "We truly went through some hardship huh" which the Happy Mask Salesman would say in-game.

2. I think Link is depicted as a lone young boy who fights for the people who have touched his life, rather than previously where he was the "brave hero Link" who fought to save the world. That being said, please try to meet as many people as possible and help to solve all their problems. You might even be able to see relationships and stories that you otherwise might not have found out about if you finished the game normally. From us to the user we have one thing to say "If it's you it should surely go smoothly. Believe in your own strength!" (Happy Mask Salesman)

Shigeo Kimura
- Field coordination, combat data work

1. The time to confirm all the processes in the game was delayed because we didn't have much time to play-test everything.

2. Compared to "Ocarina of Time" you don't really have an excess amount of time to just care-freely walk around the world. So, if you dare, please take a moment to sightsee. New discoveries are sure to be found. Finally, I would like players to try enjoying the game as much as possible without the use of a guide.

Yoshihisa Morimoto
- Pirate fort, Deku Scrub, Underneath the grave area design

1. As this was the first time working on a household (console?) game, there were many things that had me feeling left out at sea (Entered company during September of 1999). So, it was difficult at first to even remember the names and faces of the Zelda team, the tendencies of the N64 hardware and understanding the makeup of it. It wasn't until near the end when I started to really get a good grasp of the N64. I changed the areas so often that in the end the best product was finished.

2. I really enjoy that the characters in Majora's Mask are full-fledged characters. The sight of all the characters doing their jobs right to the end is something that I personally have been missing out on lately.  I think from now on I might have to imitate the postman. Finally, the maps that I worked on are places I didn't have the opportunity to go to, so if you get the chance, please visit them!

Takaya Imamura
- Art Director

1. The goal was to change the overall impression felt by players coming from "Ocarina of Time".  This time we wanted it to be unique and a bit unprecedented.

2. I want players to patiently play without giving up. The more time it takes, the better it will feel when you solve the puzzles!

Shigeki Yoshida
- Dungeon Production

1. We spent lots of time on creating a frigid atmosphere in the mountain area.

2. Link can also use the masks of other characters, so please try them out.

Takahiro Hamaguchi
- Icon type work, menu design, all UI design

1. Despite the systems all being carried over from "Ocarina of Time", we still had to design the clock and schedule diary. Additionally compared to last time, we also decided that we should add more instructions on how to use the new systems which came with its own challenges. Things like organizing the design of these systems was tough. For example, things like the clock needed to be easily readable and match the style of "Zelda". The design is the result of organizing a mix of things that feel like they would belong in "Ocarina of Time" as well (visual style-wise). The visual design used for "Ocarina of Time" have been supplemented onto with new aspects. In Majora's Mask the imagery has coming together into this new design proved to be both a difficult and interesting part of the development.

2. In Majora's Mask, lots of characters have their own stories and dramas and Link gets wrapped up into it all. That's where the diary comes into play. Even though there's a possibility that you can clear the game without getting involved in any of the character's stories, I think that getting involved with their stories immerses the player deeper into this world of Zelda just like in a company where "it's okay to not be involved with people, but associating will expand your enjoyment".

Naoki Mori
- Demo/Cutscene production, Special Effects voice production

1. I struggled with getting the moon falling cutscenes to be as powerful a feeling as they could be. In the end, I think we were able to make it all work because of the hard work of Mr. Kurome who oversaw effects. Link also sits somewhere on the title screen loop, so be on the lookout for him!

2. I think I prefer Cremia because she hides her loneliness and still smiles compared to Anju who is always openly unhappy. What do you think?

Kazumi Yamaguchi
- Map design, mainly Inn and Shop interiors 

1. It was difficult giving each shop a unique identity with such a limited capacity. And, we had to craft spaces that was specific to each character’s lifestyle, which turned out to be fairly difficult. Incidentally, the toilet room actually had no specific use written up for it at the time it was just an empty space we had created. Before anyone knew it a whole event had been created to fix the space!

2. "Majora's Mask" has a lot of drifting off the path and finding new things to do compared to "Ocarina of Time". You could discover a piece of heart or new information about a character. I think this idea is true in real life as well. Even in familiar places there's always a discovery to be made. I wonder if the theme of Zelda games is that it's fun to discover new things not only while you're playing but also when you're going through your daily life as well.

Taeko Sugawara
- Small terrain and room interior design

1. In my early days working here I was tasked with working on environments. There were so many things I still didn't know so during the time I created some pretty embarrassing environments. Everyday, I would bring chocolate snacks and save them inside my desk. Because I was sedentary, I was scared that by the end of the project I would gain 1.2 times my weight. As feared...we're finished now...I can't stop sighing.

2. I'm thinking whether anything is unfinished. Nevertheless, stealthily pranks are still around. Behind the counter at the Magic Hags' Potion Shop for example there might be a good use of the Z-targetting feature...

Satomi Maekawa
- NPC character development

1. NPC characters are always creating by considering how they will be seen and only a small number of bones and polygons. To get the player to empathize with them, we use lots of motion and facial expressions to show off their personalities. We usually have a model when we create our characters. For example, monkeys were based off a cat I had bought. If anything, the monkey's faces look cat-like, right? Next, the giant turtle. Was modeled after famous Japanese twins Kin and Gin who of which Kin happened to be in the news at the time for passing away. The beaver brothers also have special names! Younger brother Shtick (one holding branch) and older brother Twig (swimming beaver).

2. Right now, we, just lived through the passing of another century and Majora's Mask is kind of apocalyptic, with the feelings and actions of various characters as they approach the weekend. I'd like it if players would pay attention to the various characters and their patterns. I'm sure that everyone living at the end of the century will welcome the weekend with the same feeling I do.

Futoshi Shirai
- Field setting

1. In Majora's Mask we had to develop a closed world that lasted 3 days, so the placement of enemies and friendly NPCs changes moment to moment depending on player location. Simply put, the volume was tripled in scope which resulted in spending a lot of time organizing things like mini-games and such. Take the bombers for example, at the start of development the location of the Bombers changed each day; they would hide inside places like crates inside shops. Sometimes we ended up spending 3 full days just looking for them! (Laughs). We said that obviously that's not acceptable, so in the end we decided on having them in five fixed locations. Oh, the beaver race was sort of the same where the course would change every day! We hope you enjoy the many discoveries of the 3-day system and maybe think to yourself "This is different than yesterday!" or "The second day was way easier than the first".

2. Thank you very much for waiting, please enjoy this grand adventure to your heart's content!

Shinichi Ikematsu
- Dungeon (Swamp, Water, Rock), other design

1. Because Link's actions are abundant with variety (re: Masks), it was a bit of a labour of love to make the most of all the skills in each area. I wanted to create a different impression separate from "Ocarina of Time" so I took extra effort to make sure areas were special in their unique ways.

2. From the producer side of things, I obviously think that this game is very interesting. The character's have a lot more depth, leading to deeper player immersion. This mixed with the ability to experience dramatic events results in a profound game. Also, I'm finding myself curious to talk to characters and visiting different places etc.

Hajime Nakamura
- Various dungeon arrangements

1. The adjustment of the difficulty level. We didn't intend for this game to be too difficult. However, making the game too simple would be boring/easy so we took care to craft something in the middle.

2. If players persevere, they will get the result they deserve. It might be tough, but never giving up and overcoming the obstacles will surely lead to great things, right? I think this game is worth working hard at.

Toshiyuki Oyama
- Character Design (NPC)

1. I would receive assignments for character designs, and I would try making my own rough sketch and have it proofed, I was given quite a bit of freedom in this aspect. To this point, I had little difficulty. However, this was my first time working on the creation of a game, so I knew nothing about it all. I wasn't quite able to pay attention to the way characters' motions would appear in-game or how to make them look good. Despite this, thanks to the help of the people around me I was able to create the designs. When thinking about the characters during chats with individuals such as Mr. Aonuma, Mr. Takano, Mr. Koizumi, and Mr. Haruhana, interesting ideas started to pop up, and gradually the characters became clearer to me. It filled me with such excitement and ended up being enjoyable.

2. If you're tiring of the main quest, perhaps aiming to collect the masks would be a good detour. Try wearing various masks and talking to people, take your time and leisurely walk around in the world of Majora's Mask. You might see the world in a different light.

Hiromasa Shitaka
- Supervisor of environmental design (Town, Romani Ranch area, Squid area?)

1. Organizing all the various parts of the town while managing the size was difficult. We created a complicated area so players would feel uneasy and uncomfortable, like they are in a strange town in a foreign country, carrying the sense of uncertainty that comes with that sort of situation. However, "I don't understand it at all" and "I played for a whole day, but I still don't know what to do" among others were many of the opinions that we kept hearing, so we continued to adjust. Now I think getting lost is a positive part of the game.

2. In "Majora's Mask" there's a sense of mystery and strangeness that’s missing in "Ocarina of Time". You absolutely must try experiencing the strangeness of this world once.

Yoji Inagaki
- Sound programming. Special Effects creation (Excluding enemy related effects)

1. With "Majora's Mask" being a sequel, I figured that a lot of the programming and sound effects would be re-usable. However, by the end the total number of sound effects crossed over 2000! It was apparent that compared to "Ocarina of Time" the number of effects had doubled, with around 700 sounds being re-used. Pretty admirable to create so many sounds in such a short period of time if I do say so myself! There probably isn't another game with as many sound effects I wonder...

2. Since "Ocarina of Time" the surround sound system has evolved, with things like Dolby Surround existing. This time we were able to refine the front and rear audio to sound smoother and be easier to hear and listen to. Most importantly, by listening through a personal amplifier the sound can fill rooms and give a bodily sensation. Basically, the N64 is being used to add a sense of realism to all the sound effects, not only that but it matches the sound of a store radio. Because of all this if you have a personal amplifier, please try connecting your N64 and listening over and over (to compared to stores?) 

//This part of his quote kind of tripped me up, I'm not sure what he's saying exactly, but I think the gist is listen using dedicated tech provides the best experience//

Yoshiki Haruhana
- Character design supervisor

1. Our schedule was tight, which made everything super tiresome. Looking after all the connections between Link and the other characters was troublesome, fun, but troublesome. Also, the mask designs were close to not being complete, which was also difficult. Basically, we tried simplifying Link, how did we do it? In Majora's Mask, my impression is that the ideas of individual parts were much lighter this time because we didn't need to play by the book [of a normal Zelda]. Logic is important in situations like these, and it was truly amazing seeing everyone's ideas synergise together to create the finished product.

2. Players, have you already reached the weekend? How'd you, do it? This was a labour of love and we're so happy and proud as a staff we were able to complete it. Oh also, what do you think of the mirror shield's design? Not bad, eh?

Takumi Kawagoe
- Movie/Cutscenes

1. There used to be a scene where the Great Fairy taught Link how to do a big rotating slash, but ultimately, we were unable to have it programmed into the game which was a little disappointing.

2. Please take notice of all the great performances by each of the characters.

Mitsuhiro Hikino
- Enemy, NPC special effects (Effect sounds) 

1. The game's large scale required many sound effects, which had us fighting against both the capacity of the system and time itself! However, we focused on adding as many interesting sounds such as individual character's gasps, groans, etc. to express more emotion in all the characters.

2. There are so many stories packed into this 3-day cycle so no matter how many times you play the game I think it will still be very enjoyable.

Kenta Usui
- Dungeon Planning etc.

1. Regarding adjusting the difficulty, the theme is eternal. After the work on "Super Mario 64", I would have had to work tirelessly once again to design the documents for 3D dungeons. Because this process is tiring, I instead took the 3D mental image I had in my head and placed it into 2D space for the documents, afterwards the designers would then take them and replicate them back into 3D (so I ended up not writing up those instructions this time)

2. Please enjoy the joy of figuring things out on your own!

Hiromu Takemura
- Field map design, mini-game design.

1. Projects like these have many staff and as a result herding in all the personalities of the directors and the staff can become a problem. Sometimes one design idea can bring everyone together, but in Zelda's case the shared passion of the team harmonized to bring the best ideas forward. Because I felt like I was no match for the artist-types, I created the game with a strong sense of spatial awareness, which is one of the strengths of polygonal games. This being a (pseudo) first person game, I intended to explore this open space not as a god, but from a personal experience. A franchise like Zelda is extremely successful, and as a creator I'm blessed by the luxury of the production systems in place to allow me to succeed as an individual.

2. Because of "Majora's Mask" uniqueness from the rest of the Zelda series, we were able to inject more personality into the characters and add new systems never seen before. So, I think the way the game will be played will change quite drastically. Each person's playstyle or puzzle solving process will lead to different emotional responses from players depending on those things. There are so many things to discover, so please take your time while playing!

For any feedback or to just join the community, jump into our discord: https://discord.gg/T8Gn62Jr