 Before I get into this video, I want to remind you that we're giving away a Tears of the Kingdom, Nintendo Switch OLED Edition, also a Tears of the Kingdom Collector's Edition, and a Tears of the Kingdom pin for PAX East. To enter, all you have to do is head down to the link in the pin comment, or the description, winners will be drawn on May 12th. We're also on our road to 133,000 subscribers to celebrate 133 years of Nintendo. So I'd appreciate it if you drop a like and subscribe to the channel. And one last thing, last night we launched brand new merchandise, our final celebration for 100,000 subscribers. We commissioned some amazing art. And look guys, we have the t-shirts available. We have posters available. It looks really good. It features 20 of the people that have been on our podcast in season two of our podcast. And it has a light little 100K. Congratulations on a 100K thing at the top. Look guys, these are limited edition merchandise. They're only gonna be around this week and next week. So I'd appreciate it if you go ahead and maybe support the channel in that way as well. Now let's get into the video. All right, so the second part of the developer, Ask the Developer series from Nintendo is out there featuring these people you're seeing on screen in an interview about Tears of the Kingdom. And this is the part where things start to get juicy. So let's just jump right in. It says part two, linking hands. Now let's move on to the things that have changed from the previous game. Speaking of which, I immediately noticed that Link looks a little different in this title. Doesn't he? Aonuma says, yes, his right arm. We wanted an iconic feature that would make it obvious at first glance that it is Link from this game. Speaking of Link's arm, hands is a major theme of this title. Hands, quite interesting. Hands, can you elaborate on this? Fubayashi responds. Titles in the Legend of Zelda series intertwine all the elements of gameplay, mechanics, and story and combine them all into a single game. For this title, we chose hands as the key theme to bring them all together. For example, abilities that Link uses to solve puzzles are all released from his hand and arm. We even included the symbolic key of the game's mechanics, such as having scenes that use hands when opening special doors. This hands theme also crops up here and there as a key element as the story develops. Dota responds. The previous game was a relatively lonesome game or rather an endurance game where you made full use of Link's body and strength alone to traverse the vast world. What's unique this time around is joining hands and cooperating in various characters and at times creating items with Link's own hands and utilizing them as he progressed. Takizawa responds. We were intentional about making this hands theme show through the visuals as well in the story direction. If you watch the trailers we've released so far, I think you may be able to get a sense of this atmosphere. Wakai says, we also express the hands theme by implementing hand claps such as in the game's music. Aonuma responds. Well, simply put, hands express the idea of connecting. This applies to the story too, which connects Hyrule to the past. It also talks about major struggle called the imprisoning war, which until now was considered a myth even in Hyrule. Ho-ho, the imprisoning war, baby. Fumiashi goes and the protagonist's name is Link after all. Aonuma, oh, I just got the connection. Laughs, everyone laughs. Aonuma says, it's funny how these things work out, isn't it? You don't notice these things when you're developing the game, but then after you're done, you see all sorts of things that were actually connected and you realize, oh, so that's what we were doing, you know? So there's a certain fundamental thing that you wouldn't change because it's a sequel and because a matter of creating something new within those existing boundaries, it all sounds pretty challenging. Aonuma responds. We set those boundaries ourselves, but new gameplay elements are born when we break through them. So we are breaking boundaries. Takizawa says, breaking boundaries. That's a good phrase, Aonuma. Turns out that a lot of the boundaries were pretty durable. Laughs, everyone laughs. Takizawa. On the other hand, the sound maintained just the right number of similarities with the previous title so that it feels like an adventure in the same world. Wakai responds, exactly. We intended to keep iconic sounds from the previous title, such as the sounds that play when you obtain an item or solve a puzzle. Aonuma, breaking boundaries doesn't mean you can just destroy whatever you like, though. Those boundaries give you the basis to feel safe about taking risks elsewhere. Next question. No matter how everything else changes, when you hear those sounds, you'll think, oh, that's a legend of Zelda game, right? Aonuma responds. That reminds me of how the word deja vu cropped up many times during development. We were supposed to be making something different, but the various things we made gave off a similar impression to what we'd done previously. But as development went on, we'd look at the game as a whole and sometimes discover that those things suddenly took a different shape because of the new elements we'd added. Until then, we were anxiously trying to change things up. But at some point, we realized that some of them were already as they should be. Next question says, so there's one approach to make changes to remove deja vu feeling. And then there was another to keep things the same because that's the way they should be. Was everyone on the development team on the same page from early on about those two approaches? Fubayashi responds. Not in the slightest, there were many instances even later on in development when we were struggling to differentiate the two. It was a constant and difficult process where we and the development team continued to mull over and discuss until we all came to an agreement. Takazawa responded. We often experienced strong deja vu, particularly in the early stages. And we thought it was imperative to transform how the game felt as much as we could. We worked hard with that thought in mind. But once we got to a certain point in development, we were able to identify areas that will lose their appeal if we change them. Fubayashi responds. We started to think positively by calling what we decided not to change the great mundanity laughs. Takazawa says by the end, the definition of the great mundanity became clear. So even if a team member approached us about deja vu feeling, we felt more comfortable passing them to intentionally keep something unchanged. I suppose it's like when there's a sense of values that isn't shared by everybody, eventually clicks into place through trial and error. Onuma says video game development is always like that. When various pieces come together and things start clicking into place, there's a moment when this is fine becomes this is it. And part three will be available tomorrow, May 10th. So, you know, we'll have a follow up to this video tomorrow. One thing I just wanna briefly touch upon to go up here is that imprisoning war comment. I found the imprisoning war comment to be quite interesting because it is a part in Zelda history that has not been really brought up. And they even said that the people of Hyrule thought the imprisoning war was actually a myth. And then it turns out it maybe isn't a myth and we're gonna have the imprisoning and we're going to have the imprisoning war actually touched upon in this game. So thank you so much for this amazing interview, dude. I can't wait to see how the imprisoning war plays into tears of the kingdom. You guys are awesome and amazing. Thank you so much for tuning in and I'll catch you in the next video.