- Link doesn't have much of a character in this game - they wanted players to relate to Link
and play as themselves - Link's face doesn't have much expression in this game,
and that was done on purpose - for Zelda games, the devs always try to make the player feel like Link - that was pushed even moreso for this entry - everytime a Zelda releases, Aonuma watches fan feedback
and considers that for the future - the items Link uses to solve are always going to be important - regardless of the tech that Nintendo provides, exploration in the series is important - Link's growth
through who he meets is also an important element of the franchise - Aonuma thought about Zelda freedom when considering Breath of the Wild,
and was brought back to the days of the original Zelda - this was a big point of inspiration for Breath of the Wild - with Ocarina of Time 3D, Nintendo wanted to really utilize the 3D
and had a desire to let players enjoy Ocarina of Time outside - the goal with A Link to the Past was creating more depth - Aonuma used to think that getting lost in a 3D world wasn't okay - this lead Aonuma to putting in tons of hints
and guiding players - he has since changed that idea
and convinced himself that it's okay to get lost - the first two years of development the devs created a game where just running around was fun - climbing is very important, because players can climb high
and see destinations they want to visit - you can place your own markers to decide where you want to go - when the devs create a Zelda title, they consider not using the name Link - since they don't have anything else to go with, they choose Link - the name Link doesn't hold much value, since the player is the one creating the journey - when Nintendo first created Link, they wanted a character that is literally the link between people - that is why his name is Link - to think that the Zelda series has been around so long that there are all sorts of urban
legends and myths makes Miyamoto really happy
2011 Nine Faces, Anton Kern Gallery, New York, NY Three to Five Faces, Shane Campbell, Chicago, IL Human Nature: Contemporary Art from the Collection, Los Angeles County Museum of Art, Los Angeles, CA Malevich
and the American Legacy, Gagosian Gallery, New York, NY California Dreamin:
Myths and Legends of Los Angeles, Galerie Almine Rech, Paris, France 2010 Kaikai Kiki Gallery, Tokyo, Japan Portland Art Museum, Portland, OR Seven Faces, Blum & Poe, Los Angeles, CA The Artist's Museum: Los Angeles Artists 1980 — 2010, Museum of Contemporary Art, Los Angeles, CA Group Show 2010, Galerie Emmanuel Perrotin, Paris, France Benches
and Binoculars, Walker Art Center, Minneapolis, MN At Home / Not at Home: Works from the Collection of Martin
and Rebecca Eisenberg, Hessel Museum of Art, Bard College, Annandale - on - Hudson, NY (curated by Matthew Higgs) Mark Grotjahn, Jonathan Lasker, Sol LeWitt, Allan McCollum, James Siena, James Welling, Bravin Lee Programs, New York, NY Skin Fruit: Selections from the Dakis Joannou Collection, New Museum, New York, NY (curated by Jeff Koons) Invitational Exhibition of Visual Arts, American Academy of Arts
and Letters, New York, NY 2009 Gagosian Gallery, London, UK 2008 Dancing Black Butterflies, Gagosian Gallery, New York, NY 2007 Kunstmuseum Thun, Thun, Switzerland Blue Paintings Light to Dark One
through Ten, Anton Kern Gallery, New York, NY 2006 Whitney Museum of American Art, New York, NY 2005 Blum & Poe, Los Angeles, CA Stephen Friedman Gallery, London, UK Mark Grotjahn: Drawings, Hammer Museum, Los Angeles, CA 2003 Anton Kern Gallery, New York, NY 2002 Mark Grotjahn: el gran burrito, Boom, Chicago, IL Blum & Poe, Santa Monica, CA 2000 Blum & Poe, Santa Monica, CA 1998 Blum & Poe, Santa Monica, CA Flowers in the Office, Brent Petersen Gallery, Los Angeles, CA