Title: “Transformative Moments: Embracing Vulnerability in Relationships”

There’s no doubt that Nintendo is a powerhouse in the video game industry, thanks to its highly skilled and dedicated in-house and partner developers. But how often does the company allow these creators to express their creativity freely regarding the games they develop?

Last year, we had the unique opportunity to chat with the iconic artist Takaya Imamura, famed for his work on Star Fox, Captain Falcon, and various vehicles in F-Zero, and even Majora’s Mask itself. Imamura-san spent over 30 years at Nintendo contributing to countless games before departing in 2021 to explore new avenues. Naturally, we exclaimed ‘Absolutely!’ and traveled hundreds of miles to sit down with him.

Imamura-san is making a comeback in the gaming world with his latest endeavor, OMEGA 6: The Triangle Stars, an adventure inspired by his original manga. In this conversation, we discuss the forthcoming game, his time spent working on titles like Zelda, and the reasons behind his departure from Nintendo after all those years…

Nintendo Life (Zion Grassl): Omega 6 seems reminiscent of a long-lost Super Famicom title. How long have you been harboring the idea for this game?

Takaya Imamura: It’s a relatively recent concept. It’s based on the manga I created. The idea didn’t exist at the beginning; I wrote the manga first, and then the opportunity to develop a game based on it arose.

In that sense, what do you enjoy about working outside of Nintendo and how is developing a game different for you now?

Now I can truly enjoy it. I’m happy.

Did we hear correctly that you’re also a professor? How do you balance all of that?

Absolutely. As a professor, I teach students who come to class at specific times, there are summer breaks, and I have a clear understanding of when to work and when not to. Just like Indiana Jones. [makes whip-cracking sound]

Are you a big fan of Indiana Jones?

Oh, for sure!

Are you planning to play The Great Circle when it releases?

Absolutely!

What has it been like being a teacher and a game developer simultaneously? Do you have students who recognize and admire your work?

There are a few like that, but most aren’t really aware of who I am.

Wow! That’s fascinating! I imagine if you were teaching in the US or UK, people would react differently to having you as their instructor.

Even students who look up to me often hold back during class. It’s usually when we go out for a meal or drinks that they ask me to sign something or draw!

It’s great that there’s a right moment and place for that kind of exchange. Returning to Omega 6, what was your main inspiration behind the art style?

After leaving Nintendo, I pondered, ‘How can I create something on my own as an artist?’ The first thought was to make a comic since I can draw. I really wasn’t contemplating how to market the comic or make money; I simply wanted to create it. If I can publish it digitally on Kindle and a few people buy it? Amazing!

The game features an impressive array of characters, and I love how there’s a list of all of them that you can peruse. Are you collaborating with anyone else on the character designs, or did you create them all?

Thank you! Most of the characters are my creations, except for four that my students designed. I did the pixel art for those few characters, while my students developed the original concepts.

That’s fantastic! You directed Steel Diver and contributed to various other games during your long tenure at Nintendo, but when was the last time you felt able to fully express yourself creatively?

This is the first time I’ve had such freedom—there’s no one telling me ‘No’ or dictating when to stop. I simply create as I wish and as much as I want.

During my time at Nintendo, the environment had certain expectations and project milestones, so senior staff, like producers and executives, would often reel us back, saying, “Alright, you need to scale this back,” or, “Let’s not pursue that.” You know, I really didn’t enjoy that. I believe for most legitimate game developers, that’s a struggle. Of course, at a company, profits are essential!

Do you recall what prompted you to leave Nintendo? After all those years, working there is a dream for many.

It’s quite straightforward. I left when I was 65. This is applicable to anyone; life is short. We only have a limited number of years on this planet and a finite amount of things we can do with that time. I was contemplating that, and at the same time, I received an invitation from the university to teach, and I thought, ‘Wow, this is an opportunity to change my path.’

This was around three or four years ago, right?

I departed in 2021!

What are some aspects you miss about working at Nintendo?

For the first six months after leaving Nintendo, I continuously dreamed that I was still working there. I would begin developing a game only to wake up and think, “Oh, that’s interesting.”

I met with Shigeru Miyamoto once after leaving, and I said, “Hey, it’s been a while!” But I felt like I saw him in my dreams all the time. He found that amusing.

Having been at Nintendo for such a long duration, did you form close relationships with many colleagues?

Yes, I still keep in touch with all of them. For example, Aya Kyogoku, the director of Animal Crossing, is coming to watch me teach in the classroom in October.

Really?! Will she be speaking or just attending to observe?

She’s just coming over to chat! If I were to have her give a lecture or something similar, she’d need to get clearance from Nintendo.

How does it feel for you to pass on the knowledge you’ve gained to a newer generation?

It’s quite daunting because if I were to host a talk, I believe many people would come to listen. However, once it becomes a formal lecture, there will always be individuals thinking, “Ugh, I don’t want to be here.” Some people doze off in class, so it resembles any typical university lecture.

Given your notable work on Tingle, was there anything specific that inspired his creation?

The character’s background and lore were established beforehand, and I was responsible solely for the visuals. Often, I would find someone on the team, create a sketch, and then…