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If The Legend of Zelda and Final Fantasy ever hooked up and got down to business, then Secret of Mana would be their extraordinary love child. Produced by Square, Secret of Mana (Seiken Densetsu 2) was first released on the Super Nintendo in Japan on August 6th 1993.
This young warrior, the main character you control, is unaware that the Mana sword he has pulled from a stone has been protecting the land. Secret of Mana was a follow-up to Legend of the Holy Sword (Seiken Densetsu), released on the Game Boy in Japan in 1991. Development for Secret of Mana began on the proposed CD-ROM add-on for the Super Nintendo, with Nintendo having partnered with Sony to create the drive. According to Ishii, up to 40% of Secret of Mana’s original content was dropped so that it could be squeezed onto a SNES cartridge. Square managed to release Secret of Mana in Japan on August 6th 1993, successfully selling over 1.5 million copies. Woolsey revealed how excruciating this process was when given a strict deadline for translating Square’s game, saying, “I was given just 30 days to translate the Secret of Mana text. Woolsey met his deadline and the game did eventually hit the shelves in America in October 1993. Once the additional characters join you they are computer-controlled (from the menu, an action grid allows you to choose how aggressive or defensive they are). Adding the multiplayer element caused the game to be delayed in Japan due to numerous debugging problems, postponing its original release of April 1993 to August 1993. With its roots as a CD-ROM game, the sheer look of Secret of Mana is amazing. Even today it still looks striking. Square did subsequently release Final Fantasy VI (titled III in the US) and Chrono Trigger for the Super Nintendo (two titles that unfortunately failed to see PAL releases). Even though Secret of Mana has been ported to the Wii Virtual Console and the iPhone, this has done nothing to diminish the value of the original Super Nintendo cartridge, which can still fetch high prices on eBay (a complete version of the game – be it PAL or US NTSC – can command in excess of ?50).
Given the incredible quality of what players did receive, it does make one wonder just how amazing the experience could have been were Secret of Mana released as originally intended. I’m totally enchanted by the work of Mathieu Leyssenne (Jamaica) and Xavier Collette (Dixit Journey).
I also deeply love two illustrators, Joe Madureira (Darksiders, Battle Chasers) and Xavier Houssin (Dofus). Then, I have a description given for each illustration, and here begins one of my favorite part of the process: data mining! The challenge remains the same each time: giving generous illustrations, simple to get but making the gamers travel. I’m a huge fan of heroic fantasy and so, to produce illustrations like the ones for Seasons, I am mixing universes I love. I think my illustrations are a good mix of those games and my passion for pastime and antiquity. Similarly, in Isla Dorada, what did you think of when creating this world of characters on the cards?
As opposed to Seasons and Isla Dorada, Tokaido has a really simple, elegant look – almost like a plain white prototype! I’ve been focus on producing pure and elegant illustrations, I wanted to make a reference to japanese print but with a contemporary graphic style.
Philippe Nouhra, my publisher took care of the look of the game, he made it simple and white.

The Cannibal Card was pretty tricky but maybe because it was my first illustration in colors as a professional and that I used a soft for numeric painting that I did not use before.
So far, I have never worked with another artist, but much more in parallel : there were no interactions between our works and so I was not influenced in any way. I worked very hard on each of the game I was involved in and to be honest, I’m satisfied with each of them. Laat een reactie achter Reactie annulerenJe moet inloggen om een reactie te kunnen plaatsen.
Here was an RPG that looked gorgeous, sounded fantastic and once picked up, was hard to put down. Directed by Koichi Ishii (who had previously worked on Final Fantasy I – III), the game was a spin-off of the Final Fantasy series and was released across Europe in 1993 as Mystic Quest (it was also re-released under the name Final Fantasy Adventure in 1998). However, following Nintendo and Sony’s infamous falling out over the project, the SNES CD-ROM was dropped. This meant that I had to fly out to Japan for a month with my wife and kids and just get on with translating the original scripts practically as soon as they were completed. It reached Europe around a year later in November 1994 to heaps of praise from the gaming press in the UK.
You start the game as a young orphan Boy, but it’s not long before you’re joined by two others; a Girl searching for her boyfriend and a Sprite suffering from amnesia. Suddenly it becomes a social RPG, making it a lot more fun and certainly more tactful, as you sit around the TV going through the story with others, shouting out helpful hints. Be it frequently running into the Scorpion Army and their out of control robot, being picked up by a sandship during your first visit to the Kakkara desert, and Randi meeting his mother. The option to travel by cannon (quite early on in the game) skilfully showed off the console’s graphical Mode 7 effect.
But it was Secret of Mana 2 (Seiken Densetsu 3) that caused the biggest upset, for the sequel didn’t even make it out of Japan. Since then the Mana series has spawned many games, including Legend of Mana on the PlayStation, as well as Children of Mana and Heroes of Mana on the Nintendo DS. I could say that all of them inspire me in different ways, but some of them more than others. In those illustrations, one can find references to Zelda, Dofus, World of Warcraft or Secret of Mana. What were the challenges with trying to create that kind of aesthetic and still make it look like a journey down a road?
What’s different when you’re working with different artists as well, like you also did in Isla Dorada? Such was the quality of Secret of Mana that according to the 1990s Nintendo magazine SNES Force, people in Japan were apparently being mugged for it, while kids in America were skipping school to play it. Restoring peace to the world means finding the eight seeds of the Mana tree, gaining their power and stopping a dark sorcerer from ruling the world. For an RPG it was notable for doing away with turn-based battles, instead implementing real-time combat, as well as introducing a power gauge that allowed the player to unleash a special attack. Ishii was suddenly faced with having to condense his expansive CD-based RPG onto a 16Mbit cartridge for the Super Nintendo. Super Play magazine described how “the care and attention lavished upon the presentation alone sets it apart from anything you’ve seen before,” and rated it 94%.
Having never heard of it, and based on the limited description I was told, I didn’t really have high hopes.

While they do not have default names in the English version, the Japanese instruction manual names the Boy as Randi, the Girl as Purim and the Sprite as Popoi. In Japan Square issued a public statement informing players to not press any buttons when a boss is undergoing its death, as the game could freeze (bugs were lessened for the PAL release, but the game can still freeze should you press something during the death of the final boss). These days, if you want to play an RPG with your best friend then unfortunately they can’t just pick up the controller and sit next you, they have to join in online (Final Fantasy Crystal Chronicles on the GameCube certainly tried to replicate the experience, but the difficulty came with each player requiring a Game Boy Advance and a link cable).
There are also a lot of memorable boss battles, such as the Wall Face that pushes our heroes towards deadly spikes, and a defeated Frost Gigas that turns out to be Santa Claus! It’s believed that the length of the game (the player is able to choose three out of six characters, each with the own unique story arc) and masses of dialogue meant that an already bugged title would have to be reprogrammed in order to make room for an English translation, and at considerable time and cost too.
Artist Naiade took the time to talk to us about getting involved in art and the inspiration behind these amazing works. And as I said previously, I made a lot of research on animals, jungle and colonial clothes of the early 20th century.
And what’s different when you’re trying to work on a very small, portable game? In the finished game there are a few villages and towns where you’ll come across empty rooms or can pass through the walls or walkways to areas that don’t really serve much purpose, coming across as remnants of a much larger game.
In an interview with Super Play magazine (ahead of the game’s UK release in 1994), Woolsey described the difficulty of translating Japanese games, highlighting the space limitations on cartridge.
However, the magnitude of what you’re letting yourself in for begins before you even put the game in the console. During an interview with Ishii back when the game was released he revealed how Secret of Mana was originally intended to be a solo affair.
It all looks very cool, as do the character animations when using powered-up weapons and casting magic (using magic spells past Level 8 would trigger unique animations). What challenges arise with the graphic design aspects – the layout on the boards and cards? Coming with a 68-page colour instruction manual, it explains that the game “may last nearly 70 hours.” The last 17-pages were a guide, taking the player through the first 2-3 hours. What this means is that you have to rethink an entire plot without actually changing any of the parameters that govern how the plot has implications on the rest of the game…I would say that you can get twice as much information into the same space when written in Japanese as you can writing in English. On rare occasions some treasure chests dropped by enemies will contain armour you cannot buy anywhere, or even weapon orbs which you can use to strengthen your weapons (making it possible to forge a weapon passed the ‘supposed’ limit of Level 8 and up to Level 9). After a few weeks of playing we eventually bought it off the person who lent it to us (ha ha ha!). Our free time during weekends (and almost every evening after school) was spent delving further into the immersive story, levelling up the characters and simply wanting to know what would happen next. Sometimes treasure chests will sprout legs and attempt to run away from you, while as a twist some will even contain traps such as poison needles or bombs, inflicting damage. Iselin Solheim - Faded (Original Vocal Version & Talla 2XLC Uplifting Rework)  Alan Walker feat. Iselin Solheim - Faded (TiA«sto Remix) [Ultra Music Festival 2016 Audio]  Alan Walker ft.

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