FEATURE: Metroid Prime Series Producer Kensuke Tanabe Speaks to Japanese Magazine Nintendo Dream; Confirms Retirement, Successor, Metroid Prime 4 Story Inspiration, & More

Last week, some bombshell news broke about the future of the Metroid Prime series, as producer Kensuke Tanabe spoke to Japanese publication Nintendo Dream to discuss a whole bevvy of topics, including the confirmation that Metroid Prime 4 will be Tanabe’s last game as producer. Tanabe, 62, has overseen every Metroid Prime game in a Producer capacity, so this certainly is the end of an era. The interview also features Retro Studios Design Director Bill Vandervoort and acclaimed composer Kenji Yamamoto.

While this is certainly the biggest piece of news coming from the interview is Tanabe’s retirement, that wasn’t the only thing noteworthy discussed. Omega Metroid has independently translated and verified the entire interview with Nintendo Dream, courtesy of BlueSky user “Japan Man” Dan, who we’d like to extend our greatest thanks to, for everyone to enjoy!

Among the subjects also broached are the inspiration behind the controversial ending of Metroid Prime 4, Tanabe’s intention for the Sylux character going forward, the challenges of the Metroid Prime 4 development, and the naming of his successor to the Producer role. Please enjoy the full interview below:

 

---

(Please note: there are some minor edits for clarity.)

The Final Story of Metroid Prime 4

Development Staff Interview

 

Translation from Japanese of an interview that appeared in Nintendo Dream Vol. 382, March 2026 edition.

 

We conducted an interview by e-mail with the staff involved in Metroid Prime 4 Beyond and asked them about the development process, design, music, character development, and more!

Interviewees:

Producer: Kensuke Tanabe

A staff member of Nintendo who has produced numerous titles including the Metroid Prime series.

Design Director: Bill Vandervoort

A member of Retro Studios who has worked on level design for Metroid Prime 3: Corruption and Donkey Kong Country Returns.

Music: Kenji Yamamoto

A staff member of Nintendo who has been in charge of the music for numerous Metroid games since Super Metroid.

 

Q: What kind of team structure did the production team use for Metroid Prime 4? Also, how did you collaborate with overseas staff?

Tanabe: When we began development with Retro Studios, the Nintendo staff consisted mainly of me, assistant producer and progress manager Risa Tabata, sound engineer Kenji Yamamoto, art supervisor Takayoshi Satou, and there was initially one interpreter on staff. Later, we added an interpreter coordinator, an English text translator, and, towards the end, one coordination support and one debugging specialist. We also had several other members help with art supervision and technical support.

Retro Studios has over 100 staff members working on the project, and at one point three staff members from Next Level Games helped out on the game design. We outsourced a lot of work, especially for the art and cinematics, and we had a total of over 300 staff members involved.

Nintendo travelled to Retro Studios several times a year for meetings lasting three to five days each, in addition to Zoom meetings, to further the development process.

The process began with Nintendo communicating the game’s overall setup, setting, and worldview, along with a high-level concept. Retro Studios then created specific specifications, concept art, level design blueprints, and experimental prototypes. Nintendo then discussed these and provided further instructions for revisions and refinements. Retro Studios then coded the final approved version.

The same process was also used for various ideas proposed by Retro Studios, who handled all data creation management. Nintendo scheduled three separate meetings: one to report on the results of the game design supervision, one to report on art supervision, and one to manage progress. Each meeting was typically held via Zoom with Retro Studios, lasting several hours a day each week. During the COVID-19 pandemic, staff from both companies worked from home. After the pandemic ended, Nintendo travelled to Retro Studios several times a year for meetings lasting three to five days each, in addition to Zoom meetings, to further the development process.

 

Q: Please tell us the meaning behind the subtitle “Beyond.”
Tanabe: This time, Samus is transported beyond time and space to Viewros, a planet in another dimension. We chose the phrase “beyond time and space” as the most appropriate English expression. We particularly considered the opinions of overseas staff, including Retro Studios, Nintendo of America and Nintendo of Europe.

 

Q: Please tell us about the design concepts for Samus’ new suits, the “Viola Suit” and the “Legacy Suit.”

Vandervoort : The designs of Samus’ Vi-O-La Suit and Legacy Suit reflect their respective functions as well as the architecture and technology of each era of the Lamorn civilization. The sophisticated Vi-O-La Suit has its roots in the Lamorn’s industrial revolution. While it inherits the essence of the Varia Suit, it contrasts with it with its rough lines and mechanical nuances. The Vi-O-La Suit is the suit that Samus wears when riding Vi-O-La, so we focused on visually linking it to Vi-O-La herself. The Legacy Suit was the Lamorn’s final gift to Samus as the “Chosen One,” providing her with a defensive barrier. The suit’s design reflects the mechanical aesthetic of their most sacred places, the Plum Hall of Memories and the Chrono Tower.

 

Q: How did the newly introduced Vi-O-La bike come about?

Tanabe: Around 2016, when I launched the project, The Legend of Zelda: Breath of the Wild was gaining positive reviews for its open-world setting. I often heard people online say, “I want to play an open-world Metroid game!”. However, the characteristic Metroid gameplay of “gaining abilities and expanding your range of action” contradicts the open-world mechanic of “being able to move freely over a wide area from the start.”

Still, I thought, within a limited area, I could respond to that demand. Furthermore, I thought that if players could ride around there in an exhilarating way on a motorcycle, it would add some rhythm to Metroid’s gameplay, which is characterized by a sense of confinement and tension. However, when I later saw Link riding a motorcycle in the downloadable content for Breath of the Wild, I thought, “Wow, they’ll think I copied that!” and wondered what to do. But then I thought, “No, I’m not copying them, and Samus riding a motorcycle is sure to look cool,” so I decided to create a motorcycle without any further hesitation.

I often heard people online say, “I want to play an open-world Metroid game!

The area in which you ride the motorcycle is Sol Valley, and to prioritize being able to ride freely, I made it a vast, open space with no roads or obstacles. Also, when I actually rode it, I felt that it was important to create a space where you could focus on one target and run toward it. If you see multiple targets, your awareness of the goal becomes distracted, and you lose the sense of excitement of gradually getting closer to your goal.

To achieve this feeling, the Sol team at Retro Studios cleverly used terrains that would go either up or down so that players generally only have one objective in their field of vision. At the same time, they made Sol Valley seem larger than its actual size. I hope players can experience the feeling of speeding through a storm on a desolate land on Vi-O-La.

When it came to naming the bike “Vi-O-La,” I wanted something unique. I play guitar, so I wondered, “How about the name of a musical instrument?”. But I couldn’t use the brand name of a guitar manufacturer, and “Guitar” didn’t suit a bike. After some thought, I decided on “Vi-O-La,” an instrument with a relatively unfamiliar name and a nice sounding sound. It’s pronounced “viola,” but I don’t know how the Lamorn came up with it.

 

Q: Please tell us about your intentions and attention to detail in creating the background music and sound effects for “Metroid Prime.”

Yamamoto: The music for the “Metroid Prime” series is composed entirely by Nintendo, with Retro Studios handling the sound effects and voiceovers. Since this game is a first-person adventure where the player plays as Samus, I composed the music while imagining, “What kind of music would I hear if I were to descend into the world of Viewros?”

For the sound effects, I worked with the Retro Studios audio team to create a sense of immersion, creating realistic and immersive sounds. In Fury Green, you enter the jungle and explore its surroundings, and the background melody evolves from a beautiful jungle to one that lures you deeper into the depths. As you progress through each zone, you will encounter scenes in which the facility’s status changes, such as when power is restored or lightning strikes the facility.

For these, the music changes to reflect the transformation, creating a unique experience. For example, in the Volt Forge, there’s a scene where Samus is attacked by a swarm of enemies called Flight Drones at the same time as lightning strikes. For this scene, we prepared music that will send shivers down your spine. Even in the freezing cold research facility, the changes to the facility inspire courage through music. Also, with Vi-O-La, introduced for the first time, you can hear energetic music themed around motorcycles!

The main theme music was created to convey the feelings of Samus as she fights on Planet Viewros. All of the music was composed from Samus’s perspective. We hope players will put themselves in the shoes of Samus and enjoy the music and sound effects they hear during their various experiences on Planet Viewros.

 

Q: What specific actions did Sylux take after arriving on Planet Viewros?

Tanabe: Sylux was badly injured when he was transported there, and by chance was transferred to the inside of the Chrono Tower. He sneaked into a healing pod that was there and synced with the Chrono Tower. Through this, he obtained information about the Lamorn, and learned that in order to escape Viewros they would need to use the Master Teleporter, and that in order to activate the teleporter they needed five Master Keys.

It took time for Sylux to recover, and during that time, he was basically unconscious, but during the times he was awake he used the psybots to attack Samus and try to steal the keys that she had obtained. At the moment of his awakening, Sylux’s consciousness and Samus’ consciousness were temporarily linked, and Samus experienced Sylux’s memories like a flashback.

He then used his Metroids, which were also transported there, to try to control the Key Guardian and obtain the Keys, but the Key Guardian’s mental strength was stronger than Sylux’s, and as a result, both of them lost their normal thought processes and became beings filled with only murderous hostility. It took time for Sylux to recover, and during that time, he was basically unconscious, but during the times he was awake he used the psybots to attack Samus and try to steal the keys that she had obtained. At the moment of his awakening, Sylux’s consciousness and Samus’ consciousness were temporarily linked, and Samus experienced Sylux’s memories like a flashback.

 

Q: I’d like to ask you about your Galactic Federation allies. How did you come up with their character settings and the relatively unusual situation of “fighting together with allies” in the series?

Tanabe: I actually don’t play many games. Instead, I watch a lot of movies. I majored in film production in college. Therefore, when designing a game, I don’t often analyze or study other games. Instead of considering the game’s mechanics, I focus on how many “Wow Moments” I can create, and the theme I want to express with the title from the perspective of “how can I create emotional ups and downs in the player?” This time, I used that theme as a starting point to design the entire game.

With Metroid Prime 4 Beyond, I wanted to create a game where, at the final moment of completion, the player feels a sense of surprise and conflict when they press the A button, which means completing the game. We did this once before with “The Legend of Zelda: Link’s Awakening,” but this time we wanted to make the game even more memorable by providing a situation where players will watch the end credits while wondering, “What? Is that the end?”

I expect there will probably be a negative reaction [to the ending of Metroid Prime 4], but personally I feel that movies that leave a lasting impression on you after watching them are more impactful than movies with a happy ending, so I thought, “Can we do that in one game?”

I expect there will probably be a negative reaction, but personally I feel that movies that leave a lasting impression on you after watching them are more impactful than movies with a happy ending, so I thought, “Can we do that in one game?” So, we first set up the final scene and then considered the overall structure of the game. To that end, we set up Federation soldiers who accompany Samus, and planned gameplay that would develop a bond between them and Samus (the player) as the game progresses.

We had actually planned several events that would deepen these bonds even more, but due to production constraints we had to cut them. We are truly sorry about that.

 

Q: What was the process for creating each zone, comprised of diverse natural environments on the planet Viewros?

Vandervoort: Our primary thematic goal for these zones was to tell the story of the Lamorn and the great tragedy that affected them through the environment. The locations were inhabited by the Lamorn in different ways and for different reasons, often related to what the player is trying to accomplish in the game. By experiencing the parts of each zone and by thoroughly scanning [items and environments] in each area, players can gain a deeper understanding of the world around them, making it feel like it could actually exist.

We also incorporated the idea that each zone had an “identity”. In other words, we asked ourselves questions like, “What is this place?”, “What can only happen here?” and “Is there anything that the player can do here that will leave a lasting impression?” We took familiar earthly elements—a factory inside a storehouse, a laboratory on a glacier, a giant cannon in a volcano—and placed them in natural settings to create unique experiences. The color scheme of each zone, including the vividness of the sky, was intentionally designed to be memorable and to match the emotions the player experiences at each stage of their journey. Some scenes evoke oppressive darkness, while others evoke brightness and freedom.

Each zone also of course had gameplay goals: what the player had to accomplish, the level of tension we wanted the player to feel, and the goals for progressing through the story. The structure and components of each zone were created to achieve these goals. The process involved a large number of people and extensive trial and error. To achieve this, we expressed our self-imposed goals for the experience we were trying to achieve in each zone in a few easy-to-understand phrases, and used those as “pillars” to keep the team members aligned with our vision.

 

Q: The culture, history, and the future of the Lamorn are deeply impactful in the story. How did you decide on their appearance and setting?

Vandervoort: The Lamorn’s appearance was designed with deliberate intent. They were peaceful, graceful, cultured, and deeply spiritual. Their priesthood was a strong theme in the worldview and linked to many of the major events in their civilization. While the priests primarily handled psychic energy, all Lamorn had the potential to manipulate it. All of these elements were incorporated into the Lamorn’s appearance: aquatic elements, the priest’s robes, flowing movements appropriate for an energy-based world, and an invisible mouth which gives the suggestion of telepathic communication. It was also important to us that the Lamorn convey a certain sanctity, in contrast to the corrupted nature of the Grievers.

Tanabe: Once we decided to set this game on a planet in another time and space, and that Samus would gain psychic powers there, it naturally became clear that the inhabitants of Viewros would build a culture centered around psychic abilities. However, since the motorcycles came first, it was a given that the species had passed through an industrial revolution and invented the Vi-O-La along the way.

Next, we wanted Samus to face an iconic enemy that would be something other than Space Pirates. While thinking about how to design this enemy, we came up with the idea that the cause of the Lamorn’s demise was their transformation into Grievers, which is known as the “great tragedy.” At the same time, we also realized that from a certain point in the game, the Green Shower could be used to increase the difficulty level of enemies in Sol Valley. This was another factor that solidified this setting.

Following the prophecy, Chatoya and the 12 Lamorn were transported to various planets across the multiverse with a small return teleporter to search for the “Chosen One.” However, they were unable to find them, and each Lamorn ended up passing away on their respective lands. However, this means that there are still 11 teleporters in existence. It would be difficult to create individual stories for all of them, but I think we have left open the possibility of creating some stories in the future.

 

Q: Let me ask you about Sylux. He was still a mysterious character even when he made a brief appearance in Metroid Prime 3. What led to him being in the spotlight in this game?

Tanabe: When we were creating Metroid Prime Hunters, the game designers at developers Nintendo Software Technology came up with all the stories for the Hunters. One of them was Sylux, who harbored a grudge against Samus and the Galactic Federation. At the time, I wanted to expand the Metroid Prime Universe and in the future wanted to create various spin-off titles, so even though he may have already had his own story, I asked the developers to avoid a detailed scenario for him. I had always wanted to one day turn the story of Samus and Sylux into a game, which I laid the groundwork for in the 100% endings of Prime 3 and Metroid Prime: Federation Force.

I had always wanted to one day turn the story of Samus and Sylux into a game… However, it took longer than expected to complete this game, and it has been decided that I will no longer be involved in the production of the series.

A long time passed before the opportunity to create that game presented itself, and considering my age, I felt that this Prime title might be my last chance. So, I planned this game as the first in the Sylux story. Sylux is portrayed as a servile, vindictive, and villainous character, and from this game onwards, Samus will also see him as an unavoidable enemy who must be defeated. Therefore, the showdown between Sylux and Samus has yet to be resolved.

However, it took longer than expected to complete this game, and it has been decided that I will no longer be involved in the production of the series. So, while there are no plans for a sequel, I hope that [Assistant Producer Risa] Tabata and Retro Studios will one day be able to complete this story.

 

Q: I’d also like to hear about the approach and attention to detail you took when creating the scanned text and the text included in the logbook.

Tanabe: Because scans are essentially a computer analysis, I avoided any emotional expressions and chose words that conveyed a sense of logic and professional analysis. Also, since players won’t read too much text, I generally tried to keep it to three lines or less at a time. Even if it’s long, I would try to limit the length of the text to just one screen, especially if it is text that provides hints to progress in the game, I carefully crafted the wording so that all the necessary information is memorable with keywords within that length.

Furthermore, and this is a personal preference, I always try to ensure that line breaks never occur in the middle of a sentence, and that each line fits neatly within the display window. This is influenced by the novelist Natsuhiko Kyogoku. As for the content of the text, I naturally aim to capture the player’s interest and allow them to imagine realistic scenarios. I particularly struggled with the text written by the Ice Belt researchers, which tries to conceal the truth about the Great Tragedy, while still sprinkling in keywords so that players could gradually understand. I also wanted to create the feel of a realistic diary entry written by an actual researcher. I would have liked to have written text that would be fun to read, like a pirate’s journal, but that wasn’t possible this time due to the lack of a scenario for that.

It was also difficult to get [professional writers hired to write the scan dialogue] to fully understand the game’s specifications, and since we were worried about meeting the deadline, I decided to write it myself.

I wasn’t originally planning on writing the scanned text. Until now, staff at Retro Studios had been responsible for the in-game text, but that person that did it before no longer works there, so we decided to ask a professional writer to do it. However, since writers are experts at writing text, their natural priority is to write “good, clever sentences.” This meant that the text didn’t quite fit the gameplay we were hoping for. It was also difficult to get them to fully understand the game’s specifications, and since we were worried about meeting the deadline, I decided to write it myself.

To be honest, though, I was so busy with the work that I made some mistakes when making changes, so although it was fun, I shouldn’t have done it. I also don’t understand the nuances of English expressions when it comes to the dialogue of the Galactic Federation soldiers, so I left that to the writers. However, when it came to the Japanese translation, I asked game designer Taro Kudo to write the dialogue in a way that would be more natural and fit the game and characters, rather than simply translating it.

 

Q: This game seems to have paid more attention to the ease of play more than previous titles. Were there any particular points you kept in mind when designing the overall difficulty level?

Vandervoort: I believe this will be the first Metroid Prime game for some players, while others will be returning to the world. We wanted to create a structure that everyone could enjoy, so we incorporated features from previous Prime titles in a way that would draw in new players while advancing the adventure.

There are also goals for the game’s story and characters, which sometimes drive the choices you make. For example, the initial path through most of the game’s zones is linear, which was effective in telling the story of the zone and the Federation soldiers within. We wanted to motivate players in a familiar, narrative-driven way.

There are also goals for the game’s story and characters, which sometimes drive the choices you make. For example, the initial path through most of the game’s zones is linear, which was effective in telling the story of the zone and the Federation soldiers within.

Even in areas you visit for the first time, there are backtracking and exploration sections, but the flow is not as complex as in the original Metroid Prime. Returning to these zones on your own later in the game will offer new experiences and subtle discoveries, especially if you return with new abilities. This means there are rewards for especially curious players and those who want more freedom in their exploration, or those who have questions like, “What’s there after the main events in this zone have occurred ?”

We made sure that players of all skill levels feel challenged as they confront enemies and bosses. We made repeated adjustments and improvements to ensure that you feel a sense of relief and accomplishment when you overcome difficult obstacles.

 

Q: Regarding settings for beginners, there are plenty of options, including gyro and mouse controls, but are there any settings you’d recommend for someone new to the series?

Vandervoort: There are so many control options! For first-time players, we recommend starting with the default settings and adjusting them as you become more familiar with the gameplay while playing through the first zone. There are probably some settings you’ll want to quickly adjust to suit your personal preferences, such as sensitivity and direction inversion.

“Lock-on free aim,” which lets you aim anywhere you want while locking onto an enemy, can be controlled in a variety of ways, including using the gyro, R stick, or the Switch 2 mouse. You can try out any of the controls at any time. For those who want to get even more specific, we also offer detailed button mapping, which lets you swap buttons!

 

Q: This is the first numbered title in the Metroid Prime series in a long time. I’d like to ask again about the themes you’ve incorporated into this game and the message you want to convey to players.

Tanabe: It’s been 40 years since I joined Nintendo. Metroid Prime 4 Beyond will be my final title produced at Nintendo. Instead of doing something completely new, I worked with Retro Studios to create a fun and unique experience for all ages and players, just like previous Nintendo titles. I hope it will be a memorable game for everyone who plays it. And for those who haven’t played it yet, I hope you’ll experience the world of Viewros through Samus’s eyes.

It’s been 40 years since I joined Nintendo. Metroid Prime 4 Beyond will be my final title produced at Nintendo.

 

---

A lot of news coming from this interview, no doubt! What do you think of some of the answers that the developers gave? Let us know in the comments below or in our Discord server!

 

Translation done by “Japan Man” Dan.