Click Image to Enlarge. Alllllmost all of the variants, sealed and loose, of the Zelda x JoyRide line.
Hut-Hiya, everyone! One of my greatest passions is discovering and researching as much as I can about various Zelda memorabilia and then being able to share it with all of you. This both preserves the item’s history and provides a resource for all other Zelda fans and collectors out there. Typically, when researching, especially on older niche topics that are before or during early internet days, information can be scarce and often lost to time, making it even more important to record as much as we can. Often, even as a nerdy girl on the internet, trying to dig up the history of things as “mundane” to others as a trivial toy, you often aren’t able to find all the puzzle pieces. I am constantly trying to infer their story based on the tidbits that are still out there and come up with my best guesses, just as many archaeologists would do when discovering artifacts.
It's not every day that my research is blessed by Hylia herself when I am able to reach out and interview someone with personal experience behind the creation of some of my favorite collectibles. Meet Chris Huisman, former Design Manager and Licensing Coordinator for JoyRide Studios, who had worked with Nintendo and Nintendo Power to release a fantastic line of figures in the early 2000s. From this line, the two that I fell in love with were Link and Link and Epona. While trying to research the variations of these two figures, I stumbled across Huisman’s contacts and reached out to him. He graciously indulged my curiosity after I bombarded him with a dissertation’s worth of questions. What can I say? I got really excited. Heh, heh…
The following Q&A is also cross-posted and edited for clarity and in accordance with our Style Guide on ZeldaDungeon.net
It's not every day that my research is blessed by Hylia herself when I am able to reach out and interview someone with personal experience behind the creation of some of my favorite collectibles. Meet Chris Huisman, former Design Manager and Licensing Coordinator for JoyRide Studios, who had worked with Nintendo and Nintendo Power to release a fantastic line of figures in the early 2000s. From this line, the two that I fell in love with were Link and Link and Epona. While trying to research the variations of these two figures, I stumbled across Huisman’s contacts and reached out to him. He graciously indulged my curiosity after I bombarded him with a dissertation’s worth of questions. What can I say? I got really excited. Heh, heh…
The following Q&A is also cross-posted and edited for clarity and in accordance with our Style Guide on ZeldaDungeon.net
Chris Huisman Interview
Click Image to Learn More About the Prototype Link & Epona Figure
Background & History
LLT4: Thank you again for taking the time to speak with us! My own interest in toy manufacturing comes from a mix of my love for history and my curiosity about the stories behind my Zelda collectibles. What first drew you into the toy industry? How did you come to join JoyRide Studios?
CH: I've always had a passion for toys, even when I was "too old" to be playing with Star Wars and GI Joe figures, vehicles, and playsets. I never really grew out of it, and even though I went to school for graphic design and studio art, my love of toys never went away. I never in a million years would have imagined myself becoming a toy designer. My first job while attending college was working at a comic book store. I worked hard and spent too much money on toys, but it was awesome. After graduation, I landed a job at a major food company as a grunt graphic designer. I learned a lot, found a different job, and somehow fell into working for a toy company, at first mostly doing graphics for packaging and decal sheets.
JoyRide Studios was formed, and I quickly morphed into a designer / engineer role. New and exciting licenses came and went, and it was a blast making those characters come to life. I've always considered it very humbling to know that thousands of kids around the world grew up with my toys.
LLT4: Being that you’re obviously very involved in the industry, did you come from a place of loving toys? Do you collect toys as well and if so, what lines?
CH: Until I was 5 or 6, I didn't have very many toys. My mom was a single parent, and what toys I did manage to get were played with until they fell apart. Eventually, times got better financially and I was fortunate to have a decent collection of Star Wars and GI Joe toys. I still have a few from those days, but while I don't actively hunt them down, I do like to discover those old toys at flea markets and will sometimes bring them home for sentimental reasons.
I still collect toys, but I don't really have a focus on anything in particular. I collect whatever speaks to me, either because of the subject matter, or the way it's designed.
LLT4: Do you happen to have a particular line or figure you worked on while with JoyRide Studios that you’re particularly proud or fond of?
CH: I really loved working with Sega on their brands, and I'm very proud to have worked very closely with Bungie Studios and Halo. I made a lot of good friends there and still talk to them on a regular basis.
LLT4: If you’re willing to indulge me, I’ve always been curious about the lineage and creation of JoyRide Studios. Despite existing during the early days of accessible internet, very little is documented about the company’s origins. Even archived versions of JoyRideStudios.com and its parent company, RC2Corp.com, offer few clues. Could you shed some light on how JoyRide Studios came to be and perhaps satisfy my “historian-girly” needs in the process?
CH: JoyRide was created by RC2 as a sub-brand that could encompass "cool" toys from hot video game licenses. We partnered with Game Pro magazine and used their contacts to secure some great licenses like Halo, Sonic the Hedgehog, Super Monkey Ball, etc and eventually Nintendo.
LLT4: At JoyRide Studios, you served as both Design Manager and Licensing Coordinator, roles you’ve also held at other toy companies. What kind of responsibilities did those positions involve, and how much creative freedom or influence did you have over the final look of a figure?
CH: With already established character designs, the only real creative freedom I had was in the execution of the toys themselves, from the materials to the features. By being the Licensing Coordinator and the Design Manager, I was able to work very closely with the licensors to explore the full potential of each line.
CH: I've always had a passion for toys, even when I was "too old" to be playing with Star Wars and GI Joe figures, vehicles, and playsets. I never really grew out of it, and even though I went to school for graphic design and studio art, my love of toys never went away. I never in a million years would have imagined myself becoming a toy designer. My first job while attending college was working at a comic book store. I worked hard and spent too much money on toys, but it was awesome. After graduation, I landed a job at a major food company as a grunt graphic designer. I learned a lot, found a different job, and somehow fell into working for a toy company, at first mostly doing graphics for packaging and decal sheets.
JoyRide Studios was formed, and I quickly morphed into a designer / engineer role. New and exciting licenses came and went, and it was a blast making those characters come to life. I've always considered it very humbling to know that thousands of kids around the world grew up with my toys.
LLT4: Being that you’re obviously very involved in the industry, did you come from a place of loving toys? Do you collect toys as well and if so, what lines?
CH: Until I was 5 or 6, I didn't have very many toys. My mom was a single parent, and what toys I did manage to get were played with until they fell apart. Eventually, times got better financially and I was fortunate to have a decent collection of Star Wars and GI Joe toys. I still have a few from those days, but while I don't actively hunt them down, I do like to discover those old toys at flea markets and will sometimes bring them home for sentimental reasons.
I still collect toys, but I don't really have a focus on anything in particular. I collect whatever speaks to me, either because of the subject matter, or the way it's designed.
LLT4: Do you happen to have a particular line or figure you worked on while with JoyRide Studios that you’re particularly proud or fond of?
CH: I really loved working with Sega on their brands, and I'm very proud to have worked very closely with Bungie Studios and Halo. I made a lot of good friends there and still talk to them on a regular basis.
LLT4: If you’re willing to indulge me, I’ve always been curious about the lineage and creation of JoyRide Studios. Despite existing during the early days of accessible internet, very little is documented about the company’s origins. Even archived versions of JoyRideStudios.com and its parent company, RC2Corp.com, offer few clues. Could you shed some light on how JoyRide Studios came to be and perhaps satisfy my “historian-girly” needs in the process?
CH: JoyRide was created by RC2 as a sub-brand that could encompass "cool" toys from hot video game licenses. We partnered with Game Pro magazine and used their contacts to secure some great licenses like Halo, Sonic the Hedgehog, Super Monkey Ball, etc and eventually Nintendo.
LLT4: At JoyRide Studios, you served as both Design Manager and Licensing Coordinator, roles you’ve also held at other toy companies. What kind of responsibilities did those positions involve, and how much creative freedom or influence did you have over the final look of a figure?
CH: With already established character designs, the only real creative freedom I had was in the execution of the toys themselves, from the materials to the features. By being the Licensing Coordinator and the Design Manager, I was able to work very closely with the licensors to explore the full potential of each line.
A photo Huisman shared of himself wearing his JoyRide uniform polo on a Halo Action Figure Collectors group on Facebook
Nintendo Partnership & Zelda Figures
LLT4: JoyRide’s toy line is most synonymous with its Halo figures, but I was personally introduced to the brand through its Legend of Zelda releases from the Nintendo Power and GamePro magazine promotions. How did that collaboration first come about?
CH: As mentioned before, Game Pro played a very integral role in JoyRide's existence. Game Pro was THE video game magazine at the time, and they were able to introduce JoyRide to not only Sega, Bungie, EA, etc but also helped us find a way to release "Nintendo Power Presents" figures.
LLT4: As JoyRide’s Licensing Coordinator, what was it like acquiring major Nintendo properties such as The Legend of Zelda, Super Mario, and Metroid?
CH: it was great! But also very stressful. Nintendo Japan has always very strict with their licenses, but in the end we were able to put out some amazing products that I'm proud of.
LLT4: According to JoyRide’s website: “Each JoyRide figure is quality-constructed… to display and collect; they are not designed as ‘toys’ to be played with.” With that in mind, were there specific ideas for the Nintendo line that the “Big N” helped shape or guide? Were they supportive of JoyRide’s philosophy of creating collectibles rather than playthings?
CH: At the time, action figures were shifting from crazy articulation points to being more static, to really capture the spirit of the characters. We followed that trend where it made sense, but not always. Nintendo was more interested in that format than they were in Luigi having 31 points of articulation, which was great because it allowed us to make some really sweet toys perfect for displaying.
LLT4: Nintendo is known for being meticulous with its brands, so how hands-on were they during concept, sculpting, and packaging stages? Were there any concepts your team wanted to pursue that didn’t make it through approval? And were there particular rules or restrictions you had to follow when working with them?
CH: Nintendo was VERY meticulous with each release, from concept to production. In a way, it made my job easier because I didn't need to reinvent the wheel, I really just needed to make sure that the end product was to their liking.
There were a few Zelda and Mario concepts that never made it past prototype stage, which was a bummer.
LLT4: JoyRideStudios has previously stated that they aim to work alongside game manufacturers, with strict approval guidelines, to ensure figures are “true to form.” When it came to capturing Link and Epona in figure form, what design challenges stood out the most? How did your team ensure proportions, colors, and details stayed faithful to the source material while still appealing to collectors and satisfying Nintendo’s standards?
CH: The real trick was adding just enough articulation to allow the collector to tweak their figure before displaying it, while keeping in mind that joints and hinges can bulk up and look unattractive. We must have done a good job, or Nintendo never would have given us their approval.
LLT4: Ocarina of Time clearly served as the main inspiration for JoyRide’s Zelda figures, even though The Wind Waker was the newest game when the toys hit shelves in 2002–2003. Were there deliberate reasons for focusing on Ocarina of Time’s designs over Wind Waker’s new cel-shaded style, or even Majora’s Mask’s younger Link and Epona?
CH: All of those were in the works, but unfortunately the market shifted and they never came to fruition.
CH: As mentioned before, Game Pro played a very integral role in JoyRide's existence. Game Pro was THE video game magazine at the time, and they were able to introduce JoyRide to not only Sega, Bungie, EA, etc but also helped us find a way to release "Nintendo Power Presents" figures.
LLT4: As JoyRide’s Licensing Coordinator, what was it like acquiring major Nintendo properties such as The Legend of Zelda, Super Mario, and Metroid?
CH: it was great! But also very stressful. Nintendo Japan has always very strict with their licenses, but in the end we were able to put out some amazing products that I'm proud of.
LLT4: According to JoyRide’s website: “Each JoyRide figure is quality-constructed… to display and collect; they are not designed as ‘toys’ to be played with.” With that in mind, were there specific ideas for the Nintendo line that the “Big N” helped shape or guide? Were they supportive of JoyRide’s philosophy of creating collectibles rather than playthings?
CH: At the time, action figures were shifting from crazy articulation points to being more static, to really capture the spirit of the characters. We followed that trend where it made sense, but not always. Nintendo was more interested in that format than they were in Luigi having 31 points of articulation, which was great because it allowed us to make some really sweet toys perfect for displaying.
LLT4: Nintendo is known for being meticulous with its brands, so how hands-on were they during concept, sculpting, and packaging stages? Were there any concepts your team wanted to pursue that didn’t make it through approval? And were there particular rules or restrictions you had to follow when working with them?
CH: Nintendo was VERY meticulous with each release, from concept to production. In a way, it made my job easier because I didn't need to reinvent the wheel, I really just needed to make sure that the end product was to their liking.
There were a few Zelda and Mario concepts that never made it past prototype stage, which was a bummer.
LLT4: JoyRideStudios has previously stated that they aim to work alongside game manufacturers, with strict approval guidelines, to ensure figures are “true to form.” When it came to capturing Link and Epona in figure form, what design challenges stood out the most? How did your team ensure proportions, colors, and details stayed faithful to the source material while still appealing to collectors and satisfying Nintendo’s standards?
CH: The real trick was adding just enough articulation to allow the collector to tweak their figure before displaying it, while keeping in mind that joints and hinges can bulk up and look unattractive. We must have done a good job, or Nintendo never would have given us their approval.
LLT4: Ocarina of Time clearly served as the main inspiration for JoyRide’s Zelda figures, even though The Wind Waker was the newest game when the toys hit shelves in 2002–2003. Were there deliberate reasons for focusing on Ocarina of Time’s designs over Wind Waker’s new cel-shaded style, or even Majora’s Mask’s younger Link and Epona?
CH: All of those were in the works, but unfortunately the market shifted and they never came to fruition.
Click Image to Enlarge. The Two Main Variants of the Link Figure from Series 3 and Series 5
LLT4: There were several variations of the Link figure released: Series 3 with a lime-green base, Series 5 with a darker base, and two versions of Link & Epona: one fully painted and one as a limited 1:500 “Prototype” unpainted edition. Some packages even featured “1:500 First Production” stickers. What drove these variations? Do you feel they added value for collectors, or were they more of a marketing gimmick for collectors like me who need to own every single iteration of the toy?
CH: At the time, retailers were looking for anything that would make their products stand apart from their competitors. Most Game Pro Presents and Nintendo Power Presents releases were given alternative deco, usually reflecting variations of the characters in each game. The Prototype and First Production gimmick was just that, a way to get hardcore collectors engaged. It was generally well received at the time, and now those variants are worth a bit more than the regular releases.
LLT4: Were there any unreleased prototypes or design concepts for Zelda figures that never made it to market? Did your team ever discuss expanding into other characters from the franchise?
CH: I recall a super cute Wind Waker Link prototype figure, but I think it went to Japan for review and never came back. There were others, including Mario Bros, Metroid Prime, Kirby...
LLT4: The late ’90s and early 2000s were something of a renaissance for video game collectibles in North America. In your view, what set JoyRide’s figures apart from other lines of the time, such as BD&A’s or Toy Biz’s? How did fans respond once JoyRide’s Zelda figures began hitting store shelves?
CH: Everyone was hot on achieving maximum articulation, from Toy Biz, McFarlane, and the like. Rather than go up against that, we worked with both retailers and Nintendo to come up with something unique, and something more collectable than playable. It went over well, especially with Nintendo releases.
CH: At the time, retailers were looking for anything that would make their products stand apart from their competitors. Most Game Pro Presents and Nintendo Power Presents releases were given alternative deco, usually reflecting variations of the characters in each game. The Prototype and First Production gimmick was just that, a way to get hardcore collectors engaged. It was generally well received at the time, and now those variants are worth a bit more than the regular releases.
LLT4: Were there any unreleased prototypes or design concepts for Zelda figures that never made it to market? Did your team ever discuss expanding into other characters from the franchise?
CH: I recall a super cute Wind Waker Link prototype figure, but I think it went to Japan for review and never came back. There were others, including Mario Bros, Metroid Prime, Kirby...
LLT4: The late ’90s and early 2000s were something of a renaissance for video game collectibles in North America. In your view, what set JoyRide’s figures apart from other lines of the time, such as BD&A’s or Toy Biz’s? How did fans respond once JoyRide’s Zelda figures began hitting store shelves?
CH: Everyone was hot on achieving maximum articulation, from Toy Biz, McFarlane, and the like. Rather than go up against that, we worked with both retailers and Nintendo to come up with something unique, and something more collectable than playable. It went over well, especially with Nintendo releases.
Click Image to Learn More About the Standard Link & Epona Figure
Technical - Design & Production
LLT4: Let’s get a bit technical. What is the production process like for a JoyRide figure, from initial concept sketches to the final packaged product?
CH: typically it starts with a few concepts, and after selecting the best one it was a matter of making sure the essence of the character wasn't lost in the construction. That process relied heavily on Nintendo feedback and direction. They're very protective of their characters and making sure we didn't lose that was critical.
LLT4: I would imagine the toy design in the late ’90s and early 2000s was quite different from today’s digital-heavy influences. What kinds of tools or materials did your team use at the time? Were figures primarily hand-sculpted, digitally modeled, or a hybrid of both? As Design Manager, how hands-on were you creatively?
CH: everything was scratch-built out of clay and resin. There were no affordable printers, and even 3D sculpting was too new to really be of any use. I did have a hand in a few sculpt revisions, but mostly my job was to make sure everything looked perfect because that's what Nintendo required. If they didn't like it, they didn't approve it.
LLT4: JoyRide’s packaging designs are by far my favorite in my Zelda collection, even to this day. The Velcro-backed cards revealing a brief history of the game, plus gameplay tips, are such a thoughtful touch. I’ve always believed packaging is just as vital as the toy itself, especially for collectible-driven brands. How did your team approach packaging as part of the overall storytelling and brand experience?
CH: that package design was created by Game Pro's editor "Dr. Zombie" and myself. It allowed for their content to be used in a completely different way than ever before, and it actually helped increase their number of subscribers.
LLT4: Looking back, what do you think gives JoyRide’s Zelda pieces their lasting appeal among collectors, even with so many other Zelda toys on the market then and now?
CH: Zelda is a very beloved property, and collectors are always drawn to the things they can't always have. The production numbers on both Game Pro and Nintendo toys were lower than our competitors, which makes them very hard to find now.
LLT4: If you had the chance to revisit the Zelda line today using modern tools and materials, say, through TOMY, what would you change? And what would you keep the same?
CH: that's an interesting question! I'm not sure what I would change but I would definitely want to keep the dynamic poses of each character and see how far i could push the envelope of awesomeness.
LLT4: Speaking of TOMY, how did your experience at JoyRide influence your later work there, especially following TOMY’s acquisition of RC2?
CH: I believe that any experience is good experience, and the more you have allows for more opportunities to use what you've learned. Because I wore many hats in the process, it helped me incorporate my experiences into creating products for TOMY, who is really strict on quality and efficiency.
LLT4: Reviewing your credentials, I noticed that you’ve been involved with industry giant TOMY since 1997, overlapping with your time at Racing Champions, which later merged with Learning Curve to form RC2. TOMY would eventually acquire RC2 in 2011. Were there any early crossovers or partnerships between RC2 and TOMY during your tenure prior to the acquisition?
CH: Surprisingly, no partnerships between RC2 and TOMY. But there had been times where I'd worked on the same brands that TOMY had, just several years apart due to licensing contracts.
LLT4: Looking back, when you see fans like me still collecting and cherishing JoyRide’s Zelda figures all these years later, what does that legacy mean to you personally, as both a designer and a lifelong creative in the toy industry?
CH: Honestly, it still blows my mind that there are people like you who collect and cherish anything I've ever worked on. It's kind of humbling.
LLT4: After all these years working in the industry, what lessons from your JoyRide experience still guide how you approach toy design today and how do you see the future of collectible figures evolving from here?
CH: I've learned so much in my nearly 3 decades of toy design experience. It's not only helped me keep in touch with collectors and their wishes, but for me the most gratifying part is talking with the fans and listening to what they're passionate about, even if it's not just toys.
The future of collectible figures depends solely on you, the fans, which is why I try to find that connection with any project I'm working on. I want to know what YOU want, and I want to give it to you!
CH: typically it starts with a few concepts, and after selecting the best one it was a matter of making sure the essence of the character wasn't lost in the construction. That process relied heavily on Nintendo feedback and direction. They're very protective of their characters and making sure we didn't lose that was critical.
LLT4: I would imagine the toy design in the late ’90s and early 2000s was quite different from today’s digital-heavy influences. What kinds of tools or materials did your team use at the time? Were figures primarily hand-sculpted, digitally modeled, or a hybrid of both? As Design Manager, how hands-on were you creatively?
CH: everything was scratch-built out of clay and resin. There were no affordable printers, and even 3D sculpting was too new to really be of any use. I did have a hand in a few sculpt revisions, but mostly my job was to make sure everything looked perfect because that's what Nintendo required. If they didn't like it, they didn't approve it.
LLT4: JoyRide’s packaging designs are by far my favorite in my Zelda collection, even to this day. The Velcro-backed cards revealing a brief history of the game, plus gameplay tips, are such a thoughtful touch. I’ve always believed packaging is just as vital as the toy itself, especially for collectible-driven brands. How did your team approach packaging as part of the overall storytelling and brand experience?
CH: that package design was created by Game Pro's editor "Dr. Zombie" and myself. It allowed for their content to be used in a completely different way than ever before, and it actually helped increase their number of subscribers.
LLT4: Looking back, what do you think gives JoyRide’s Zelda pieces their lasting appeal among collectors, even with so many other Zelda toys on the market then and now?
CH: Zelda is a very beloved property, and collectors are always drawn to the things they can't always have. The production numbers on both Game Pro and Nintendo toys were lower than our competitors, which makes them very hard to find now.
LLT4: If you had the chance to revisit the Zelda line today using modern tools and materials, say, through TOMY, what would you change? And what would you keep the same?
CH: that's an interesting question! I'm not sure what I would change but I would definitely want to keep the dynamic poses of each character and see how far i could push the envelope of awesomeness.
LLT4: Speaking of TOMY, how did your experience at JoyRide influence your later work there, especially following TOMY’s acquisition of RC2?
CH: I believe that any experience is good experience, and the more you have allows for more opportunities to use what you've learned. Because I wore many hats in the process, it helped me incorporate my experiences into creating products for TOMY, who is really strict on quality and efficiency.
LLT4: Reviewing your credentials, I noticed that you’ve been involved with industry giant TOMY since 1997, overlapping with your time at Racing Champions, which later merged with Learning Curve to form RC2. TOMY would eventually acquire RC2 in 2011. Were there any early crossovers or partnerships between RC2 and TOMY during your tenure prior to the acquisition?
CH: Surprisingly, no partnerships between RC2 and TOMY. But there had been times where I'd worked on the same brands that TOMY had, just several years apart due to licensing contracts.
LLT4: Looking back, when you see fans like me still collecting and cherishing JoyRide’s Zelda figures all these years later, what does that legacy mean to you personally, as both a designer and a lifelong creative in the toy industry?
CH: Honestly, it still blows my mind that there are people like you who collect and cherish anything I've ever worked on. It's kind of humbling.
LLT4: After all these years working in the industry, what lessons from your JoyRide experience still guide how you approach toy design today and how do you see the future of collectible figures evolving from here?
CH: I've learned so much in my nearly 3 decades of toy design experience. It's not only helped me keep in touch with collectors and their wishes, but for me the most gratifying part is talking with the fans and listening to what they're passionate about, even if it's not just toys.
The future of collectible figures depends solely on you, the fans, which is why I try to find that connection with any project I'm working on. I want to know what YOU want, and I want to give it to you!
Click Image to Learn More about the Joyride Link Figure
Closing
LLT4: Thank you again so much for everything. Would you like for me to give any shout outs to your current projects?
CH: Sure! I’m currently working on very high-end diecast collectible replicas for our TOMY Plus line: KITT from Knight Rider and a Klingon D7 Battlecruiser from Classic Star Trek.
LLT4: Again, thank you so much for all of your time. Best Christmas present for a deep-dove, historical girly like me! I hope you get to work on all of your dream projects going forward. Have a great holiday and Happy New Year!
CH: Happy to help!
Conversations like this and preserving the history of video game collectibles matters so much to me. Behind every figure on our shelves is a network of artists, designers, licensors, and passionate fans working together to bring a world we love into our own. Hearing Chris Huisman’s firsthand experiences at JoyRide Studios not only fills in some missing puzzle pieces of both JoyRide and Zelda collecting history, but also reminds us that these toys are, in fact, artifacts of a creative era shaped by care, constraint, and genuine love for the source material. The fact that these figures are still cherished decades later is a testament to the people who made them, and to all the fans like you who continue to keep their stories alive.
Do you have a favorite Legend of Zelda toy or collectible in your collection? Drop a pic in the comments and show off your collection! Bonus points if you have any of these JoyRide figures! Have and pieces in your collection you’d like to know more about? I’d love to feature it and do another collectible deep-dive. (Fingers crossed to have Hylia, Din, Farore, and Nayru bless our research with more interviews!)
CH: Sure! I’m currently working on very high-end diecast collectible replicas for our TOMY Plus line: KITT from Knight Rider and a Klingon D7 Battlecruiser from Classic Star Trek.
LLT4: Again, thank you so much for all of your time. Best Christmas present for a deep-dove, historical girly like me! I hope you get to work on all of your dream projects going forward. Have a great holiday and Happy New Year!
CH: Happy to help!
Conversations like this and preserving the history of video game collectibles matters so much to me. Behind every figure on our shelves is a network of artists, designers, licensors, and passionate fans working together to bring a world we love into our own. Hearing Chris Huisman’s firsthand experiences at JoyRide Studios not only fills in some missing puzzle pieces of both JoyRide and Zelda collecting history, but also reminds us that these toys are, in fact, artifacts of a creative era shaped by care, constraint, and genuine love for the source material. The fact that these figures are still cherished decades later is a testament to the people who made them, and to all the fans like you who continue to keep their stories alive.
Do you have a favorite Legend of Zelda toy or collectible in your collection? Drop a pic in the comments and show off your collection! Bonus points if you have any of these JoyRide figures! Have and pieces in your collection you’d like to know more about? I’d love to feature it and do another collectible deep-dive. (Fingers crossed to have Hylia, Din, Farore, and Nayru bless our research with more interviews!)
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