A while ago I finished the new Zelda game; my 17th completed Zelda title (from a possible 20) is in the books! Tears of the Kingdom was a ludicrously hefty 148-hour journey, and I had to abandon any hope of reaching my traditional Zelda completion percent goals, but there were too many impending game releases in this truly ridiculous year and it simply had to go in the completed pile. So on the pile it is, but that doesn’t mean I’m going to repeat past mistakes and let it float away without writing anything. Now exactly three months after launch, it’s time to delve into some potential spoilers and talk about TotK. Read on at your own risk.
After all the pre-release speculation, it turns out that The Legend of Zelda: Tears of the Kingdom does a whole lot to differentiate itself from its predecessor Breath of the Wild, even though it also retroactively codifies a new formula from that game’s legacy by following in specific footsteps. We are talking many articles worth of new and surprising stuff, some of which I still probably haven’t seen. But of most interest to this time and place and writer is the clear effort Nintendo has put into re-aligning the open-ended structure of modern Zelda with a handful of elements more traditional to the series – to mixed success.
I wrote a whole month of needlessly granular Zelda countdowns on this site a decade ago, so this pleases me greatly. What say we ignore all the newfangled systems that actually make ToTK great and go straight into critiquing how successfully each of these traditional “pillars” of the series brings back the good times? Some of these BotW barely had at all, and some are just significantly changed-up from the last outing. What do you mean none of this matters?
Dungeons
* 3 / 5 *
Let’s start with the big one. That’s right: after a significantly different take on the concept via Breath of the Wild’s Divine Beasts, Tears of the Kingdom actually brings back some semblance of region-appropriate themed dungeons with delineated puzzle rooms/areas. There are four of these bad boys in total and each one even packs a proper boss – but do they scratch that nostalgic itch the Link’s Awakening remake and Skyward Sword remaster have reminded us we had in the last half-decade?
Well, not really, but they are a massive step up from those Divine Beasts. Not just because the game actually calls them “temples” either (although that absolutely helps); unlike BotW’s tileset-sharing brown mobile puzzle boxes, each dungeon looks meaningfully different from the other three in both colour scheme and layout. Each is also preceded by some form of testing approach sequence that channels Skyward Swordby tying the overworld to the temple via warm-up puzzles and/or fights; this builds the anticipation of reaching the building itself on four pretty successful occasions.
However, for better or worse the open-ended design powering the last two 3D Zelda games persists within the TotK dungeons, no doubt in part by necessity given the sheer power of Link’s new abilities. Each time the player is tasked with the activation of four or five thematically appropriate devices – in any order – to unlock the final boss room. The potential for the truly gnarly labyrinthine conquests we dreamed of as kids is there, but only the Fire Temple really nudges the kind of scale to realise it, and only the Lightning Temple really makes an attempt to integrate the puzzles leading to its mechanical MacGuffins in a way that harkens back to the glory days of Zelda dungeons. Unshackle the Small Keys, Nintendo!
In less than one week, it’s probably fair to say the most anticipated game of the Nintendo Switch’s life will release at last. It follows the single longest development cycle for a main series Zelda game in history, six years and two months after Switch launch title Breath of the Wild. To mark this momentous occasion, I’m going to do something I’ve never done before: resurrect an old article I’ve had floating around in my drafts folder for years and publish it in a fresh light.
This one was initially thrown together in the hazy afterglow of completing BotW in late May of 2017, envisioned as a 20-screenshot roadmap of my own (at the time) 140-hour path through the game. However, the draft was already well past 30 entries and nowhere near the end of my journey when I first gave up on it, as I was unable to cut out anywhere near enough moments to prevent the list from ballooning into a true word count monstrosity. It’s also easy to forget in 2023 just how many articles, critiques, videos and morsels of general coverage this revered game was receiving a mere two months after launch, so I hardly felt like I’d be making enough unique noise to stand out from the crowd and justify such a massive piece.
That task is much easier now. Separated from the game by more than half a decade – I have not touched this one since its excellent dungeon DLC came out at the end of 2017 – only the moments I remember the strongest get to stay. Thus, right before the launch of its sequel, we can reflect on the legacy of one of Nintendo’s most impactful games and have a bit of nostalgic fun along the way. After a touch of reformatting and an emotional scroll through thousands of compulsive screenshots, here are my top 20 moments from The Legend of Zelda: Breath of the Wild, presented in chronological order.
1. The Plateau
It’s been said in approximately a million video essays: The Great Plateau of Breath of the Wild is one of the best tutorials in gaming. Over an area that feels impossibly massive at first, you learn and test interlocking mechanics over four multiple-solution tests that get you well and truly into the groove of the weirdest Zelda in decades. For me, this was undertaken in the small hours of the morning while staying at a mate’s place post-midnight-launch, with my body screaming at me for daring to deprive it. I obviously didn’t care; after multiple rewatches of various gameplay demos from the previous year’s Zelda-only E3 show, I was enthralled at how many new approaches were still apparent.
2. Out of Link’s Depth
I cannot separate my memories of Breath of the Wild from the conversations I was having with anyone I knew or met who was playing at the time. And nor would I want to; in my opinion there have only been two games since that could possibly challenge it for water-cooler chat value: 2020’s Animal Crossing: New Horizons and 2022’s Elden Ring. From those very chats I picked up rather quickly that most people go directly east after the Great Plateau, following the only real suggestion the game gives you other than the refreshingly direct “Defeat Ganon”. But I wasn’t about to let a game that bragged about being this open tell me what to do: I went north, towards the castle. I died. Again and again and again. Soon enough I discovered a shrine and eagerly dived in to escape the high damage output all around me – only to be met with one of the game’s longest and most intricate shrine puzzles: the Trial of Power. Yeah, that took a while, and it left me with some massively overpowered weapons, but I adored the feeling that I could do it anyway.
You don’t disappear down the N64 Zelda nostalgia rabbit hole for 30 hours this late in a game-stacked 2021 without at least writing something about your experience. Well that’s how you justify the time spent. If you’re me.
You see, it turns out it’s been a tick over a decade since I last played through The Legend of Zelda: Ocarina of Time – in the form of its wonderful 2011 3DS remake – and almost two decades since I gave its original blocky Nintendo 64 iteration a go. I have never played the 60Hz version – as I’ve only ever lived in (50Hz) PAL regions and so only remember a version of OoT that runs literally 16.7% slower than the American/Japanese release. I never owned an N64 Rumble Pak either. Despite this blog housing lengthy posts devoted to Majora’s Mask, Twilight Princess and Skyward Sword – even a short reflective post on Spirit Tracks – I have never typed out anything on the legendary time-travelling 3D Zelda standard-bearer lasting longer than two consecutive paragraphs.
The recent addition of N64 games (and a controller to match) to the Nintendo Switch Online service gave me a fine opportunity to address all that.
It’s All Been Said Before
The most imposing barrier to my Ocarina of Time writing motivation has always been its status as “everyone’s favourite Zelda game” during my formative years playing videogames. I didn’t own any gaming platforms when the game first came out, but was properly invested in the medium for every subsequent Zelda game release; every 3D Zelda since OoT was already destined to be measured up directly and exhaustively, but this timing made the game’s shadow feel especially inescapable. For well over a decade I found any opinion other than “Ocarina is the best one” to be unpopular at best.
Discourse always felt dead in the water.
I’ve always enjoyed Ocarina of Time, but attempting to discuss it with people has never been particularly fruitful for me; it seems like every other game in the series has more interesting strengths and weaknesses. Not only that, but Ocarina did a genuinely fantastic job of bringing the stellar Link to the Past Zelda formula into three dimensions; the adulation it receives is not undeserved. The nostalgia haze around the game is strong, make no mistake, but there is no great wool-pull conspiracy going on here. It may have understandably aged in places, but this is a good videogame.
It’s just a boring one to write about. Or it was, until recently.
Now my thoughts can take flig- you know what I just find this picture really funny.
From the beginning I’ve thought of Ocarina of Time as the “vanilla” 3D Zelda game, because it codified so many successful series tropes. The inevitable side implication is that its successors each take a couple of those tropes and implement them with far more razzle-dazzle.
Majora’s Mask does sidequests and minigames better while tap dancing all over the tonally unsettling parts of its predecessor; The Wind Waker does combat and wonder like a champion and looks / sounds sensationally timeless doing it; Twilight Princess outdoes its direct inspiration in scale, heft and dungeon ambition; Skyward Sword nails narrative, pacing, item quality and lore substance; and Breath of the Wild just blows the doors off what was thought possible for nonlinearity in 3D Zelda. It’s been a long time since I genuinely believed Ocarina of Time was the best Zelda game in any particular category; even if it does plenty of things well, it has a real master-of-none vibe in retrospect nowadays.
It wasn’t long into my 2021 test-turned-playthrough of Ocarina of Time before I realised this neat internal summary of the classic might need a tweak or two, because it turns out the game does do something better than its younger counterparts: It’s arguably more rewarding to replay than any of them.
It has somehow been (almost) ten years since The Legend of Zelda: Skyward Sword hit the flailing, ailing Nintendo Wii to a chorus of crickets. Essentially the last major release on the console, there was already a mighty stack of factors going against its success before November 24th, 2011 rolled around: The Wii had endured an extremely light year after a banner 2010 that already felt like a celebratory send-off, as Nintendo pivoted first to launching and then to saving the fledgling 3DS; the game required the purchase of the Wii Motion Plus attachment in order to work with its ambitious controls; and perhaps most tellingly, the lightning had left the bottle for the casual Wii audience and everyone else was playing Skyrim.
Yes, Link, it’s true.
This left a smaller audience than Nintendo would’ve liked to pick up its latest 3D Zelda extravaganza, the endcap to a year-long celebration of the series’ 25th anniversary. Skyward Sword sold in the millions, but for a game five years in development and an install base as record-shattering as the Wii’s, it was nothing short of a disappointment. The day I started writing this it still held the record for the worst-selling 3D entry in the Legend of Zelda series (Edit: Switch sales may have changed this by now). And despite an initial wave of critical acclaim customary for a Zelda game, the reputation of Link’s motion-controlled escapade took a sharp downturn before long and stayed down for years. After all, who wants to dust off their horrifically outdated Nintendo Wii and buy an extra controller attachment just to challenge the notoriety of a finicky, linear, repetitive, excessively hand-holding game in *ugh* standard definition?
omg ewwwww
Five years. Oh no.
It has somehow been (just over) five years since I put out what is still the longest singular piece of writing I’ve ever cobbled together in my lifetime: A 10,000 word behemoth on The Legend of Zelda: Twilight Princess HD(Edit: Um, about that…). Inspired by a decade of mixed personal feelings, lengthy conversations with friends, and triple-digit hours of watched YouTube content on the strengths and weaknesses of the game; the post ended up perhaps a touch unwieldy and yet oh-so-cathartic. Thanks to a bucket of alternate perspectives and a highly underrated Wii U remaster, I had never felt so assured that – despite its flaws – um, I liked the game, actually.
And I’d be OK never writing another word about it.
The last thing I was thinking as that project slowly came together was “I’m setting a template here and I definitely want to put myself through this again.” And yet you know where this is going, because you read the title: It’s Skyward Sword’s turn. But this time around, dear reader, we’re not investigating if years of Zelda franchise evolution and some neat nips and tucks have improved my sentiments towards an inconsistent videogame; we’re seeing whether my third favourite Zelda game of all-time (behind only Majora’s Mask and Breath of the Wild) can possibly still hold such a lofty position after it has been exposed to a decade of stiff critiques, a lack of clear historical identity and a radical reinvention of the entire franchise in its wake.
Challenge accepted.
But we are going to try our very best to do it in less than 10,000 words this time, probably (Edit: We failed, and we failed hard). Regardless, this one will need a beverage or two to get through; at the time of writing Skyward Sword is the last 3D Zelda game to release on a second console, and rest assured I have no intention of leaving stones unturned. Whatever it will cost.
You guessed it – we’re in for another long one.
(I’m going to go ahead and re-purpose a paragraph from the Twilight Princess post because it fits too well this time, and kinda feels poetic too)
Be aware that this post contains a huge amount of spoilers that get steadily worse the longer you read – worth mentioning if you haven’t played the game before. All you need to know if you’re a Skyward Sword newcomer is that yes, I believe this HD / portable release is definitively the best version of the classic title, and yes, you really should play it. If you really want to read on, continue at your own risk, but you should know that what follows is so exhaustive that you may not even feel like you need to play it by the end. But maybe play it anyway?
Yes, they’ve been “back” now for a good couple years, and it’s getting easier by the day to forget the wildly uncertain videogame landscape in which the Nintendo Switch made its debut on March 3rd, 2017. And yet, it somehow also feels like only yesterday that this thing hit the market – at least to me. If you find yourself in the same boat, I hope you’re ready for the rest of the Switch’s life to blink past in a heartbeat. After all, time flies when you have far too many games to play.
I feel if I don’t somehow mark this point in time right now, at the exact halfway mark* in Nintendo’s traditional five-year console life cycle, I won’t be able to truly appreciate the Switch before Nintendo messes up a new console again. And thus, if you’re so inclined, please join me on yet another (very) deep dive into a minor electronic miracle. .
*Oh, did I say halfway mark? Well, I was going to post this on September 3rd to be all neat and tidy, but then Nintendo had to announce two new versions of the Switch for imminent release, then a 40 minute Nintendo Direct presentation packed to the gills with new game announcements, meaning this post was about to be all kinds of outdated in record time. But more on all that shortly. Please read on…
At the end of last month I put to bed a small regret of mine – Half a decade ago I was presented with the opportunity to attend the Sydney debut of Symphony of the Goddesses, a worldwide concert tour immediately following on from the special Legend of Zelda 25th Anniversary concerts in Japan and the USA. For reasons I can no longer remember clearly (probably funds), I did not take this opportunity. Naturally I regretted my decision pretty soon after the performance dates arrived and several of my friends raved about how good the show was. I told myself the next time I had such a chance I would not let it pass. But for years, no such chance appeared.
So when, after years of sporadic worldwide tours with varying set lists, the announcement was made that Symphony of the Goddesses would be returning to Sydney harbour this year, no price would have been too high for me to snatch up a ticket. Two years after entering the opera house for the first time to attend the Pokemon Symphonic Evolutions showcase, I was back in the venue’s main concert hall to take in the fully-realised music of one of my absolute favourite media franchises. And what an evening it was.
There are three main reasons I’d go to see an orchestral performance of a videogame music selection – The atmosphere, the craft and the arrangement. Hardly groundbreaking reasons of course, and I’m sure the majority of the people in attendance on the night had similar motivations. Atmosphere is created mostly by said people, whose collective energy and passion tend to elevate an event that otherwise gets by on a uniquely strange blend of nerdiness and class. This department provided the largest point of difference between the Pokemon concert and the Zelda one for me. At the Pokemon event, there seemed to be more themed and/or casual dress in and around the hall, while during the concert the audience reacted loudly to each track and arrangement – especially the more widely recognised ones. While the Zelda show was hardly black tie – and cosplay was there if you looked for it – I definitely noticed more of a conservative attitude to dress code in general. What’s more, during the concert you could tell a crowd favourite by a groundswell of hushed whispers and gasps rather than whoops and shouts. I can’t quite put my finger on the reason for this (perhaps Zelda’s slightly older fanbase, or the fact the concert landed on the exact weekend of PAX Australia in Melbourne) but it certainly lent the atmosphere a more reverential tone and allowed quieter pieces – of which Zelda boasts several – to shine.
As the Nintendo Switch was gearing up for its March 3rd 2017 launch, the consensus among jaded followers of the videogame industry was that however much hype the system seemed to be gathering, and indeed however many units Nintendo managed to move in that opening weekend, we wouldn’t really have a decent idea of the Switch’s success until it had passed the three-months-on-the-market milestone – which, pertinently, was roughly the time warning bells started to sound for its predecessor, the Wii U. Despite strong, admittedly holiday-boosted late 2012 sales, the Wii U’s momentum fell off big-time in 2013 amidst a notable first-party software drought and an ongoing lack of understanding of how to market the rather odd strengths of the console. Despite some scattered sales spikes over the ensuing few years, the console never truly recovered and can now only be seen as a financial flop for Nintendo.
Three months have come and gone since March 2017 – As a matter of fact the Switch has now been on the market for half a year, and pound for pound it is thoroughly outpacing the Wii U on the sales charts. At well over five million units sold worldwide, it’s even giving the PS4 a run for its money in terms of momentum. This is certainly not some single-handed saviour of Nintendo as a company – It’s way too early to even entertain that notion – but the Switch has already marked a clear change in the Big N’s public perception for the time being. Given the ongoing interest online in how this inventive little console has been tracking, and indeed the hundreds of hours (and dollars) I myself have invested in it, let’s have a look at what the Nintendo Switch has got right and wrong so far, shall we?
Well Nintendo, you’ve done it again. You’ve successfully, shall we say, been Nintendo.
It’s been an insane weekend for the Japanese videogame giant. The curtain is now (mostly) up on the tremendously exciting Nintendo Switch, the home console that can also be played as a portable (Not the other way around, as Nintendo seems very keen to emphasise). And the general complexion of the reveal event was very, very different to what the seemingly endless supply of corroborating rumours and prediction videos would have us believe. For all the credible leaks from credible sources about specific games and features that may very well still ring true, the big Tokyo event still managed to be an almost complete surprise both in its general content and where it decided to put its focus. If “Switchmas” had been right about what we were expecting, it wouldn’t have quite felt like a Nintendo show. We Nintendo fans as a general group have a habit of forgetting that, but for better or worse, the Big N was more than happy to throw us a few reminders. This is a company that does not like being predicted, but as it turns out, even the collective power of the internet’s most well-connected sleuths couldn’t quite spoil everything. And in true Nintendo fashion, said surprises have divided the internet right down the middle.
I could go through the whole presentation bit by bit and talk about my thoughts on each individual revelation (I’ve watched the whole thing twice now, plus the entire five-hour Treehouse stream that followed half a day later and countless YouTube hands-on reactions), but there’s a better way to do this.
. – Nintendo’s Modern Console –
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The raw processing specs of the Nintendo Switch remain elusive in any sort of official capacity, though I have every reason to believe that Eurogamer’s December leak will turn out to be a fairly decent approximation. That leaves us with a console that’s more capable when sitting in its dock/outputting through the TV than when played on the go, but only as long as we’re talking about display resolution and theoretically (though hopefully not) frame rate. In it’s weakest configuration, we can expect it to be more powerful than the Wii U – that much is supported by the impressions coming out of the public-facing events of the last two days – but even at it’s strongest, it’s almost certainly going to come off weaker when compared to the standard Xbox One and PS4 models. That means the biggest triple-A third party releases will probably be skipping the Switch, unless it really takes off sales-wise and it becomes worth the extra financial investment to port down. It also means Nintendo’s first party games will continue to look amazing, and just about every big indie hit you can think of should be able to make it over to the Switch, uncompromised and fully portable. Ditto for the vast majority of Japanese RPGs and such. Swings and roundabouts, time will tell etc. .
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What’s much more concrete – and refreshing, it must be said – is just about every other Switch hardware detail that has come to light over the last few days. The system will not be region locked (there are no words for how happy this makes me), it has a 6.2 inch, 720p capacitive touch screen (i.e. multi-touch, like the PS Vita or a smartphone), supports the current standard 802.11ac Wi-Fi spec, allows up to 8-player local wireless interaction, charges via super-fast USB-C – which is only just now becoming widespread on Android phones – and supports expanded memory via the reasonably cheap and easy-to-find Micro SDHC/Micro SDXC cards (At least up to 256gb according to one moment during the Treehouse stream, which would have been more than enough to fit everything I’ve ever bought on the Wii U). Its battery life is quoted as being between 2.5 and 6 hours depending on the game you’re playing, which is about what we could have expected; certainly not enough to last an international flight, but coupled with that USB-C charging port, it should easily be juiced enough to cover your daily work commute no matter what you’re playing. This is all very good news if you ask me, especially when combined with the generally premium look and – based on what I’ve read so far online – the feel of the system. This is a sleek, modern device.
Well this looks a bit weirdly-timed now, but I have been working on it for almost two months, so here we go. Strap yourself in.
It’s been a while, old friend.
Ten years ago, in 2006, I picked up The Legend of Zelda: Twilight Princess alongside my brand new Nintendo Wii console at the system’s launch. After years of hype and a string of exemplary prior Zelda games, I could barely contain my excitement. 80 hours of gameplay (and weeks of real-world time juggling Wii Sports) later, I had completed it very close to 100%. And what a rollercoaster it had been.
Twilight Princess promised a lot, as the Zelda series’ long-awaited return to the dark, “realistic” aesthetic made popular by Ocarina of Time following a controversial – at least at the time – stylistic sidestep with The Wind Waker. And in fairness, it delivered a lot – sensational dungeons, standout set pieces built on fan wish fulfilment, a breakout companion character and bosses on a truly grand scale, mainly.
Ooh baby.
Yet the game also came in for its fair share of criticism for its slow and inconsequential opening, largely empty world, bland colour palette, litany of rupee-related annoyances, relative lack of difficulty and slavish devotion to aping Ocarina at the expense of the freshness offered by predecessors Majora’s Mask and the aforementioned Wind Waker. Though I remember plenty of moments from Twilight Princess fondly, it came in at Number 7 on the Top 10 Zelda games list I wrote back in 2013.
And yet early last month, it received a new lease on life.
Link makes a triumphant return with a new HD sheen.
With help from little-known Australian studio Tantalus Media, Nintendo released The Legend of Zelda: Twilight Princess HD for Wii U here on March 5th. Based on the “waggle-free” Gamecube version of Twilight Princess, which I never touched, and boasting quite a few tweaks and supposed improvements, it marked the perfect opportunity for me to revisit the classic adventure with a critical eye, separated somewhat from the perhaps exaggerated criticisms the internet has whipped up over the last decade. Now that I have finally finished TP in its newest iteration, here is what I have to say about it.
Prepare yourself – this will be a long one. A very long one.
Be aware that this post contains a huge amount of spoilers – worth mentioning if you haven’t played the game before. All you need to know if you’re a Twilight Princess newcomer is that yes, I believe this HD version is definitively the best version of the classic title, and yes, you really should play it. If you really want to read on, continue at your own risk, but you should know that what follows is so exhaustive that you may not even feel like you need to play it by the end. .
Looking at things that interest me in a positive light is well beyond a defining feature of my personality at this point. My default stance on just about anything videogame-related is optimism, for better or worse. But sometimes there isn’t all that much room for such a stance, and you just have to be real. If you’re a Nintendo fan of any kind, this is one of those times.
The most recent Nintendo-related announcement to cause waves online – an understatement in some corners – is the triple-bladed revelation from the company’s recent investor briefing that:
Nintendo’s newest console, code-named “NX”, will be released worldwide in March 2017.
The Wii U’s most widely anticipated game, a still-unnamed Legend of Zelda title, will release simultaneously on NX and Wii U, and thus will not see release until at least March 2017.
Not only will the NX be absent from E3 in June this year, but this new Zelda (the Wii U version) will be the only game playable on the E3 show floor.
Still so mysterious.
There’s a lot to digest from this news, but the overwhelming, frigid-breeze-in-your-face implication here is that Nintendo is now ostensibly finished with the Wii U. Yes, Zelda will still come out for the ailing console, and I’m sure the game’s E3 presence will go above and beyond to showcase the benefits of the Wii U’s unique gamepad controller to the experience. But if the NX offers the better version of the game – and there aren’t very many great arguments around to suggest it won’t – then what Nintendo fan won’t just go for the NX version? What’s more, March next year is 10 months away, and the landscape of first-party game releases (and thus just about any game releases at all) for the Wii U in the next 10 months is looking awfully dry – I’m excited for Tokyo Mirage Sessions #FE, but it’s one of only three retail-facing first party games we know about, the other two being Paper Mario: Color Splash and Mario & Sonic at the Rio Olympic Games. It’s hard to see this whole situation as anything other than an admittance that the Wii U is over, and that sucks.
Vagrant Rant 