The Legend of Zelda: Link’s Awakening (Switch) Review

The Legend of Zelda is arguably the most beloved video game series of all time, and few of its entries are as cherished as Link’s Awakening. Though it was the fourth installment in The Legend of Zelda, it was the first to be released on a handheld console. One of the main reasons Link’s Awakening built such a strong reputation for itself was due to it retaining the series’ sense of depth and exploration, despite being released on the original Gameboy in 1993.

Keep in mind this was still a time when a series being translated to a handheld system meant the compromise of its quality (even Mario didn’t quite feel like Mario on the Gameboy). So the fact that Link’s Awakening still very much felt like The Legend of Zelda was a stunning achievement in itself in 1993.

“Bonus points for the hand-drawn, anime cutscenes.”

Link’s Awakening started development as a port of the Super NES classic, A Link to the Past, released one year prior. But somewhere along the line, it became its own beast. Though it couldn’t quite reach the same heights as its SNES predecessor, Link’s Awakening still managed to capture a good deal of its magic, and has certainly held up better than the NES Zelda titles. The title proved so popular that when Nintendo released the GameBoy Color in the late 90s, one of its biggest selling points was a re-release of Link’s Awakening in 1998.

Now, twenty-one years after its GameBoy Color release, Link’s Awakening has been remade from the ground up for the Nintendo Switch, in what is undoubtedly the definitive version of the beloved title.

It’s a match made in heaven, really. Link’s Awakening played a pivotal role in Nintendo’s earlier years in handheld gaming, being one of the few games on the original GameBoy that most would agree felt as big as a home console title. And with the Nintendo Switch being a hybrid of a home console and a handheld, few Nintendo classics would be so fitting for a Switch remake.

2019’s Link’s Awakening is a beautiful recreation of the 1993 GameBoy classic. Taking on a toy aesthetic, this Switch version features character models that resemble Gashapon figures, and environments that look like dioramas. The art direction is oozing with charm, making it baffling how some sections of the Zelda fandom cried foul when the visuals were first revealed (you’d think Zelda fans would have learned their lesson by this point). The art style, combined with the HD sheen of the Nintendo Switch, make Link’s Awakening look right at home in 2019. There are admittedly a few frame rate drops here and there, but nothing too bad.

“Oh no not the bees! AAAAHHHH! They’re in my eyes! They’re in my eyes! AAHHH!”

On the gameplay side of things, Link’s Awakening on Switch features the same timeless gameplay to be expected from 2D Zelda titles post-A Link to the Past. Link is every bit as fun to control as ever. But there are even a few modernized improvements made to Link’s Awakening where needed, the most prominent of which being that Link’s sword, shield and upgrades are permanently equipped once gained. This is something of a godsend, as the limitations of the original GameBoy’s hardware meant players had to constantly be switching out Link’s items and abilities. But with the Switch’s extra buttons, Link is easily able to keep hold of his standard items and abilities, as well as equip two ‘special items’ gained from dungeons at any given time.

Perhaps the only questionable decision with this modernization is that the Roc’s Feather item, which allows Link to jump, isn’t among the permanent abilities, and still has to be equipped like the other special items. This is questionable because, with how fundamentally useful the ability to jump is, you’ll almost always have Roc’s Feather taking up one of your two item slots. The Pegasus Boots – which allow Link to dash at great speed – become automatically linked to a specific button without needing to be equipped. Roc’s Feather probably could have used the same treatment, seeing as I found myself with it equipped for almost my entire playthrough.

“All the monsters say I’m pretty fly, for a Slime Eye!”

Other changes made to the game include more collectibles to give the side quests some extra heft. The total Heart Pieces to be found in the game has increased from the mere twelve found in the original GameBoy version to thirty-two, while the Secret Seashells have gone from twenty-six to a whomping fifty that can be collected. Though simple, searching for the Heart Pieces and Seashells prove to be fun diversions to the main quest.

Perhaps the biggest brand new addition to Link’s Awakening is the inclusion of a dungeon editor. Before you get too excited, it has to be said that the dungeon editor is incredibly limited.

“Most of your edited dungeons follow a preset layout, but eventually you can unlock the ability to piece them together with more freedom.”

By visiting Dampé, players can edit their own dungeons by utilizing chambers collected from the dungeons the player has completed throughout the game (the main quest retains its eight dungeons, and the optional “Color Dungeon” from the GameBoy Color release makes a return). On the plus side, putting a dungeon together from pre-existing rooms and making it all make sense has a fun puzzle element to it. On the downside, the player doesn’t have the ability to edit anything about the chambers themselves. The player can’t place doors, decide what enemies to litter about or what walls can be destroyed with bombs, or even choose what rewards await in treasure chests (if your dungeon ends up having a certain number of locked doors, the chests will at first provide the number of keys required to unlock them all, then have a random amount of Rupees, with the final chest opened always containing the boss key).

Again, the dungeon editor can be fun in its own right, but don’t get your hopes up that it’s the Zelda equivalent of Super Mario Maker (though here’s hoping its presence is something of a test run for just that).

“Dude, I forgot this game had a walrus in it! 10/10.”

Aside from being a standout game on a handheld platform in the early 90s, another reason Link’s Awakening holds such a fond place for many is that it’s quite possibly the weirdest Zelda title. Taking inspiration from Twin Peaks, Link’s Awakening sees Link stranded on Koholint Island, where he must collect the eight Instruments of the Sirens in order to awaken “The Wind Fish” (who is actually a whale) – the island’s deity – who is in a deep slumber inside of an egg on top of a mountain (as whales do), if he ever wants to escape the island.

Not only is the story delightfully weird (and being one of the earliest games in the series, it’s also refreshingly absent of that convoluted “Zelda timeline” nonsense), but Link’s Awakening is also a ‘weird’ entry in that it features many elements from the Super Mario series (as well as a Kirby cameo).

“He does exist!”

While Mario and Zelda have always referenced each other – seeing as they’re the two series most strongly associated with the Nintendo name, and both originally spawned from Shigeru Miyamoto’s mind – Link’s Awakening took things to another level by directly featuring enemies and characters from the Mushroom Kingdom and a profuse amount of side-scrolling sections that pay homage to Mario’s early adventures. Many fans were worried that – much like the Superstar Saga remake on 3DS was absent of a certain cameo found in its original GameBoy Advance version – that the Mario elements would be removed or downplayed in this Switch remake. Thankfully, not only are the Mario cameos and references in full force (complete with the first 3D appearance of Super Mario Bros. 2’s Wart), but Nintendo even doubled down on them with a new side quest focused on collecting Mario figurines. There’s just something about the Mario series that makes the presence of its characters add a little more fun to any game. 

Although the writing may not necessarily be anything to write home about, the Twin Peaks influence definitely shines through in some wacky dialogue and the overall strangeness of the adventure, an influence which I like to think has carried over to subsequent entries in the Zelda series, given its often bizarre characters. That weirdness started here, and perhaps (sadly) hasn’t been outdone by subsequent Zeldas.

“Hi there! Face here! Bur bur BUR!”

Now I have to make a confession, I was never the biggest fan of Link’s Awakening back in the day. It was certainly a considerable improvement over the NES Zelda games, and I loved that aforementioned weirdness of it all, but for one reason or another, it never quite clicked with me in the same way A Link to the Past and some later Zeldas did.

That’s all changed with this Switch remake, which has won me over to Link’s Awakening so strongly, that I would probably now rank it among my favorite Zelda games. The adventure is long and deep enough to feel rewarding, but short enough as to not overstay its welcome. To think that this game was originally a GameBoy title is somewhat baffling. Sure, it’s still on the “smaller” side of the Zelda series, but it was so big back in its own day that Link’s Awakening still feels like a meaty addition to any Switch library.

I’m not sure whether this remake has simply opened my eyes to Link’s Awakening’s full merits, or if its changes and additions have made the game that much better (again, that art style!). Maybe a bit of both.

Whatever the case, Link’s Awakening  on Switch is an ideal video game remake and, quite fittingly, something of a dream come true.

 

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Super Smash Bros. Ultimate Review

With a name like Super Smash Bros. Ultimate, the Switch’s edition to Nintendo’s massively-successful crossover fighter certainly gave itself a lot to live up to. Somewhat miraculously, Ultimate manages to pull that very feat off, delivering what is undoubtedly the best entry in the long-running series to date. Bursting at the seams with content and fine-tuning the series’ gameplay, Super Smash Bros. Ultimate lives up to its lofty expectations, even if a lackluster adventure mode and a thin (and inconsistent) lineup of new fighters means it doesn’t quite surpass them.

Super Smash Bros. really doesn’t need an introduction at this point. The franchise has become one of Nintendo’s biggest sellers thanks to its engrossing gameplay, which combines elements of traditional fighting games with Mario Kart-esque party elements, all while incorporating sumo style rules that make it unique unto itself.

By ‘sumo style’ rules, I of course refer to Super Smash Bros’ key mechanic of sending opponents off the screen – similar to sumos throwing each other out of the ring – in order to defeat them, as opposed to depleting a health bar as in most fighters. Though with that said, the ‘Stamina mode’ first introduced to the series in Melee, in which players do deplete each other’s health, returns as one of Ultimate’s primary game modes, no longer relegated to a kind of bonus mode as in the past.

That seemingly small change is indicative of the very nature of Super Smash Bros. Ultimate. This is the Super Smash Bros. that attempts to legitimize every play style for the series, and to appease every type of Smash fan. And for the most part, Super Smash Bros. Ultimate wildly succeeds in doing just that.

If you’re a serious Smash player, you can remove items and play on flat stages a la Final Destination or small stages with minimal platforms in the vein of the classic Battlefield stage, with no match-altering Final Smashes included. Players who want chaotic fun can have all items active, Final Smashes turned on, and enable every last, crazy stage hazard and gimmick. Or, if you’re somewhere in between, you can play on the standard stages with the gimmicks turned off, only allow Final Smashes by means of building up a power meter during battle, and only enable the occasional Pokeball and Assist Trophy in regards to items.

The ways in which you can customize matches are boundless. This really is the Super Smash Bros. that can appeal to any Nintendo fan. At least in terms of the core gameplay, that is.

If there is one glaring downside with Super Smash Bros. Ultimate, it’s with the game’s adventure mode. Dubbed ‘World of Light,’ Ultimate’s adventure mode is mind-numbingly tedious, and simply not worth the time and effort it takes to see it to the end.

In World of Light, players initially take control of Kirby, the only survivor of a Thanos-style mass extinction, as they progress through one battle after another, unlocking the other characters and collecting ‘Spirits,’ which are won after defeating opponents in possession of said Spirits.

These Spirits are a new feature in Ultimate, replacing the series’ long-standing trophy collectibles. It’s ultimately an unfair trade. While the trophies of Smash’s past featured unique character models and gave some insights into Nintendo (and gaming) history, the Spirits are merely presented as stock promotional art from past games, and provide statistical bonuses to your characters when equipped. Spirits can grant boosts to attributes like strength or speed, or provide you with a special ability (such as starting fights with a particular item, or being resistant to certain types of attacks).

This may sound interesting in concept, but it kind of goes against the very nature of Super Smash Bros. This is a fighting series all about learning the different play styles of the various characters. So if you have Spirits activated in the standard game, it makes things more about who has the best Spirits equipped, as opposed to who played the best in any given round.

Suffice to say the Spirits find all of their appeal in the single player World of Light mode. Though even then, the game often mishandles their usage. Pulling a page out of Paper Marios Sticker Star and Color Splash, there are a number of battles in World of Light in which it is necessary to have specific Spirits equipped in order to win. If the Spirits gave you advantages in these situations, that’d be fine. But on more than one occasion you will come across a battle in which victory is impossible unless you have a specific Spirit equipped.

Another issue with World of Light is that it’s just too long for its own good. It features an unnecessary amount of branching paths, alternate routes, and  overall battles. And when it finally looks like you’re done with it, World of Light pulls a Ghosts ‘N’ Goblins on the player and extends the adventure by rather lazy means. To detract from the experience even further, World of Light is exclusively played by a single player. Super Smash Bros. Brawl’s adventure mode, Subspace Emissary, was far from a winner, but at least I could play that with a friend.

Not to mention Subspace Emissary served as a fast means of unlocking every character. But World of Light just drags on and on, with the lonesome tedium making you seek one of the many other means of unlocking the characters (thankfully, there are no shortage of options when it comes to expanding the roster). The fact that World of Light actually makes me long for Subspace Emissary could be a sign that maybe Super Smash Bros. is better off without an adventure mode at all.

Of course, the adventure mode is just a small part of the overall package, and every other mode included in the game delivers in spades: Classic Mode is more fun than ever, and includes unique challenges for every last fighter. Tournaments are easier to set up than ever before. New Squad Strikes have players selecting teams of characters and eliminating them one by one. Smashdown sees players cycle through the entire roster one at a time, with previously selected characters getting locked out after use. The variety never ceases to impress.

On the concept of variety, the biggest selling point of Super Smash Bros. Ultimate is that every playable character from the franchise’s history is present. If they were playable in a past Super Smash Bros. title, they’re playable here. So those of you who missed Solid Snake for being omitted from Super Smash Bros. on Wii U/3DS, he’s back. Young Link and Toon Link can now face off against one another. Pichu makes his return after seventeen years (they can’t all be winners). The DLC characters from Wii U/3DS return. Even the good ol’ Ice Climbers have found their way back to the series, after technical limitations on the 3DS prevented their appearance in the last installments. And yes, we even get a handful of new characters joining the fray, meaning that Super Smash Bros. Ultimate has all of the character variety of each and every one of its predecessors put together and then some.

“You’re the man now, Croc!”

Speaking of the new characters, that’s where things can be a bit inconsistent when it comes to selections. Ridley and King K. Rool feel like the most meaningful newcomers, given that they’ve been in high demand from fans since Melee. Splatoon’s Inklings also make sense as they represent one of Nintendo’s contemporary success stories. And Simon Belmont feels long overdue in the third-party character department (seriously, besides Mega Man, what other third-party character even compares to Castlevania’s early history with Nintendo?).

The remaining newcomers, however, are a bit of a mixed bag. Isabelle from Animal Crossing – though a welcome addition in her own right – doesn’t exactly come across as a character fans were dying to see join the series. Incineroar feels like he could have been any randomly selected Pokemon. And the downloadable Piranha Plant just feels like a big middle finger to the fans who have been requesting their favorite characters for years. That’s not to say that these characters detract from the gameplay by any means. But for a series so grounded in fanservice, some of these character selections feel misguided.

“Evil kings from classic series are the coolest!”

Perhaps with more newcomers the more disappointing entries wouldn’t stick out so much. But with most of the emphasis going towards bringing back every past character, you kind of wish that the smaller quantity of newcomers would have translated to a consistent quality. And that’s unfortunately not always the case.

Some fans may also lament that clone characters – now officially referred to as “echo fighters” – are still present, but at least now they’re categorized appropriately, and not treated as though they’re full-on additions to the franchise.

“The colors, Duke! The colors!”

Still, it’s hard to complain too much when Ultimate boasts seventy unique characters (with more on the way via DLC. Here’s hoping some favorites make the cut). There’s simply never a shortage of characters to choose from, and all of them bring their own sense of fun to the gameplay (with the possible exceptions of the excessive amount of sword fighters from Fire Emblem, who often feel interchangeable even when they aren’t clones).

Each character’s Final Smash has also been altered this time around, as they take on a more cinematic approach. Unfortunately, while the Final Smashes look more impressive than ever, their infrequent interactivity makes them less fun than in previous installments. This was probably done for the sake of balance, which is admirable. Though chances are, if you have Final Smashes active, you aren’t exactly aiming for a balanced, competitive bout.

The stages also adhere to Ultimate’s “everything but the kitchen sink” mentality. Although there are a few omissions, the majority of stage’s from past Super Smash Bros. titles make a return (unfortunately, Brawl’s Electroplankton-inspired stage is bafflingly among them). There are only four brand-new stages in the base game: Odyssey and Breath of the Wild themed levels for Mario and Zelda, and courses based on newly-represented series Splatoon and Castlevania. That may not sound like a whole lot of newness, but more stages are planned to be added along with the DLC characters. Besides, with the returning courses, Super Smash Bros. Ultimate includes over one-hundred different locations to do battle. And as stated, every last stage comes in three different versions (standard, Battlefield, and Final Destination), so you’re not very likely to get bored from repetition.

For those who don’t always have someone at the ready for some couch multiplayer, Super Smash Bros. Ultimate also expands the series’ online capabilities. Creating online matches has been streamlined by means of creating arenas, where players can set the rules as they see fit. You can even search for specific rulesets if you want to join an arena that’s more to your play style (though admittedly, the search engine needs some work). It’s now much, much easier to set up or join an online match and play with or against Smash players from around the world.

Sadly, the online functionality still isn’t perfect. Though lag is considerably less frequent than in Brawl or Wii U/3DS, it’s still present more often than you’d like. It isn’t limited to worldwide matches, either. I’ve encountered some slowdowns in games against my friends. Again, the lag isn’t so common as to detract from the overall experience, but considering that in five years’ time I’ve never encountered any lag issues in Mario Kart 8 (whether on Wii U or Switch), you have to wonder how and why Nintendo can’t replicate that level of online functionality with their other multiplayer franchises.

Other quibbles with the online mode include some minor (but no less irritating) design quirks, such as leaving your place in cue for the next fight in an arena just to change your character’s color (let alone change your character). Or why entering the spectator stands also removes you from cue (why the cue and spectator stands aren’t one and the same is anyone’s guess). Again, these are all just minor annoyances, but you have to wonder why they’re there at all.

Of course, it must be emphasized that, with the exception of the World of Light adventure mode, all of the complaints to be had with Super Smash Bros. Ultimate are minor grievances in the big picture. The series’ signature gameplay has never felt so polished, the content has never felt this endless, and with every last character in franchise history present, Super Smash Bros. has never felt this complete.

Super Smash Bros. Ultimate is also a technical showcase of the Switch’s capabilities. Though it retains a similar overall look to Super Smash Bros. for Wii U/3DS and Brawl, the graphics are much sharper and more refined. The level of background detail in the stages themselves – often so small you’d never see them in the heat of battle – is a testament to the abilities of the artists behind the game. The character animations are similarly impressive, especially those with unique characteristics (such as DK’s eyes bulging out of his head when hit, Donkey Kong Country-style; or Wario’s manic, sporadic movements).

Complimenting these visuals is a soundtrack that represents an unrivaled array of video game music, featured in both their original and new remixed forms in addition to many remixes from past Super Smash Bros. installments. Unfortunately, I don’t think there’s quite as many new pieces of music added into the fray as Brawl and Wii U/3DS brought to the table, but it’s hard to complain too much when the music is this terrific. Not to mention the soundtrack to Super Smash Bros. Ultimate is inarguably the biggest library of classic video game themes ever compacted into a single game.

On the whole, Super Smash Bros. Ultimate is an absolute winner. Its overall sense of newness may not be as prominent as the past few entries, but its inclusion of the best elements of every past installment, along with each and every last one of their characters, makes this the definitive entry in the long-running Super Smash Bros. series to date. With the exception of its egregious adventure mode, everything about Super Smash Bros. Ultimate is exploding with fun. With so many characters, stages, modes, and options, the content included in the package is seemingly bottomless, leading to an unparalleled replay value.

Super Smash Bros. Ultimate is not only the best game in the series, it’s one of the greatest multiplayer games ever made.

 

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Video Game Awards 2018: Best Sound

Well, another year has passed…already… and I’m going to go on record and just say it straight out: 2017 was probably the best year ever for video games. Okay, so 1995 and a couple of other years put up a strong argument, but 2017 just never let up. One great game after another seemed to be rushing out the gate for the entire calendar year. As such, this is quite the hefty year to decide on what games were the best at what. But opinionated crap like that is what I do! Who’s gonna stop me?

Let’s start my 2018 award season with the category of Best Sound, because sound effects are crucial to video games, but don’t always get the credit they deserve.

 

Winner: The Legend of Zelda: Breath of the Wild

This is the first year since I’ve launched Wizard Dojo that a game by From Software hasn’t snagged my Best Sound award. Part of that is because From Software didn’t release anything this year, but that doesn’t take away from the other part of this equation: Breath of the Wild had some stellar sound design.

It perhaps shouldn’t be much of a surprise that, as far as sound is concerned, Breath of the Wild takes a familiar approach to From Software’s Souls series in that the sounds build the game’s atmosphere and world as much as anything. Every weapon Link finds, every piece of armor he wears, and every item he uses sounds unique to the ears. Link’s steps will echo differently depending on the terrain he’s walking across. The weight of every monster and beast can be heard as they move. The sound effects of Breath of the Wild all play a part in making this version of Hyrule feel more alive than it ever has before.

Sure, the art direction and environments help shape Hyrule, but it’s the sounds of every last locale that really bring it to life.

 

Runner-up: Super Mario Odyssey

The Legend of Zelda: Breath of the Wild Review

*Review based on the Nintendo Switch version*

The Legend of Zelda: Breath of the Wild is a beautiful contradiction. It is at once the grandest adventure Nintendo has ever made, and their most minimalistic. It defies the established conventions of the Zelda series, while simultaneously celebrating the franchise’s legacy. It’s Nintendo’s first foray into the open-world genre, and yet it’s the best game said genre has ever produced. In short, Breath of the Wild is nothing short of a masterpiece, and the new standard for the Zelda franchise.

When Nintendo claimed they were making this newest Zelda title an open-world experience, it was all too easy to assume Nintendo had done something they rarely choose to do, and caved in and conformed with more contemporary gaming conventions. Nintendo is usually known for going by the beat of their own drum, but it seemed Nintendo had finally opted to do what everyone else was doing. Though titles such as Grand Theft Auto and Skyrim earned their place in gaming history, the open-world genre has been teetering on overexposure for years now. Did we really need Nintendo to throw their hat in this ring?

As it turns out, Nintendo was still doing their own thing in regards to Breath of the Wild, as it redefines the very definition of open-world gaming in a way that makes the genre truly live up to its name.

Breath of the Wild begins with Link, the series’ iconic protagonist, awaking from a hundred-year slumber. His memories of his past are wiped clean by this mysterious sleep, and he is only awakened by the distant sound of a woman’s voice.

Link follows the echoing voice, which leads him out of his rejuvenating chamber, and grants him the Sheikah Slate, a mysterious tablet that becomes an invaluable tool in the upcoming adventure.

Link soon learns that, during his slumber, the evil Ganon has been sealed away within Hyrule Castle by Princess Zelda, with the princess having trapped herself within the castle to hold Ganon at bay.

Ganon – now more of a physical, evil presence than a man or monster – will soon break free from his century-long prison to wreak havoc on the world. Should Ganon break free, it would spell certain doom for Zelda and all of Hyrule.

It’s a simple enough plot, but it plays to the game’s benefit because – as is the case with the gameplay itself – it employs both a grand scope and a sense of minimalism, with the details of the plot being unfolded piece by piece only if the player seeks them out. The story has a certain sense of mystery about it, and searching for the pieces of the story to rekindle Link’s memories gives it a sense of personal intrigue.

The truth is, you are able to go straight to battle Ganon as soon as Link awakes from his slumber if you choose, as ill-advised as that may be. The way the adventure unfolds is left entirely to the player, making Breath of the Wild the most open-world of open-world games.

The very foundations of the Zelda series have been rearranged. No longer does Link need to go from one dungeon to the next, grabbing specific items in each dungeon to solve its puzzles, and be rewarded with a Heart Container and a story item upon felling its boss. Those elements are still there – the dungeons, the items, the puzzles, the Heart Containers, and so forth – but Nintendo has completely overhauled how they all fit together.

Link now relies on the myriad of weapons he finds along his journey, or picks up from defeated foes, instead of simply finding a new toy in each subsequent dungeon. Even the iconic Master Sword is an optional component of Link’s arsenal. There are no mandatory weapons, only what you can find.

The weapons can break upon repeated usage, leaving the player to take to battle more strategically than ever before. But certain enemy types may favor particular weapons, and certain regions may be more keen on particular elemental items than others, leaving the player to learn the best places to acquire their favorite weapons.

Similarly, the more puzzle-oriented items in Link’s inventory have found a new life, as they are simply abilities provided by the Sheikah Slate, and are all acquired within the game’s introductory segment.

Bombs – which now come in round and cuboid shapes, leaving players to contemplate the physics involved with the item and environment – are now magically produced through the Sheikah Slate, so there’s no need to stock up on them or to be teased with the traditional bomb flowers early on. The Shiekah Slate can also produce icy platforms in bodies of water, manipulate metallic objects like a magnet, and temporarily freeze objects in time, allowing Link to strike with a bevy of hits. Later on, the Sheikah Slate even gets a camera function, allowing you to take photos of the people and creatures of Hyrule to fill up an encyclopedia.

A Link Between Worlds gave players the opportunity to buy any of Link’s items from the get-go, but Breath of the Wild takes that idea a step further by turning Link’s most unique items into different abilities provided by a single starting item. It streamlines the Zelda experience for the better, simply by condensing Link’s abilities, which are used in various ways, as opposed to many tools that have singular functions.

Link can no longer find hearts hidden in grass or clay pots for health. Instead, Breath of the Wild is given a survival element, as Link has to find and craft his own means of healing within the game’s world.

You can hunt animals for meat, find various plants around the world, and collect monster parts from fallen foes. Though eating some of these items as they are can restore a little health, cooking items together can create meals which can not only recover a large amount of health, but also provide temporary bonuses, such as extra hearts or stamina, stronger resistance to heat or the cold, or boosts in defense or attack, among others.

This gives the Zelda series a whole new layer of depth and challenge. Now players have to take notice of the environment and its elements (you don’t want to be wearing metal armor during a thunderstorm), and will have to make stronger preparations before heading into enemy territory.

When your journey first begins, Link may seem pitifully weak, with only three hearts, a small bit of stamina, and barely enough space to carry weapons and shields. This is where Breath of the Wild once again changes up the Zelda formula.

Though Heart Containers are still found by conquering the story-focused dungeons, Link no longer has to search for four Heart Pieces to increase his maximum health. Instead, players can travel Hyrule seeking out Shrines.

Shrines are either found lying around Hyrule, or materialize after finishing a sidequest or meeting a certain requirement. The shrines work like smaller dungeons, usually consisting of a handful of rooms, each containing their own puzzles and hidden treasures. The puzzles involved in the shrines are one of the game’s greatest highlights, as most can be tackled in different ways depending on the player’s thinking. The creativity and brevity of the shrine puzzles really bring to mind the various chambers of the Portal games, and I’d even say their consistent brilliance makes Breath of the Wild arguably the closest thing we have to Portal 3.

Once the shrines are completed, Link is awarded with a Spirit Orb. Every four Spirit Orbs Link obtains can be traded to goddess statues for greater maximum health or stamina, giving a whole new life to one of Zelda’s most recurring traditions. Stamina is used for running, climbing, swimming and gliding, thus making increasing your maximum stamina a worthwhile alternative to giving Link more health.

Similarly, there are Korok seeds that can be found by finding the many playful Koroks, who are hiding all over the place. Koroks may have you do something like lifting a rock at the top of a mountain or shooting flying targets from a certain standing point to make them appear. The Koroks will reward you with the seeds for finding them, and the seeds can be traded to a particularly large Korok for extra space in your inventory.

Finding things like a new shrine or a Korok hiding place (among other things) help fill Hyrule with things to do. This is a great thing, because the Hyrule of Breath of the Wild is absolutely massive, but that size wouldn’t mean anything if there were no substance to it. Thankfully, Nintendo really thought about how to keep things fun and exciting at every turn, so no matter what pace you choose to tackle the adventure, there’s always something to be accomplished, and a strong sense of discovery to be had.

Speaking of the size of the game’s world, it would have been easy for the simple act of traveling around it to become a chore in less capable hands. Thankfully, Breath of the Wild’s developers have streamlined the ways Link can get around Hyrule, meaning that traveling never becomes tedious.

Link can climb virtually any surface in Hyrule, and a paraglider gained early in the adventure means you can climb one mountain and glide to the next, if you so desire. The only surfaces Link can’t climb are found in the aforementioned shrines. Otherwise, player’s can find many clever ways for Link to get from one point to the next.

Additionally, Link can fast travel by teleporting to discovered shrines, as well as Towers (which unlock more pieces of the map when successfully ascended). So if you need to get to the other side of Hyrule in a hurry, you can simply bring up the map screen to teleport there, provided you’ve discovered a means to do so.

Unfortunately, this all brings me to one of Breath of the Wild’s few disappointing elements. Along Link’s adventures, Link can find wild horses, which can be tamed and registered to stables for later use. As you might expect, horses can move faster on foot than Link, but they might be stopped in their tracks by a large rock or tree, whereas Link can simply climb over it. It makes sense, certainly. But because Link is already a more versatile traveller, I rarely went through the trouble of taming horses, even if they are faster on foot. It’s ultimately a small quibble, but I do wish I had more incentive to claim a new steed.

Another highlight of the game are its more traditional story dungeons, which are only traditional in the sense that they are part of the main story, involve puzzles and enemies, and end with a boss. Otherwise, they greatly deviate from the series’ norm.

The dungeons are wonderfully creative, and come in the form of giant, animal-like constructs that would make the Power Rangers jealous. You usually have to go through a mini-adventure just getting to the dungeons through one of the lands of Hyrule’s different races (Gorons, Zoras, Rito and Gerudo), then you have a miniature showdown with the dungeon itself before making your way inside. Once inside, you’ll notice that the dungeons are as open-ended as anything else in the game, as they each contain five terminals which must be activated, but can be activated in whatever order the player chooses.

The best aspect of the dungeons is that, rather than a straightforward layout, the player can actually manipulate them from the inside. Rearranging the positioning of the dungeons and changing the perspective of their puzzles is a beautifully realized bit of creativity, and helps elevate the dungeon design as some of the finest in the series, despite their relative short length.

If there’s any complaint to be had with the dungeons (and I’m grasping at straws here), it’s that – despite the wonderfully varied locations they are found in and the creativity of their level design – the insides of the dungeons are all aesthetically identical, and their bosses also share similar appearances with each other.

Though that’s a non-issue in the long run, as the art direction and graphics, as a whole, are quite stunning. Aside from the Wii U re-releases of Wind Waker and Twilight Princess, this is the first true Zelda game presented in HD, and it looks absolutely beautiful. The environments are relatively realistic in appearance, and the game is so detailed that you can even see the differences in weather between different lands in the distance. The characters are cel-shaded a la Wind Waker or Skyward Sword, which adds to the game’s visual charms, and serves as a unique contrast with the environments.

There even seems to be something of a Studio Ghibli inspiration emanating from the art direction. Ancient robots (called Guardians) are strangely reminiscent of those found in Castle in the Sky, while many of the environments might remind one of Princess Mononoke. Even the walking dungeons may bring Howl’s Moving Castle to mind. Breath of the Wild feels as much like a Studio Ghibli game as Ni no Kuni, and it only adds to the game’s appeal.

Breath of the Wild is equally pleasing to the ears, with a beautifully minimalistic soundtrack that also seems evocative of the soundtracks to Studio Ghibli films. I’ve seen a number of comments disregarding the soundtrack as not sounding “Zelda enough,” but I find it to be a perfect fit for the nature of the game, with its gentle piano melodies and ambient tunes bringing the game world to life.

Similarly, the game features some exquisite sound effects. The different armors and weapons, as well as Link’s interactions with different environments, all have their own sounds, which helps add to the atmosphere and life of the world in a way not dissimilar to Dark Souls.

Perhaps more notable is that Breath of the Wild is the first Zelda game to feature voice acting during its major cutscenes. Though Link is his usual, silent self and Ganon’s status as an evil substance means that two pieces of the franchise’s trifecta remain voiceless, Zelda, along with various other characters, have speaking roles. The voice acting may not go down as some of the best in gaming, but it’s solid and works when it needs to.

The Legend of Zelda: Breath of the Wild fine tunes the gameplay and combat first introduced in Ocarina of Time, and similarly perfects the explorative elements of Wind Waker. In the process, it also throws in a little bit of Skyrim, Dark Souls, Portal, Uncharted, Shadow of the Colossus and Studio Ghibli. The end result creates an exhilarating and unforgettable adventure that allows players to tackle it however they choose (I put more than 30 hours into it before I attempted the first story dungeon). Its execution is so well done that Breath of the Wild should rank along the likes of Super Mario World, A Link to the Past and the Super Mario Galaxy titles as one of Nintendo’s finest achievements.

Despite all of its inspirations, Breath of the Wild is still very much the Zelda experience we all know and love. In fact, it may just be the best of the legendary lot.

 

10

Zelda II: The Adventures of Link Review

Zelda 2

Unlike movies, video game sequels are usually expected to be better than their predecessors, though third entries can still see some mixed results even in games. This is an area where Nintendo differentiates from other developers. While many developers see their franchises meet high points with their second entries (such as Capcom with Street Fighter 2 and Mega Man 2), Nintendo’s second installments are often seen as the black sheep of their franchises, while their third entries break new ground.

Super Mario Bros. was a revolution, while both the Japanese and English versions of Super Mario Bros. 2 were relatively less well-received (with the Japanese game being extremely difficult, and the American game being wildly different from the original). Then Super Mario Bros. 3 served as the benchmark for 8-bit gaming. This also occurred with the 3D Mario titles, with Super Mario 64 once again serving as a gaming revolution, its follow-up Super Mario Sunshine receiving a lukewarm reception, then Super Mario Galaxy becoming one of the most acclaimed video games of all time. The same thing even happened with the Metroid series, with the NES original kicking things off, the Gameboy sequel being largely forgotten, and Super Metroid giving the series a whole new level of acclaim.

Simply put, Nintendo’ experimentations with the initial sequels to their franchises often have mixed results, and this was as true as ever with The Legend of Zelda.

The second-ever Zelda game, Zelda 2: The Adventures of Link, is often seen as the black sheep of the series, due to its different gameplay from the rest of the series. While some of its criticisms are fair, Zelda 2’s status as a black sheep doesn’t necessarily mean it’s bad.

Zelda 2 works like a combination of a 2D sidescroller and an RPG. It’s actually an interesting combination, and in some ways ahead of its time (RPG elements find their way into many different genres these days). Link travels across an overworld map and can gain experience points to level up, like in an RPG. But the individual stages are played like a sidescroller, with Link being able to jump and strike enemies with his sword, as well as cast spells once they are obtained.

Zelda 2Gameplay-wise, it’s a solid experience, though it’s easy to see how today’s Zelda fans might feel a little alienated by its different structure. But it was only the second entry in the long-running series, so with that context it makes a bit more sense why Nintendo would experiment a little, it’s not like the series had long-standing traditions by this point.

Again, Link is a fun character to control here, with all his actions working fluidly with the button presses, and leveling up to increase your attack power, hit points and magic is a feature I kind of wish the series would return to. The only real complaint to be had with Link himself is that his sword is a bit on the short side, meaning you have to be pretty close to strike enemies.

The overwolrd is nothing special, but it works for getting to each dungeon or town. But things can get a little harry with the frequent appearances of enemies on the world map. When these enemies touch you, you are taken to a mini-stage where you can face off with these enemies to gain experience points. The fact that you actually see the enemies on the overworld means that these encounters aren’t anywhere near as annoying as the random battles of Final Fantasy, but the frequency of their spawns – couple with the fact that they’re hard to outrun – makes them a bit of a nuisance if you just want to get to the next area.

Another problem arrises in the forms of never-ending waves of particular enemies (such as Moblins) who show up during some of these encounters. The constantly spawning enemies take away experience points if they come into contact with Link, nor do they give Link any experience points for defeating them, making them feel like a cruel addition to the game.

Still, the levels themselves are pretty fun, with a variety of enemies that require different strategies to defeat, and some challenging boss fights. Some may lament the lack of puzzles to be found, however, as the sidescrolling setup favors quick action over problem-solving.

Though as fun as the action is, it must be said that the difficulty of the game picks up incredibly fast. It doesn’t take long for Link to find himself against waves of unrelenting enemies, or foes who do more damage to you than you do to them. If the difference in play style weren’t alienating to some players, then the difficulty might be what turns them away nonetheless. There’s nothing wrong with a good challenge, but Link’s Adventure cranks up the difficulty pretty early on, and doesn’t really let up.

Perhaps the biggest drawback to the game, however,is how cryptic it can be. Admittedly, the original Zelda’s cryptic attributes haven’t aged well either, but it may have benefited Zelda 2 if it had learned from its predecessor’s mistakes.

One infamously cryptic moment comes in the form of unlocking one of the dungeons with a magic spell. Normally, this particular spell simply changes enemies (turning more difficult foes into something easier), but there’s one instance where you stand in a certain corner of a certain stage, where if you use the spell there, it unlocks the dungeon. And it’s not like there’s anyone that informs you of this, either.

"That's nice, buddy."
“That’s nice, buddy.”

In fact, the citizens of the towns don’t inform you of a whole lot. Most have them just have generic, flavorless dialogue that doesn’t help out, and those that do help out do so incredibly vaguely (“Only the hammer can break roadblocks” one might say, long before you even know where to get the hammer). It’s not quite to the levels of vagueness as Castlevania 2: Simon’s Quest, but it’s in that same field.

Zelda 2: The Adventures of Link is still a fun game with colorful graphics and a memorable soundtrack, and its merging of platforming and RPG elements set the stage for many great games that would follow (such as Symphony of the Night). But its quickly increasing difficulty and overly cryptic elements may be off-putting to many players. Zelda 2: The Adventures of Link is a fun game, and an interesting piece in the series’ history, but some of its more dated elements may alienate players, that is if its difference in direction didn’t do so already.

 

5

Zelda Wii U. All Alone at E3.

Legend of Zelda Wii U

I love The Legend of Zelda. I really do. It’s one of gaming’s best franchises, and certainly one of the most consistent. But Nintendo’s decision to dedicate the entirety of their E3 presence this year to the new Zelda for Wii U and the upcoming NX is a bit baffling, to say the least.

When I first read the news that Zelda Wii U/NX would be the sole playable game on the show floor, I was a little disappointed, but I was under the impression that they would still have a video presentation showcasing other future games, so I wasn’t too bummed. But then I heard that Nintendo wasn’t even going to have a special edition of Nintendo Direct, as they’ve done the past three years, and instead just have a live stream solely dedicated to the new Zelda title, I was really disappointed, and more than a little confused.

Look, I understand that Zelda is one of the most beloved series of all time, and holds a special place in the hearts of many gamers. But for one new entry to be the entire focus of Nintendo’s presence at one of the biggest gaming events of the year just isn’t enough.

I can respect the delay for the release of the NX. Although missing out on the holiday season may be yet another bummer, but you can’t rush a product before its finished, and the delay means it won’t be launching in direct competition with PSVR and the newer edition PS4s and Xbox Ones that are supposed to hit by year’s end. But to not even make the NX a subject at E3 in any capacity is ridiculous. This is Nintendo’s new home console and, if rumors are true, their new handheld as well. Even if they don’t have it on the show floor, shouldn’t they want to use E3 as a means to get some early buzz for the platform?

At the very least, couldn’t we at least get word on some games to expect on NX? They wouldn’t even have to go into great detail with them. They could just list off “a new 3D Mario,” “Pikmin 4,” and “Super Mario RPG 2″ (let me dream!) will be hitting NX in the future” and that would be enough to get some extra interest and investment going. I mean, sure, Mario coming to NX is an inevitability, but early confirmation would help nonetheless.

Of course, the most disappointing aspect of this news isn’t even in regards to NX, but Wii U. The Wii U was Nintendo’s least financially successful home console, so I kind of get why it won’t be a focal point for E3 now that it’s entering its twilight (it was still a great system, damn it!). But to not give the people who own the console a last wave of release dates and reveals at E3 is more than a little bit of a sting. I’m not even saying they need to be major announcements, but surely there’s enough time left between now and the NX launch to give Wii U owners a game or two to look forward to.

Frankly, I feel like Nintendo is putting all of their eggs in one basket in regards to their near future and Zelda Wii U/NX. The game definitely looks great, and its promise sounds quite interesting. It could wind up being the best Zelda ever by the time it’s released. But as it stands, Zelda Wii U/NX just enough for an E3 showing. Not when they’re leaving Wii U owners high and dry and keeping those who are excited for NX guessing. Even if Zelda’s showing at E3 is phenomenal, Nintendo’s won’t be.

Zelda Wii U Delayed Again!

Zelda U

Good news and bad news. The good news is Nintendo has announced a rough release date for its next home console, codenamed NX, as being March of 2017. The bad news is that the new Legend of Zelda, which is now officially confirmed to be an NX title as well as a Wii U one, will be launching simultaneously on both consoles around that same time, meaning that it has been delayed yet again.

Now, part of me is a little relieved to hear this news, with that part of me being my wallet. But I also can’t help but feel a little disappointed that Zelda Wii U is delayed once again. It’s been delayed so many times it’s gone from a recurring joke to no longer being funny…

It’s also a bit sad to hear that NX won’t be making it for 2016’s Christmas season, which has been the case for a number of Nintendo’s past consoles. But you can’t force something out of the gate when it’s not ready, I suppose.

The real downer to this news is that it confirms that the Wii U is the only Nintendo console to not have a dedicated Zelda title. Though at the very least, I suppose it has seen the best versions of Wind Waker and Twilight Princess, so the brand new Zelda will make it the only home console to house three distinct Zelda adventures, even if they remakes and multiplatform titles.

I suppose I can’t be too disappointed, however, since a delay only means there’s extra work being put into the game. I’d rather have a great game than a rushed one (though I guess at this point it would hardly be considered rushed). And I’m not one of those silly gamers who claims to have “bought a Wii U just for Zelda” and have seldom been disappointed with any of the console’s major releases (Tropical Freeze alone guarantees that I could never, ever regret getting a Wii U).

Hopefully Zelda Wii U/NX can live up to the hype. And maybe we can get a new 3D Mario on NX to go with it. Just for good measure. Please?