#I'm actually playing a zelda game on release!!

[beth-and-bands]

I've just realised that Tears Of The Kingdom will be the first Zelda game I've ever actually played on release day! Nintendo using zelda to sell new consoles usually means I have to wait until Christmas😭

[amethysttribble]

ngl... I would have preferred WW and TP ports

[probably-need-sleep27]

So I'm just going to ramble about totk so be aware of spoilers below

Tears of the kingdom is way bigger than botw, underworld is massive, it so many new enemies in sky Island, overworld and underworld, the Guardians isn't in totk, all your horses are transfers over from botw so I was wrong about that, I spent over 3 hours just exploring the great sky Island when I was doing the tutorial and another couple of hours just exploring hyrule, the underground and sky Islands

I haven't encountered any full dungeons yet but I been doing shrines and every shrine I have done feel challenging and satisfying after doing them

I highly recommend before forming your opinion about totk, you should give the game a try, I don't listen to reviews because everyone have their own taste in games

Sadly we can't pet dogs in totk

Here some screenshots of totk

[blueskittlesart]

i kinda really wanna see a big ol vent/rant from you about genshin now lol. I would read an essay

I'm not sure you understand the insanity you just unlocked in me but ok

genshin impact is probably the clearest modern example i can think of of capitalism absolutely eviscerating a creative project. For context, I started playing genshin in 2021, just after the 1.4 update. it was venti's first rerun/the first windblume festival if that means something to you. and I really genuinely thought that it might have had something special. It was a gacha that didn't FEEL like a gacha, which was a huge feat to me.

it began with a very simple story pitch--you, the protagonist, are one of a set of twin siblings traveling through space. you come upon a seemingly unassuming world and your attempts to continue your journey are suddenly stopped by a mysterious, all-powerful figure. you are separated from your sibling and wake up alone on the shores of this planet you were attempting to leave together. throughout that opening cutscene and scattered through the world and your character's dialog there are implications that all is not as it seems, that your character is something unique to this world and that they possess powers and abilities that you've yet to unlock. You are told that you must travel the seven nations of this world in order to find your sibling, which is great--a simple, zelda-like objective which drives the player to explore the secondary narratives of the world. none of this is bad on the surface. in fact i'd argue it's pretty good. there's a ton that can be done with these story bones. even at launch the map and combat system were full of potential as well.

Note: for ease of reading, i'm going to label the different storylines of the game now. A-plot refers to the central objective of the entire game; the find-your-sibling plot and everything that encompasses, including the abyss order/dain, the heavenly principles, the fake sky, etc. B-plot refers to the secondary objective present in each new nation, usually meeting the archon and/or solving a problem for the archon. (A and B-plots will occasionally intersect.) C-plot refers to any story, location, or background information which remains in permanent gameplay but which isn't directly related to the A or B-plots, such as dragonspine, the chasm, enkanomiya, etc. D-plot refers to any story, location, or background information which is confined to limited-time events and does NOT remain in permanent gameplay, regardless of its connection or lack thereof to the A and B-plots, such as the golden apple archipelago, the infamous albedo/dragonspine event, the infamous kaeya/diluc event, etc. Lore as i will refer to it in this post refers to any information which is present in permanent gameplay but which is not directly told to the player within the A or B-plot story quests and objectives, including books, weapon, artifact, and item descriptions, world quest dialog and puzzles, etc.

So now we're in mid-2021, there are two nations' worth of B-plot story quests released in full, and we've run into our first problem, which is that the game isn't finished yet. I don't have any actual information about how the game was/is written, but based on what i've observed over the past few years, my best guess is that the A-plot has been fully written since the beginning, at least in some form. there were very early-game events and information pertaining to the A-plot that would take years to see any actual payoff in the main story quests (kaeya's origin story, the 1.3 scaramouche fake-sky drop, the flowers in lumine's hair, etc.) but those kinds of A-plot story easter eggs very quickly dropped off when the game absolutely EXPLODED during the pandemic.

this sudden burst in popularity was the true beginning of the end for genshin, i think, because suddenly they had a HUGE fanbase that desperately wanted more content faster than they could pump out new A-plot or even B-plot story quests. one of the most pervasive complaints about the game when I began playing in 2021 was that there was nothing to do between story quests. update 1.4 (which was the update I started playing at) was important in that it was the first time since genshin's release over a year before that players recieved any new A-plot, in the form of the archon quest We Will Be Reunited, also known as the quest with the most fucking misleading name of all time. you'll never guess what doesn't fucking happen during this quest. anyways. we were a year into gameplay, two nations out of seven released and a third on the not-so-distant horizon, and it seemed obvious that players were owed some sort of A-plot payoff. and that's very much what WWBR was advertised as, from the quest's name to the banners full of art of the twins staring wistfully at each other. The thing is, what i'm describing as A-plot payoff was actually. not really A-plot payoff at all. WWBR was the reveal that the protagonist's sibling was working with the abyss order, and that the abyss order was connected somehow to Khaenri'ah, which at this point casual players would only have known about from THAT QUEST and MAYBE kaeya's character descriptions if they were diligent enough to get him to friendship level 10 (which, btw there is no indication that you should do to get important context about the story of the game, because kaeya is a 4-star starter character and the only character in the entire game that actually has genuinely important story hidden in his character descriptions.) So what I'm calling A-plot payoff felt at the time a lot less like A-plot payoff than it did like an abyss sibling cameo in an attempt to satiate everyone who was begging for more story. We actually gained almost net 0 information. this is very quickly going to become a pattern.

As I've already alluded to, the motives behind this writing decision are transparently obvious. Genshin is a free gacha game which relies on a consistently active and engaged userbase to make its money. With fans getting restless about the lack of engaging story at the time and a new, very ambitious B-plot quest gearing up for release that would require major support from that fan base in order to remain profitable, the writers were backed into a corner. they HAD to throw the fans some sort of bone in order to keep them engaged with the A-plot, since it was originally pitched as the driving force for the story as a whole, but they were also clearly not at a stage of the writing process where it was prudent to give the player any REAL information about the A-plot. This is how we ended up with a 10-second abyss sibling cameo and an offhanded mention of Khaenri'ah, a nation whose plot-relevance was at that point still basically unknown.

The real problem is, WWBR worked. at least, it worked as intended at the time. It satiated story-focused fans in the interlude between B-plot nations, as hyv was gearing up to release inazuma, which required a lot of time in preparation. WWBR was followed almost immediately by the C-plot golden apple archipelago in 1.6, widely regarded as one of the better events of version 1. GAA was memorable especially because it was the first event that involved an entirely new, limited-time-only map, meaning the event had much more longevity than the standard events players were used to. This is, imo, most likely the update combination that led to the standard formula which hyv uses for its quests and events nowadays. the back-to-back release of WWBR and GAA satisfied both fans who wanted A-plot story AND silenced criticisms about the game lacking endgame playability, which at the time must have seemed like a goldmine to writers desperate for a solution to their content-to-fanbase ratio problem.

From here, genshin started following a standard method of release for their next three nations--inazuma, sumeru, and fontaine. the formula generally went as follows: one major version update (usually version x.0) containing a major map update which included all B-plot relevant locations in the new nation, and the first chapter of the B-plot story quest relevant to that nation. this would then be followed by 2-3 version updates which would each contain the next chapter in the nation's B-plot story quest, sequentially. After the nation's B-plot quest ended, during the downtime in which the next nation's story and map would be finalized, subsequent updates would be largely C-plot, and would contain minor expansions of the map to increase endgame playability via exploration and world quests. This is how we ended up with updates like the chasm, the several extra islands in inazuma, and the quite frankly ridiculously large sumeru map, as well as the offloaded maps like enkanomiya and the sea of bygone eras. with the possible exception of the chasm, none of these areas are A OR B-plot relevant. hyv has realized that artificially inflating the map makes their game technically more engaging during the downtime between nations. However, this comes at a price. While the scenery and set design of the game remains consistently beautiful, the actual, mechanical gameplay that populates that scenery very quickly became mind-numbingly boring if not borderline unplayable. While the 1.0 questlines were not perfect, there was at least an emphasis on the player actually DOING things. 1.0 B-plot quests would have you going to mini-dungeon temples and completing challenges which would acclimate you to the combat system while also serving narrative purpose. There were quests that required you to navigate open-world dungeons. Because your characters were lower-level, combat challenges that arose during these quests were CHALLENGES, rather than two-second buttonmashing segments. By the time we get to sumeru, though, both B-plot AND C-plot quests have become little more than moving your character from location to location and tapping through (usually unvoiced) dialog. there's no GAMEPLAY in the quests anymore, because gameplay isn't what makes money. What DOES make money is giving players 300 hidden chests to find in an open-world map segment, each of which gives them 1/80th of a gacha pull. And so the story suffers and the map gets bigger.

Along with the map expansions, downtime between nations usually also nets us one A-plot quest, usually involving the character dainslief, who was the driver of the initial WWBR quest. This is the second half of hyv's magical formula for keeping fans happy between major releases. the A-plot quests will, as a general rule, give players either very little new information or no new information at all, but will dress up the delivery in such a way that it ALMOST feels as though the protagonist has moved forward somehow. the most recent example of this writing style, the 4.7 quest bedtime story, amounts to about an hour and a half of gameplay and, while it DOES contain a segment in which the protagonist finally actually has a conversation with their sibling, that conversation literally begins with the line "I have so many questions, but for some reason I don't want to ask them right now," ensuring that the sibling will not actually be required to give away any plot-relevant information whatsoever, and the quest ends with the protagonist FORGETTING THAT THE CONVERSATION EVER HAPPENED IN THE FIRST PLACE.

As I think I mentioned before, the cardinal problem of genshin impact's writing is that fans want answers faster than the writers are prepared to give them. I don't doubt that there's a game bible or relevant equivalent somewhere within hyv which contains the explanations we are currently lacking in regards to the A-plot. the game is consistent enough in its storytelling for me to believe that this isn't all just being made up as we go along. But I'm also certain that a lot of the late-game A and B-plot that is planned (especially if the Khaenri'ah is truly planned to be the 8th nation of the game) hinges on the player knowing very little about the A-plot. this would be fine if genshin was a standard single-release video game that players could work through at their own pace, but it isn't. it's unfinished, and each nation in the game releases months to years after the last, leaving the writers to scramble to fill in the gameplay gaps and players struggling to remember plot-relevant information when it's brought up literal years after they last heard it mentioned. Not only does the time between updates leave players frustrated about the lack of A-plot, it makes the A-plot harder to understand when it is brought up, because the writers are required to throw in so much dense C and D-plot just to keep engagement high enough to make the game profitable in its downtime. we joke about the insane convolution of genshin's lore, but that is first and foremost a byproduct of its financial model. the game requires engaement to be profitable, and adding lore for players to look into drives up engagement. The fact that having so much story with so little plot relevance muddies the waters and makes the A and B-plot stories considerably harder to understand doesn't matter as long as money is being made.

I want to take a quick detour here to talk about the release of sumeru specifically, because this is when I really began to clock the fact that genshin was declining. on paper, racial sensitivity issues aside (Not that they're not important, but i'm doing this deep dive from a storytelling and game design point of view, nothing else. that's a whole can of worms i don't have time to get into here) sumeru was a really promising addition to the game. The new B-plot quest which was set to drop in 3.0 was highly anticipated for several reasons. Two fan-favorite characters (kaeya and scaramouche) were expected to play major roles, because of earlier C and B-plot quests, and much of the nation's scenery that was teased in trailers and promotional content appeared to tie into the A-plot. the most exciting draw about sumeru and version 3.0, though, was the major update to the combat system.

Arguably genshin impact's most interesting feature upon release was its combat system. The map was basically a botw clone at that point, and the story quests, while decently engaging, were rough around the edges to say the least. What genshin DID have going for it was a unique real-time combat system that rewarded strategy and quick thinking.

Genshin's combat system is elemental, and on release there were 6 elemental affiliations: anemo (wind), cryo (ice), pyro (fire), hydro (water), geo (rock), and electro (electricity.) in a sort of pokemon-like system, certain elements were weak to other ones, but more importantly, certain combinations of elements could drastically boost combat stats. Players got to construct four-slot teams of characters, each with an elemental affiliation and certain "skills" which would match their element, and you were encouraged to use the interactions of these elements to build teams. very quickly, a huge community formed dedicated to optimizing teams and tiering characters. People would even make a game out of building teams specifically to do high-level damage with "bad" characters or characters who weren't designed to be damage drivers (my 100k jean burst was an incredible moment fr.) this was, of course, also a picture-perfect driver for the gacha aspect of the game, which was how players obtained new characters.

Pre-3.0, combat was... well i won't say it was balanced, but there was no elemental reaction that had any MAJOR advantage over the others. when you actually ran the numbers, i believe vaporize was the best reaction in terms of damage output, with the best team being raiden national with kazuha for EM buffs. but a well-built freeze or melt team could do similar numbers, or even better numbers depending on your artifact rolls. (ayaka permafreeze you will always be my #1.) Despite a steady stream of new characters with each update, characters from the earliest version of the game like xingqiu and xiangling were still topping the charts in terms of usefulness and versatility in teambuilding. However, as early as 1.0, players had been teased that a major update to the combat system was planned. There was a seventh element, dendro (plants) which pre-3.0 only existed as an elemental affiliation for menial enemies. there were no playable dendro characters, and the only elemental reaction that existed relating to it was very low-level and not particularly useful in combat.

Originally, dendro was projected to be added to the combat system somewhere in version 2, but its release was delayed substantially, meaning it came out along with its affiliated nation, sumeru. And as soon as it came out, it basically broke the combat system. I assume that the scaling they ended up going with may have been out of fear that players would be hesitant to integrate a new element into their pre-established team builds, and thus they may have been worried about sales on their dendro character banners, and i assume that the fact that 3 elements are required to get the highest-level reaction was an attempt to make the meta more balanced in the face of that scaling, but, well... it didn't work. At this point, the genshin impact combat meta is basically "if you're not using hyperbloom what the fuck are you doing." there's basically no reaction in the game that comes close to it in terms of both damage and ease of use. you are not going to beat a hyperbloom team with anything other than a better-built hyperbloom team. combat is now very heavily skewed in the direction of dendro, meaning that if you DON'T want to use a dendro team, you're going to be doing significantly lower numbers. And since enemies are added with each update, post-3.0 combat becomes difficult and annoying if you don't have a hyperbloom team on-hand.

The major gripe i have with dendro isn't even the scaling, though. I mentioned offhand earlier that the 1.0 B-plot questline had a section which taught you the basics of the combat system via mini-dungeons. These mini-dungeons, of course, taught you the version of the system that existed pre-3.0, so there's no tutorial for dendro reactions. Rather than integrating the tutorial into the story and world like they did in their early quests, upon playing 3.0 for the first time players were given a popup that explained, very wordily, how dendro reactions worked. there was no opportunity to test these reactions in an environment without consequences--if you wanted to try them you'd have to remember the relevant information, build yourself a team, find an enemy to try them on, and just hope you got it right. This lack of integration is something i began to notice more and more with genshin as it progressed, especially in sumeru. where in mondstadt and liyue open-world puzzles would be explained to you by an npc or via environmental context clues, in sumeru you'd be stopped while exploring every two seconds by a popup explaining some puzzle or another which, of course, you wouldn't read, because you didn't want to do the puzzle right that minute anyway, and then by the time you DID want to do that puzzle you'd have no in-game way of figuring out how to do it. The puzzle popups may seem like a small thing, but it's one of the clearest examples in the game to me of the fact that the player experience is so clearly not being prioritized here. the game doesn't even TRY to be immersive anymore. they have no qualms about pulling you out of the story to read a paragraph about how the puzzle works. they don't care how your character, in-universe, is supposed to have acquired that information. they don't care why your character, in-universe, is doing the puzzle in the first place. because they know the reason YOU are doing the puzzle, which is to unlock a hidden chest that gives you 1/80th of a gacha pull.

That was not "a quick detour" was it lmfao. ok anyways. back to the story. Now i want to talk about D-plot, meaning limited event stories, and lore as i defined it earlier, meaning contextual details not present in quests or playable story. This is where i think genshin's story becomes completely inaccessible.

Already, we've covered the fact that in order to consume the very basic story, players have to be willing to wait years between A and B-plot quest releases, punctuated by irrelevant map expansions and interlude quests. I mentioned before that genshin's incompleteness is one of the major problems of its story. the fact that players have to wait years, remembering plot-relevant information that they have no way of knowing will even BE plot-relevant, for the payoff of these narratives is frustrating at best and actively malicious at worst. But in theory, there should be an obvious way to circumvent this. One could just wait until the game IS completely finished to play the whole thing. Sort of like buying a game in early access but waiting until it's actually finished to play it all the way through. that's theoretically possible. but, as i have been hammering home this whole time, genshin is a free game, and therefore genshin relies entirely on a consistently engaging fanbase in order to remain profitable. if genshin does not have a base of players who are willing to log in every day, or at the very least once every update, the game's financial model collapses on itself. therefore, genshin puts on limited-time events. this is a standard in gacha games, as a way to keep the fans consistently engaging. What is not standard, however, is the way that genshin uses these events as vessels for its story. about 19 out of 20 limited events in genshin impact will be useless menial bullshit with no effect on the story or really even the player aside from maybe making you fucking angry. 1 out of those 20, though, will be innocuously named, with nothing in the banner or event description to indicate that it's special in any way, but it will contain serious A or B-plot relevant information that exists nowhere else in the game. My personal favorite example is the infamous 1.3 scaramouche appearance, in which he showed up, told the protagonist that the sky was fake, and then immediately fucked off again. Scaramouche did not show up again until at least 2.0, and the fake sky wasn't so much as MENTIONED again until 3.2, almost TWO YEARS LATER. but there are others, such as the (almost equally infamous) albedo doppelganger event in which a major character's loyalties are called into question, or the event where major biographical information is revealed about kaeya, the only playable character with major known connections to the A-plot and Khaenri'ah. With all of these events, once the event period ends, the information contained within them vanishes from the game completely. there's no way to replay old events that you've missed, even sans rewards, so if you miss a plot-relevant event the ONLY way to catch up on that story is through word of mouth. again, this is a transparent way to keep genshin's userbase engaged during downtime between B-plot quests; if you don't log in and play every event, how will you know if you've missed something important? You might not be able to fully understand the future story if you miss out on the D-plot now!

The D-plot problem is something that I think could, in theory, be circumvented by dedicated record-keeping. if the wiki had anything resembling an easily accessible event database that marked story-relevant events and contained summaries or gameplay videos, at the very least you wouldn't have to fear being completely lost on the off chance that a random throwaway line in an event from fucking 1.3 becomes plot-relevant. but hyv obviously doesn't want that, because it undermines their financial model, and the sheer number of events and the amount of rerunning of irrelevant events they do makes the task of recording and categorizing them all daunting if not impossible.

Then, of course, there's lore. this is arguably what genshin is infamous for in certain circles of the internet. You know that unraveled video where bdg reads every book in skyrim? if you tried to do that with genshin the video would probably be about 10 hours long. and it's not just books; genshin hides (potentially) plot-relevant information in weapon and artifact descriptions, in random hidden world quests, in character bios... the list goes on. and 9 times out of 10, the information is essentially written in code. Plot-relevant characters will have multiple names, or the relevant information will refer to them as vaguely as possible, presumably to further the "mystery" and encourage theorizing among fans. but the sheer amount of information like this that exists within the game makes it all but impossible to determine what is plot-relevant and what isn't. For a topical example, the most recent A-plot quest bedtime story mentions the name Rhinedottir in connection with events in Khaenri'ah, suddenly making that name A-plot relevant. Rhinedottir is an alternate name for the character Gold, whose existence you would only have known of before this point if you'd unlocked and read the character Albedo's character bios. (Albedo is a limited-run character who hasn't been available since november 2022, btw.) the only other information about Rhinedottir permanently available in the game comes from the description of the weapon Festering Desire, which was only obtainable from a limited event back in 2020, anyway. So basically, if you wanted ANY context for that remark, you'd have to have been playing the game since AT LEAST 2022, AND you'd have to have taken the time to go over your weapon and character descriptions with a fine-toothed comb. keep in mind that as of right now (june 2024) there are 85 playable characters in this game, each with 10 unique unlockable character bio sections, and over 150 weapons, each with their own unique descriptions, not to mention over 50 artifact sets, each with 5 unique artifacts, which all have their own unique descriptions as well. there are also 51 different collections of books which contain written lore as well. the idea that any player could keep up with all this, or that anyone could even sift through it all to pick out the important things that they NEED to keep up with, is insane, especially when the game makes a point of withholding crucial plot information from its players within the A and B-plot quests. this amount of written lore only exists, again, to drive up engagement in the hopes of subsequently driving up profit. Even if the average player isn't reading and absorbing all this information, the fact that it's there coupled with the fact that the writers consistently refuse to reveal anything beyond surface-level A-plot information means that there's basically ENDLESS theory fodder. and THAT means that people will be posting their theories and talking with each other and getting into arguments. it means "genshin impact" trends on twitter. it means engagement, and engagement means money.

basically what it comes back to is that everything is so transparently money over player experience with this game. I think what we're witnessing with genshin is what i would call an end-stage gacha game--a gacha game that's gone on a little too long and gotten a little too popular, and so the veil has started to slip a little more than usual. Gachas work primarily because they operate by toeing the line between what is fun to play and what is a predatory mechanic. As long as the actual gameplay remains engaging and rewarding, players can ignore the unsavory business practices underneath. At this point, genshin has swerved too hard into the money-hungriness and is still hoping that they can use their old tried-and-true engagement farming methods to remain popular regardless. currently, it seems like those methods are still working, unfortunately. Like I said in the post that prompted this, i really can't wait for the hyv writer NDAs to expire 10 or so years down the line, because I can only imagine what an insane shitshow writing for this game must be. I want to see the tell-all articles. I want carnage.

That being said, I played genshin impact religiously from 2020 to 2023. I loved the game. Despite myself, I am still really, REALLY interested in the A-plot. I want to know what's going on with the protagonist and their sibling; where they came from, what happened to them, what the heavenly principles are, what role celestia plays in all of this. I want to know Kaeya's full backstory, what role Khaenri'ah plays in the overarching story, and what happened to it in the past. but I don't really have any faith that I ever will, because I know that as long as keeping their fans in the dark and stringing them along remains profitable, that's what hyv will continue to do.

Do I think genshin impact is unsalvagable? in its current state, yes. If I was given the ability to turn back time and convince a bunch of executives of the profitability of this venture, I would change almost nothing about the story of genshin and completely rework the mechanics of its release. I would make it a series of single-release self-contained games rather than a constantly-updating gacha. Each game would be one B-plot quest, or one nation, eight games in all, preferably released once every year. Removing the gacha mechanic, players would be given access to a certain pool of characters to build teams at the start of each game, and then periodically unlock new characters as the story progressed. for example, if you were playing the inazuma game, you'd start out with only your protag, and after progressing to a certain point in the story you'd get a pool of inazuma 4-stars to teambuild with freely. Then, as the story progressed and you met plot-relevant inazuman 5-stars you'd add them to your pool. I'd change basically nothing about the combat system except for a properly integrated introduction of dendro when it makes its appearance in sumeru. Once you completed the story in that nation, you could move onto the next game in the series if it was out, or if it wasn't, you could continue to explore the open world while waiting for the next release. Would this be as profitable as the gacha model? probably not, but what it WOULD do is allow for much more consistent pacing and writing, with the added bonus of not making your userbase feel like you'd shoot them in the head for their pocket change.

[arkon-z]

I'm gonna say it:

Astor (AOC) was a bigger threat than Ganondorf (TOTK) was, in regards to the gameplay. Yes, I know The Calamity was the ultimate threat and not Astor, but that's just lore. What matters is that when the AOC plot said, "It's time to get serious about this story now," it actually got serious. Rather than TOTK's idea of "boy, it's sure going to get serious once you hit this area and trip an event flag!"

Like, TOTK Ganondorf's idea of being 'evil' was to make a puppet Zelda and go around and mess with Hyrule, doing everything from pranking some of the stables to summoning monsters to invade the temples. And because the game is open world, it makes for some really weird tone shifts. Things ranging from "our city is being overrun by unkillable monsters" to "there's a talking chicken spreading rumors." And where was Ganondorf? Down in the core of the earth, being evil. The biggest AND ONLY threat he ever directly posed to Link was in their final fight. There was nothing in the story itself to suggest that he posed any kind of threat. Especially because he made it look like Zelda was the one behind it all.

But Astor! We saw him working with/manipulating the Yiga in his plans. He lured the gang into the Lost Woods as a trap and sent the Hollows after them, coming within inches of killing Zelda. He managed to release the Calamity early. He tore the souls out of the Yiga to re-summon the Blights! He went after Zelda himself! And when it happens, it feels impactful, because of how the story unfolds in the game play. The tone shifts; you lose access to the Champs from every game menu once they're trapped in the Divine Beasts. When the Calamity hits, the tone of the entire game shifts. You're not on some action-packed adventure fighting off the Yiga clan anymore; now the apocalypse has happened and you're still alive, trying to find a way to reverse it. And throughout everything, you know that Astor is the one behind it and he's the one you have to stop. Even with the Calamity as the greater scope villain in the background, Astor is still the focal point.

So yeah, from a gameplay and story perspective, even if Astor was a flat character, he at least acted like he was trying to destroy Hyrule. Ganondorf did fuck all in TOTK. All his action scenes were flashbacks. Lazy ass man couldn't even be bothered to trek up to the surface and destroy a village or two to show he meant business.

[genericpuff]

Rachel did a live Q&A in the LO Discord server and gave some news about the Animated Series, it’s still happening! (Surprisingly) Any thoughts on that or things you’d like to see from it?

Right, like every other time she's said it's "still happening" with no evidence to actually support it. That's always been the issue and still is.

Sorry, that's not me being snarky at you, I'm more so frustrated and absolutely fucking done with all the empty promises and platitudes.

Best case scenario with what was said during the Q&A was that she said "it's still happening" (worst case was that she didn't address it at all).

Like, how is this:

"I can say that… we are currently doing work on it… and it is going well.. and that it looks really cool and that I wish everyone could see what we’ve done because it looks really really really cool, and it’s happening, but that’s all I can say at this point… I can say, making tv shows takes a really long time, it takes so long" (last night's Q&A)

Any different than this:

Any different than this:

“Um, it’s been really interesting. It’s been educational for me. So, what I—what has been done so far is beautiful. Like, if I could share it, I would. But I can’t. Because it’s very naughty.” - Girl Wonder SDCC (July 2023)

She's been saying this for the last two years since people started getting suspicious it wasn't happening in the first place, and despite all the reassurances that "it's still happening", it doesn't seem to have anything to show for itself. Cast list? Nope. Director? Nope. Writers? Nah. Just a showrunner whose bio still says "TBA" and who, despite having a whole ass 40 minute long interview with Girl Wonder, still didn't have anything to show for what's to come, just more empty promises that it's "still happening" (and a lot of banter about Stephanie's life, rather than her involvement with LO).

In fact, most of what Stephanie talks about in the podcast concerning LO is pitching it, not developing it. And this interview happened just a few months ago. Go listen to it yourself if you don't believe me.

So at this point, I see "it's still happening" as "don't panic" corporate speak for "we're still pitching it and trying to find a network for it so we can actually move onto development." Yes, animation takes a long time, even Hazbin Hotel took about three and a half years to finally release after Prime bought the rights to it in 2020. But LO, again, clearly hasn't even started the animation process yet. And while we're comparing it to Hazbin, note that HH actually had LOADS to show for itself along the way of being developed and did a much, MUCH better job at staying relevant and pulling in new people and hyping it up. Even people who never watched Hazbin before in its indie days on Youtube were hearing about it, it made an active effort to sell itself to new viewers and break out of its bubble on Youtube. Is LO doing that? No, not really. Most of the people who know about it are diehard fans who refuse to read anything that isn't shown directly to them on Webtoons, and diehard haters who are tired of the garbage that gets advertised on Webtoons. Ask anyone who doesn't use Webtoons, and best case, they'll know someone who reads LO, worst case, they won't even know what a webtoon is.

Shit, even the new upcoming Zelda movie has names attached to it, including Avi Arad, Wes Ball, and Derek Connolly. And my god, it's gonna SUCK DICK with that bad of a line-up (the guy who ruined the OG Spiderman trilogy and created Morbius, the guy who directed the Maze Runner films, and one of the leading storywriters behind Rise of Skywalker, fucking YIKES) but hey, at least it has more than one name attached to it.

But okay, if we're gonna play the comparison game, let's be fair and compare LO to some other works in its own lane. Let's Play announced last year that it would be getting an animated adaption, and it already has a studio backing it that is FAR more suited for it than JHC is to LO - OLM, the same studio whose animated for massive franchises like Pokemon, Yo-Kai, and Gudetama. JHC meanwhile has animated... motion capture kid shows like Word Party. Because that's the only kind of animation they actually specialize in when it comes to their in-house services. Sure, they also have Harriet the Spy, but that wasn't animated by them, that was animated by Titmouse Inc (heh sorry).

I'm the Grim Reaper recently had its own animated adaption announced, and who's in charge of it? Oh, only SAM FUCKING RAIMI-

And look, maybe the Let's Play and I'm the Grim Reaper adaptions won't happen either. I just think it's ironic that they both have more to show for themselves in terms of credible names attached to them than what LO has managed to scrape up after five years of promising that it's "still happening" (especially when one of those series is nowhere near as big as LO and the one that WAS as big as LO walked away from Webtoons entirely). For Webtoons' own "worldwide phenomenon", they sure have given LO the shit end of the stick by pairing it with a family-with-kids-under-10 production studio that doesn't specialize in animation and a showrunner who got her start with the Cosmopolitan (weird how LO has so many plugs with Cosmo, huh? Why is JHC producing the show again?)

At the end of the day, nothing's changed. It's still just the ole' "it's still happening" record on a loop, while the comic itself falls further out of favor with people. And it's likely gonna be going behind DailyPass soon, so just think about what that's gonna do to its relevancy after it gets sent away to the equivalent of the Webtoons graveyard.

As I've said countless times before every time this topic comes up, at best, if it is still happening, and I'm wrong about all of this, they are doing the worst job I've ever seen at hyping people up and keeping them informed. It is NOT a good thing that people have to keep asking Rachel if it's still happening.

As for worst case... you wanna know what other projects come to my mind that have fallen into the same state of development hell and decay as LO's TV show? YandereSim and Cryamore. What do you think the popular opinion is about those works and their creators now? Because if you don't know either of those names and are about to google them, let me give you a heads up warning - it's not positive.

If it happens, it happens. It will hopefully be before I get all the therapy I need to undo what LO has done to my brain so that I don't have to make repeat visits LOL But if it's after, hey, maybe the show will be good! Assuming Rachel doesn't, y'know, E.L. James the whole thing. Because frankly, the show will need to cut and rework a LOT of stuff to be any good IMO and I don't think that will be possible if Rachel gets directly involved. But I'm not even hoping for that scenario because there's literally NOTHING to give me that hope, "it's still happening" is nothing more than "don't panic" corporate speak to me at this point. It's cynical, but I just can't waste my energy caring about it anymore.

[ladyjenise]

Thoughts on why Ganondorf makes "that face" in Tears of the Kingdom

I'm several months late, but I didn't want to post spoiler stuff when the game was fresh and, frankly, I had quite a whack summer. So here we are.

Anyway, onto the meta: my thoughts on why Ganondorf makes "that face" in Tears of the Kingdom.

Yes, this face:

One of the first things I want to do is credit some rad metas that helped me along in my thought process:

-Discussion of Ganondorf's facial design from a technical and creative standpoint

-Discussion of Ganondorf's outfit

And now to the actual meta! Will include spoilers for Tears of the Kingdom.

When the screenshots of Ganondorf making "that face" first hit the internet, there was a lot of lol and wtf, which was fair. Most people weren't that far in the game yet. Actually, not sure it was even out yet (there was an early leaked ROM floating around at some point pre-release). I don't want to dwell much on people's initial reactions as I think if you're here reading you've already processed your initial feelings on seeing it. And your initial reaction of LOL WTF is fine. Out of context, it probably made little sense.

But let's talk about context: Ganondorf makes this face after killing Sonia for her Secret Stone. He's literally laughing over her dead body as Zelda calls out vainly to the fallen queen. It's a very heinous, dramatic act. And I think, in context, that confused people even more because his face, on first glance, feels over the top and silly for such a serious moment. However, it's not there because Nintendo's devs don't know what they're doing. At least, that's what I'm trying to argue here.

Let's discuss the build up to this scene in the story chronology: Ganondorf tries to use moldugas to attack the fledgling kingdom of Hyrule. It goes badly because Rauru, alongside Sonia and Zelda, are able to use Secret Stones of the Zonai to fend off the attack. It's a very lopsided victory.

Ganondorf takes a moment to pout before observing the Secret Stones. Ganondorf correctly observes that brute force will not be enough. Not one to sit back on his failures, Ganondorf is clearly already hatching a new plan. End of scene.

We next see Ganondorf at the court of Rauru and Sonia, bending the knee in what we know is a false act of fealty. Of course, this scene is a reference to the plot of Ocarina of Time (where we spy on Ganondorf through a window as he bends the knee to the King of Hyrule, who is out of the shot). it's also a glimpse of Ganondorf the schemer.

If you had not met Ganondorf before playing Tears of the Kingdom, you might actually think Ganondorf is just a mindlessly violent guy (and he is that too, don't get me wrong). You might not have expected this dude to roll up to the court of Hyrule and start playing the political game. His character design looks like the exact kind of guy who could punch your head clean off your body. Just look at him:

He's a brick wall. He looks like a big tough guy, and maybe he's just some big dummy who only understands violence. It's a stereotype Nintendo has subverted again and again with his character. And there Ganondorf is at the court of Rauru serving backhanded compliments like a pro. And while Rauru assures Zelda that he knows Ganondorf is up to shit, he's really got Rauru convinced that he can handle him. As we shall see, Rauru was mistaken. But that's Ganondorf for you. His character is about subverting expectations. This is what makes him so very fun.

Even his costume, with the reversible robe, tells you a lot about who he is. On the outside, a calm, clever, cultured man. On the inside, he's ready to fuck your shit up. I love it.

Back to the scene.

After assuring Rauru he simply wants to play nice and have the protection of Hyrule, Ganondorf serves some cunty lines implying Rauru is an interloper and an outsider etc before leaving. And it's at this point I noticed that when Ganondorf takes his leave, he makes this really flourishing move with his arm that made me stop and think.

You can probably find the scene online somewhere, but here's a screenshot of what I mean:

And note that he also uses his sleeved arm, creating that extra diva flourish as he goes. We also get a real good fast look at how colourful and different his sleeve is. He's turned his back to Rauru and the others after swearing his fealty. His changeable nature is displayed to the player. It's a nice wink and nod to Ganondorf's later betrayal. Only Zelda has a real inkling that he's really, really bad news and probably shouldn't even be there. But if you've played Ocarina of Time, you understand that Zelda isn't listened to until it's too late.

Returning to the flourish itself: Ganondorf didn't have to do this. And Nintendo didn't have to waste animation time having him do this. But they did. And they did it again when he laughs over Sonia's body. And they do it again when he swallows his Secret Stone. They just. keep. doing. it.

Why?

Why do all this extra dramatic animation for Ganondorf?

Those familiar with kabuki (a classical form of Japanese theatre) are probably screaming KABUKI, and I would agree. I didn't immediately get there at first only because my background was in another form of classical theatre: Greek (ask me about my unversity minor lol). I'm not going into a deep dive on either classical Greek theatre nor kabuki because that's a lot, I'm not really an expert or super familiar with the details, and I also think their Wikipedia pages will probably give you a decent summary of what you might want to learn details on. However, classic Greek theatre is old as shit and has a lot of great stories with characters you'll recognize. I recommend.

What I need you, dear reader, to understand about classic and ancient forms of theatre is their emphasis ON emphasis. It's a lot of what we might think of as exaggerated elements, over-the-top forms, and straight up spelling shit out to the audience. Real archaic shit. Because the world we are watching in these memories IS archaic to Link. There's 10,000 years between the memories we see and Link's time. It's like we, as Link, are viewing a kabuki play or a Greek play about stuff that happened then. It makes perfect sense to have Ganondorf act like he's in an ancient play. And that's how you get shit like this:

This is all theatre.

But why is ancient theatre so weird? It's not. We think it looks weird because it's unfamiliar to us. Most of us don't grow up watching ancient plays. Even those of use who read Shakespeare in school are usually sweating through the now-archaic English (it was only 400-ish years ago!) You're not equipped, and that's cool.

And honestly, if you are familiar with Ganondorf, he truly is a creature of theatre. Just look at this castle he builds in Ocarina of Time:

He destroyed Hyrule Castle to build this giant fucking castle levitating over a pit of lava. Like why? Because he CAN. Because he can't do anything in halves.

Also, his outfits. Look at this shit. He can't tone it down. I don't think he could if he tried.

Coming back to Ganondorf's face when he kills Sonia: when Ganondorf's face contorts and he starts to laugh evilly, we are told in very certain terms that he's made a critical choice. If you weren't sure before, you're being told now: He's evil. There's no going back from this. And he's embracing it. There is zero remorse. Killing her was the act he needed to move from man to monster. It's very important that you, the player, understand this. It's a moral thing. And I don't mean like "If you like this character after you are a bad person" type of thing. That's not what I mean here (and what people who have weird obsessions on the internet often misunderstand just so they can start fights over dumb shit). What I mean is that the storytellers need you need to understand your character's motivations for wanting to fight this guy.

And the next scene plainly shows what I'm talking about: Ganondorf takes the Secret Stone and literally turns into a demon king. He's no longer a man. He's this other, immoral being now. Bye bye, human Ganondorf, hello monster Ganondorf! That's it.

Going back to his eating of the Secret Stone, which changes Ganondorf from good ol' demon king to the for realsies demon dragon, he says some lines about giving up his "body" and "mind" and, frankly "everything", just so he can win. But also it's a desperate last attempt at keeping hold of the power that has so horribly blinded him to the truth.

That last part is ironic for Ganondorf, a man who was clever enough to get into the heart of Hyrule, steal their powerful relic, kill the queen and ALMOST become king. Because that's his ultimate failing. He's smart, clever, and his wins get the better of him. His addiction to power means he never stops to consider he might have weaknesses he cannot yet see, or that, as Rauru warns him, his arrogance and blind faith in his own abilities and talents might be his downfall.

In a way, the story is just as much about Link searching for Zelda and Zelda trying to figure out her role in the world as it is about the fall of a powerful man. Is it tragic that Ganondorf let himself become so corrupted by power that it would slowly transform him from man to demon? I guess it depends on who you ask, really. (I think it's fucking cool)

[blackautmedia]

Tears of the Kingdom and the Orientalism of the Mummy - Dehydrated Ganon

Plenty have talked about the portrayal of Ganon and the problems with both him and the Gerudo as a whole. I haven't seen as much talk about dehydrated Ganon specifically and wanted to share some of what I'm aware of.

TotK in many ways can be read with the number of plot points it lifts from classic mummy films, which in turn means it also picked up all the racial history and tropes that come with that.

Dehydrated Ganon and Phantom Ganon are mummies. He's explicitly referred to as such several times in the game and the game's opening relies on a number of classic mummy movie tropes in its presentation as introducing a corpse-like Ganon.

Here's an excerpt from the The Mummy On Screen: Orientalism and Monstrosity in Horror Cinema.

Male archaeologists, heroic adventurers and female heroines are all drawn to enigmatic corpses and/or racial ‘Others’, being variously hypnotized, transformed, romanced, coerced and/or transported away from their humdrum lives, sometimes through time to re-experience an ancient past in which they once lived, sometimes through space to Egypt where the monster stalks or seduces them.

Helen in The Mummy (1932) is a woman who succumbs not only to the influence of the Mummy but also to the lure of Egypt itself and its ancient ways that still hold sway.

 If one accepts Wood’s thesis, one can see the Mummy film as having a formidable formula, with the Orient serving as an effective site and its chief monster functioning as a potent medium for the release of the suppressed.

The game is built on Zelda being zipped to the past and her experiences in an ancient, mystical world and seeing the founding of Hyrule while Link is integrated into the resources left behind.

After Link and Zelda were drawn in by the Mummy's call to investigate beneath Hyrule following the rise in illnesses from the gloom.

Zelda is whisked away to ancient Hyrule where she spends time with her very heavily Native coded (which would need an entirely separate post on the tropes associated with that and the way the game uses Anti-Native tropes) Zonai pals.

She's in a rush to return home, but this new space also ends up being a big learning environment for her. She's exposed to this ancient and alluring culture that fascinates her and provides many of the wants and needs she expressed in BoTW.

She's given the supportive parents she's needed--a supportive father figure who explicitly supports her utilizing study to achieve her goals and a loving mother to teach her how to use her powers. She even gets a cool engineering/history auntie who shares a lot in common with her.

All of these things are stolen from Zelda because of the evil mummy.

The game makes great effort to play into the exoticized idea associated with the Zonai, right down to infusing Link and Zelda in their culture with Zelda given a new outfit, home, and lifestyle, and Link gifted with Rauru's power.

The Zonai in TotK are characterized less by their beliefs or the perspective of Mineru or Rauru and more framed in relation to the resources they provide others--the secret stones, the Zonai devices, the exotic, mysterious, ancient powers and knowledge, the zonaite you mine, Rauru's arm, etc.

That leads into another issue with how Tears reinforces the idea of Native extinction in how the Zonai are more characterized for the resources everyone is extracting from them rather than their actual peoples' thoughts and feelings and how that form of erasure harms real Native people outside of the fiction.

There's also the aspect of how the land and resources of these Native people are almost destined to fall into the hands of largely white, "civilized" Hyrule leaders with every other group serving under Hyrule's order geographically and narratively while the Zonai are people we only interact with in memories or as spirits.

The Orient until the second half of the nineteenth century had largely proven a fruitful terrain for colonial conquest and achievement for the British, but from the Indian Mutiny of 1857 towards the end of the century various military setbacks began to point worryingly to a decline in British power…In the aftermath of such events, rather than being perceived as ‘passive’, with ‘no capacity for violence’ (Mercer and Julien 1988: 108), the inhabitants of the Orient became more forbidding, a change in perspective reflected in the literature of the period that simultaneously portrayed anxiety concerning Britain’s own newfound sense of vulnerability.

Richard Marsh’s The Beetle...depicted Egypt as every bit as capable as Transylvania of bringing a primitive threat to the civilized West.

As Marsh’s novel exemplifies, the legacy of the ancient Egyptians had transformed over the course of the nineteenth century from one that bestowed valuable knowledge into one that offered secrets best left unearthed, being increasingly tainted as the years unfolded through its association ‘with the mysterious and supernatural, the questionable and disreputable’.

Mummy films rely very heavily on presenting the "other" as an exotic and almost tempting place for the civilized white protagonists to find and change themselves.

They also acted as a way to depict non-white people to bypass several censorship restrictions in earlier decades, so you often see them framed as romance films with an emphasis on a commentary about that dangerous, tempting allure of the mummy being used as a commentary on interracial relationships and intermingling of the civilized and uncivilized with a white gaze in mind.

Many mummy films also would utilize racial coding to characterize the mummy as hostile, dangerous, tempting or seductive in relation to the white, civilized character, something done with several other movie monsters like Dracula, King Kong, etc.

No matter the Zelda game, the structure ends up being largely the same with Ganon in that Hyrule or wherever is shown to be peaceful until the "evil man of the desert" invaded and defiled their space with his wickedness and disrupting the order of the gods and the status quo.

Dehydrated Ganon specifically is another extension in linking Ganon and his wickedness and evil to his heritage and status as a SWANA-coded character, in a lot of using tropes associated with Black people, etc.

He's not just evil because he's a selfish overlord, he's an evil "other" Middle Easterner invading the pure and peaceful environment the game made the effort to set up, and his constant presence looms in the game in how his corpse-like mummy servant is busy carrying out his will.

The Mummy and Nubian were a particularly suitable pairing considering contemporaneous racial stereotyping...Elizabeth Young years later highlighted others, identifying the black ‘brute’ as a stereotype that ‘carried particular force’ in 1930s cinema as ‘a monstrous beast.

Cultural attitudes towards African Americans manifestly became intertwined with contemporary ones concerning those of North African Egyptian Mummies in this version of the play.

In addition to Zelda being taken to the ancient past, we have the element of Ganon stalking and scheming to his rise to power in how he defiles the sanctity of ancient Hyrule continuing in the pattern of referring to him as the "man of the desert," another means of codifying Ganon as inherently evil by way of his heritage. There's almost constant reference to his home, the desert and anything else associated with othering him.

Ganon has previously used religious iconography in how the Gerudo crest used to very closely resemble the symbol of Islam.

He also uses racial coding associated with antisemitism in how he's a green-skinned, hook nosed magic-wielder.

There's Anti-Black imagery in his muscularity and chains and how he devolves into a mindless, savage brute.

There's all the decades of sentiments toward SWANA people wrapped up in him and the mummy is a continuation of that in how dehydrated Ganon is presented as a stalking, corrupting presence who defiles the sanctity and draws the civilized white protagonists in with his tempting allure. Phantom Ganon is a looming threat who can arise out of nowhere.

I know dehydrated Ganon is the same dude as regular Ganon, but I do think there's an extra element to discuss in how Tears uses decades of old mummy horror and the racial coding that comes with that to further the idea that Ganon is an evil SWANA man who needs to be feared and eradicated.

[bogleech]

I look at enemy designs from the second, unpopular NES Zelda title! I'm going to review the bestiaries of "main" Zelda releases until I reach Tears of the Kingdom. But as big a fan as I am of this setting...I've actually never played a Zelda game myself. I've been there for friends playing them, all the way back to the very first game, and played scattered parts of some. I'm going to make Tears the first one I start and finish myself.

[tearsofthekingdomcountup]

25 Days until Tears of the Kingdom Release. Is it really? Haha the smaller the number gets the more I doubt reality. I've just been waiting for this game for so long that even with all the marketing and the trailer analysis it's hard to believe its actually happening.

Spoilers under the cut for the last batch of screenshot trailer analysis.

So this tear has the recall chicken symbol on it. I checked. Zelda also has the Master Sword with her. Either she's fixing the sword and that's something only she can do or Zelda is in the past so the sword isn't broken yet and she is leaving something there for Link.

Ganondorf, mummy version I'm assuming, spewing red malice stuff but much brighter red this time. I wonder if Malice is just Ganondorf's version of fuse. Link gets green glue and Ganondorf red. After this there is a shot where the red stuff hits the sky and starts summoning monsters. The trailer transitions it to make it look continuous but once we get into the game we'll most likely find that it's separate cut scenes or different parts of the same cut scene but not continuous. Honestly, I think this might be where Link and the Master Sword get attacked but I'm still not giving up on the possibility that the malice emerges from the Master Sword outwards as Fi looses control on Demise.

I'm pretty sure I mentioned the lack of lynels in the other analysis I did. Welp here they are with their massive antlers (oof on the damage those things will probably cause) and the sword looking thing sticking out of one of their heads. I wonder what fusing Lynel horns to shields, swords, or arrows will do. I think I'll fight some just for that.

What else do I have to say? It's the main man, Ganondorf. I can't wait to kick his ass again.

Never seen this enemy in any of the Zelda games I've played. However, I will look forward to this boss fight/mini boss fight and whatever skill or item we need to defeat it. Maybe ascend or some ice weapon? I heard that ascend works on certain enemies and I'm very curious about which ones. It'd be interesting if this enemy tries to swallow Link and Link just ascends through the roof of its mouth.

This is Hylia or some version of Zelda from the past (yeah I'm aware that Hylia is technically a version of Zelda but whatever.) I think she's very pretty, super amazing, and very strong considering she laser beams a bunch of Molduga with no sweat.

RIJU!!! Look at my girl double wielding swords (Can we do it too as Link? Nintendo?? I wanna duel wield.) Riju appears to have grown into her own and mastered her lightning powers without needing the Helm. I'm so proud of her and I can't wait to fight along side her.

I can't tell you how cool it is to see that Link will be working and fighting alongside other citizens of Hyrule. The resistance in Twilight Princess walked so that TOTK NPCS can run. At least that's my hope. Also neat looking sword Link.

Now this part of the trailer nearly gave me a heart attack. I was like no freaking way will the new champions literally fight besides Link and not just in a cut scene. How sick is this? Of course, I heard some people say co-op but I don't think that's what's happening. You see the blue glowy stuff on Sidon? Yeah it was on Tulin too. I think the new champions might be like summons, automated companions. I think Nintendo took the wolf link amiibo and the Yunobu follow quest and beefed it up. I'm very excited about it.

So Riju doesn't have a tear that we can see and they haven't shown Yunobu but Tulin and Sidon have different tears. I'm very curious about what these things do. I'm also amused that Sidon got blue and Tulin green considering the colors of Mipha's Grace and Revali's Gale. I'm not sure about the symbols on them since I don't think they correspond to any of the abilities icons unlike recall. Anyway, it's just another thing that can't be answered until the game is out.

Giant fire gleeok or three headed evil dragon or whatever it's called, it's a sick looking boss that I can't wait to fight. Also the weapon that Link is using looks so other worldly. It's got the shape of a wing and its probably ice related. I wonder what enemy Link got it from but it does remind me of Naydra so maybe it's a dragon part? Nintendo really popped off with the Fuse ability.

So Ganondorf is most likely what this mural figure represent but look at the Hylian (i think it's a hylian, could be a Zonai) beneath him. I think the figure with its hand raised represents either Link or the person who owned the ancient hand and sealed Ganondorf.

It's a bit hard to see but see these four warriors? I think they might represent the four champions since these guys are the only warrior figures in the middle of the horde of monsters. The warriors that aren't yet in the midst of monsters must represent the other NPCs, the citizens of Hyrule that are also fighting back. I think the mural is neat and I wonder where we might see it in the game.

Lastly, Zelda holding the Master Sword and saying "You must find me Link." The first time I watched the trailer I went "Zelda?? If Link has to find you then where the heck are you??" And that's where time travel to the past is looking like a more and more likely theory. The only other theory I have involves realms/alternate worlds since A Link Between worlds exists and so do the Twilight and Silent Realms. But again, I think we'll just have to wait and see what the game has in store.

Thank you for coming to the end of this analysis with me. I'm ecstatic to have my questions answered on May 12, 2023.

Edit: It has been brought to my attention that Riju does in fact have a visible tear and I even posted a picture where it is visible. Guess my brain was so focused on how badass she looked while duel wielding swords that I missed it. Welp that's three for three tears so I'm expecting Yunobu to have one.

[mylonelydreaming]

I'm not sure how many know this, but there's actually four separate playable Zelda role swap AU mods being worked on right now!

My hype for these is immense. If they all get finished and released, I might create a comparison of outfits you can have her wear, the pros and cons of each, etc. I will caution that one of them is pure nsft fanservice (but still has some cute sfw designs and interesting ideas going into it, that I think make it worth giving a look if you don't mind that sort of thing).

It's honestly heartwarming to see that, despite all the negativity surrounding TotK as of late, there's still people passionate enough about the game and Zelda's character that we are getting four whole mods centered all around making Zelda the center of the adventure. While not everyone will be able to play them, it's going to inject so much life into the game. I'm going to play the game for dozens upon dozens of hours more just running around as Zelda. I'm so thankful to everyone working on these mods and pouring their blood, sweat and tears of the kingdom into these projects.

Credits: StudioShigeki Zeldy!! TheRicoLicious Amiibolad SpageGeorge Jrhall Juliesgloom and others

[prokopetz]

It might still be too early for this kind of question, but what have been your favorite video games you've played in 2022? :3c

Given what the release schedule over the next three months looks like, yeah, it's probably jumping the gun, but what the hell. I'm going to arbitrarily restrict my consideration to games actually published in 2022, or else we'd be here all week, though.

(I make no apologies for the high concentration of sequels on this list. I know what I like!)

Amber City is a spiritual sequel to 2017's Flood of Light, and its gameplay is in much the same vein, being an atmospheric walking sim with light point-and-click puzzle elements. If you enjoyed the idea of The Witness but wish the puzzles didn't hate you personally, this might not be a bad one to check out.

Blossom Tales II: The Minotaur Prince isn't going to break any new ground for those who’ve played its predecessor, though it's somewhat more adventurous in its dungeon design; if you enjoy casual 2D Zelda-likes, you'll probably enjoy this. Fans of 1980s fantasy media may also get a kick out of its pop culture pastiche elements – let’s just say the narrator is definitely taking advantage of the fact that his grandkids have never seen Labyrinth!

COGEN: Sword of Rewind is a Mega Man Zero style hack-and-slash platformer that does one of the first interesting things I've seen in years with the time manipulation formula, essentially merging your "mess with time" gauge with your health bar. The damage-boost routing in the speedrun is something you need to see to believe.

Curse Crackers: For Whom the Belle Toils is a retro platformer from the makers of 2020's Zelda-like dating sim Prodigal. Comparisons to Celeste are, perhaps, unwarranted, as the mechanics are very different, but I felt something familiar in the role of momentum in its flow of play. Visually, it's incredibly pink, which is something I always appreciate in a game.

Dungeons of Dreadrock is a short logic puzzler that one could be forgiven for mistaking for an old-school roguelike at first glance. Each level is a set-piece that borrows from the conventions of the grid-based roguelike genre to create situations where only one sequence of actions leads to survival, and challenges the player to find it..

FAR: Changing Tides swaps Lone Sails' landship for, well, an actual ship. The engineering sim gameplay remains largely unchanged in spite of that. Some of its elaborations on the previous game's formula don't work as well as they might have, being challenging more due to the limitations of the physics engine than anything else, but the frustration factor wasn't high enough to ruin my fun.

A Game with a Kitty 1 & Darkside Adventures is me flagrantly breaking my own rules, since everything in this anthology actually came out in 2005–2008 – it's just the anthology itself that's a 2022 release; I'm mostly throwing it in because this list was otherwise light on free-to-play titles. It all held up remarkably well on a replay earlier this year, though.

Gunborg: Dark Matters is a run-and-gun precision platformer that seems to have flown entirely under the radar, having just 11 reviews on Steam at the time of this posting. I'm not sure why – I mean, it's got a great soundtrack, and you play as a woman with a sword the size of a surfboard. What else do you want?

Jack Move is a JRPG-style title that blends self-consciously silly 1980s cyberpunk with contemporary anime aesthetics. I have to confess that I'm cheating a bit by including this one, as it's been out for all of three days at the time of this posting, and is the only game on this list I haven't played; I have, however, followed its development for some time, and I've had a lot of fun with the various demos the dev team has put out over the years, so I'm confident in plugging it here.

Recursive Ruin takes a page from 2019's Manifold Garden and basically asks "what if it was super fucked up?" The recursion here is fractal rather than directional, with progress "inward" eventually leading right back where you started. The story is naturally pretentious as hell; whether that's a criticism is a matter of taste.

RUN: The World In-Between wears it Celeste influence on its sleeve, but really takes more from classic endless runners like Canabalt. The "procedural generation" is just the same dozen or so puzzles for each zone being strung together in various orders, and the story is thinner than the trailer makes it look, but if you're a fan of the "running from left to right set to awesome music" genre, you could do a lot worse.

Submerged: Hidden Depths picks up where 2015's Submerged left off. The gameplay is substantially similar, though with a heavier focus on exploration puzzles and fewer linear set-pieces. Even so, it's not exactly what I'd call challenging – it's better approached as a pretty walking sim with light parkour-puzzler elements.

System Purge is about as basic as it gets for a precision platformer. No fancy moves here: you run; you jump; you get your face melted off by a laser. There's actually quite a bit of blood and gore, which is something I rarely have the stomach for, but the game is short enough that the lurid bits don't overstay their welcome. Fair warning!

Taiji is... well, remember when I said Amber City is a good one to check out if you like the idea of the Witness but wish the puzzles didn't hate you? This is one to check out if you do enjoy it when the puzzles hate you. There's a lot here that will be familiar to fans of the latter, though the puzzles are somewhat more varied owing to the fact that colouring grids is a more flexible game mechanic than drawing lines.

Vain Ascendance is a a roguelite precision platformer whose art style and mechanics put me strongly in mind of 2018's Overclocked, though the dev teams are unrelated. When I've plugged this game in the past I've been teased that my obsession with games about red haired women who can air dash is showing, but this I must protest: her hair is purple.

As for unreleased games available in demo or early access versions that I've tried out in 2022, I'll keep it brief, since these aren't proper recs, but you might have a look at any of Dormiveglia, Garbage Girl Louise, Gigasword, Keylocker, Koa and the Five Pirates of Mara, Little Witch in the Woods, Rebel Transmute, Rose & Locket, Ruin Valley, Shards of Gravity, Star Hearts: Launch Point, Undergrave, Venus Looks for Jupiter, Vermillion Descent or War Girl.

[tennybird]

I have opinions about TotK. This is your spoiler warning if you haven't played/finished it yet. Also all of this is, once again, just my opinion on it and not a decisive fact! I will probably misremember things!

Anyway.

Okay so basically as someone who got it on release and beat it within a week, I'm a little underwhelmed by the game now that I'm looking back over half a year later.

It's not a terrible game! I'll say that first and foremost. But after waiting so long for it, and trying so hard to not hype myself up for it (failing horribly at that), it feels just a bit... same-y. The story is nice, and it's different. The boss fights and abilities you gain during your travels are nice. Everything else, though...

I like the map having stayed similar, with enough changes that I have to relearn some areas. The Depths are really fucking cool, and figuring out on my own that they're a negative of the overworld was incredible! But the sky islands were a little disappointing, I think. When we were told we'd be in the sky a lot, I thought there'd be more large islands like the tutorial one that you could walk around on. More references to Skyward Sword, too. It feels to me that they put more love into the Depths than the sky, in a way.

I like the main story. Figuring out Zelda was the Light Dragon (but not really believing it until the final Tears), and that she'd essentially spent thousands and thousands of years trapped inside herself, was AWESOME. Every cutscene involving her as the Light Dragon hit me hard, and I felt genuine sorrow everytime I saw her floating around the sky.

...That being said, I DO wish we could have a game where you get to actually travel with her. I WANT her to tell me about the minor lore of the world! I want to know about the various flora and fauna, and I want her to talk about Hyrule's history! Zelda is part of the royal family, and I'd imagine that part of her studies pre-BotW she'd have to learn about the history of her family (especially because of the importance of the Goddess' blood...). With how pre-BotW went between her and her powers, and her and her father, I'd imagine she'd make it a point to learn more about their history that ISN'T just the prophecy.

I, personally, did not like most of the temple boss fights. I can't really explain much of why- except for Queen Gibdo. I HATED Queen Gibdo because of all the smaller Gibdo chasing you, trying to chase down Riju for her power... It was a lot of things stacked on each other, and simply not my thing. Colgera was an absolute favorite however! The boss theme is AWESOME, the mechanics of being in the air and having to watch for projectiles, as well as crashing through the ice sheets to take it down? VERY, VERY FUN. Climbing through the sky just to get to the temple itself was one of my favorite experiences. Going up and up and up, and finally reaching the top where you break out above the storm clouds and see clear skies...

A thing that bothers me about the temples is that the cutscene at the end, where the ancient Sages gifts their powers to the new ones... I feel like they could've spent a little more time making them different, even if that meant more time in development. I would be okay with that! I think games should be in development longer in order to produce a good, finished product! Anyway.

The fight with Ganondorf was fun for me. I get SUPER immersed in it, so it was a fearful moment when I thought I'd beaten him, only to see his health bar fill again... and then go offscreen. And the DEMON DRAGON FIGHT? Holy SHIT.

I just wish there was more... substance to the game, I guess? It feels weird saying that. There are more things to do, but it's missing something I can't name. Something BotW had, but is now gone. I like TotK, like I said. It's clearly had love put into it, and I'm glad the developers spent more time on getting it as close to the perfect image they wanted as they could. Maybe it's just cause I've spent more time with BotW (over 300 hours), but I think I'm a little biased towards it. Maybe I'm just getting older and grumpier about vidya games, too. Who knows!

If you read all this, cool! I will reiterate that this is simply my view on it! If your view is different, good!! I'm happy to know there are people out there who enjoy it more than I did. Or if you hate it more than I do, maybe you have other things you want to point out about it that I missed.

[blueskittlesart]

hi! im really curious about your thoughts on oot, i'm trying really hard to like it and i wanna see what you enjoy about it

Hi!!! I'm going to do my best to explain exactly why I like oot but there is a TON of ground to cover. i have already written a bit about the story and my thoughts on it in this document, but this is a much more in-depth analysis of the symbolism and implied narrative which i think may be more helpful to you if you're struggling to get into the story and gameplay!

oot is my favorite zelda game of all time and was what made me fall in love with the series, but I will concede that it shows its age, especially with the insane advancements that video games have made over the past 2 decades or so since its release. Try to remember when playing it that it came out in 1998, when a game with any sort of 3d graphics at all was still new and exciting. some of its gameplay is going to be a bit dated, unfortunately, and it's totally reasonable to dislike that aspect of it i think! If you really find yourself struggling with gameplay, i recommend zeldadungeon.net for dungeon walkthroughs. they have very concise and easy-to-follow walkthroughs for the entire game which make the gameplay MUCH smoother for first-time players! there's no shame in needing walkthrough help in these dungeons, ESPECIALLY some of the later ones which get notoriously convoluted and difficult. that being said, even if you use walkthroughs, I'd encourage you to still pay attention to the dungeon's designs and details as a lot of thought was put into these designs and I think they're still some of the strongest in the series! gameplay-wise I'd also say that there are a lot of little collectibles that will seem like they're way more important than they are to new players. you don't need the skulltulas (they get you a bigger wallet), you don't need to complete any trading sequences, you don't even REALLY need to go out of your way to collect any of the extra heart pieces, the game is perfectly beatable with just the hearts you'll get from dungeons. Knowing all these things going in will really streamline your gaming experience and make things easier for you if you're getting put off by the 90s-style game design.

As for what i really love about the series, it's the story. And i understand that if you're not someone who makes a habit of analyzing media to an obsessive degree, at first glance oot doesn't seem to have a lot of story. A simple fact of old game design is that more dialog and cutscenes meant more storage space was needed, and the biggest constraint in game design at the time was the limited amount of storage a disc or cartridge could hold. What this means is that storytelling in older games like oot takes a very different form than the cutscene and dialog-heavy storytelling that games tend to use nowadays. the storage restrictions on the game meant that a lot of oot's story had to be told implicitly, via details and worldbuilding and actions carried out by the player. I know this can make it difficult to grasp at first glance! that's why i love to analyze it and talk about it, because I want people to understand how rich and well-told oot's narrative actually is and i know that most people aren't as willing to put in the work as i am, lol. with that being said, this is where the spoilers are gonna start! i'm gonna recap and analyze most of oot's story here, so if you're not looking for spoilers scroll away now and experience the game for yourself!!

oot is at its roots a story about adults failing children. i will elaborate on this point a bit more later, but for now let's look at our opening segment. We are introduced to our link, the youngest link in the franchise, at nine years old. From the get-go, we as the player are told that link's hylian parents died in a conflict very shortly after he was born, leaving him in kokiri forest to be raised by the deku tree, among the kokiri.

The kokiri are a race of eternal children. what this means, essentially, is that we begin the story with a link wearing rose-tinted glasses. the kokiri live forever without aging or dying, and they never leave the forest. Link has grown up isolated and without any concept of aging or death. he has been told by the deku tree, his father-figure, that he IS a kokiri and therefore will never age or die. Despite this, link does have a crucial difference from the rest of the kokiri that even he is aware of--he has no fairy. If you talk to the kokiri in the initial kokiri forest segment of the game, many of them will talk down to you or make remarks about you finally getting a fairy, reminding the player that link knows SOMETHING is wrong with him, that he's different from the other kids somehow, but he's not yet been able to pinpoint what.

we come to our first dungeon segment, where the deku tree summons link and tells him that he's dying and that link must defeat a monster to save him. when the player completes this objective, the deku tree dies anyway, revealing that he knew all along he couldn't be saved and lied to link about it in order to get him to do the dungeon. with his dying breath, he tells link to leave the forest and find princess zelda. (worth noting that up until this point, link has been told that leaving the forest will KILL HIM.) this is the first major failure of an adult we see, and as the inciting incident of the game it sets the tone very nicely for the rest of the shitshow. The deku tree lies to link his entire life about who he is, and then spends his dying moments lying to link AGAIN, specifically in service of a greater plan to turn link into the savior of hyrule by sending him to help princess zelda. this point is crucial--the deku tree has clear-cut, understandable reasons behind acting the way he does. It would have been much easier on link to allow him to grow up isolated among the kokiri, and it removes a lot of the potential danger he would have faced as an orphan in hyrule in the aftermath of the war which killed his parents. (we will later see that hyrule is in no way a safe place for a child on their own.) Explaining all the magical-destiny lore to a nine year old had the potential to scare him away from the task ahead, as did admitting to him that there was no way to save the deku tree. But lying to him about it all still ultimately deeply hurt him. this is the stage upon which the rest of the game will build.

Link, freshly traumatized by the death of his tree dad, leaves kokiri forest. he goes to castle town and meets princess zelda, a girl no older than him. Princess zelda tells him that she fears for the safety of her kingdom, but that no one will listen to her when she tries to warn them of the danger. this is our second adult failing--the entire conflict around which this game centers could have been prevented if only any adult was willing to listen to zelda's concerns about ganondorf. But because she is a child she is dismissed over and over again until she finally turns to ANOTHER child for help. her plan for link involves him retrieving objects needed to open the gateway to the sacred realm within the temple of time, which i know sounds like a bunch of confusing lore shit but all you really need to understand is that there's a gateway to what is essentially godlike power inside this temple, and zelda wants link to open the gateway and claim the power before ganondorf can. link already has one of the 3 keys he needs--it was the reward for killing the deku tree beating the first dungeon in kokiri forest, and zelda takes this as proof enough that he will be able to find the other two.

in these first three dungeon segments, link is confined to his nine-year-old form. His sword is wooden and deals considerably less damage than it will later in the game, and in each of the dungeon segments there are reminders of the way being a child affects his autonomy in hyrule--the guard at the gates of death mountain won't let him pass, the zora princess berates him for not being enough of a man, several collectibles are clearly visible but impossible to reach with his current size & ability, etc etc. this section of the game is deliberately juxtaposed against the initial segment in kokiri forest, in which everything was built for someone of link's size and strength and no part of the map was unexplorable or all that challenging. What you're supposed to realize here is that being a kid in hyrule is HARD. you have very little autonomy and are constantly condescended to. One of the few hylian npcs your age, Malon, is a good example of this--in her mini-quest she vents to link about how her father can't see that his stablehand resents him and she's constantly having to look after him without being listened to. She is being given adult responsibilities (looking after her father & the animals on their farm) without adult social status. Her situation is a deliberate parallel to both link and zelda's, though during this 3-dungeon segment of the game it's not immediately clear yet just how much adult responsibility link is actually shouldering. in any case, this is our third example of adults failing children, and the theme begins to be echoed in the worldbuilding of hyrule during this stage as well.

now we come to the initial confrontation, the scene which alters the trajectory of the game and divides what i consider the first and second halves of the gameplay (although the second half is probably much longer lol). Link, having found all 3 keys to the sacred realm, returns to hyrule castle, only to find that ganondorf has attacked, forcing princess zelda to flee with her attendant. He catches one final glimpse of her where she throws him the final key needed to unlock the temple of time: the ocarina. although no words are exchanged between them, it's clear that she's asking link to carry out the rest of her plan on his own and claim the power sealed in the temple before ganondorf can. and so link goes to the temple of time and opens the gateway, but link is nine years old and so link doesn't notice that ganondorf, a trained thief, is following him. When he opens the temple, ganon siezes the power zelda was trying so hard to keep him from finding.

we then pan down to link again, but different. he's changed, he's older. notably, he isn't an adult. he is sixteen years old, physically, but mentally, for both link and the player, no time has passed at all. this is important to keep in mind for the rest of the game--no matter how link may look, he is mentally still nine years old. he wakes up to essentially a lecture from the world's biggest dickhead, the sage rauru. Rauru places the blame for ganondorf's rise to power squarely on link and zelda's shoulders, noting that if link hadn't opened the temple of time in the first place, ganondorf would have never been able to sieze power. he tells link that he placed him into a deep sleep for the past seven years because, at nine years old, he wasn't strong enough physically to take on ganondorf and win. But now, he says, link is old enough to be a real asset. it's time for link to defeat ganondorf.

Once again, we have a clear-cut case of adults failing children. Link and zelda took matters into their own hands BECAUSE of the adults in their lives. for link, it was the deku tree (HIS FATHER)'s dying wish that he help zelda. for zelda, her plan was a last resort after begging every adult in her life to see what was coming and being constantly ignored. now that what she predicted has come to pass, she and link take all the blame for it, for being kids in a difficult position doing the best they could with NO ADULT HELP WHATSOEVER. you can't place the fate of an entire kingdom on the shoulders of two nine year olds and expect it not to fall. but that's what hyrule's adult leaders did, and when the kingdom fell they let the nine-year olds take the blame for it. zelda hasn't been seen for years. she's either dead or in hiding out of shame for her mistake. meanwhile, Link has once again become a pawn in someone else's game. The sage rauru decides for him, without ever consulting him, that he can't be trusted to remain conscious for the seven years between gameplay segments. that he will be safer and happier to remain asleep. anyone who stops for a moment to consider what this might do to link's mental state would have not done this, but rauru sees link as a child, which in hyrule is synonymous with an object to be controlled, with no feelings of his own. he needs to be protected and hidden, regardless of what effect it has on him when he wakes up. nothing else matters as long as he can be kept alive and unharmed. this is a deliberate parallel to the way the deku tree treated link while under his care in kokiri forest--he doesn't need to know the truth, because it's easier and more convenient for everyone else if he doesn't. its effect on his mental state doesn't matter. what matters is that he is kept in a position which is convenient for the adults in his life. this is another reminder of the way in which being so young hurts link, and if I can diverge into real-world relevance for a second, it's an obvious metaphor for the way trauma steals one's childhood. Link was never allowed to grow up normally. he went from being a kid one day to an adult the next, with no time in between to figure anything out. his childhood, his coming-of-age, was stolen from him by greedy adults who needed him to be a pawn in their war.

the dungeons in the adult segment of the game can technically be completed in multiple different orders, but the usual order (and what i think is probably the way the narrative is intended to progress) is to get to the forest temple first, which requires you to reenter kokiri forest, all grown up. it's important to note that up until this point in your gameplay, link still has plausible deniability about his race. sure, he didn't die when he left the forest, but maybe that was a lie told to ALL kokiri. maybe he's still a kokiri and he won't grow up. but now he's got solid proof that he was lied to, and that the safe, beautiful sanctuary he's spent the majority of his life in was never actually meant to be his home. When you return to kokiri forest as an adult, you find that it's nothing like the safe-haven you remember. it's been overrun with monsters that are taller than you now, as an adult. This is a metaphor, obviously, for returning to someplace changed. link goes back to his home and it doesn't feel like his home anymore with all that he knows now. And if the monsters weren't enough, if link talks to the kokiri, cowering in their little kid-sized houses, not a single one of them recognizes him. they address him as an adult they've never met before. to them, it's been seven years, and they've never known a kid to grow into an adult before. but to link, it's been a few days at most, and inside he's still the little boy they knew.

the dungeons in this segment of the game are mostly straightforward training exercises to give link the necessary skills and assets he needs to fight ganondorf. I'll skip over most of them, but there are three things i DO want to highlight about this section of the game: malon, sheik, and the water temple.

Malon is introduced in the first half of the game as an example of another child with very little agency and power. Seven years later, if link visits her again, he will find the ranch in an even worse state, with the stablehand having taken over and kicked out malon's father. Malon stays purely out of fear of what will happen to her horses if she leaves them in his hands. She is an adult now, as you are, and yet she has even less power than before. So much of the first half of oot is framed in such a way that the player wishes link was older. It wants you to think, wouldn't this whole thing be easier if I was an adult? Wouldn't I have more power, more agency? but now that you ARE an adult, you're confronted with the fact that nothing has changed. you are still a pawn in a war against ganondorf. Malon is still trapped at the ranch, forced to endure daily abuse or leave her animal friends to die. however, this segment is also the first time you as the player are given the option to fight back. If you, as a child, have taken the necessary steps to befriend malon and epona, one of her horses, you are able to use the bonds you forged in childhood to run the stablehand off the ranch and return power to malon. this mini-arc with malon is a teaser for the overarching arc of the game--having no power in childhood, believing that adulthood will be your savior, but finding the same powerlessness in adulthood, and ultimately returning to pieces of your childhood in order to finally reclaim your power.

next up is sheik, who is deliberately a mystery for the majority of this segment, but. well. we all know he's zelda, so i'm not going to beat around the bush. Sheik is what has become of zelda in the years since ganondorf took power--where zelda was once strong-willed and refused to stand down in the face of danger, sheik now moves among the shadows, darting in to offer link a bit of help or advice but never getting too close. My reading of this is that zelda, after growing up in the aftermath of her failed plan, was afraid of what she'd done to link. She saw her influence as the thing that brought hyrule to ruin--after all, link never would have opened the door in the temple of time if not for her. The way she sees it, her choice to use him back when they were nine destroyed his life and her kingdom. This is why she's largely absent in this segment of the game, only stepping in for brief moments and disappearing the second link tries to reach out for her. Her character at this point is essentially representative of self-isolation as a coping mechanism.

finally the water temple, which I promise i didn't single out just because it sucks, but i will warn any potential players that it sucks. it's the most convoluted ass design in the world and even with a walkthrough it gets confusing and hard to navigate at times. this is not the point of this paragraph, though. the point of this paragraph is that there is a miniboss in this dungeon that is INCREDIBLY important to link's character and to this day is one of the most well-done and impactful battles i've ever had the pleasure of playing. (side note, why the hell did the himekawa manga make this battle happen at the bottom of the fucking well?? ive believed for years that he was a shadow temple boss because of that. whatever. anyways)

about halfway through this dungeon, you come upon a room that looks like an endless sea of water, with bits of ruins and a single rotting tree in the middle. when you walk into the room, you'll be attacked by a mini-boss that takes the form of link's reflection, black and translucent with glowing red eyes. the miniboss dark link will mimic your attacks and block when you swing, requiring players to be crafty and strategic in order to beat him instead of just swinging with the right weapon at the right time. from a purely gameplay-based standpoint, this fight is sick as hell. it rewards you for thinking on your feet and forces you to come up with real time strategy to beat a foe who genuinely seems to think the same way you do, which is REALLY cool, especially for a game released in nineteen fucking ninety eight. narratively, though, there are symbols upon symbols upon symbols to be picked apart in this fight alone. there's the obvious metaphor of fighting onesself--representative of an internal struggle of some kind. pair that with the set dressing for this arena and the information we already know about link, and things start to fall into place. Link was raised in a lush forest, surrounded on all sides by walls of trees that kept him safe and isolated from the world at large. the minute he left that forest, bits and pieces of his worldview started to fall apart--he learned his identity as a kokiri was a lie, experienced the hardships of being a child in hyrule, and now he's grown up and become a pawn in the fight against ganondorf, losing what little agency he had along with the ability to return to his home in kokiri forest. He finds himself in this illusion room, with a shadow version of himself waiting to attack him, clearly indicating that this room is representative of his state of mind. an endless, desolate landscape stretching out into infinity. no walls to keep him safe, no cover at all save for that one single, ROTTING TREE in the middle. This tree is a symbol of link's mental state. (my evidence for this one spans across a couple games but just trust me when i say this interpretation is grounded in reality it would just take too long to explain) and the tree is not looking good. it is dying. and from this dying tree springs a reflection of himself that link must fight to progress. I think there's an obvious message that's being conveyed here: link regrets leaving kokiri forest. he regrets the way he's been used, the hard truths he has had to learn about the world since he left. He is still mentally nine years old, and as a child he still yearns to return to that safety he was promised in kokiri forest despite knowing that it's no longer there for him to return to. Dark link is representative of all link's fear and regret and turmoil surrounding his destiny and what has been done to him over the last seven years. Because this is a video game, he is able to physically fight those feelings, to defeat the reflection of himself that torments him and walk out of that room at peace, having faced his fears and confronted his true feelings. Narratively, this battle is representative of the ongoing internal struggle link is grappling with over the course of this segment of gameplay, and shows the player how link must overcome those feelings of fear and inadequacy in order to gain the power to defeat ganon.

now we finally come to the ending segment of the game. this is where the lore gets a little bit convoluted and trips some people up. if you're not a lore slave you can basically ignore the triforce thing. the only affect it has on the narrative is that it gives ganondorf a reason to need both link and zelda, since they have the other two pieces of the powerful relic he's after. this is why he kidnaps zelda and taunts link to come rescue her instead of just like. hunting them both for sport in the wilds of hyrule.

the final battle with ganon is the culmination of all your efforts throughout the game. in the leadup to it, the final dungeon reminds you of this by having each of its rooms be a mini-version of one of the previous six temples you completed in the second half of the game. once you finish this final dungeon, you're able to get into the castle. I have to mention one of my favorite design choices in this whole game here, which is the fact that the background music in the castle gets louder the closer you get to the final room, and when you finally get there it's revealed that ganondorf was playing it the whole time. the details in this game make me crazy they're all so well-done. anyways. to discuss this battle we first need to discuss a crucial character who i realize i've forgotten to mention this ENTIRE time somehow: navi.

I love navi. i hate the way she became a joke among fans. this is not the point of this post. the point is that narratively, navi is one of the only GOOD adult figures we see in the entire game. (one could argue that she isn't an adult, but she takes on a guiding and mentor-like role for link so i consider her one despite some of her more childish mannerisms.) Navi is the one character who has been at link's side since the very beginning, the only consistent good influence on his life. the only adult mentor who hasn't somehow tried to fuck him over or manipulate him somehow. She is INTEGRAL to his survival through all the crazy bullshit he gets caught up in. the game makes her importance clear to the player in two ways: the first, obviously, is that she's the tutorial character--she tells you where to go, what to do, explains mechanics and puzzles, etc. The second, and the detail that's gonna be super important in our discussion of the final battle, is that she's tied to the game's targeting mechanic. It's subtle enough that I actually didn't notice it my first time around UNTIL this final battle, but every time you target an enemy to attack them (which with the way the camera movement is designed in this game is basically a required element of combat) navi flies to their weak spot and hovers there, which is the in-game explanation for what targeting is--navi is showing link the monsters' weak spots. in the first phase of the final battle with ganondorf, he erects a forcefield which prevents navi from entering the battlefield, removing the player's ability to target completely.

i absolutely LOVE this battle in terms of both gameplay and narrative. removing the targeting mechanic is a genuine handicap that makes the battle genuinely difficult for the player, and narratively it serves to remind you of the importance of navi, a positive adult influence, in link's life. without her, dealing damage is so much more difficult, but as soon as you have her back the battle becomes super intuitive and you're able to strategize much more effectively. Eventually, you deal enough damage to get navi back and flee the castle with the princess, before making one final stand against Ganon, a mutated beast-form of ganondorf. with navi by your side, his massive weakness becomes easily targetable, and you're able to defeat and seal him for good.

the end-credits scene of the game shows link time-traveling back to his nine-year-old self, before any of the events of the game have come to pass, and re-entering hyrule castle to warn nine-year-old zelda about what is to come. this is a time paradox, i know, but i LOVE this ending thematically. As I mentioned extensively earlier, link and zelda's stories are both representative of the way trauma robs you of childhood. they were both stripped of their chance to be children and grow up and come of age due to what happened with ganondorf. Allowing link to go back and prevent those events from ever occurring is a promise of healing. it's a promise that he and zelda will be able to reclaim the childhoods that were stolen from them by war and by adults who wanted to use them as pawns in it. it's a reclamation of the agency that these characters have been consistently denied throughout their stories. it's. a good ending. it's a really good ending. I like it a lot.

So uhhh wow that was a lot! what it comes down to is that i think oot is a story a ton of people can relate to. being a kid with responsibility but no agency and longing to be an adult, but then growing up and wanting nothing more than to return to the childhood you lost... that's something that really resonates with me, at least. and yeah oot has a lot of quirks and convoluted story and stuff but at its core it's a really beautiful coming-of-age that deals REALLY well with trauma and childhood and growing up!! tldr it's just. a genuinely incredible story and it means a LOT to me lol

[thegeminisage]

So You Want To Get Into The Legend of Zelda But Don't Know Where To Start: A Masterpost

this discussion came up in my zelda stream the other week so i thought since i'm a longtime fan and Extremely Normal i'd make a guide to people who are just now getting into the series because of breath of the wild/tears of the kingdom. there's a lot of games and it can be confusing on how they're connected, where to start, etc. this is going to be an EXTREMELY LONG guide, sorry - if you want a short version you can check out this post i wrote a long time ago.

The Timeline

so the good news is that the zelda games were published non-linearly, meaning that the game that takes place first chronologically was not necessarily the first one ever made. they didn't even HAVE a timeline until like 2011 or so. for that reason, with a few exceptions*, you can jump in pretty much wherever you like. most zelda games (or pairs of games*) are spaced hundreds or sometimes even thousands of years apart, featuring different links and zeldas and other characters, which means you don't need to know anything about zelda to start with any game. the series is deliberately made so that each title works perfectly well as a stand-alone game.

*the exception is that a very few games have direct sequels - for example, majora's mask takes places just a few years after ocarina of time, phantom hourglass takes place after wind waker, etc. luckily even with these games, you can still jump in without having played their other half and have a good time without getting lost.

The Introduction

that said, the zelda series is extremely eclectic. while they all have the undercurrent of "zeldaness" that makes them special they can be as different as night and day. 2D or 3D, happy or edgy, mainline or spinoff, story-heavy or story-light...which game is best for you to start with will depend heavily on your own personal tastes.

the short version: if you haven't yet, i recommend most people new to zelda start with either ocarina of time or breath of the wild. these games, released almost 20 years apart, were both completely revolutionary and redefined their genres (or, in oot's case, the entire industry). they usually have something to offer everyone and they're both games with standout tutorial sections that teach new players the lay of the land with ease. there's a reason most people start with one of these two - which one you prefer depends on whether you can enjoy an older game or would prefer something newer. for brand-new gamers, i might also recommend skyward sword because of how much the game holds your hand - it's frustrating for more experienced players, but for those just getting started in gaming in general it might actually work out well.

the long version: OBVIOUSLY i'm going to do a game-by-game write-up. sue me. if you're looking for information on a particular title, ctrl+f it. otherwise, settle in. time for a cut!

The Games

how to read this guide:

which games: most of them. this guide is long enough as it is, so i'm not doing a whole ass writeup for REALLY niche spin-offs like the tingle games, the crossbow training game, the bs releases, or the much-loathed cdi games, even if i think the crossbow game ruled. i will do hyrule warriors and cadence of hyrule because they're properly fleshed out games. ports and remakes are gonna get grouped together with the originals to save time and space. if there's something missing from this list you want to know about, the wikipedia article with the complete list of zelda media is right here and it's a genuinely fascinating read. have fun!!

release date: self-explanatory. using japanese release dates for overall accuracy, and the games are in order of release date as well, but you DO NOT need to play them in that order - that would be madness

console: original console, other consoles it's available on (not including the weird experimental stuff like satellaview, c'mon), and whether or not it is available for switch. why? the switch is the latest console, how many new fans got into zelda, and because of nso, it will be the easiest access point for people who can't or don't want to buy new consoles/emulate on pc. nso stands for "nintendo switch online," which is a the online membership you can purchase from nintendo. the basic plan allows, among other things, emulation nes, snes, and gameboy titles. the expansion pack tier adds emulation of n64, sega genesis, and gameboy advance titles. i think nso is a good service with great value if you can afford it - read about it here. virtual console is just buying the game, usually for a low price, and downloading it digitally to play on newer consoles, but most of those services have been shut down now. there's also backwards compatibility - the wii u can play wii games, the wii can play gcn games, the original ds (and ds lite) can play gameboy advance games, and the gameboy advance (and gameboy sp) can play gameboy and gameboy color games. the snes can also play gameboy and gameboy color games with the super gameboy, and the gcn can play gameboy, gameboy color, and gameboy advanced games with the gameboy player.

average playtime: this comes from howlongtobeat.com - if it seems off, take it up with them

mainline game: this just means whether or not this game was a "big entry" into the series - typically, mainline games are devloped by nintendo directly (though nintendo develops side-games too), and they have a higher budget and a longer dev time, but this doesn't necessarily mean they're better - some mainline games are received more poorly than the ones that aren't mainline. also sometimes people argue about which games count as mainline games so take it with a grain of salt

sequel: whether or not a game is directly tied to another game in the series - again, even if they are tied to another game, you don't HAVE to play that other game first

story-heavy: how many cutscenes/cinematics/character stuff is going on

edge level: how much grimdark and serious stuff is present and how "on-screen" it is. zelda games are infamous for a careful balance of cheerful and dark stuff in all games, but some games are more forthright about the darker elements than others. i prefer those, but you may prefer it the other way!

the premise/the good/the bad/the verdict: the actual write-up. unfortunately not even i have played/finished every zelda game (someday...), so for the games i can't speak on personally, i will make a note on it so you can seek a second opinion.

now let's get started!

The Legend of Zelda (1986)

original console: nintendo entertainment system

available on switch: yes, with nso (basic)

also available on: gcn & gba (ports), gcn (gameboy player), wii, wii u, 3ds (virtual console), original ds (backwards compatibility), pc (emulation)

average playtime: 8-10 hours

mainline game: yes

sequel: no

story-heavy: no - in fact, for games in this era, reading the instruction manual is a must if you want story content; because the file size had to stay small, story content that couldn't fit was often added to manual instead

edge level: low

the premise: explore hyrule to find and put together eight fragments of the triforce so you can rescue princess zelda from ganon, prince of darkness.

the good: a solid introduction to the series, you can waste HOURS exploring this game, which is kind of a miracle considering the whole thing is only 128kb. (if you enjoy emulation, any computer will be able to play this. like doom, it could probably run on a microwave.) it's charming enough for when it was made and the music is all catchy as hell, even though it contains only a dozen or so tracks. this game is pretty light on puzzles, but most of the fun comes from the exploration - in fact, it was this game that the dev team for botw drew inspiration from when they were trying to figure out how to "reinvent" the zelda series - what they actually did was take it back to its roots.

the bad: well, it's that you can waste HOURS exploring in this game. back when it was released, the intent was to get players talking to one another - you would get one piece of the map explored and fine one secret, your friend would find and explore a different piece and find other secrets, and you'd trade! many people even had their own hand-drawn maps put together one screen at a time. since it really isn't possible to play this way today unless you get a bunch of friends together to do it blind, you almost certainly need a map or guide for this game when you're doing it on your own, otherwise you're never going to get anywhere, because there aren't usually indications that certain walls are bombable or bushes burnable.

the verdict: if you're a veteran who liked alttp (particularly the combat), if you have a high tolerance for aged games, or if you wanna see what this series looked like during its humble beginnings, you will like this game. if you're looking for a more guided experience or something with a lot of cinematics or puzzle-solving, pass. don't forget to read the manual!

Zelda II: The Adventure of Link (1987)

original console: nintendo entertainment system

available on switch: yes, with nso (basic)

also available on: gcn & gba (ports), gcn (gameboy player), wii, wii u, 3ds (virtual console), original ds (backwards compatibility), pc (emulation)

average playtime: 11 hours

mainline game: yes

sequel: yes, to the original legend of zelda

story-heavy: no - ditto for story being in the manual, like with the original loz

edge level: low

the premise: dive into six ancient palaces to place crystals there to wake princess zelda from an era long gone, who has been sleeping for hundreds of years. avoid being caught by ganon's minions, who want to use link's blood to revive their master ganon.

the good: because this game began life as an independent title which eventually got zelda-fied, it's quite different from most games in the series. it has side-scrolling combat and rpg elements. the soundtrack is very catchy, and this game also introduces dark link, an extremely cool popular doppelganger of our beloved hero. the map is HUGE in comparison to the original so there's tons more to explore here.

the bad: this game is HARD. not, "challenging," like, "bordering on impossible." i've never beaten it. i got just a couple of dungeons in and i was so miserable i had to give it up. even playing the "special edition" on nso (which is with all the unlockable upgrades to make it easier), it's a fucking slog. that's it! that's the only flaw.

the verdict: even with all its good qualities, even with how fresh it feels, it's so damn frustrating that only gluttons for punishment and very unique souls will truly find joy here. if you do decide to brave it, remember to read the instruction manual.

A Link to the Past (1991)

original console: super nintendo entertainment system

available on switch: yes, with nso (basic)

also available on: gba (port), gcn (gameboy player), wii, wii u, 3ds (virtual console), original ds (backwards compatibility), pc (emulation)

average playtime: 15-17 hours

mainline game: yes

sequel: no

story-heavy: medium. this was the first game to actually HAVE a proper story with named characters and extended dialogue. it wouldn't be considered story-heavy by today's standards, though.

edge level: medium, but like, on the high end of medium

the premise: one stormy night, link and his uncle receive a telepathic message from zelda begging for aid. link's uncle goes out into danger and doesn't return, so it's up to lik to go rescue her in his stead. from there you'll have to explore hyrule to locate the master sword, and explore the mysterious golden land behind the seal of the seven wise men to locate their missing descendants.

the good: alttp set the blueprint for the rest of the series - we finally have our first dungeon-crawler with proper puzzles, real dialogue from zelda, named bad guys, a huge array of funky items, and jammin' tunes still used in the games today (hyrule castle anyone?). plus, link has pink hair! the opening to this game is utterly iconic in every way, and traverse through not one but TWO world maps that overlay one another makes exploration even more exciting.

the bad: truly, no complaints here. it does require some patience. it's a little aged, and it's always possible to get lost without a guide, but so is it true for every game with a big overworld like zelda's.

the verdict: again, this game isn't story-heavy by today's standards, but back then it was more story than we'd ever gotten from a zelda game. as long as you don't go in expecting it to have an rpg kind of story, you'll probably enjoy it. if you don't like 2D zelda combat or need shiny graphics to keep your attention, give it a pass.

Link's Awakening (1993, 2019)

original console: gameboy/gameboy color, and a switch-exclusive remake

available on switch: yes - you can play the original with nso (basic) or the switch-exclusive remake

also available on: snes (super gameboy), gcn (gameboy player), gba, original ds (backwards compatibility), 3ds (virtual console), switch (remake), pc (emulation of any version)

average playtime: 14-19 hours for the original, 14-21 hours for the remake

mainline game: yes for the original, no for the remake, technically

sequel: technically a sequel to a link to the past, but they truly have nothing to do with each other

story-heavy: medium - similar story style to a link to the past. smaller cast and less overall dialogue, but more character work on marin specifically

edge level: usually pretty low, but in the rare moments when it jumps out it REALLY jumps out

the premise: while sailing, link becomes shipwrecked, washes up on shore of a remote place called koholint island, and is rescued by a girl named marin. with his boat in pieces, he has to go on a bittersweet adventure exploring the island and getting to know his rescuer in order to wake a mysterious being known as the windfish so he can go home.

the good: a tiny yet vast map, foreboding dungeons (hello, face shrine), a strange and quirky world that's impossible not to love with a small but charming cast to match (though, of course, the real stand-out character is marin), fun minigames, and a soundtrack that only got better in the remake. this game has it all! the story will surprise you by leaving you weeping at the end. there's not a huge difference to the gameplay between the original and the remake - it's mostly a graphical update, though they did add some side content.

the bad: it's one of those games that's different from the rest of the zelda series, which means it's not for everyone - there's no zelda, no ganondorf, no hyrule. also, getting the best ending is absolutely painstaking.

the verdict: what a wonderful game! the story is sparse but rewarding. if you don't like 2D zeldas, story-light games, or don't want to cry through the credits, you can give it a pass - but everyone else should love it.

Ocarina of Time (1998, 2011)

original console: nintendo 64, and a 3ds-exclusive remake

available on switch: yes, with nso (expansion pack)

also available on: gcn (port), wii, wii u (virtual console), 3ds (remake), pc (fan-port or emulation of either version)

average playtime: 25-40 hours

mainline game: yes

sequel: no

story-heavy: yes, medium-high. it wouldn't impress by today's standards but back then it WAS the standard

edge level: medium-high. it's horrifying in some respects, but overall very wistful and bittersweet

the premise: link, the local outcast, is ousted from his idyllic home after tragedy strikes in the form of ganondorf murdering his forest's guardian spirit. from there you'll explore hyrule to open an ancient doorway, and go on a time-traveling adventure in a last-ditch attempt to prevent a terrible future and heal a broken world that didn't always want you.

the good: what can i possibly say about ocarina of time that hasn't already been said? critically acclaimed as the best game of all time when it was made and still 25 years later (with only breath of the wild threatening to unseat it), this game is everything. this is the game that taught me to love stories, to love gaming, to love zelda. the world is full of secrets and places to explore, there's a kind of dual-overworld thing happening the way there was in alttp, there's a lot of collectibles and sidequests and TONS of minigames, there's a huge cast of characters with real depth, you can RIDE A HORSE, and the quite literal coming-of-age story has actual plot twists that affect the gameplay. this game defined the official timeline for zelda (massive spoilers at the link), it defined the series itself, it defined the genre and even the industry - games everywhere are still using concepts introduced (or made popular) here, like targeting enemies, context-sensitive buttons, dynamic soundtracks, and day-night cycles.

the bad: one of the dungeons is a shitty goddamn motherfucking royal pain in the ass. you know what i'm talking about. unless you don't, in which case i'm sorry. maybe it's less horrible in master mode, i don't know. also, like, it's not that the game has aged poorly, it's still a solid adventure, but it HAS aged. since basically every game you've ever played has emulated oot with stuff like lock-on targeting, these features won't feel as revolutionary and special to a new player today as they did to new players in 1998. that's not bad, but it has caused some people to get excited to look into the hype, pop the game in, and then go "wait, i don't get it."

the verdict: unless you absolutely cannot deal with playing a 25yo game, pick this up - for the historical value, if nothing else. i cannot more highly recommend any game that ever existed than i do this one. that said, for people who are new to GAMES IN GENERAL, it may not feel as intuitive as it did to new players in 1998, because speak a slightly different language now. new gamers should definitely still play this, but they should either use a guide or consider not making it their very first game. more experienced gamers should still be fine making this their first zelda game.

bonus verdict: as for which console to play it on - the 3ds version has a lot of quality of life adjustments, including gyroscopic controls and a master mode (gcn version also has master mode), and the graphical improvement is absolutely astounding...but it's on a teeny-tiny little screen. i think the best way to play ocarina of time, if you're able to, is to emulate the 3ds version with the fanmade 4k upgrade. of course, this requires a good pc, emulation skills, and a properly connected controller (i haven't done it yet myself) - so don't feel bad playing anyway you can access it.

Majora's Mask (2000, 2015)

original console: nintendo 64, and a 3ds-exclusive remake

available on switch: yes, with nso (expansion pack)

also available on: gcn (port), wii, wii u (virtual console), 3ds (remake), pc (emulation)

average playtime: 20-38 hours

mainline game: yes

sequel: yes, it's a direct sequel to oot. the opening may be a little confusing if you haven't played it but otherwise you're fine

story-heavy: yes, VERY. the character-work alone is unparalleled even by modern standards

edge level: EXTREMELY HIGH. this is without a doubt the darkest and most haunting game in the series

the premise: link, trying to escape his problems back home, gets thrown into an unfamiliar world where the moon is going to fall and destroy everything in only three days. with the help of multiple forms (link can shift into a deku, goron, or zora), and time travel, link relives the same three days over and over again, exploring clock town and the lands around it, and getting to know its people, so he can find a way to help everyone and prevent the oncoming apocalypse.

the good: holy cast of characters, batman! as with every zelda game, there is exploration and dungeon-crawling, and these are phenomenal here - of particular note is how the use of 4 different forms plays into puzzle-solving - but the real meat of this game comes from its incredible cast. near the beginning of the game you are given a journal, in which to note the schedules and habits of each and every resident of termina as you learn them. you play the same three days over and over, so while the clock is always ticking, there's an infinite time to get to know them. each character reacts to the upcoming armageddon differently: some are resigned, some are frightened, some are brave, and some are in denial. (notably, one minor character who appears brave crumbles in the final hours, begging not to die.) who these people are and the sorrows they carry around with them to the end of the world define this game and make it like no other.

the bad: look, it's a game about an upcoming apocalypse. you're on the sinking titanic and the clock counts down every precious second and no matter what you do there will ALWAYS be that time limit, which not everyone likes. it's stressful, and it can be sad and tragic, even upsetting at times, which is kind of a requirement for the powerful catharsis it also offers. it's very different to the usual zeldas - no zelda or ganondorf or hyrule - which also isn't everyone's bag. it's also a huge timesink - you really miss a lot of the point if you don't 100% it or at least get all of the masks, which takes a long time and a guide (although it is fun as hell the whole time).

the verdict: some people really hate the time limit and find it imposing. i mostly don't have a problem with it - sometimes i have to race to finish a task before i run out of time so i HAVE time to travel back before i get blown to bits, but without this mechanic, the game wouldn't work at all. famously, this game was made in only one year (hence the reused assets), so the pressure the devs felt really came out in their work. i think it's a fucking masterpiece, but it is a game about death, among other things, so if you need a feel-good title this one probably isn't your stop. that said, the incredibly powerful cast makes this game timeless - if not for the graphics you'd hardly know it's aged at all. even newer gamers should enjoy this one, but use a guide! for a game this complex it's more important to find everything than it is to do it blind.

bonus verdict: while the graphical improvements on the 3ds are wonderful, and the added fishing minigame is great, i mostly preferred the controls of the original. new players may not notice the difference, though!

Oracles of Ages & Oracle of Seasons (2001)

original console: gameboy color

available on switch: not at the time of writing, but nintendo has confirmed it is coming to nso (basic)

also available on: snes (super gameboy), gcn (gameboy player), gba, original ds (backwards compatibility), 3ds (virtual console), pc (emulation)

average playtime: 16-25 for oracle of ages, 15-21 for oracle of seasons, leading to about 31-46 hours total

mainline game: no

sequel: not linked to any other games in the series, but they're technically both sequels to each othjer - more below

story-heavy: no, about medium-low

edge level: low

the premise: link hears the triforce calling out to him, and when he investigates, is thrown into one of two words, depending on which game you're playing. these two games stand alone, but they can also be linked via a code so that your playthrough on one can be transferred over to the other (like golden sun, if you've ever played those games). you can choose which game to play first. at the end of your playthrough, you can get a code, which can then be entered on the other game - complete both and you get a secret special grand finale. somewhat like pokemon games, the games complement each other in their differences, thoguh the differences here are much more drastic - they have different overworlds and dungeons, a slightly different set of items, and a different way of interacting with the world (by either traveling through the ages or by changing the season). oracle of ages is focused on puzzle-solving, while oracle of seasons is focused on combat and action.

the good: what a dense and detailed little adventure these games are! with a double of everything from items sets to overworlds, there's a ton to do. the worlds have a ton of variety and can feel endless at times. and since they were built on (i think) the link's awakening engine, gameplaywise it's kind of like getting to play a really good sequel to that game for the first time...twice. the lore is fun, the lands are fun, there's a couple of unforgettable tracks i still listen to. since you can play the games in either order, there's a good bit of REplayability involved, because hardcore fans will want to experience it both ways - leading to two playthroughs of each game, meaning four total playthroughs, for up to a whopping total of 92 hours of gameplay. talk about bang for your buck!

the bad: the codes are a real pain in the ass to work with, and you really can't get by without them. not only is it essential for moving your file from one game to the other, but you can also use them to get special items from one file to another. it's SO EASY to enter these codes in wrong and SO TEDIOUS to have to check them character by character. here's hoping the nso version has a better way (though i'm not holding my breath).

the verdict: an absolute must for any 2d zelda fan. first-time players, i HIGHLY recommending playing ages first. there's an important side-character in ages whose story gets resolved in seasons, but not if you play seasons first. of course, if you really like the games a lot, you can always start over and play them in the other order for different cutscenes.

Wind Waker (2002)

original console: gamecube

available on switch: no :(

also available on: wii u (hd port), pc (emulation)

average playtime: 25-60 hours

mainline game: yes

sequel: technically, this is one POSSIBLE sequel to ocarina of time (which splintered the timeline, leading to multiple possible branching paths), though it takes place hundreds of years later. it has the same ganondorf from that game, but you should understand everything just fine whether you've played oot or not.

story-heavy: yes

edge level: medium-low - there are some more serious moments, and this is technically a post-apocalypse story, but overall this is one of the more bright and joyful games

the premise: this is a hyrule that was flooded by the gods when the hero of an ancient era could not show up to defeat ganondorf. people live on former mountaintops, now islands, interconnected by only the sea, and sailing is very dangerous. when link's younger sister is kidnapped, he has to leave his little island and go on a sea-faring adventure with pirates in order to get her back and unlock the mysteries of the hyrule beneath the waves.

the good: the game is vibrant, colorful, beautiful, and full of life. even if you don't like the cartoony art style (and i have mixed feelings), you can't deny the ambiance. there's a new combat system where for the first time you can pick up the dropped weapons of enemies, and the cast is stand-out - the "zelda" of this game is more hands-on than in any other title, and ganondorf is at his most sympathetic here, not to mention all the minor characters and their various sidequests. the characters are truly some of the funniest and most endearing yet - this game will make you laugh out loud. the enemies and bosses are unique and fun to grapple with (special shoutout to helmaroc king) and there's no shortage of stuff to do.

the bad: firstly, we have to mention the art style, which has been a little divisive over the years. it won't be for everybody. i like it for the most part, because you couldn't get the same vibe without it, but i do wish it was just a little less stylized - just a little! secondly, the game is just not finished. the development was rushed, leading to the cutting of an entire dungeon and a poorly-implemented second half where the focus shifts from exploration and dungeons to a near-ENDLESS fetch-quest for triforce pieces which involves a LOT of incredibly tedious and time-consuming sailing. (as kids, some trips were so long we could just set the direction and leave the controller on the floor while we took a bathroom break.)

the verdict: overall, the flaws aren't enough to ruin what is a truly great adventure. fans of the more serious games (hi! me!) may find themselves wishing wind waker had leaned into its post-apocalyptic setting and mysterious drowned world aspect more, and fans of lighter zeldas will find themselves wishing the damn thing was finished, but overall, everyone should find it's worth at least one playthrough, unless you absolutely cannot tolerate the visuals. fans of lighter zeldas, combat, and pirates will all love this one.

Four Swords (2002)

original console: gameboy advance

available on switch: no :(

also available on: 3ds (single-player remake), potentially pc (idk if emulation of the original is possible considering the connectivity, but you could almost certainly emulate the remake)

average playtime: 3-17 hours

mainline game: no

sequel: technically, it's a sequel to minish cap, but minish cap hadn't been made yet, so whatever

story-heavy: not at all

edge level: non-existent

the premise: link pulls the ancient "four sword" in order to defeat bad guy vaati and becomes split into 4 selves. this game was the first multiplayer zelda, and you had to have three friends, all with their own gameboys and link cables, to even play this bad boy. from what i understand in most of the game you just compete to see who can get the most rupees? a single-player version was released on the 3ds a few years later but i don't know if you can still buy it legit or if the 3ds store was shut down. since it was so inaccessible, pretty much no one played this, including me, so i can't give it a proper writeup. probably nobody reading this will ever get a chance to experience four swords how it was originally meant to be played either, but you can find this game's spirit in similar titles like four swords adventures or minish cap, which are much more accessible.

Four Swords Adventures (2004)

original console: gamecube

available on switch: no :(

also available on: uh yeah that's it. just the gamecube. you may be able to emulate it on pc though - i've never tried

average playtime: 15 hours

mainline game: no

sequel: teeechnically a sequel to the original four swords, but nobody played that, it's fine

story-heavy: not at all

edge level: very low

the premise: a sequel to four swords, this was intended to be the sleeker and (somewhat...) more accessible version. you can play this one as a single player, but my brother and i did it on co-op with a link cable and a gameboy sp - just the two of us, and no need to find two other friends - we each controlled two links each, to simplify it.

the good: the game is FUNNN as hell. the graphics are sleek as fuck because it's a 2d game running on a system capable of rendering 3d ones (just look at those flame effects!), the gameplay is addictive, and co-op puzzles are a blast. nintendo has always come out strong when it comes to in-person multiplayer (even if they have yet to catch up with online multiplayer...) and this is no exception. for anyone who ever wished they could sit on the floor and play zelda with their siblings the same way they played mario kart or smash bros, this game is a dream come true.

the bad: this game is still so GODDAMN inaccessible. we were lucky enough to have the gameboys and link cables we needed, but i don't have any idea how you'd go about playing it with other people now without some extremely tedious emulation or buying some extremely old (and expensive) gaming equipment. sure, emulating the single-player version on gcn is no big, but the game really shines in its multiplayer aspect, which is all but impossible for most people to enjoy now. it's incredibly frustrating.

the verdict: if you're lucky or rich enough to own a gamecube, a gameboy, and a link cable (multiple gameboys and link cables?) in 2023, AND you have a friend or three to play it with, please pick this one up. unless you just hate 2d zeldas, it is a FUCKING blast, and zelda fans the world over are probably envious they can't experience it for themselves.

Minish Cap (2004)

original console: gameboy advance

available on switch: yes, with nso (expansion pack)

also available on: original ds (backwards compatibility), 3ds, wii u (virtual console)

average playtime: 15-27 hours

mainline game: no

sequel: no, but it is a prequel to the four sword series (made well after those games were released)

story-heavy: medium-light - about the level of most 2d zelda games

edge level: very low - this is such a bright and cheerful adventure

the premise: in an adventure meant to explain vaati of four sword fame's origins, you meet teeny-tiny people known as the minish, who live in teeny-tiny spaces all over hyrule. they mend shoes, use pots and old boots as houses, fight dust mites, and leave surprise gifts such as rupees and hearts beneath pots and the like to help adventurers. by shrinking and growing you explore various nooks and crannies and solve a ton of puzzles, and through fusing items called kinstones with strangers you can change or uncover more of the overworld and unlock even more secrets

the good: the game is beautiful, bright, and fun. the soundtrack is catchy, the gameplay is addictive, the puzzles are very fresh, and the kinstone fusion feature means you'll be doing a lot of backtracking and replaying to see all this game has to offer.

the bad: besides zelda, i didn't find myself terribly enthralled with most of the cast. the reused sound effects from other games can be nostalgic sometimes but sometimes they feel a bit cheap, since they had to be downsized; they're the audio equivalent of a pixelated jpg. and as great as the soundtrack is, it suffered from the same thing.

the verdict: my nitpicks with this game are minor - i think it's a wonderful and fresh entry into the series, and probably one of if not the best 2D zelda. if you like 2D zelda at all, you'll want to pick it up.

Twilight Princess (2006)

original console: gamecube AND wii (i know)

available on switch: no :(

also available on: wii u (hd port), pc (emulation)

average playtime: 30-56 hours

mainline game: yes

sequel: technically, this is another possible sequel to oot, taking place 100 years later, and involving oot's ganondorf. (it has nothing to do with the timeline wind waker is on.)

story-heavy: yes, very - the cutscenes look great, the mocap for this game is wonderful

edge level: very high

the premise: 100 years after ocarina of time, darkness falls across hyrule in the form of "twilight," desolating every part of hyrule that it touches by turning its denizens into ghosts, and forcing princess zelda to surrender to zant, the king of the twilight realm. when link's village is destroyed by this twilight and he is turned into a wolf, he leaves to save zelda, save hyrule, and save his home. this game was meant to be a gcn title originally, but development was delayed for so long that they began co-developing it for the wii and released it as a launch title for that console.

the good: where do i start? this game was intended to be a return to oot's more realistic artstyle after many years of the wind waker art style in spin-off games, and was in fact a spiritual remake of oot in many ways. it is similar graphically, tonally, and gameplay wise - it's the oot they wanted to make in 1998, only with a more powerful engine, and fans loved it - check out this video of its announcement at e3 - it still gives me chills. famously, this game introduced horseback combat, which the devs had really wanted to implement in oot and were forced to give up on due to hardware limitations. the cast and the puzzles are all great on this one, and the world is huge and full of surprises, but of particular note is your partner midna, who comes with a better story and more personality than any partner before or since (sorry, king of red lions). lesbians and their associates will LOVE whatever the hell she has going on with zelda in this game. twilight princess also has the most fleshed-out swordplay of any zelda game - the various techniques you learn from the ghost swordsman are fun as hell, and every single boss battle in this game absolutely fucks.

the bad: despite its high moments, the story in this game is just a little weirdly paced. ganondorf was brought in kind of suddenly, and link's childhood friend from his village, whom the story focuses on a lot, is maybe not the most compelling character (sorry to ilia fans - she's okay, just not my favorite). not everybody liked this game's emulation of oot, and some people felt it was uninspired. personally, my gripes are mostly about the dual-console release; having played both versions multiple times, i think they both suffered from being co-developed. because the wii version uses motion controls and most people are right-handed they switched to a right-handed link for the wii (BLASPHEMY), meaning they actually flipped the entire world horizontally, and there are times when the laziness of this action is very apparent when playing the wii version. while the controls are superior on the wii (there's a mandatory shooting minigame that's all but impossible on gcn connected to a crt tv), the graphics just...look a little aged for a wii game, whereas they look damn good for a gamecube game. the hd remake fixes this, but since it's only on the wii u, fucking nobody has played it, and it remains inaccessible to most players except through emulation.

the verdict: if you can get your hands on this, do it. despite its flaws it's a classic meat-and-potatoes zelda adventure. fans of combat and more serious stories will especially love this one. personally, i preferred the gcn version because of left-handed link, but i do think the motion aiming on the wii (and wii u?) was a great addition, so it's a matter of preference as far as if you want the hd graphics and what controller feels correct in your hands.

Phantom Hourglass (2007)

original console: nintendo ds

available on switch: no :(

also available on: wii u (virtual console), pc (emulation)

average playtime: 17-31 hours

mainline game: no

sequel: a direct sequel to wind waker - not sure if you need to have played that to understand; from what i can tell there are actually a few plotholes

story-heavy: medium, i think?

edge level: low, as far as i know

the premise: after tetra gets sucked into a ghost shiop ad vanishes, link has to set sail on a new ship to find a way to free her. that's all i really know because, okay, up-front, i did not finish it. i did not give it a fair shake. it's got great reviews and they can't all be wrong, but i found controlling link with a stylus (the ds had no control stick) frustrating, the game hard to see (the graphics are trying to emulate ww's style on less capable hardware), and the story uncompelling (tetra? a damsel??). i know a lot of people really love linebeck and i wanna love him too one day, but until then, get your answers from the people who love this game!

Spirit Tracks (2009)

original console: nintendo ds

available on switch: no :(

also available on: wii u (virtual console), pc (emulation)

average playtime: 20-33 hours

mainline game: no

sequel: to wind waker and phantom hourglass, technically, though it takes place 100 years after those games

story-heavy: medium, i think?

edge level: low, as far as i know

the premise: 100 years after wind waker and phantom hourglass, a new hyrule has been founded above the waves and it has TRAINS. for some reason zelda gets zapped out of her body and can now follow you around as a cool ghost who possesses bigass statues to help you out. that's right, your partner for this game IS ZELDA. the main theme for this game is so catchy it's a crime. i never played this since i didn't finish phantom hourglass, but it looks so fucking cool that i wanna power through phantom hourglass despite my initial reservations just so i can take a crack at it.

Skyward Sword (2011)

original console: wii

available on switch: yes, as an hd port

also available on: wii u (virtual console & backwards compatibility), pc (emulation)

average playtime: 30-58

mainline game: yes

sequel: no - in fact, it's the prequel to every zelda, being that it's the very first one in the timeline

story-heavy: yes, very

edge level: mostly low, but it does have its serious moments

the premise: taking place at the very start of zelda's long and complex timeline, this game seeks to explain the origins of hyrule's creation and and some of its mythology. link and the other proto-hylians live in islands high above the clouds and attend the school for flying around on bigass birds, not knowing if there even is a world below, until one day zelda (not a princess but the headmaster's daughter) gets dragged down by a dark force, and link must venture into the land below to save her.

the good: skyward sword is oozing ambiance. a standout area of this game is lanayru desert, in which you can use a timeshift stone to shift the area directly around you back in time by 1000 years or so and watch it come to life with greenery. this soundtrack is fully orchestrated, we get to hear zelda sing (her first voice acting debut!), and when the motion controls are on, they're REALLY on. sometimes the swordfights feel like actual duels. the cast of side-characters all get a lot of development (shoutout to my man groose!), and the villains are creepy and quirky. the dungeons in skyward sword are especially good - the cistern in particular is one of the best in the game, but we can't forget the ghost ship or the sky temple either. minor spoilers for the story, here, but finding out WHY there are so many zelda games and the struggle against evil never ends (it's a literal curse) was really cool and really reframed how a lot of people saw the series and the characters - it's a lot more tragic that they have a fate they can't escape from so long as zelda fans want more games.

the bad: minor spoilers for the story here too. as far as prequels go it did not make a lot of sense. there's nothing about the three goddesses we've come to know and love, only about the minor goddess hylia, and the ancient hyrule features species that don't ever make another appearance mole guys and seahorse dudes. there aren't any zoras or gerudo or koroks/kokiri, there's only one goron, we only see two sheikah...it feels so far removed from the hyrule we know that it doesn't feel like a prequel at all. additionally, when the motion controls aren't good, they're REALLY bad - especially on the switch version, which has less precise controls than the wii. finally, while i personally didn't mind it (puzzles!), a lot of people disliked how linear the overworld was and complained there was no exploration. another common frustration, one which i share, is how much the game holds your hand. (this famously inspired toriel in the game undertale to LITERALLY hold your hand and do the puzzle for you.) this game will present a puzzle and then have the nearest npc (most often fi, poor fi, she undeservedly gets all the blame for this) explain how to do it before giving you even one chance to try for yourself.

the verdict: it has its flaws, but i still enjoy it a lot. i think more experienced players will be very frustrated with it at times, and people who hate motion mechanics or constant alerts/lots of useless dialogue will be miserable. (you can turn motion controls off in the switch version but it feels unnatural because of how sword-swinging works.) on the other hand, the game's linear and hand-holdy nature actually makes it a perfect start for brand new gamers, especially given where it falls on the timeline.

A Link Between Worlds (2013)

original console: 3ds

available on switch: no :(

also available on: pc (emulation)

average playtime: 16-23 hours

mainline game: no

sequel: takes place at least 100 years after a link to the past, and even uses the same overworld! you don't have to play that to understand this though.

story-heavy: medium, about the level you expect for 2d zeldas

edge level: medium-high

the premise: link turns into a little flat guy so he can go more places! this is a sequel involving the inhabitants of lorule, a parallel world to hyrule, one without a triforce. go back and forth between kingdoms to save hyrule from suffering the same fate, all while trying to kick a giant rabbit guy out of your house.

the good: the puzzles in this one are really fun and fresh, the old overworld map feels super nostalgic, the music is charming, and being able to tackle the dungeons in any order is a nice touch. i especially loved getting to know certain inhabitants of lorule.

the bad: the non-linear style won't be for everyone, and i wish i had been able to spend more time getting to know hilda in particular.

the verdict: this in my opinion is one of the best 2D zeldas - if you're a 2D zelda fan, especially a alttp fan, don't miss it!

Hyrule Warriors (2014, 2016, 2018)

original console: wii u

available on switch: yes, as a remake/collection

also available on: this is complicated. the game was originally released on wii u, then ported to the 3ds with new added content but i think mising some other content, and then FINALLY released on the switch with ALL the content. you can also emulate any version on the pc

average playtime: 17-38 hours, though people report up to a whopping 366 hours to 100% it

mainline game: no

sequel: no

story-heavy: medium-ish. there's cool cutscenes but it's not that deep

edge level: low, this shit is just balls to the wall crazy-ass fun

the premise: a crossover between dynasty warriors and zelda. turn zelda into a beat-em-up and add cameos from popular characters doing increasingly batshit anime fighting moves. what's not to like?

the good: this game is insane. the electric guitar soundtrack, the cameos, the nostaliga - it's all here. the gameplay is good mindless fun you can really sink your teeth into, and despite it not being the point i had fun running around and exploring all the maps. there's so, so, SO much to do (366 hours!) you will literally never see the end of it.

the bad: the OCs are maybe not my favorite people. i don't know if they come from other dynasty warriors games but they were a little annoying and truly, uh, underdressed. also, as someone who likes to 100% games, it annoys me that i'll likely never 100% this, just because of the sheer timesink/grinding required.

the verdict: if you like fighting games and combat, this is for you. if you're into zelda for the serious story stuff and the puzzles, give it a pass. completionists beware, 100%ing this game is NOT for the faint-hearted.

Tri Force Heroes (2015)

original console: 3ds

available on switch: no :(

also available on: pc (emulation)

average playtime: 14-26 hours, but up to 56 hours to 100% it

mainline game: no

sequel: takes place a few years after a link between worlds - not sure if you need to play that to understand this, but it seems unlikely

story-heavy: doesn't look like it

edge level: low. oh my god, he's in a little cheerleader outfit. look at him

the premise: i don't really know, i think you crossdress to gain superpowers and then solve puzzles with your buds. i didn't play this one because i didn't have 2 friends with a 3ds and a flexible schedule. apparently there's a one-player mode, but it just doesn't seem as fun, and the lack of a 2-player mode is sad because my brother and i could've rocked it. like the four swords series, this looks like great multiplayer fun, but it's inaccessible to people without the time or coordination to get 3 people together. it looks fun as hell, though.

Breath of the Wild (2017)

original console: dual launch on wii u and switch

available on switch: yes, obviously :)

also available on: pc (emulation)

average playtime: 50-100 hours, though to 100% everything and enjoy the dlc it could take up to 210!

mainline game: yes

sequel: technically, it's a sequel to everything, since it takes place at the end of (somehow) every timeline. but you don't have to have any prior experience to enjoy it

story-heavy: medium-heavy? this is the first zelda game with voice acting, and what cutscenes it does have are amazing, but you can expect to see only a very few of them

edge level: very high (this is once again post-apocalyptic), but not as high as majora's mask or twilight princess

the premise: link wakes after a 100 year sleep with no memory of who he is or what happened to the ruined world around him. explore a completely open world in your own way at your own pace, recover your memories, rescue zelda.

the good: this game hit the industry at a thousand miles per hour and six years later the hype still hasn't slowed down. this redefined the series and the genre in a way we haven't seen since oot in 1998. this game is revolutionary in the way that oot was revolutionary back then, but updated so that newer players find it just as surprising and refreshing as new players in 1998 found oot back then. the exploration, the physics, and the world are all totally unparalleled - three decades later, this zelda truly gets back to the original explorer and adventuring spirit miyamoto tried so hard to capture in the very first legend of zelda game all the way back in 1986.

the bad: as much fun as this world is to play around in, i found that most of my joy came from the exploration and not knowing what i'd find around the next corner. it's still a very, very, VERY good game, but i found that on my replay it just didn't have that same shininess that other games in the series do when i replay them. and, of course, because it's so different it's very divisive - there's no human ganondorf in this game, no dungeons - all your puzzle-solving comes in microdungeons called shrines scattered around hyrule. weapon durability is also a hotly debated feature - even i found it frustrating at times, although in many ways the forced improvisation it brings to the table is more than worth the cost of admission. and overall the enemies are all the same and have no real difference between them, even the bosses, and the boss fights kind of suck. it's a really good game, but it does have its flaws.

the verdict: this is the perfect starting point for anyone new to the series. many people have started with this game and learned about hyrule alongside the amnesiac link - i had an extremely interesting discussion once with someone on tumblr about how the game is different if you've grown up loving hyrule and see it get torn apart, vs if the only hyrule you know IS the one that's torn apart. both ways are wonderful experiences, and i think even non-zelda fans would find something to love in the freedom this game offers.

Cadence of Hyrule (2019)

original console: switch

available on switch: yes, obviously :)

also available on: pc (emulation)

average playtime: 6-11 hours, but you can add up to 12 more if you play the dlc

mainline game: no

sequel: no

story-heavy: not really

edge level: low

the premise: a crossover with crypt of the necrodancer, a roguelike rhythm game. there's no real story here except, notably, a brief cameo of a younger ganondorf, though his back is always turned to you. (if you could go back and kill ganondorf as a baby...)

the good: well, a rhythm game's gotta have good music, right? both the rehashes of the old songs and the new music are absolutely stellar here. i'm normally iffy on rhythm games but i found the gameplay addictive (there's a strong tactical element to moving around) and the exploration fun. getting to play as zelda (!!!) if you want is a great bonus, too. there's really nothing not to love.

the bad: the kind of movement you have in this game doesn't lend itself super well to boss fights most of the time. they weren't bad by any means but definitely one of the weaker parts of the experience.

the verdict: unless you hate rhythm games or hate fun, you'll like this one, especially if you're a crypt of the necrodancer fan or a fan of zelda's music in general. puzzle fans might be disappointed there aren't as many mind-twisters in this one, though.

Hyrule Warriors: Age of Calamity (2020)

original console: switch

available on switch: yes, obviously :)

also available on: pc (emulation)

average playtime: 25-40 hours, though it can take up to 76 hours to 100% it

mainline game: no

sequel: a direct prequel to breath of the wild and its eventual but as-of-yet unreleased sequel tears of the kingdom

story-heavy: yes

edge level: relatively low, i'm told

the premise: so this is a prequel to botw, taking place during the era just before the apocalypse. i didn't finish it because it came out right around nov 5 2020 (iykyk) and then someone spoiled the ending for me and i thought it sounded stupid, so i was less motivated to play. what little i did play of it was great, though - it was exciting and fun in all the ways the original hyrule warriors was but bigger and badder in every respect, and with a little more of that somber botw flavor. i intend to finish before totk comes out despite my reservations about the story.

The Conclusion

it's a great time to be a zelda fan because out of the 22 games on this list, only 8 of them are unavailable on nintendo switch, and only 2 of those are what i would consider to be mainline games. that means you can access two thirds of the ENTIRE SERIES, spanning almost 4 decades, on a single console! your only limits are your time and your wallet. most of the ones that AREN'T available on the switch can be played on a 3ds, so if you have or buy one, nearly the entire series is at your fingertips. (you can emulate the shit out of your 3ds, btw, and play a lot of these gameboy, gba, and ds games for free - nintendo isn't looking anymore so they don't care.)

sorry i couldn't fully cover all games - i welcome opinions from people who have played games i've missed in the tags. when i do get around to playing them, i will come back and update this guide! expect an entry for totk eventually too. thanks for reading and i hope it was helpful to someone!

[becausegoodheroesdeservekidneys]

I am still recovering from that ending and it's been WEEKS.

I think I'm going to be the same. I'm certainly going to be thinking about it for a while

I mean... Fuck me but this is a good game??!

It's making me angry with the Pokémon Company all over again, actually. There are like four different companies who make/produce Pokémon, and the one with the most power is the one cracking the whip to churn em out fast so all the lucrative money making stuff like merch and the animé can dance the capitalist dance. But look at this!!! LOOK AT THIS GAME. The heart and skill that went into this one is spectacular, and if only Nintendo could have done their usual trick that they pull all the time with Zelda ("We are sorry to announce that we are pushing back the release date for a fifth time because we've just had a really sick idea for how to incorporate some worldbuilding and we want the game to be perfect ^⁠_⁠_⁠_⁠_⁠^") this game would have been utterly incredible.

But like... this game has stuff to say, anyway. It's a game about trauma, look. Team Star, the fates of Miraidon and Mabbostiff, Arven's entire arc, Turo's choices and attempts to - well. No spoilers, but YOU KNOW.

And then! All tied up one again into the ongoing Pokémon theme of environmentalism! Violet ends with a rousing speech about how, if we all fight for what's right and love each other, we can beat climate change the unfortunate choices of Pokémon scientists and forge a bright future! Biodiversity is good and invasive species are bad! And also we should all have picnics with our friends more! And also the point of life is to find your own meaning in it, the meaning that's true to you, and then go and live the hell out of it! And also there's a Pokémon that's two mice now and it fucks behind your back to become four mice!

What a game. What a beautiful, brilliant game. I fucking loved Legends Arceus, but this, this I love even more. This is the most I've loved Pokémon in years. And there's still the entire post-game to play. Fuck me I love it.

Ed Sheeran tho wtf