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7grandmel · 1 month

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Todays rip: 06/05/2024

Last Freight-train Night

Season 8 No Album Release (Read More)

Ripped by mint chip

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Huge apologies in advance for not posting this on a Friday or even a Saturday. The joke has been completely missed. I hope you can find it in your hearts to forgive me 😔.

Ah man, melody swap rips. They're always fun, right? Even in the channel's earliest days, we had stuff like SNES Mini Circulation, Earth, Wind & Bombs and Akumajō Lololo expertly showing off their inherent, obvious appeal - leveraging the instrumentation of one track to bring out a whole new vibe to another piece of music through rearrangement. But especially early on, and even nowadays, you'll notice that some games get favored above others for melody swaps. Super Mario 64, the Pokémon series, NES and Game Boy games, Plok! - granted, the reasons for a lot of these are very easily explained, but with games like Plok! in particular the recent emphasis has come from a select few rippers' absolute enthusiasm for the game and the unique soundscape it provides. Tons of Plok! rips are absolutely mindblowing as a result of this passion, and I intend to cover some of these in the future no doubt - but Last Freight-train Night gave me many of those same thoughts upon first listen whilst being from a game I never would've thought would be one befitting for melody swapping.

Again, to clarify: It's perfectly understandable why those aforementioned select games get so many melody swap rips made of them. Pokémon in particular has at once such a nostalgic, distinct yet versatile set of sounds that has allowed for a ton of creativity in how rips are done, with everything from the piano-driven peacefulness of Blue Mareep to the synth-heavy insanity of Light! (Potentialseeker Colress). The Legend of Zelda: Spirit Tracks, meanwhile, is a game I only truly associate with two instruments - the pan flute and the violin - and that paired with its relative obscurity compared to other often-ripped games made me understand why all the chips wouldn't be placed on it in particular. Clearly, I was underestimating both the game and first-time ripper mint chip here, as Last Freight-train Night positively blew me away in its arrangement whilst staying absolutely faithful to the sound of the game its taking from. It's pan flutes and strings, yes - but they're leveraged to a far greater degree than I could've ever imagined.

If you presented me with a choice of song to use in a melody swap for Spirit Tracks' Overworld Adventure theme, I wouldn't have been able to give you an answer - yet had I given you one, it would've probably been incredibly far off the mark from what Last Freight-train Night lands at. It's a full arrangement of Katy Perry's Last Friday Night (T.G.I.F), the absolute pop sensation released just two years after Spirit Tracks itself - yes, in other words, this is a PAN FLUTE arrangement of hit song Don't Mine At Night. Like, maybe I'm just easily impressed, maybe I'm just far too attached to Spirit Tracks' sound from playing on its stage in Smash Bros. all too much, but I have to commend Last Freight-train Night just off of its concept alone. But, come on now, you've heard Thwâmpröck Desert - you KNOW that Season 8 has been delivering in far more than just concept alone.

See, the rip isn't just pleasant for its novelty, it feels as if it fully realizes itself in so many small little ways. There's of course the persisting banjo-like backing from the original keeping a playful, plucky adventuring tone, but it's in listening in close that you'll hear something truly special. You guessed it: That chuff-chuff-chuffing sound persisting through the entire track is the sound the player's train makes in Spirit Tracks when moving at the highest speed, whereupon it starts to sync up with the Overworld Adventure theme - in other words, the sound effects are a separate element from the actual music piece, yet Last Freight-train Night goes the extra mile in including it just to make it all feel more...right. The cherry on top of even that is, of course, the sounds of crossing signals fading in and out of the song at various points throughout its runtime. This isn't referencing anything in particular from Last Friday Night, it's a completely original touch by mint chip, but it adds SO much to the listening experience: Pair it with the other two things mentioned in this paragraph, and it starts to feel as if this track is truly taking place within Spirit Tracks itself, a sense of immersion far above what was necessary is conveyed through just these small touches alone. It stimulates the brain in ways I never thought I needed - and in terms of sheer listenability, it all just helps give the arrangement a real sense of tempo, befitting of the dance-able pop song it's an arrangement of.

Season 8 is a lot of things, and I'm still trying to ascertain what to truly make it of four months into its run. But if there's one constant I'm sure of, its that the channel's quality has basically never been higher - rips like Last Freight-train Night are dropping left and right without being part of larger events, as if to just casually remind you of how good of a place the channel is in right now. And having those explosions of quality be attached to games which really haven't seen all too much action on SiIva compared to the big boys, to the channel's "hidden gem" games as it were? Be it back with Plok! in Season 6 or all the countless other examples over the years since, that always just fills me with such joy. Every game is someone's favorite, and every someone has the potential to be a SiIvaGunner contributor - it only takes one person's love for a game to get rips as heartfelt (and seemingly already beloved!) beloved as Last Freight-train Night.

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dia-oro · 15 days

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I know the legend of Zelda from the time of the Super Nintendo that my brother have one game with a zelda with ginger hair… now after the zelda of ds that a friend let me see him playing, today I finally buy my own zelda, u already know the whole history of the breath of the wild (but I prefer the non canon age of cataclysm for having a timeline where’s Sidon have his sister alive) so I manage to buy tears of the kingdom… I doy know what’s to spect and how to play it so I will be a mess but happy :3

God bless the second hand games.. and the persons who sell it.

#zelda games #the legend of zelda #tears of the kingdom #zelda totk #princess zelda #she look so cute #But I don’t like her Spanish va so much …#Can I change it ?

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drawnbyshelly · 17 days

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something just feels off about this 😭

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giveamadeuschohisownmovie · 6 months

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batrogers · 4 months

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So, which Links pay their taxes, for real?

This is a somewhat fast and loose approximation of my recall of historical taxes, who paid them (or didn’t) and how, how they were collected and from whom, and what kind of taxation was even possible under different governments. This is pulled from a couple decades of study into historical society and books I’ve read on feudalism, the social duties of knights, and government structure and instability in both medieval Europe and the Ottoman Empire, among others.

Notes on organization:

1. While this is a response to a Linked Universe post, I am going per game not per Link because a few games must be split. The implications about taxes are drastically different between LttP & LbW, and Minish Cap & FSA. I also wished to include Spirit Tracks bc it’s fun. I am not linking the inspiring post, because I don't believe in attacking people for a ten minute list just because it twigged my history brain.

2. I am excluding games in which Link is not implied to be a tax-paying resident of the country he’s in, so Majora’s Mask, Oracle of Ages & Seasons, and Phantom Hourglass are not included.

3. There are usually overlapping taxes in a society. Here I will mostly address taxes on residents, on vocations or landownership, whether they can pay in coin or in kind, and if they have a household that would pay tax for them.

4. I have placed Hyrule Warriors in Child Timeline here for a few reasons, mostly related to army structure implications, the martial norms of the game and the two preceding ones (large standing armies in FSA and HW; mentions of “prolonged wars” and very military flavoured royal regalia in Twilight Princess.) Obviously this doesn’t strictly mean anything or oblige agreement, but its my habit to do so and I wished to explain the choice.

I apologize so much for how long this is. If you wish to read it in a different format, it's also on AO3. This is 2000+ words. I suppose if you click, I hope you enjoy.

A note on Knighthood:

Knights were a specific, highly trained profession often (but not always) associated with landownership, either someone who was in the household of the landowner, or who was the landowner themself. The trappings of knighthood (weapons, armour, and horse) were quite expensive and belonging to a family of knights implies a specific degree of social status in and of itself.

While a sovereign can in theory bestow any title they want on anyone at any time, usually this requires that there be some service rendered for which this is a gift. (Fucking them, or just being hella attractive, counts.) Because of this, there is a wide variety of things ��Knight” can mean, but here we will presume it means some degree of professionalism and attachment to a social status that is both someone who collects taxes from subjects and pays them to a sovereign in turn.

IIII

Skyward Sword =

There is no evidence of centralized government in Skyward Sword, therefore the taxes are going to whoever is in charge of the settlement. They were likely paid in kind (material goods), although Skyloft does have coin. Given we know who’s basically running Skyloft, we can guess they were paid to Gaepora, and at least one tax-funded organization: the Knight’s Academy.

Did students pay taxes? Graduates might be exempt from some taxes if still in service to the city. Afterwards, given he’s usually presumed to be married to Zelda, we can say Link is either paying taxes (or hearing about it personally at dinner), and/or helping collect and distribute taxes to others.

Or, even funnier, setting taxes on the new community because they need supplies to build it.

Minish Cap =

There is a central government in Minish Cap, because they have a monarch! This is probably a small territory: some “kings” have a few villages and fields and that’s it, but it is a castle which requires taxed goods to function because it’s not producing its own.

Link’s grandfather is a blacksmith, and also alive therefore if the census tax is paid per household, Link has nothing to do with it. If its paid per business, he’s an apprentice or employee so it’s still paid by his grandfather. Depending on which taxes were being paid when, they might pay coin or in kind (eg. Labour or goods produced.) While people absolutely did lie and cheat and not pay taxes, I expect the con artistry didn’t involve “refunds” in a modern sense, but that’s probably tax history specialization territory...

Four Swords =

This game doesn’t have enough of a framing story to comment on its social structures, but is superficially similar enough to Minish Cap we can assume the situation matches.

Ocarina of Time =

We literally see Talon paying his taxes in kind in the game. Like, you can’t pay milk as a lump sum so delivering it reliably to the castle could be counted towards his taxes, or he’s getting paid enough for it that will be paying for it later. Either way, supplies are delivered from Lon Lon Ranch by its owner who is still alive after the game and presumably will continue to be responsible for it until he is no longer owner of Lon Lon Ranch.

(Malon likely is a valid heir to Lon Lon Ranch. There is no reason to assume marriage affects her legal claim to Lon Lon Ranch. It is not common for a woman to lose her property in marriage – British law is the exception to historical norms – so even if Talon died she could still be sole and/or primary owner of Lon Lon Ranch, whether or not she is married.)

Link starts out the game not even on a Hyrulean census, with no property to his name, and no social connections. He is not paying taxes because he does not legally exist. Until he is counted on a poll as a resident of either Castletown or Lon Lon Ranch, and until he’s considered an adult (usually by means of acquiring personal property or skill of any value) he’s unlikely to be taxed.

Now, if we include into the assumed connections to the Hero’s Shade who died in elaborate plate mail we get a very different answer. Someone who owns elaborate plate mail of that sort has significant money. He may have received it as a gift for service to the crown, but if so it likely wasn’t the only gift. Plate mail is often associated with knights; a knight of some consequence is likely attached by some means or another to property. Knights under a King usually collected taxes for them... So, in a world where Link has platemail and is a valued knight of the Hylian Crown he may also, like Skyloft, be the person collecting taxes to pass them on. Whether or not that means he now technically owns Lon Lon Ranch by means of owning the land it’s on.... I leave that up to you.

Wind Waker =

Outset Island most likely operates like Skyloft: there is a headman or prominent family who collects surplus to give as aid, either in terms of money or food or services. Within that space, Link living with an invalid grandmother and also underage sister was probably one of those families receiving surplus as social support, possibly on top of whatever his grandmother was still capable of in her old age.

However, Link is implied post-game to leave with Tetra. What taxes did a ship and its crew owe? Harbour dues, customs, and other duties! This varied a lot and was usually addressed whenever someone docked at a controlled port. Often questions were asked about where the materials came from, more or less scrupulously. Sometimes people cared if you just happened to have something without a sound origin, that you had taken from someone else... like we see Tetra’s crew doing in-game...

It may indeed be possible Tetra (and her crew) are wanted for tax evasion and Link gets to be included in that, whatever his age.

Spirit Tracks =

This boy works for the centralized government’s transit system. If he doesn’t pay taxes, it’s because he doesn’t owe taxes because he’s working a tax-funded job and likely has been since he was an apprentice. He is possibly also union and knows the local tax law in extremely nuanced detail. He will judge you for not paying your taxes.

Twilight Princess =

The start of the story is also framed around the village blacksmith making some kind of tax-like offering to the royal family and setting Link up to take it. This is likely not a normal tax, but it does tell us that Ordon Village is considered a designated social unit within Hyrule and therefore we may assume that “Ordon Village” is a taxable entity in its own right. Link, as a resident of Ordon Village, would pay his portion of the village’s tax to the Mayor who arranged for its delivery. If Link marries Ilia, you can expect once again this is someone who either hears about taxes over dinner, or is helping collect them.

If Link leaves and moves to Castle Town, he’d have the joys of all the things large city residents pay for, up front or not, that village residents who are not transporting food and goods long distances but those will be sales and customs taxes, not per-person taxes based off the census or his vocation.

Four Swords Adventures [Game + Comic] =

Link’s family is explicitly positioned as either a knight family, or a legacy castle guard family with close personal ties to the royal family. He also has a living father, who is implied to survive the game/comic. As such, with Link a minor, he’s not paying taxes because he’s not liable for taxes. He also may be paying taxes by means of collecting taxed goods from the lands over which his family has ownership and paying a portion of that income to the Crown themselves.

Interesting, this could also tie into something I’ll mention in more detail below but one form of “evading taxes” can be “refusing to do labour.” If he is from a family whose young men are supposed to provide service to the Crown in the form of military labour, “leaving” is a crime.

Hyrule Warriors =

In this game, Link explicitly starts as a base soldier. It is possible for soldiers to be a form of population tax (and/or control) especially in larger kingdoms or empires. He likely did receive regular pay, but he might also have been considered legal property of the Kingdom, eg a slave. Either way, his upkeep was entirely from the taxes that went into the coffers, whether it was in food or kind. Post-game, he’s likely been involved in rebuilding which again would be in large part executed by taxed goods and labour. He might even be part of the apparatus collecting or setting taxes, especially if he becomes close with Zelda herself.

Link to the Past =

Link is explicitly stated to belong to a knight family, with an adult family member who is (arguably) alive at the end of the game. If he is paying taxes, he’s paying them from taxes paid to his family. Not paying your taxes as a knight family is infinitely more suspicious than not paying them as an individual, because then your monarch wonders what you’re using that money for. Is it rebellion? It better not be rebellion.

Link Between Worlds =

THIS Link is a Blacksmith apprentice. He does not have any known adult family. He may be assessed as part of the household he is apprenticed to; he might be assessed as independent depending on his age and where he is in his training and what the local tax law looks like. If there is a guild he may be assessed by means of his membership... but that may also be a separate tax from what he’s paying per the census. He could likely avoid it altogether, because he’s not exactly important at this age and social rank.

Ravio, on the other hand, is in some way involved with the Royal Family of Lorule (Hilda is personally betrayed he left.) However, Lorule is a failed state. There is no means by which they can collect taxes, nor distribute them... which is likelywhy Hilda has no control over her guards. (People aren’t very obedient when not getting paid.) Recovery to a state where taxation is reliable and people feel it’s worth doing will be a long road.

Zelda I & II =

Same as above: Hyrule is a failed state, at best in the process of recovery in Zelda II. People likely do not trust the tax collectors who do exist to pay their dues to the Crown vs keeping it for themselves. This is a matter of power rules. Link, a minor with no property, is likely of zero interest to anyone unless they sell children. In Zelda II, where he lives close enough to approach Impa with a question, he may be paying taxes if he has a vocation or he may be helping work in the castle, which brings us back to he’s collecting, distributing and/or paid by taxes.

BOTW & TOTK =

Hyrule here is NOT a failed state because they do not have a central government attempting to exert control. Here, things are more like Wind Waker or Skyward Sword: village mayors or prominent families control local taxation. There is limited intercommunity interactions, which are likely a matter of market tax. Link, if he settles in Hateno village, would be accountable to them.

In TOTK, we do see some kind of centralization: there’s the joint effort to construct Lookout Landing and the monster patrols, both of which would require outside support until local agriculture begins. Which communities contribute is hard to say, but most villages at this time are more than prosperous enough to spare the means. A new settlement would reduce overcrowding, increase the land available to farm, and so on: all good things for a prospering world.

(This does NOT imply they are re-establishing the monarchy. None of these groups call themselves “royal”. They’re monster patrols, not royal guards, and Lookout Landing, not a new Castletown. The location has access to already-quarried stone and trade routes going for it, after all.)

Given how Link behaves in both games, it seems likely he would contribute whatever surplus he acquires to these efforts. Out of every Link, I think he is the most likely to be cooperative with taxation... although there may be some arguments about what his taxable means is. Should this be paid in rupees or bokoblin guts? Let’s negotiate!

TL;DR =

Taxes vary wildly across time, space, regions, and forms of government. While some Links live in similar social circumstances, we have at least four really distinct categories: the Knights, the failed states, those with vocations, and the villagers. Similarly, many forms of taxes are for social support, things that Link tends to be characterized as valuing in the games. When people refuse to pay, they either do not see the request or authority as legitimate, or do not have the means to do so.

IDK it’s just infinitely funnier to me to say “Wind Waker Link is wanted for tax evasion because Tetra has never paid a harbour duty tax in her life” vs stating the evasion without cause. All the best!

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robygoonn · 2 months

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So I was playing Ocarina Of Time and saw this poster in the shop in Kokori Forest

It seems to have Saria and Skull Kid on it?I just thought it was a kinda cool little easter egg or smth, but I NEVER noticed this before when i used to play the game

Maybe it's a reference to that one short story in the manga....?

Idk I'm just rambling and am probably wrong lol

#zelda games #princess zelda #the legend of zelda #zelda #legend of zelda #zelda oot #ocarina of time manga #ocarina of time #legend of zelda ocarina

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onyx-archer · 22 days

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Open World, Shallow Structure: A Look at Zelda and It's Future

Originally, I was going to make my next post about another Life is Strange game, but I've been in a bit of a Zelda mood thanks to playing around with the Ocarina of TIme/Majora's Mask Combo Randomizer, so I wanted to talk about the Zelda series for a minute. As the title would suggest, I wanted to talk about Zelda's current open world direction, why I'm not a fan, and where I think it could improve.

As this is more about game design and less about story, spoilers will be minimal, but present. Just assume that I'm expecting you to be familiar with most Zelda games and their stories, and that I'll mention things from them when I think it's relevant. I'm going to be citing things from the 3D Zelda titles especially, because 2D Zelda is a different beast, but I'll mention things about them when necessary to illustrate a point. I'll put this under the cut cause it's gonna be long, but I have a lot of thoughts.

I also want to say up front that if you like the modern style of Zelda seen in Breath of the Wild and Tears of the Kingdom, that's great! You saw something in those games that I didn't, and I don't want to take that away from you! I just want to talk shop about Zelda's current struggle with game design as a fan who's been playing these games since they were like, 6.

With that, you know the drill, go under the cut if you wanna keep reading.

When I first played Breath of the Wild, I want to be real with y'all for a minute: I put it down after a few hours. I had basically gotten to the point where I was on my way to Zora's Domain, got side-tracked by some Shrines and other stuff, and got bored. What a lot of people see as an adventure full of wonder just felt like I was being side tracked by things that ultimately didn't matter. I've since beaten the game, and even 100%'d it, which is something I'd never recommend anyone sane do more than once.

Cards on the table: I haven't really touched Tears of the Kingdom in any real capacity yet. I watched some people play it, and asked a friend who is a diehard Zelda fan what he thought, and both things lead to the same conclusion: it's just Breath of the Wild 2.0. Which, I mean, duh, of course it was, that's a game that a lot of people liked, and so Nintendo would have to be pretty freaking dumb to not capitalize on that. Even I was initially positive about the choice, because I had thought that since they were going to be building off of the base of a game as beloved as BotW, that we'd see something like a "Majora's Mask" to BotW's "Ocarina of Time" in a lot of ways. In some ways, we got that, but in most ways where I think it mattered, we didn't.

So how can I judge a game I really haven't played? Well, it's built off of one I have played, so I can look at it through that lens. I can also take what I've heard from friends who have played it into consideration. With those things in mind, I've come up with a few core problems that I have with the current direction of Zelda that I hope are righted when the next game comes out in like, 7 years (cause let's be real, it's gonna be a long while before the next big game hits).

The Dungeons:

A big sticking point for a lot of more classic fans of the Zelda series that has yet to actually be remedied is the dungeons. More specifically, how the two most recent titles (not counting the Link's Awakening remake and the Skyward Sword remaster) don't really have tightly designed dungeons. I believe this is a consequence of the open-ended design, and the fact that the developers have leaned too hard into "solve the puzzles in any number of different ways" to allow for that tight design.

Zelda dungeons in the past, for the most part, are a combination of combat encounters and puzzle rooms, with a sense of exploration as you move through them. While I feel as though the combat aspect has been preserved to a degree, everything else is just lacking.

The combat in Zelda pre-Skyward Sword was pretty basic for the most part (just whacking guys with glorified sticks), and this is something that Breath of the Wild has objectively improved in a lot of ways. Combat just feels better, even if there's objectively a lot of jank when managing the inventory to swap between weapons. The only part of combat that is outright trash is the weapon degradation, which I'll cover later.

However, there is one thing that has been lost in this, and it ties into the puzzle element: boss fights.

Bosses in Zelda's past are basic in certain respects, but have layers that lean into the puzzle solving component of the game design. Usually, the bosses require you to play into the dungeon gimmick, which usually involves the tool you get in said dungeon, or in the lead up to the dungeon, which is the case for something like Bongo Bongo in Ocarina of Time. While sure, a lot of this leads to pretty obvious design quirks that make the bosses less challenging overall for some, and lead to mixed results as the series went on, the bosses did more than test your mettle, they tested you on the tools you have.

For every item that has limited use like the Spinner in Twilight Princess, there are items that have utility in ways beyond their dungeon of acquisition. This is typically for staples like the Bow, the Bombs, the Hookshot, etc, but it can also be for things like the Gust Jar or the Beetle from Skyward Sword. Yeah, they aren't as universally useful, but they are still useful, and can be used to add puzzle variety. Beyond just using the tool to exploit a weakness in the boss, they had other uses, and while some were definitely more limited than others, it was still some use.

Modern Zelda has decided that puzzles should be solvable in ways tied to the tools you get during the tutorial for the most part, and I think this has lead to the degradation of feeling of solving a puzzle. While sure, there are times when open-ended solutions to puzzles feels satisfying, it also leads to situations where the player can just cheese an answer, and while that may satisfy some in a creative sense, it leaves the people who want to solve head scratchers feeling like they wasted their time trying to think how the developers wanted the puzzle to be solved.

The fact that BotW and TotK puzzles can be solved in a number of ways, but also really only expect the player to have the tools they got during the tutorial area makes the puzzles feel... flat, for the lack of a better term.

This, in tern, makes the design of dungeons feel less satisfying to explore, because it has lead to the designers basically making all of the dungeon "find X number of keys to open the door to the boss." Yeah, classic Zelda was that at it's core, but the puzzles, while certainly not super complex because of their target audience, often had variety in ways that the modern ones just don't. That variety masked the blatant "find keys" part of the journey, which I feel is so obvious in the modern games that it sucks the sense of wonder exploring the dungeons used to bring. From what I've seen of TotK, this problem is made worse because the game just tells you that you need to find 5 things to unlock a door up front, and that's just kinda lame.

I'm not going to pretend the puzzles in OoT are complete brain ticklers, but they had some fun solutions. Opening the door to the boss of Dodongo's Cavern involved a simple riddle about dropping bombs into the eyes of a giant Dodongo Skull to open it's mouth. It was a fun concept that was really only used once in that game, and it sticks out in my memory to this day. Most of the puzzles in BotW, by contrast, are less interesting outside of the moment you're doing them because they mix the same assets together so much that it all bleeds into one amorphas blob.

Shrines only further make this a problem, because the Shrines have you do these sorts of puzzles outside of dungeons, making them less creative overall over the course of the game. There's only so many times you can have me use Magnesis or Statis Launches to solve similar set ups before I get bored. I do like the idea of Shrines, but there are too damn many of them!

Also of note is the lack of meaningful rewards for doing the Shrines or the Dungeons. Sure, the Shrines give you a resource that lets you increase your Health and Stamina, but that's really it. The chests are largely worthless because they hold weapons that break (at least in BotW), or other things you can just farm from enemies, or just buy. I don't feel rewarded for using my brain, I feel like I'm going down a checklist for some more health. Heart Pieces often had some kind of puzzle or series of things you needed to do to get them, but they felt so much more rewarding because the feeling of getting 4 of them (or however many you need in other games) gave you a satisfying little jingle that hit you with some dopamine like "Look at you! You got a little stronger by using your skull spaghetti!"

My Proposed Solution:

Simply put, my solution is to cut the Shrine number down by half, and make only half of them doable out of the gate. Then I'd use those resources to make unique, tightly design dungeons that give you a unique tool that you can use to solve puzzles with that won't break, and allow those items to be woven into puzzle solutions.

This way, you get some puzzle elements that are open-ended that you can logic out however you want, and then you get some puzzles that have more specific, guided solutions that test your knowledge of the tools you have. You can walk into a Shrine, see a thing that you can't do, and go "okay, there's a tool I need to be able to do this, but I don't have it yet," and know that you'll be able to come back to it later for a puzzle that tests your knowledge as you acquire more tools.

Dungeons could then have more time dedicated to giving them a unique theme and vibe. Unique assets, and a proper sense of wonder that makes them feel worthwhile. Dungeons, I feel, should be guided experiences that progressively introduce new ideas to test the player, rather than just be open ended boxes that have like 5 puzzles that are solved in similar ways to previous puzzles you've likely solved to open a door. They should have a sense of place and spectacle.

Personally, if we were to use the world of BotW/TotK as the basis, I'd have each dungeon reflect the ancient versions of the races civilizations and cultures. Basically, double down on the whole Ancient Sheikah idea, and apply it to the other races of Hyrule. I'd love to see something like an ancient mine of the Gorons teaming with gems and Dodongos, or the dilapidated sunken remains of an ancient Zora city, just to name a few basic things. Pull from the series past and history to create places oozing with cultural atmosphere that stimulates a sense of wonder, but also filled with dangers that excite those seeking the thrill of adventure.

2. The Story

While I am aware that TotK vastly improved the story being told compared to BotW, I think it can't be denied that the open-ended approach to the story is hurting the pacing of things immensely, and leads to a lot of awkward scenarios. The fact that you can view the memories out of order in both BotW and TotK is insane to me, but that's not the only issue.

While open-ended open worlds are good for gameplay stuff, it has taken a toll on having the story of Zelda feel like it has much substance. Sure, you can sit there and say TotK story is good if you sit down and focus on it, but that's the problem: because you can do things in any order, the story loses a lot of traction. I've seen the cutscenes for completing the dungeons in TotK, and the fact that you basically see slightly different versions of the same thing, but with a different narrator, is what I'm talking about.

I personally think that the story is too loosely strung together in these titles because they feel they have to be for the sake of immersion or something, but that is silly to me. You can have an open-ended game that has structure to a plot that is less open, because other devs have been doing it for years. Older Zeldas have done it, to a degree.

Older Zelda titles often did expect you to follow a path the designers laid out for you, but that's because stories often need that kind of structure to be told in any sort of cohesive way. It's like playing a tight game of D&D, where the DM is allowing the players some flexibility, but is still going to guide the players down a path toward some sort of conclusion. The path to that ending may be slightly different, but there are still plot beats that get to that conclusion that occur in a certain order. It's a lot of work, but often leads to satisfying campaigns. And I'm speaking as someone who doesn't care much for D&D.

I think Zelda needs to have a loose, but still very much guided structure. Part of the reason I get so bored playing BotW when I do play it is that the game gives me so much freedom to do whatever, and no real sense of direction outside of a few map markers for the areas you need to go for the main quest. Yeah, that can feel liberating, but it makes it feel more like I'm wandering around in the dark, and less like I'm on a grand adventure, y'know?

I don't want things to go full blown Skyward Sword, where you're effectively on rails, have have to do basically everything in the order the designers wanted you to, cause that feels bad in Zelda too. I think the story should set itself up in such a way where the player is limited to a small pool of possible events that can be seen in any order, but all need to be completed to access the next pool of things, which could be larger. Much like how both Link to the Past divides the game between the 3 Light World dungeons and 6 Dark World dungeons with a trip to Hyrule Castle, or how Ocarina of Time requires you to get the Three Sacred Stones before you can do the Temples for the Medallions.

Events in the stories, as they are, feel like they expect that any dungeon should be your first, and there are only a small handful of dungeons. This, in theory, would be fine, but because each dungeon has to act as though you've never seen things before, it leads to very stale narrative presentation long term.

There's also another small issue that's eating away at the story of the games: the reliance on Ganon.

Don't get me wrong, I enjoy Ganon/Ganondorf when he's done well, and he was several times in the past. I understand he's the big bad of the series, and he'll always be around, but he's been something of a stain on the series' ability to tell unique stories for a while. This was highlighted in Twilight Princess first, where he sort of just comes in and kicks Zant, a villain who was super imposing and interesting, to the curb for the sake of a lame twist. This was lame, sure, but I really don't like their reliance on Ganon in these recent games.

I could put up with it in BotW, because the game is ultimately about dealing with the Calamity, which is Ganon's essence of corruption given shape. It was dumb and basic, but BotW was sort of basic on purpose in a lot of ways with it's story, so I didn't mind. But with TotK? I feel like they just brought him back because it was easy, and because there are a lot of thirsty Ganondorf fans out there. I just see his inclusion after dealing with Calamity Ganon as a blight on what could have been a much cooler narrative.

My Proposed Solution:

As I mentioned above, I think the goal should be to apply a degree of limitation to the player in how much they can accomplish as they progress. This means there are only so many scenarios the game has to account for. If we, say, limit the player to the classic 3 "starter" dungeons before letting them go into the next batch, then it makes things easier to write around. Have each dungeon be tied to a thing going on in the area that is connected to the main plot, but serve as a piece of a larger puzzle.

Then, I'd establish a simple check: if the Player is visiting, say, the Goron Mines first, then they'll get a slightly different cutscene than if they did the Goron Mines after the Lost Zora City, to account for the idea that the player has already seen some of the set up already. Basically, have the stuff the player experiences be told in a set order in slightly different ways, depending on when the player experiences it sequentially, and adjust in accordance to the order to avoid unnecessary repetition of ideas being conveyed. That way, when Link gets insight into the broader narrative, it feels like a puzzle being solved, but the stuff surrounding that insight is focused on the area.

As for Ganon, it's a pretty simple thing: just don't use him for a little while. Again, I get he's the big bad of the franchise, but we've seen other villains in the series work. Even having a devout follower of Ganon take over and try to resurrect him for a game would be fine, if a bit cliche at this point. Let's see Vaati come back maybe? Or another interesting original villain like Majora/Skull Kid? I still want to learn more about lands besides Hyrule, and a unique villain from Ganon gives us plenty of opportunity to explore those lands.

Speaking of...

3. Hyrule

I don't think it's at all controversial to suggest that Hyrule's map in TotK makes it less satisfying to explore for a lot of people. Sure, there are new areas to check out in a post-Calamity Ganon world, and the added the Depths and the Sky Islands... but I mean, it still kind of sucks that 90% of the map is just a copy/paste job.

Beyond that, I've developed a bit of a pet peeve with the Zelda series and it's use of Hyrule. While I completely understand that it's the primary setting, and that's not really something I'm looking to change or anything, I just miss when we got other places to explore, y'know?

Majora's Mask has Termina, the Oracle games have their own countries, and even Tri Force Heroes has it's own unique setting, and that's just scratching the surface. I love when a Zelda game takes us outside of Hyrule to see other parts of the world, even if it just has a bunch of things that make it feel like a remixed version of Hyrule at it's core. Termina is like this, but I still want to go back there and explore how things have changed since then, y'know?

I don't really have a solution for this issue, I just really think they need to be willing to go outside of Hyrule more often... especially with the next game, just to have things feel fresh again.

4. Weapon Degradation and UI

I don't know about y'all, but I hate the weapons I'm using breaking, but having no real way to repair them. Sure, I know you can often find duplicates or, in the case of TotK, you can just build a new copy of the thing you like, but I still hate it.

A lot of this is compounded by the fact that a lot of chests just contain weapons that will break after a few uses, and it just makes the act of fighting things feel more tedious. I know some would say it adds a degree of tension, but I and many, many others don't like it. It says a lot about the system that when you disable it via cheats, BotW becomes more fun.

The UI doesn't make this any better. Cycling weapons and shields feels clunky as hell, and selecting which arrows you are shooting from the bow is just... why is it so bad!? And how did TotK make that WORSE!? Crafting in TotK is neat, sure, but when you have to individually combine the item you want to each nocked arrow, and the menu is that bad, you have to ask how that got out of beta. I dunno if it's been fixed since then, and I don't really care.

My Proposed Solution:

Here's the thing, all I want is to have 2 things in the case of the weapons breaking.

Thing 1: A permanent set of things you can upgrade over time that never breaks, and only needs to be sharpened or something, but lacks special attributes that make the breakable stuff worth a damn to use.

Thing 2: The ability to use materials to repair/maintain the weapons you like.

The simple thing to fix the UI is actually just to have a weapon wheel that you save the things you like onto in the positions you want them, and to have a tab button to cycle to less used stuff. Basically, just do what Ratchet and Clank did 20 years ago.

As far as arrows are concerned, just let the player craft them in the inventory, and have the Bow weapon wheel have a way to cycle which type of arrows you want to use. Easy. It'd still be a touch clunky, but you'd not have to deal with scrolling through a list, and that's just objectively better.

The wheel would also apply to Tools/Abilities like Runes. Just hold hold the button, and then use one of the sticks to cycle around the wheel. Simple.

Honestly, this post got a little long, but hopefully people see where I'm coming from. I don't really have much of a point beyond what's stated above, but I'll try to end this off with something to think on.

Zelda's current direction has been a bit contentious with some of the older fans, and while I think BotW and TotK are respectable games, and they offer new life to a series that was admittedly losing a fair bit of it's steam, it's frustrating how there are some things that just feel like simple, elegant fixes to the new formula that'd bring it more inline with what classic fans like myself would like more. I don't think what I'm asking for is that much (especially with the UI stuff). I'm not really out here demanding that they bring back something like the transformation masks (though if there was a game like BotW and TotK, but they replaced Runes with Transformations like those of the masks from Majora's Mask, I'd probably give the game a 20/10 out of pure bias for Majora's Mask), I just want the game to feel more like the Zelda I grew up with, rather than this sort of bland open world with a Zelda skin that it's become.

As it stands, modern Zelda is starting to feel less like a grand adventure, and more like I'm wandering through the woods without a map or a compass while it's super foggy out, and finding table scraps rather than neat treasure. I might make a post about what I'd do with a hypothetical Zelda game in the future. I've got a handful of ideas, but this post is too long as it is... so... yeah, that will be done later. Maybe.

#The Legend of Zelda #TLoZ #Problems with Zelda #Zelda Games #BotW #TotK #Breath of the Wild #Tears of the Kingdom #Ocarina of Time #Majora's Mask #Game Design #maybe #Onyx Rambling #Zelda Analysis #or at least I'm going to pretend it's analysis #Onyx Analysis #Future of Zelda

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