Wii U

You Down With DLC?

“I wish Nintendo would just MODERNIZE already!” This has been a common lament amongst gamers since perhaps the GameCube or even N64 era, and usually when uttered, it is meant to suggest that Nintendo should build more powerful consoles, or court more “Triple A” third-party software makers, or play to a more “mature” audience of gamer, or build a more robust online experience, etc., etc.

Well, in recent years, Nintendo has certainly begun to modernize… although not, perhaps, in the ways their detractors have been asking for. There are two trends that define the “modernization” of gaming in the 21st century, and to the surprise of absolutely nobody, in this case “modernization” is equatable to “monetization.” After all, for-profit companies most often evolve when there is obvious money to be made.

The two trends are closely related; both involve paying more money to add extra content to a game you already own. Micro-transactions define the mobile gaming market, and as Nintendo learned recently, micro-transactions are the sort of model that market demands. Super Mario Run, priced at a single-pay premium price tag of $9.99, has not made anywhere near the same amount of profit for the company as Fire Emblem Warriors, a free-to-play game that features micro-transactions, and this is in spite of Super Mario Run being the more popular download, ten times over.

The other trend, more associated with the console and PC gaming markets, is downloadable content, or DLC. DLC refers to additional content that is made available for popular (or unpopular) full-priced games… although unlike micro-transactions, which often charge small amounts for items necessary for gameplay, DLC is sold as “extra” material: it costs more than the standard micro-transaction, but is a luxury item that isn’t “required” to enjoy what was intended to be the full game.

That’s the theory, anyway.

Game companies are often criticized for including amongst DLC the sort of content that, ten or fifteen years ago, would have been released as part of the game proper. A good recent example is Star Wars: Battlefront, an online multi-player Star Wars-themed arena shooter that, while widely well-reviewed, hid half of its content behind DLC paywalls that cost almost as much as the primary game did on its own. Gamers are a prickly sort, but one can hardly fault them for being annoyed when they drop $60 on a game only to find that what they’ve purchased is arguably half a product.

Still, when done right (i.e. as bonus content to expand and extend an all-in-the-box experience) DLC can be remarkably satisfying. The Wii U/3DS generation marked the first time Nintendo really dove head-first into the world of DLC, and results have ranged from incredibly well-executed to… not as well-executed. Let’s take a look:

The Legend of Zelda: Breath of the Wild – We’ll start here, because where else is there to start? BotW‘s $20 season pass is coming in three individual portions: a Purchase Bonus, and Packs 1 and 2. The Purchase Bonus, already released, causes three treasure chests to appear on the Great Plateau, one of which includes a red Nintendo Switch t-shirt for Link to wear. Pack 1, recently detailed, includes more than had initially been anticipated: two full sets of armor, two helmets, a mask to help locate the game’s 900 Korok Seeds, a map tracking add-on that allows the player to chart where they have been in Hyrule over 100 hours of gameplay, a new “Cave of Trials” style challenge, a new Hard Mode, and a Travel Medallion with which warp points can be laid down anywhere in Hyrule. Pack 2, details forthcoming, is the big one: it will include an entirely new dungeon, new story content, and “more”. But…

Is it worth it? Definitely. Seeing as how Breath of the Wild contains an easy 200 hours of gameplay out of the box, and for $20 you’ll get a new dungeon, more story, more challenge modes, and armor based on Tingle (TINGLE!)… this DLC is something most anyone who’s played Breath of the Wild will happily pay for.

Mario Kart 8Mario Kart 8 launched on Wii U with 30 playable characters, 8 full race circuits of 4 tracks apiece, online play, a (poorly received) battle mode, and a plethora of kart parts. Already, that’s as full an experience as the Mario Kart franchise has ever offered. The DLC for the game, available in two packs at $8 apiece (both packs can be purchased in a single season pass for $12) adds a total of 4 new cups (including tracks based on Animal Crossing, The Legend of Zelda, Excitebike, and F-Zero), 6 new racers, 8 new karts, and different color skins for Yoshi and Shy Guy. Again, though…

Is it worth it? Well, it was. At first glance, $16 – $12 for add-on content seems a little pricey, but the amount of content added on more than justified the price tag for most players. However, the release of the Nintendo Switch has seen a new version of the game, Mario Kart 8 Deluxe, hit shelves, and this Deluxe game includes all of the previous DLC rolled into the point-of-sale purchase price. If you laid money down for the MK8 Wii U DLC fairly recently, you may feel a little taken at this point. Still, judged on its own merits, MK8 provides a perfect how-to guide for any software company looking to add DLC content to their own games.

Super Smash Bros. for Wii U & 3DS Smash Bros. launched with fifty-one characters in-the-box, a crap-ton of stages (official measurement), multiple modes, full-roster amiibo support, two online modes, and a partridge in a pear tree. The DLC that followed was certainly adding on to a full and robust experience… but the pricing was a bit more suspect than that for, say, MK8. First of all, the Smash Bros. DLC releases are haphazardly structured, with no consistent pricing models, separate prices for Wii U, 3DS, and Wii U + 3DS packs, and a bunch of content that nobody really wanted, i.e. Mii Fighter Costumes. Overall, seven new fighters were released as Smash 4 DLC, three of which were repackaged from old entries in the series and 4 of which were completely new entrants into the Smash franchise. Of the seven, Cloud Strife, Bayonetta, and Ryu were clearly the must-buys, and each came packaged with a brand new stage. Five standalone stages were also made available, but of the five only one, based on Super Mario Maker, was original and the rest were retro (and one of those retro stages wasn’t available for the 3DS version of the game.) All of these characters and stages and costumes were released at random times, and the pricing was all over the place. For the sake of analysis, let’s look at the last two bundles released: the all-character bundle, priced at $35, and the all-stages bundle, priced at $11 on Wii U and $8.50 on 3DS (the 3DS bundle, remember, contains one fewer stage.)

Is it worth it? For the full set? Probably not. Cloud, Bayonetta, and Ryu, which admittedly are three badass additions to the franchise, are available individually for one console for a total of $18 and for both consoles at a total of $21, but I’m not sure the rest of the content is worth an extra $25 or so. Smash Bros. 4 is overloaded with stuff to begin with; paying almost the price of another whole game on Wii U and more than the price of a whole game on 3DS is pretty steep for a handful of new -ish characters and a couple of new stages.

Hyrule Warriors – This Legend of Zelda/Dynasty Warriors mash-up game was far more successful than it had any business being, honestly, but as I’ve often cited: it was my second favorite Wii U game, after Splatoon. The in-box release already has a ton of content, and the DLC packs add a bunch more… but similar to Smash Bros., the pricing and packaging can get confusing, particularly once you factor in what is and what isn’t available from Hyrule Warriors Legends, the 3DS port/spin-off version of the game. Of the initial three packs, each priced at $7.99, the Master Quest Pack might be the best value, as it includes five additional expansion chapters to the main story and unlocks Epona as a weapon for Link. The other two packs include combinations of new characters (Tingle, Young Link, and Midna) and new Adventure Maps, the grid-by-grid task-based mode of the game that you either love to grind or give up on early. There’s also a $2.99 Boss Challenge mode that provides costumes and a boss rush challenge, and (best of all) a “Play as Ganon” mode. Not Ganondorf. Ganon. Huge pig-monster Ganon. Later packs released allow players to purchase the added Hyrule Warriors Legends characters (Toon Link, Linkle, etc.) but not any of the added map content from that 3DS game… which has its OWN DLC, packaged and structured very similarly to the packages from the Wii U version.

Is it worth it? It depends. Character and costume skins for a button masher like Hyrule Warriors only go so far; the game is a blast, but to be fair, there isn’t a huge amount of difference in how each character plays. Personally, I bought all three of the initial packs but never did pull the trigger on the $12.99 package with all the Legends characters. What the packs really offered, content-wise, were the new Adventure Maps. If you dig Adventure Mode, then the packs are definitely worth the price. If you didn’t (I didn’t), selectivity is called for.

Fire Emblem Fates: Birthright/Conquest Fire Emblem, more than any other franchise, seems to be Nintendo’s go-to for DLC. For the Fates trilogy, the companion games of Birthright and Conquest each offer access to Revelations, the 3rd game of the saga, at a price of $19.99. Additionally, two separate map packs can be purchased in either of the two introductory games. Map Pack 1 contains eleven new maps and costs $18; Map Pack 2 contains six new maps and costs $8.

Is it worth it? You should ask a Fire Emblem fan; try as I might, I just can’t get into the franchise. Let’s go pack by pack, though: Revelations is a full Fire Emblem game for half the price, so yeah, that’s worth it. Map Pack 1 offers eleven maps for $18, and Pack 2 offers six for $8. I’m not sure why the maps in Pack 1 are valued so much more highly than those in Pack 2, but Pack 2 is clearly an easier purchase to justify than Pack 1. But, look, if you love Fire Emblem, you’re probably laying out $40 for Birthright or Conquest, $20 apiece for the opening act you DIDN’T buy AND Revelations… geez, just how much Fire Emblem do you need? Whatever; you’ve already paid $80. May as well pay $26 more.

This isn’t all the DLC Nintendo has offered to date, but it is a fairly representative example. Their dabbling in modernization has been a mixed bag: Mario Kart 8 and Breath of the Wild are the two that in price and content are must-purchases, while the rest of the offerings have their hits and their misses. Up next? Fire Emblem: Shadows of Valentia for 3DS, which offers a full season pass of DLC that costs more than the actual game itself. That’s right: more than the game itself. Finally, a sign that Nintendo, for better or worse, is starting to catch up to the rest of the industry.

Be careful what you wish for.

Triforce of Greatness

A few months back, I posted an essay suggesting that The Legend of Zelda: Breath of the Wild was well positioned to be the Zelda game we’d always been promised.

I hate to say, “I told you so,” but…

Okay, in fairness, it’s not like I was the only person on the Internet making that prediction. Breath of the Wild, though, has now been out in the wild for a month, and if you trust the very broad consensus, it is a game that ranks somewhere between “excellent” and “all-time masterpiece”. It is also arguably the best of the 3D Zeldas to date, although it is such a departure from the rest of the 3D franchise that it’s difficult to make a comparison between it and, say, Ocarina of Time.

Why, though, is it so fantastic? Seems an obvious question, I suppose, but there is a three-pronged reason for Breath of the Wild‘s elevation to mythic status, a Triforce of reasons, if you will!

I’m sorry.

The World

The most obvious key to Breath of the Wild‘s greatness is the world into which the player, as Link, is set free to roam about. The wilderness of Hyrule is vast and untamed, with biomes ranging from desert to mountain to wetland to grassland to forest to marine to just name it, all of it teeming with wildlife that can be hunted and cooked and fed and in many cases mounted as a steed (though you can’t pet any of the animals, probably the single most disappointing thing in the game.)

It’s not just the size of the open world that matters, though; it’s how you use it. In order to get from Point A to Point B, C, D, and all the way to Z, Link can run, jump, climb, glide, ride, swim, and as the game progresses, practically fly. Pre-release, Nintendo consistently referred to BotW not as an “open world” game but as an “open-air” game, which at the time seemed an ostentatious, “we just have to be different!” Nintendo sort of thing to do, but after over 100 hours spent exploring Hyrule at all of its many elevations, it’s clear that open-air is the perfect description for how Link, Champion Knight, traverses the terrain in which he finds himself.

BotW‘s Hyrule is also, perhaps, the first time Hyrule has felt like a genuine fantasy realm that is as populous as it is dangerous. As amazing as the game’s anime-inspired art style treats trees, grass, and fire, the towns and villages of Hyrule are aesthetically inspired pockets of urban planning, not to mention numerous enough to finally make Hyrule feel like a kingdom of note. The roads of Hyrule are well-traveled by NPC merchants and would-be explorers, and one of the more satisfying things in the whole of the game is charging on horseback towards a group of poor Hylians being besieged out on the road by Bokoblins, leaping off of your horse into bullet-time, and picking off their assailants before your feet hit the ground.

Not only is the world functional and aesthetically pleasing, though, but it tells the game’s story and sets the mood as well as any cut scene or flashback or piece of dialogue you’ll come across. For all of the life and movement bursting out of its seams, this version of Hyrule is battered and near-broken, pockmarked with scarred battlefields, burnt-out towns and homesteads, and littered with the petrified corpses left behind by the machines of the kingdom’s destruction. The citizens of Hyrule have resumed life as normally as possible after calamity, but you are warned many, many times by NPCs: stick to the roads, stay away from central Hyrule, run away from the Guardians, and whatever you do, don’t go near Hyrule Castle, where evil still visibly stirs. Breath of the Wild presents to the player an open world of breathtaking beauty juxtaposed against the scars of tragedy. It’s one thing for a publisher to develop a game world that is so vastly open. It’s something else entirely to craft one that, simply through form and design, is also so vastly emotional.

The Physics

The most common non-dog-petting related criticisms of Breath of the Wild are targeted towards the game’s dungeons. Here’s a spoiler: there aren’t really any dungeons, at least not in the traditional sense. Instead of tackling a Forest Temple or a Water Temple or a Fire Temple etc., etc., Link must approach and enter four gigantic “Divine Beasts”, ancient animal-shaped machines that had been built to help fight the Calamity Ganon, but have since been corrupted by that malevolent entity and are now terrorizing the four non-Hylian races of Hyrule: the water-dwelling Zoras, the stone-eating Gorons, the feathered flying Rito, and the desert-dwelling Gerudo. The interior of the beasts are smaller than most traditional dungeons and almost devoid of enemies. Instead, they present the player with a series of physics-based puzzles to solve… not dissimilar to the puzzles of traditional Zelda games, while at the same time COMPLETELY dissimilar to the puzzles of traditional Zelda games.

How so? Here’s how: in most Zelda games you are presented with an obstacle to overcome that has a solution that acts as a triggering method. Figure out the solution by shooting the thing with the thing or putting the thing on the thing or lighting the thing on fire. As soon as you do the thing you’re supposed to do… POOF! The puzzle is solved, the Zelda mystery jingle plays, and the player moves on to the next room.

In Breath of the Wild, almost all of the puzzles with which the player is presented have a beginning and an end… and however the player manages to connect the dots from one to the other is just fine. There is no specific solution… there may be a PREFERRED solution, but unlike past Zelda puzzles, if you find a work-around to the PREFERRED solution… well, so be it. The game isn’t going to stop you. I can best describe it like this: in all prior 3D Zelda games, you would NEVER have been allowed to fit a square peg in a round hole, but in BotW, if you can cram that peg in there, the game will shrug its shoulder and say, “Yeah, that counts.”

This is all facilitated by Breath of the Wild‘s ridiculously deep and realistic physics engine. A game’s physics engine, to put it in the most lay of layman’s terms, is the code that dictates how virtual objects within the game’s virtual world interact with each other and with the virtual world itself. By the rules of Breath of the Wild’s engine, fire burns almost everything and gets blown around by the random wind patterns (random, although terrain dictates weather in certain instances), metal objects, be they swords or rocks or giant blocks, conduct electricity and can be drawn to magnets, bombs roll down hills along the lines of topographic curvature, etc., etc. In place of items like a hook shot or digging claws, at the beginning of the game Link is gifted the Sheikah Slate, a sort of ancient, mystical iPad, and it becomes the tool with which he bends the physics of Hyrule to his whims. Need a giant magnet? The Sheikah Slate has an app for that. Want to stop time for a particular object? There’s an app for that. Need a bomb? There’s an app for that, too.

In fact, almost all of Link’s toolset in Breath of the Wild is dedicated to manipulating the world around him through physics, and it’s not just the Sheikah Slate. Example: when you stumble across specialty arrows, not as prizes but just as, you know, workaday items, the inclination of the longtime Zelda player will be to think, “Cool, stronger arrows.” Which they are, but they’re more than that. They are also tools whereby the player can instantly introduce fire, ice, or electricity to the surrounding environment in an attempt to manipulate the world… and if none of that works, you get a fourth arrow type that just blows shit up. (But don’t try to use fire arrows in the rain, and for the love of God don’t pull out bomb arrows inside the heat of Death Mountain.)

The puzzles Link is tasked with solving throughout his journey, whether they be  out in the Overworld, inside of the Divine Beasts, or within the one-hundred and twenty mini-shrines peppered around Hyrule, almost entirely revolve around the theme of, “You have the tools to alter the world; figure out a way to use them.” A boulder rolling towards you? Use Cryonis to form an ice block in its path, or Magnesis to lift it out of the way, or Stasis to stop it in its tracks. Not every solution will work for every puzzle, but the game doesn’t care if you execute its preferred solution or not. I have ham-fisted my way through more than one puzzle, jamming my way in between moving walls instead of figuring out how to stop them, or launching glowing orbs across a shrine instead of carrying them through the presented obstacle course, hitting their mark on the fly and essentially scoring a hole-in-one, a low-percentage play that couldn’t possibly have been what I was “supposed” to do.

There are already videos on YouTube of people “breaking” Breath of the Wild, solving shrine puzzles in increasingly bizarre ways, and I understand why those YouTubers think that’s what they’re doing. Gamers have been conditioned to think of environmental obstacles in video games in a linear fashion: a specific puzzle is cracked open by a specific solution, and the developers attempt, when they test their game, to make sure they’ve plugged any other way through a puzzle that industrious, resourceful players might find. How, though, can you “break” a puzzle that was designed to allow you to solve it however you like? Puzzles in Breath of the Wild feels as though Nintendo’s play testers found the holes in the solution of each, the alternate paths that players might trick their way through… and then did nothing. They did absolutely nothing. Have you found a “backdoor” solution to a Shrine? I’m not going to say that BotW‘s design team put it there on purpose, but I’m pretty sure they knew they were giving you all of the tools you would need in order to find that backdoor. It’s an awfully brave thing, when you think about it: “Here’s the physics of our game world. Here’s a series of tricks by which you can bend the physics of the game world as you see fit. Do what you will.”

Also, the Divine Beasts don’t come together and form a giant ancient Sheikah mech, and that REALLY feels like a missed opportunity.

The Fighting

Early on, I thought that Breath of the Wild‘s combat system wouldn’t prove to be as good as Skyward Sword‘s. I was wrong. It’s better, which is obviously where I was going with this. Shame on you for not catching on.

I’ve come to realize that Breath of the Wild‘s combat system is my favorite in any game ever. Not just my favorite in a Zelda game. My previous favorite combat system belonged to the Arkham games; the combat flow of that franchise presented what was for my money the best pre-BotW take on 3D melee combat. I often wondered why every other 3D action game just didn’t ape the Arkham system.

Breath of the Wild has set a new standard, though. In Arkham games, enemies mill and scramble around you and have clear Spidey-sense tells for when they’re going to attack; countering is a button press. In Breath of the Wild, when a group of enemies spot you they charge and they fan out, attempting to flank you. They all have attack tells, but they’re subtle and it’s up to you to react to them. If you react well, you’re rewarded with a slow-motion bullet time window within which to really unleash hell. Enemies react to each other’s presence as well as to yours; larger enemies will routinely pick up smaller enemies and hurl them at you. In fact, the depths of YouTube has already given us footage of perhaps the greatest thing I’ve ever seen in a video game: a Guardian going toe-to-toe with a Stone Talus. It’s like a kaiju fight out of Pacific Rim.

When you first emerge from the Resurrection Shrine you feel like a newborn kitten with two left thumbs, vulnerable and clumsy, easy prey for a Bokoblin with a stick or a fairly aggressive Chuchu. Put in the time and practice, though, and soon enough you’ll come across a pack of Lizalfos and, while fighting them, realize that you must actually be playing an Arkham game as you have basically become Batman: dive bombing into the middle of the scrum, knocking one enemy back with a club, quick-switching to a bow and head-shotting another, locking onto a third and dodging it’s attack, triggering a flurry rush, calling your horse to you mid-fight to charge on through and pound over that guy you just knocked down… the variety of ways with which you can dispatch a specific enemy or group of enemies are almost to many to count.

And if you come across an enemy that’s stronger than you are, the game lets you know about it. Loudly.

3D combat on a 2D presentation display will always be imperfect; true depth-of-field is nonexistent on a 2D display, after all. But Breath of the Wild‘s combat is dynamic, dramatic, deep, and engaging. Lynels, Wizzrobes, Octoroks, Lizalfos… all of them ask different strategies of you, and all of them can be felled in different ways. Plus: do you like boss-type fights? That’s great, because you’ll run into those CONSTANTLY while just wandering around in the world, and how you tackle them depends largely on the biome the fight takes place in and the tools at your disposal. Say “Hi!” to Molduga for me! 

That, then, is the real trick of Breath of the Wild‘s combat system, and of its physics engine, and of its world: choice. You choose how to strike down the enemies, you choose how to solve puzzles, and you can choose how to traverse Hyrule. In the end, the reason Breath of the Wild succeeds is because it so definitively and aggressively gives players the one thing they really want from open world games: the right to choose. Choose your path, choose your weapon, choose your own adventure.

Just, when you’re choosing adventures? Be sure you choose this one. This game, man. This game. 

The Breath of Music

Sung to the tune of "My Favorite Things" from The Sound of Music:

Raindrops all over and whiskers on Moblins
Warm pots of mushrooms; headshotting Bokoblins
Listening to a big parakeet sing
These are a few of my favorite things

Getting Epona by scanning amiibo
Starting huge fires like some kind of pyro
Fighting off Guardians with ancient bling
These are a few of my favorite things

When I see a
Disguised Yiga
Hiding in plain sight
I pull out shock arrows; fry them to the marrow
And that makes me feel just right

Shooting a scale off a strange neon dragon
Swooning and fawning for dreamy Prince Sidon
Dying my tunics with Hylian greens
These are a few of my favorite things

Finding a mem'ry and watching the flashback
Buying from Beedle, that big weirdo pack-rat
Saving the daughters of dead ghostly kings
These are a few of my favorite things

When I stop time
Use magnesis
Or make blocks of ice
I realize my Sheikah slate was once Wii U
But now it's the Swiiiiitch... the portable Swiiiiitch... yes it's on Swiiiiiitch...

Sooooo nice!

(Featured image source: http://tigrestoku.deviantart.com/art/Kass-649288348)

A Breath of Fresh Air

The Legend of Zelda: Ocarina of Time isn’t suddenly a garbage game just because Breath of the Wild has come along and reinvented the Zelda franchise. Good, we’ve agreed on that. Moving on.

Breath of the Wild is, as many others have pointed out, a masterpiece of game design. There’s a couple of things in BotW that put it over the top, I think: the immense open world, teeming with wild flora and fauna, the remarkable physics engine that drives most of Link’s special abilities, and the ability to climb literally anything and go literally anywhere on the map at any time. Breath of the Wild is what it is because the player can run in any random direction they choose and always find a living world with nary a barrier thrown down that can not be overcome. It’s a remarkable experience.

It is not, however, the only viable experience that the Zelda franchise can offer its fans going forward.

When people who’ve played Breath of the Wild say, “How can they possibly go back to the way Zelda was before?” my answer is, “Because the way Zelda was before was also pretty damn good.” Just because BotW tells players, “Here’s all of your items up front, now do anything you want in any order you want to do it,” doesn’t mean that every 3D Zelda from now on has to do the same, or even SHOULD do the same. Besides, this is Nintendo we’re talking about. This is the company who saw how much people loved The Legend of Zelda and responded by giving them the complete left turn that was Zelda II: The Adventure of Link. A great, classic, Ocarina-style item-gate driven 3D Zelda is absolutely still a viable option for the franchise going forward… as well as some other style of game we probably haven’t even thought of because Nintendo hasn’t made it up yet.

That said.

Breath of the Wild changes, adds, and gets rid of a lot of smaller elements of past Zelda games that probably should NOT be walked back to the way they were before. Not core game design. The core Zelda game design has always been great. But there are other things around the fringes of that core design that were sorely in need of the upgrade that Breath of the Wild delivers. Let’s review.

  1. Remastered Z-Targeting – The bread and butter of 3D Zelda is the Z-targeting mechanic, so called because when it first debuted it was triggered by holding down the Z button of the N64 controller claw. Z-targeting is a lock-on system, and it’s what allows Link to freely circle around an individual enemy, rather than spinning and flailing about wildly while trying to score a hit. Breath of the Wild does not lose Z-targeting, but it does offer the first major refinement to the system since Ocarina of Time. In Breath of the Wild, when confronted with a pack of enemies, you can lock onto one but you’ll have to worry about the others coming at you from different directions. In most past 3D Zelda adventures that wasn’t the case; while you dealt with the Z-targeted foe the other enemies would patiently wait their turn to attack… which in hindsight seems pretty ridiculous, actually. Z-targeting also traditionally causes Link to raise his shield, which holds true in Breath of the Wild… the difference being in that this latest adventure, Link’s shield can be worn down and shattered, leaving him defenseless. Also, Z-targeting and defending with a shield adds an extra layer of defense/offense to combat. If perfectly timed, Link can now swing his shield to meet an enemy’s blow and knock them back with a “Perfect Parry”, throwing the world into bullet-time and giving Link an opening to really whale on his foe; he can do the same with a well-timed dodge, which triggers an opportunity to execute a “Flurry Rush” of rapid fire attacks. Prior to BotW, the deepest 3D Zelda combat system was found in Skyward Sword and its micro-focused Z-targeting system, with each individual targeted foe offering a unique motion puzzle that, when solved, would lead to their defeat. Breath of the Wild‘s Z-targeting takes that idea and runs away from it, opening up the system into a macro-focused world of varied incoming enemy attack vectors, breakable equipment, and multiple “solutions” to each combat puzzle.
  2. Collectibles Worth Collecting – This goes two ways. It refers both to what the game DOES ask you to collect, and what it DOESN’T. We’ll start with the latter: no longer does The Legend of Zelda ask you to accept that bottles and bigger quivers, wallets, and bomb bags are exciting items to obtain. In Breath of the Wild you can collect all the bugs and fairies your little heart desires (without a net, either!), you can carry as many rupees and arrows as you want from the word “go”, and bombs are infinite in supply. Breath of the Wild also recognizes that heart container pieces and rupees you’ll never use are lame prizes for solving puzzles and beating side quests, so the heart container upgrade system has been revamped and you actually have a reason to use rupees, spending them in generous amounts on crafting items, special arrows, and armor. Yes, that’s right: armor. Let’s talk weapons and armor, or the things that Breath of the Wild DOES ask you to collect. All of a sudden, The Legend of Zelda has a weapons system as deep and varied as an SNES-era Final Fantasy game. You can collect all sorts of upgradeable and color-customizable outfits and armor for Link to run around in, and swords, spears, axes, bows, boomerangs, magic wands, and shields come in dozens and dozens of sizes and shapes. One of the very rare criticisms of Breath of the Wild has been its breakable weapons system. I love the breakable weapons system, and not because it’s “realistic” or some such nonsense. I love the system because it means every weapon in every treasure chest is suddenly of vital importance, as you can no longer marry yourself to one “favorite” sword and stick with it. In Breath of the Wild, prizes matter again entirely because weapons and shields are breakable. In an adventure game that’s mostly about wandering and discovering, I’ll take that trade-off every day of the week.
  3. Voice Acting – In my recent play-through of the five earlier 3D Zelda games, I have to say it did get a little weird, particularly in the text-heavy Skyward Sword and Twilight Princess, to have to read all of the plot exposition that had been disguised as character dialogue. So now that the mainline 3D end of the franchise has gone to fully voice-performed cut scenes, I don’t see how they can walk that back. An overhead Zelda on 2DS? Of course that would be a text-based adventure. The 3D home console franchise, though, can’t go backwards. It would really be off-putting. Two bones of contention: the first is that I’ve seen a lot, and I mean a LOT, of criticism of the actress voicing Princess Zelda in Breath of the Wild, and I tend to be of the mind that a lot, and I mean a LOT, of that criticism comes from the last Breath of the Wild trailer debuting in Japanese with English subtitles. “But the Japanese actress had so much EMOTION!” say British Zelda’s critics. Well, yes. Japanese acting traditions are rooted in melodrama, while much contemporary Western acting is rooted in the more subdued “Method”. Actress Patricia Summersett does a more than adequate job with, let’s admit it, not the greatest batch of dialogue in the world; it doesn’t help that most of her scenes are performed opposite a virtual silent film star. Which brings me to my second bone of contention, and it’s going to be a controversial one: in future Zelda installments, it’s long past time for Link to speak. He can’t be the only one walking around not saying anything in the cut scenes. It’s just weird.
  4. Link is Link – This is the first Zelda game, as far as I can remember, where you don’t get to name the main character. You don’t even start a file in the Switch version of the game; you just save the game under your Switch user ID. Nope, you can’t name your Hero of Legend “Poop” or “Earl” or “Jesus”. He’s Link. That’s it. That’s who he is. You can’t rename Mario and you can’t rename Samus Aran, so I don’t see why players should ever again have the option to pick a new name for Nintendo’s second biggest star.
  5. An Actual Overworld – I absolutely adore striking out across the sea in The Legend of Zelda: The Wind Waker. For my money that is still one of the most therapeutically lovely moments in all of gaming history. Still, even I recognize that Wind Waker‘s “vast ocean” was a relatively tiny series of gridded “rooms”, each with one individual island to its credit. Skyward Sword was even worse; the really boring sky led to three claustrophobic outdoor dungeons that in turn led to a series of indoor dungeons. Breath of the Wild‘s ridiculously vast Hyrule blows all of this out of the water, of course. Look: this is a franchise about adventure and exploration. How any future Zelda games lead Link (that’s his name!) through the progression of its story is irrelevant to this point. The story and dungeon progression can be laser-focused and hyper linear. Hyrule itself, though, can never again feature an overworld made of outdoor “rooms” connected through tiny entrances and exits. I’m not saying Link always has to be able to climb everywhere. In Breath of the Wild, he’s freaking Spider-Man, and that doesn’t always need to be the case. What I AM saying is that, from this day forth in the kingdom of Hyrule, if you can see it on the horizon you have to be able to reach it as it appears.

Everything else is up in the air, though, people. Take a breather, Zelda team. You’ve earned it. And when you regroup, do what you do best: dream up some new version of Zelda nobody would ever expect, and make that. Just remember: no bottles.

I really hate bottles.

The Bard of Kyoto

SCENE V.i - A Graveyard

HAMLET & MIYAMOTO enter. HAMLET pulls the skull of WII U from
out of a freshly dug grave. HE lifts it to eye level and inspects it.

HAMLET
Alas, poor Wii U! I knew it, Miyamoto: a console
of infinite jest, of most excellent remakes: it hath
granted me escape a thousand times; and now, how
tortured in my new-enlightened mind it is! my lunch churns at
it. Here hung the GamePad I have used I know
not how oft. 

Directly to the skull of WII U...

HAMLET
Where be Splatoon now? Captain Toad? 
Star Fox? your smashes of Mario,
at the hands of a vengeful green uppercut? 
Not one now, to mock your great failing: no voice chat?
Now get you to my mother's chamber, and tell her, for she
still does not know, a Wii add-on you are not; 
make her believe that. 

To MIYAMOTO.

HAMLET
Prithee, Miyamoto, tell me one thing.

MIYAMOTO
What's that, my lord?

HAMLET
Dost thou think PlayStation 2 looked so decrepit i' the ground?

MIYAMOTO
E'en so.

HAMLET
And smelt so? pah!

MIYAMOTO
E'en so, my lord.

HAMLET
To what base uses games may return, Miyamoto! Why may
not history trace the noble dust of PlayStation 2,
till it be found clogging a commode?

MIYAMOTO
'Twere thinking it too seriously, to think about it.

HAMLET
No, faith, not a bit; just reflect for a moment,
and one moment more, and let it lead you, as thus:
PlayStation 2 died, PlayStation 2 was buried,
PlayStation 2 returneth into dust; the dust is as one,
a whole unto itself; as like to have been PlayStation 2
in life past as it were the Wii U.
Atari's E.T., dead and turn'd to trash,
is no lesser than dust or dust or dust,
one small speck worth no more than its other:
O, that this dust, which kept the world in awe,
Should serve the same fate as the Wii U's flaw!

Looks offstage; reacts.

HAMLET
But soft! but soft! aside: here comes the Switch.

HAMLET tosses aside WII U's skull. SWITCH enters, crosses L to R, exits. HAMLET & MIYAMOTO follow.

END SCENE

Before U Go…

The Wii U has one foot out the door (or one foot in the grave, for the more macabre among you.) Its central conceit, the second screen of the GamePad, turned out to be a one-trick pony; second-screen home console gaming certainly didn’t catch on as Nintendo hoped it would, which may be the understatement of forever. With the GamePad and also the Wiimote both soon to go the way of the dodo, there are some hardware-reliant gaming experiences that will very likely die with Wii U, never to be emulated elsewhere ever again… unless Nintendo someday releases a Wii U Classic Mini, which I will be all over and which I can confidently say wouldn’t be greeted with a fraction of the demand that greeted the NES Classic Mini.

Now: if you’re like me, you don’t hoard consoles. If I’m not going to use a console anymore, I prefer it not to collect dust on a shelf. I sold my Atari 2600 to my sister’s friend for a slice of pizza, and I left my PS1 in my college rec room; finders-keepers. So in my household, the Wii U is going, going, soon-to-be-gone, and as the Wii era draws to a close, I find myself indulging in games that, due in many instances to a reliance on Wii/Wii U hardware features, are likely not going to be playable anywhere else anytime soon. These are the games that, if it all possible, you should try and play before moving on to the Switch.

1.) The Legend of Zelda: Skyward Sword – Not exactly a low-profile title, Skyward Sword came at the end of the Wii’s life cycle and sold far fewer copies than one would expect of a Zelda game. There have been calls of late for Nintendo to deliver an HD port of Skyward Sword to the Switch, sans motion controls. I’m playing through Skyward Sword now and I’m here to tell you: that’s impossible. The entire game is designed around the Wii Motion Plus’s 1-to-1 motion controls, from interaction with keys, to swimming and flying around Hyrule, to combat with both dungeon masters and bokoblins alike. Remastering the game without motion controls would be like remastering Twilight Princess without the wolf sections: Nintendo may as well make a whole new game instead. The Switch’s Joy-Cons have motion control baked in, but are they capable of Wii Motion Plus-levels of movement mimicry? The Switch has no sensor bar; does that mean Wii-style gaming is impossible, or can the Joy-Con’s IR camera replicate the Wiimote/sensor bar relationship? Well, I’ll tell you: I don’t know. What I DO know is that Skyward Sword is the one 3D Zelda that may not be able to follow Nintendo consoles through iteration after iteration. If you haven’t played it, play it now, before you can’t.

2.) Star Fox GuardStar Fox Zero‘s awkward controls were the result of Nintendo tasking Shigeru Miyamoto with designing games to justify the GamePad’s existence, and that is a terrible place to begin designing art from. Zero‘s biggest problem was simple: you don’t take an arcade-style shooter and make controlling it MORE complicated, which is exactly what controlling your Arwing’s targeting reticle through the GamePad’s second screen did. Star Fox Zero, though, was just one of the games Miyamoto-san came up with for the GamePad. One of the others eventually became Star Fox Guard, a security-camera simulator that tasks the player with protecting a mining facility from attacking robots. On the TV are the feeds from the complex’s twelve security cameras: the large primary feed ringed by the other smaller feeds. On the GamePad screen is an overhead radar map of the facility, and the player uses this to control which camera’s feed is primary and to keep an eye on which class of robots are heading into the facility from which direction, as well as to reposition and refocus the cameras. It’s a multi-tasking action game that keeps the player swiveling their head from the camera feed to the radar map, but unlike many of Wii U’s split-focus games, it actually works. Star Fox Guard is well worth your time; it’s like Five Nights at Freddy’s, but with no cheap jump scares and with actual gameplay. If that doesn’t sell you on it, nothing will.

3.) Affordable Space Adventures – Along with ZombiU (now available on PS4 and XB1) and Super Mario Maker (now on 3DS), KnapNok’s blackly comic space exploration title, where the player steps into the shoes of an unseen tourist whose vacation has gone horribly awry, boasts some of the best usage of the Wii U’s GamePad to be implemented over the course of the console’s short life. Affordable Space Adventures sets the player off to explore a not-so-friendly (and not-as-advertised) alien landscape in a small, unarmed spacecraft that has, just before the start of the game, survived a crash landing. The GamePad plays the role of the craft’s engineering console, and as systems self-repair and come online, the player (or players; ASA supports up to three-player co-op) must manage engines and sensor arrays and other systems, powering them up and down as necessary to avoid confrontation for the alien inhabitants and weaponry that will destroy your craft in an instant should they detect its presence. It’s reminiscent of the old Rare designed NES game Solar Jetman (except ASA isn’t completely impossible) with the borrowed atmosphere of an HD side-scrolling Metroid… a beast that still inexplicably doesn’t exist. Affordable Space Adventures simply would not work on any other currently existing console, and it can be played over the course of two or three sessions. If you haven’t indulged yet, do so now or forever hold your peace.

4.) Splatoon‘s Single Player CampaignSplatoon‘s bread and butter is Turf War and its other multi-player arenas, and that’s an experience that’s going to transfer over to the Switch’s Splatoon 2. Splatoon 2 will also feature a single player campaign, but… if you’ve not played Splatoon‘s single player campaign, you should stop everything and do so now. Look: the campaign itself is a lot of fun. As others have said, it feels a little like a hybrid between Super Marios Galaxy and Sunshine. The reason that you simply must play through Splatoon‘s single player campaign before saying sayonara to Wii U is this: the final boss battle against the leader of the game’s enemy Octarians, DJ Octavio, is one of the best boss battles ever designed. It is lengthy and challenging but never feels impossible. It was one of the more satisfying boss-fighting experiences I’ve had in a very long time, and while a Switch port of Splatoon is more than possible (Splatoon 2‘s existence proves the franchise isn’t second-screen reliant), it’s not worth the risk. Go fight this fight before Wii U says goodbye for good.

So if you haven’t already, these are four of the Wii/Wii U titles you should play before you make the switch to Switch. Also: I’m already tired of Switch puns.

Spoilers of the Wild

So there’s a thing you learn when you study narrative writing, and particularly screenwriting and modern playwriting, and that thing is that you should always begin a scene one line after it starts, and always finish a scene one line before it ends. It’s a way of saying it’s in everyone’s best interest for the storyteller to skip to the good stuff and cut back on exposition as much as possible. Get the audience right into the story, don’t weigh them down with details and character histories and such.

Recently IGN.com posted a video interview with Nintendo legend Shigeru Miyamoto and The Legend of Zelda series producer Eiji Aonuma. Over the course of the interview, the two men tip-toed around some of the elements and structure that make up the plot of The Legend of Zelda: Breath of the Wild, simultaneously trying to give the audience a sense of what they were doing with the story while remaining cryptic and not giving anything away.

Unfortunately… leaks happen, and now I’ve got a theory. Okay, well, more than a theory… I think I’ve figured out… pretty much the entire plot of Breath of the Wild, and how that plot is going to unfold. It wasn’t difficult, and I’m sure if you poke around you’ll see others on the Internet forming the same conclusions I have. So if you consider theories to be spoilers…

… well. Consider yourself warned.

Before I get back to Miyamoto-san and Aonuma-san, I want to share the screenshot that got out. Avert your eyes if you don’t want to see something key to the presentation of Breath of the Wild (although if you didn’t, why on Earth are you reading an article with “Spoilers” as the first word of its title?) Here we go:

zelda-breath-wild-recovered-memories

This is a screenshot from GameReactor.eu of part of the Breath of the Wild in-game Adventure Log. You’ll notice that this portion of the log is reserved for “Memories”. You’ll also remember that a big deal has been made in the trailers and footage for Breath of the Wild that the game opens with Link waking up one hundred years after the Calamity Ganon did something… er… super calamitous to Hyrule. Specifically what, we don’t know; Link has no memory of events that occurred before waking up in the Shrine of Resurrection on the Great Plateau.

So the screen above would indicate that, over the course of Link’s journey, he’ll begin to remember the events of the past and then be able to… uh… watch them on the Sheikah Slate he’s carrying with him? Apparently his slate gets Netflix, which is more than we can say for the Switch. Anyhoo, who cares, I don’t need it, by this time next year I’ll probably be able to watch Netflix on my toaster.

Now I want to turn to the Miyamoto/Aonuma video, from which I’m going to string together a series of screen shots. The two men, naturally, conducted the interview in Japanese that was then translated into English subtitles, which is of course the best way to watch foreign films. So here’s the portions of the interview that are relevant to today’s topic, laid out in sequential panels with only some minor re-organization:

screen-shot-2017-02-01-at-10-59-52-pmscreen-shot-2017-02-01-at-11-00-18-pmscreen-shot-2017-02-01-at-11-00-45-pmscreen-shot-2017-02-02-at-12-54-00-amscreen-shot-2017-02-01-at-11-02-08-pm

So Aonuma-san has some secret plot device, some story organization chart, that he has always wanted to use in a video game. Combined with the leaked Adventure Log image, it seems clear that the Breath of the Wild back story is going to be told in flashback, and Miyamoto-san then uses an example from a prior Zelda game to explain why:

screen-shot-2017-02-01-at-11-02-43-pmscreen-shot-2017-02-01-at-11-07-22-pmscreen-shot-2017-02-01-at-11-03-01-pmscreen-shot-2017-02-01-at-11-03-26-pmscreen-shot-2017-02-01-at-11-07-37-pmscreen-shot-2017-02-01-at-11-03-50-pmscreen-shot-2017-02-01-at-11-08-17-pm

If nothing else, it’s good to see they acknowledge that Skyward Sword, though a great game with probably the best story in the franchise, opens up as slow as molasses (see also: Twilight Princess). This is where the writing rule from up top comes into play. Remember what it was? Always drop your audience into the middle of the action and let them suss out the exposition as they go. It looks like Nintendo is following that rule with Breath of the Wild. They’re going to let you run right out into the wilderness and play survival guy, piecing the story together bit by bit the rest of the way.

There’s more:

screen-shot-2017-02-01-at-11-05-17-pmscreen-shot-2017-02-01-at-11-05-38-pmscreen-shot-2017-02-01-at-11-05-56-pm

I always allow for something to be lost in Japanese to English translations. It’s only fair. Assume this is an accurate translation, though, or at least accurate enough. Why in the world would it be “mysterious” to meet Gorons and Zoras in a Zelda game? We’ve been doing that since Ocarina of Time, at least. What makes that different now?

Well, what if the Gorons and Zoras we’re meeting are already dead?

BOOM MIND BLOWN!

No, I’m not talking about ghosts (but if you’d like to, I’m all ears; ghost stories are the bomb.) Obviously I’m referring, again, to flashbacks. Look: one thing has been clear since E3, and that is that Breath of the Wild takes place in a Hyrule that is in ruins. We know we’re going to see Link’s memories in this game, we know we’re going to learn about the calamitous calamity caused by Calamity Ganon one hundred years before Link wakes up, and we know that this version of Hyrule is a big world with more monsters in it than civilized beings. Is it too much of a stretch to say that the “mysterious” circumstances surrounding your meetings with Gorons and Zoras and the like are that those meetings took place one hundred years in the past?

Also: it’s safe to say, I think, that in the memories Link will collect and tuck into his Adventure Log, we’re going to see the following sequence take place…screen-shot-2017-02-02-at-1-15-38-amscreen-shot-2017-02-02-at-12-15-42-amscreen-shot-2017-02-02-at-12-17-13-amscreen-shot-2017-02-02-at-12-17-29-am… which is, of course, Hyrule Castle and Castle Town getting all good and blowed up. Something we know happened BEFORE Link awakes at the start of the game, because when he wakes up…

nbj3n8s

… Hyrule Castle looks like its already been through the ringer pretty good.

I also feel pretty safe in predicting that shortly after the castle and town go kablooie, we’re going to get a flashback sequence that goes a little something like this:

screen-shot-2017-02-02-at-1-17-43-amscreen-shot-2017-02-02-at-1-18-40-amscreen-shot-2017-02-02-at-1-41-11-amscreen-shot-2017-02-02-at-1-41-50-amscreen-shot-2017-02-02-at-12-16-55-amscreen-shot-2017-02-02-at-1-17-30-amscreen-shot-2017-02-02-at-1-22-30-amscreen-shot-2017-02-02-at-12-19-10-am

Yeah, in my theory this would be where Link and a distraught Zelda try to escape after the destruction of Hyrule Castle, only to get tracked down by Guardians, who kill Zelda and knock Link into a hundred year coma.

(By the way, that battered Master Sword that Link is holding in that last shot… it looks an awful lot like the sleeping Master Sword we saw in the first trailer, don’t you think? Maybe it’s all busted up because Link got himself all busted up.)

screen-shot-2017-02-02-at-1-23-13-am

I have one last screenshot I’d like to share, and this is the glue that holds everything together. If you go back and look at that picture of the Memories screen in the Adventure Log, you can see little pieces of film strip that denote each individual clip; presumably you can watch the memories whenever you want to review the tragic story of the fallen kingdom of Hyrule. This is Nintendo, though. Since when has Nintendo ever had us watch something that we could play? With that in mind, take a look at this:

screen-shot-2017-02-02-at-1-21-34-am

That shot, quite clearly, is gameplay. It’s not cinematic, it’s a behind-the-back camera angle with Link running with his back to the player, just as he has run in five 3D Zelda games before. I know Breath of the Wild is supposed to feature dynamic weather and such, but I’ll be damned if the setting and lighting and overall atmosphere from that gameplay screen capture look a whole lot like the lighting and setting and atmosphere from the “Link and Zelda gettin’ Guardianed” cinema sequence from above.

Begin your story after it has already begun. Fill in the gaps of exposition as you go. It’s a rule of dramatic structure as old as the art of drama itself. Nintendo, though, isn’t into making movies with a little bit of gameplay. Nintendo makes games with a little bit of story. When you take all of the presented evidence into account, it is my belief that Breath of the Wild unfolds like a mystery in the present day, and at the moments when Link is beginning to remember an event from one hundred years earlier…

… gameplay switches to the past and the player is forced to play out the downfall of Hyrule and the death of Zelda.

I can’t wait for this game.

UPDATE: And then, what if while exploring the ruins of present-day Hyrule, you come across the entrance to what used to be dungeons but are now just collapsed half-shells of what they once were, overrun by nature. And when finding that dungeon, Link is plunged into a memory of what that dungeon once was… and you therefore end up playing through all the dungeons in flashbacks… which would make it far easier to design the game so that the player could tackle the dungeons in any order they choose, as the flashback of each dungeon could begin with Link automatically equipped with whatever series of items he’d need to conquer that dungeon.

OTHER UPDATE: And then what if, once you play through the memory of the dungeon, a path becomes highlighted through the present day, ruined version of the dungeon (because Link now REMEMBERS how he got through the dungeon initially) and you can then follow the highlighted path to whatever other item or secret that the present day version of the dungeon has in store for you.

ANOTHER UPDATE: This would mean that the 100 or so Shrines that have been revealed to be in the game would be the only sort of mini-dungeons in the present day version of Hyrule, and the huge Zelda-style dungeons proper are in the one hundred years past version of Hyrule. (Also, those mini-Shrines act as fast-travel points.)

YET ANOTHER UPDATE: This all would fit in with the thing that Aonuma-san told us way back at E3 that seems to have been forgotten: it is entirely possible to run from the beginning of the game straight to the final battle without doing much of anything in-between. If there are no true item games in the present-day portions of the game (because the item gates, as they were, existed one hundred years in the past, and have since fallen to ruin and can simply be climbed over or walked around) then it stands to reason that you could walk right into Hyrule Castle and confront the Calamity Ganon… although one would assume that would be a near-impossible battle. Given the difficulty level we’ve seen in clips of the game (this looks like it’s going to be a hard and unforgiving game, if the amount of times the Nintendo Treehouse staff have gotten themselves killed in demos is any indication) I see no reason why the Calamity Ganon shouldn’t flat-out pwn torn-shirt Link.

JUST ONE MORE UPDATE: I still can’t wait for this game.