Switch

Making the Grade: E3 2017 Edition

This is the third installation of my “Making the Grade” series, a temperature-check all of Nintendo’s major franchises and where they stand in the overall scheme of existence. The idea was always that I’d go back and update this list whenever there was some sort of major shift or big event… and as E3 2017 has just wrapped up, that certainly qualifies.

A couple of things have moved around the list as a result of Nintendo’s E3 showing… with one big mover you can probably already predict. As I did last time, I’ve highlighted the franchises that have switched tiers, with a (+) for those that have been upgraded, and a (-) for the downgrades. As always, feel free to disagree.

Grade A: Fire EmblemThe Legend of Zelda, Mario Kart, (+) Metroid, Pokemon,  Splatoon, Super MarioSuper Smash Bros.

Ladies and gentlemen, boys and girls, children of all ages… she’s back. Samus Aran, first lady of gaming, returned to the spotlight this E3 in a big way. The logo-reveal for Metroid Prime 4 alone would have bumped Samus and her franchise up to grade “B”, but then, almost as an afterthought, Nintendo revealed a remastered version of Metroid II entitled Metroid: Samus Returns, coming this September for the 3DS. Samus and Metroid have retaken their rightful place amongst Nintendo’s elite franchises. No other movers into or out of the “A” grade, but some notes: if Super Mario and Pokemon could get higher than “A”, I’d put them there, and though there was still no mention of Smash Bros. for Switch, that’s a franchise that’s not going anywhere.

Grade B: Animal CrossingDonkey KongKirbyMario & LuigiPaper Mario, XenobladeYoshi, (+) Pikmin

I can’t recall if Hey, Pikmin! was announced pre or post Switch event, but as I look at the list today and note that in addition to Hey, Pikmin! Shigeru Miyamoto offhandedly mentioned that Pikmin 4 is in the works for Switch, the Pikmin bump to grade “B” seems appropriate. Reliable standbys Kirby and Yoshi both received new game announcements at E3, as did the 3DS Mario & Luigi series, which will get a remake/spin-off hybrid in Superstar Saga & Bowser’s Minions. Xenoblade Chronicles 2 is still (Nintendo claims) going to make a Holiday 2017 debut, and Donkey Kong showed up in spirit in both the bizarrely fascinating Mario + Rabbids game being developed by Ubisoft and in Super Mario Odyssey as the namesake for the urban playground New Donk City.

Grade C: (+) ARMS(+) BoxBoy!(+) Mario spin-offs, Mii games, Pokemon spin-offs.

First off, I’m an idiot. I’ve never included BoxBoy! on this list. Developed by HAL Labs, the little Box-fellow even has his own amiibo. Granted, the BoxBoy! trilogy just ended, but since when did that stop Nintendo from milking a profitable franchise? Moving on: while Super Mario, Mario & Luigi, and Paper Mario are uniquely deep franchises of their own, the multitude of other Mario branded games Nintendo releases are harder to classify. I have, for the time being, combined Mario Party, Mario Sports (including Mario & Sonic at the Olympics), Mario v. Donkey Kong/Mini Mario, and Dr. Mario. For now, the newly minted (and buzzed about) Mario + Rabbids helps bump the Mario spin-offs up a tier. Pokken Tournament DX is ALMOST enough to push Pokemon spin-offs up to grade “B”, but the weight of all of those Mystery Dungeons still drags it down. I’m cheating a little with ARMS; one game does not a franchise make, but this one game is being received well enough to suggest ARMS is on its way to becoming a brand. Finally, I’ve re-branded Tomadachi Life and its ilk as Mii games; Mii’s themselves are in short supply these days, as Nintendo seems determined to move away from the Wii era. Still, Miitopia was recently revealed to be making its way west, so there’s still some life (and a lot of brand recognition) left in Nintendo’s cartoon avatars.

Grade D: Luigi’s MansionKid IcarusWario brand games, (+) Star Fox

Time heals all wounds. There’s been no game announced for Fox McCloud and crew, but to be fair, Star Fox is a franchise with a really solid cast of characters and enough of a fanbase to let it recover from the horribly received Star Fox Zero. Don’t expect Team Arwing to climb any higher than tier “D” without a new game, though. It’s that sort of name recognition that draws the line of demarcation between tiers “D” and “E”; the franchises in “D” haven’t received any more love than those in “E”, necessarily, but they star beloved characters that aren’t soon going to be forgotten.

Grade E: Advance Wars, (-) F-ZeroMother, (-) Punch-Out!!, (-) Pushmo, (-) Puzzle League, (-) Rhythm HeavenRemix series, NintenDogs, Pilotwings

I was bullish on F-Zero making an appearance at E3. I was wrong, and I’ve had to knock it down a tier as a result. Additionally, Puzzle League and Rhythm Heaven are on the fast train to nowhere; another six months to a year without a whisper and they’re both due to bottom out in tier “F”. Though a reliable space filler for awhile, it’s been 2 years, and if there’s never another Pushmo game will anybody even notice? Mother remains in grade “E” on the strength of its cult following alone; as a franchise that seems largely dead it should probably drop out to tier “F”. Most notably, Punch-Out!! receives a huge body blow in the growing popularity of ARMS, which could end up as a franchise replacement for the Punch-Out!! brand. If we see a new Punch-Out!! soon, expect it to be on 3DS, and as something other than the behind-the-boxer POV game we’re used to. That’s another hunch.

Grade F: Brain AgeCodename S.T.E.A.M.Chibi-RoboCustom RoboDillon’s Rolling WesternExciteGolden SunThe Legendary StarfySin & PunishmentStarTropicsWave Race.

You could argue that I shouldn’t even bother publishing grade “F”. These franchises are the definition of dead in the water. Pun intended, Wave Race.

 

 

(Featured Image Source: http://shubwubtub.deviantart.com/art/Minimalist-Metroid-Screwattack-Wallpaper-542023002)

Actively Retro

It’s been semi-scandalous ’round some parts that Nintendo has yet to reveal or talk about the future of its Virtual Console service for the Switch. Virtual Console, as anyone reading this blog probably knows, is the fancy brand name Nintendo came up with ten years ago for the downloadable emulated versions of classic games from their vast library, spanning 30+ years. Every Nintendo console aside from the Virtual Boy, the GameCube, the Wii U, and the 3DS has been represented in some form on the Virtual Console, which over time grew to include games from the early SEGA consoles and the NEC TurboGrafx 16. Virtual Console was a huge selling point in the history of the Wii, and slightly less of a selling point on the 3DS, and petered out on the Wii U by the end.. though, frankly, what didn’t?

The general assumption is that Virtual Console is going to eventually show up on the Switch, and that may be the case… but it may not. Nintendo just recently announced more details about their online service, launching in 2018, and as part of that service select Nintendo classics will be made available to subscribers, all with added online functionality. These “Classic” games are not technically part of Virtual Console; VC has always been straight emulations of game code, with some very few exceptions (the Virtual Console version of Duck Hunt, for example, needed to be reworked; the game as programmed worked only on old CRT televisions.)

The longer we go without hearing about the Virtual Console, the more dubious I am that it’s ever going to show up. I don’t believe Nintendo will every stop trying to make money off of its enormous library of past hits, but I wonder if they feel they’ve carried the a’la carte method of charging $5 for Super Mario Bros. 2, again, as far as it can go.

Irregardless of what happens with the VC, one of the fascinating early trends of the Switch is just how anachronistic this brand new style of gaming platform is. In a time where gaming is a global, online experience, and companies like SONY are running towards isolated VR experiences, Nintendo’s Switch doubles-down on the one thing nobody else offers: console-quality local multiplayer on-the-go. Nintendo is betting that people still like playing games together on the same screen in the same room, and so far that bet appears to be paying off. It’s a new-idea system offering a throwback experience, and it works.

An inadvertent (or maybe conscious) side effect of this is that the Switch lends itself to a throwback experience, and the indie developers who are fleshing out the early days of the Switch library between major Nintendo releases have cooked up some decidedly throwback pieces of software to go with it. The result: even with the Virtual Console nowhere to be found, the Switch feels like a paean to the golden era of gaming.

Consider some of the early Switch titles: right on launch day, if you managed to look past Breath of the Wild for a few minutes, you’d see Fast RMX, an ode to F-Zero if every there’d been one, I Am Setsuna, a Secret of Mana-esque RPG from Square/Enix’s Tokyo RPG Factory, the Shovel Knight trilogy of games AKA the best NES games never made, and Bomberman, of all things. The old-skool hits went right on rolling thanks to Hamster Corporation, who have been drip-feeding us ports of classic Neo-Geo games since week 2 of Switch’s lifespan; Metal Slug and King of Fighters are just two of the all-time greats that have found new life on Switch.

Further on we saw the release of Graceful Explosion Machine, which plays a lot like an R-Type/Stinger homage, a Wonder Boy Master System remake, freaking Tetris, the NBA Jam/NBA Street reminiscent NBA Playgrounds, and, of course, Street Fighter 2. Mix in with that all-time classic franchises Mario Kart and Minecraft, and then glance down the road and see a new 16-bit style Sonic game, a cover version of 2D Castlevania games going by the name of Bloodstained, the Nintendo-hard 8-bit-ish platform 1,001 Spikes, and the critically acclaimed love song to Metroid, Axiom Verge.

The list grows, and will continue to grow. Retro gaming is not a new trend, of course, and the Switch is far from the only place where you can get your retro fix. There is a perfect storm going on with the Switch, though: a brand-new console pushed out the door arguably two or three quarters too soon (Wii U was dead and Nintendo wasn’t about to put Breath of the Wild on a kaput system) from a company still trying to rebuild trust with AAA 3rd party developers has led to Nintendo adopting a strategy of finding quality indie developers who came of age on the NES and SNES and are making cheaper games reminiscent of the ones they loved when they started gaming.

E3 is next week. Front and center will be Nintendo’s own retro showcase, the Mario 64-inspired Super Mario Odyssey. It remains to be seen, however, if the Virtual Console will finally make its Switch debut on the E3 stage. Even if it doesn’t, and you find yourself hankering for a retro gaming fix? Don’t worry; the Switch has got you covered.

It would also be nice to hear what Retro is up to.

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

Gotta Have “It”

The Nintendo Switch is cool.

Wait. I suppose I should provide an update to my last post: yes, my Switch arrived earlier this week. Crisis averted. I have emerged from the depths of the Amazon. Onwards and upwards.

So: the Switch.

The Switch is cool. I don’t choose words randomly, and in the case of the Switch, “cool” is a very carefully cultivated selection. The Switch has a “je ne sais quoi” that only the best tech products have, the thing that makes you want to reach out and touch it, to hold it in your hand and fiddle with it. Those are the products that have “It”, capital “I”. What is It? I don’t know for sure, but people know It when they see It.

The Walkman had It, the Camcorder had It, and the holy trinity of “i” products (Pod, Pad, and Phone) all had It. Nintendo, like Apple, has a history of products that have It: the NES and the Game Boy started that phase of the company’s existence. And now, they have the Switch.

“It” is cool, “It” is in demand, “It” is addictive, “It” gets you thinking about it when you’re not playing around with it. The Switch’s It-factor is evident from the first time you pick one up and play with it, and if you’ve not yet had a chance to hold a Switch in your hands I highly recommend you do so at the earliest possible convenience. The super-flat tablet in handheld mode melts into your grip, you’ll want to slide the JoyCons off and on the main console over and over again just to hear them snap back in place, the HD display is gorgeous and crystal clear, and resting the unit in the dock and watching the game you were just playing on the bus magically appear on your TV is more satisfying than it ought to be. Heck, just fiddling with buttons and cycling through menus to variations of the now-infamous Switch “click” is addictive and pleasurable in ways only offered by products that have It.

When looking at the Nintendo Switch as a gizmo, I can’t help but think of the Wii. When the Wii debuted with its funky remote control controller, upright white design, and arm-swinging sports pack-in title, it was the sort of “what’s THAT?” level of weird that grabbed people’s curiosity and wouldn’t let go until they got the device in their hands. The Wii was a dorky little underpowered box of cartoon avatars going head-to-head with two console gaming powerhouses, PlayStation 3 and XBox 360… and Wii outsold both of those platforms by 15 million units almost entirely on the strength of “It”. XBox 360 in particular offered an objectively better console gaming experience than was offered by the Wii, and the 85 million XB360 units sold is certainly nothing to be ashamed of… but it’s not the Wii’s 101 million units sold. XBox 360 was a black box with a standard controller. Certainly nothing wrong with that, but as just a regular old fiddle-dee-dee gadget it just didn’t have It like the Wii did.

And now, here’s the Switch. It was evident just from the time I spent playing with the Switch during Nintendo’s worldwide rollout tour last month that the hybrid console was going to follow in the Wii’s footsteps as a thing people are going to be itching to pick up and toy around with. It was also clear that once people had their first taste of It they weren’t going to be able to shake It. As was the Wii before it, the Switch is a “must try” console, and most everyone who’s aware the Switch exists is at the very least curious to try It. In hindsight, “let’s tour the world and let people experience It” was one of the best marketing decisions Nintendo has made in over a decade, and is certainly a better marketing decision than, “let’s give this new console the same name as the old console and confuse everyone completely,” *koff koff looking at you Wii U koff koff*.

Look: “It” doesn’t mean everything. It gets old, sooner rather than later, and that’s when the It product proves whether or not it has staying power. That’s right, having It doesn’t guarantee success; just ask Google Glass about that. Even the Wii fell off at the end of its life cycle. Too many millions of those of early adopters had trouble sorting through the console’s desert of shovelware, and the Wii’s promise of revolutionary motion controls only really panned out in the titles that bookended its existence: Wii Sports and The Legend of Zelda: Skyward Sword.

So the Switch is going to have to produce what it has promised beyond giddy charm and fascination, and ultimately prove its own worth as a gaming machine. It’s off to a good start; Breath of the Wild justifies the Switch’s $300 price tag all on its own, and even in the limited 9 game launch line-up there are a number of high quality experiences. (See also: Fast RMX, Shovel Knight: Treasure Trove, and SnipperClips.) Also on deck: Mario Kart 8 Deluxe, Splatoon 2, Super Mario Odyssey, Skyrim, etc., etc. So an investment in the Switch looks, for the moment, to be an investment not just in form, but in substance… which would give it a leg up on the Wii, a console where the substance never lived up to the promise of the form.

Because “It” is fleeting, and cool dies young… but great games are forever. We know the Switch has the former, in spades. Now we need to know that it will also have the latter.