In games like Ocarina of Time, designating a specific element to each dungeon made perfect sense because each corresponded to a Sage of said element. In many Zelda games a similar pattern is followed, either by having the player collect element specific items within the temples or placing them in provinces that bear the same elemental traits as the dungeon residing in it. This made receiving and using specific weapons in each temple viable, but with a new age of nonlinear open world Zelda games dawning, can and should this gimmick remain a staple of the series?
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Dreams are typically joyful escapes from reality, journeys into worlds with limitless potential and lifted restrictions. Most people would jump at the chance to live in a dream, but that apparent freedom we as humans find in our dips into the surreal turn to enchaining and stagnant nightmares when there’s no way out. When stuck in one place without the possibility of growth nor fulfillment, one would likely go insane and just give up. But Marin isn’t one to conform. Trapped on the island of Koholint like an evergreen in a snow globe, this girl remained vivacious in the face of confinement. She was always encouraging to those around her and expressive through music and her fixation on flight. But above all, she was hopeful. Let’s further examine the significance of our precious seagull without wings: Marin.
Zone Watts over at The Zone Game has published an article about customization in the world of Zelda. It is rather obvious that while Nintendo wishes to immerse players in each new iteration of Hyrule, they don’t seem to like changing their main character. Link is sort of overdue for customization, considering how much Nintendo talks about making their fans feel like they themselves are a part of the game. Zone discusses this problem, and addresses how we should be able to choose how Link looks and acts to the level of the upcoming Fallout 4.
Check out some bits from the article after the jump! Read more…
While there are many different types of Zelda musical renditions, (orchestral, acapella, synthesizer) my favorites as of late are the electronic remixes. Youtube remixer nOkbient released two different Zelda mixes this past week, pulling songs and sounds from throughout the series and skillfully mashing them together into these electronic beauties. The first focuses primarily on manipulating the Song of Storms and does so charmingly, the second is composed around the Dungeon Theme from the original Legend of Zelda. These remixes were tastefully done, there’s a great variety to the pieces and they never get overly noisy. Listen to nOkbient’s jam-worthy compositions after the jump!
In the fantasy world of Hyrule, not much concedes to the restrictions of reality. But with Zelda Wii U’s shift into open world gaming, it wouldn’t be unthinkable for a more real economy to present itself. Modern open world games are sometimes more realistic than what the Legend of Zelda is used to, and adapting the series to fit around a true economy is one way for it to be more realistic without damaging the integrity of its fantasy elements. Fluctuating item pricing and availability due to supply and demand or the socioeconomic state of a shop’s location could add more structure to the economy.
Though this may change the usual abundance of rupees in Hyrule, it could also allow for Link’s different interactions to improve his chances of earning money or paying lower prices.
Once again The Legend of Zelda series has proven its prestige in the Nintendo community by landing both of its current Wii U titles on Nintendo UK’s “Top 10 Wii U Games” list. In May, Nintendo UK asked fans on Twitter what their favorite Wii U games were, and Zelda fans new and old made their choices known. In the end, The Wind Waker HD took fourth place and Hyrule Warriors snagged the third place spot. Seeing as the Zelda games were only bested by Super Smash Bros. for Wii U and Mario Kart 8, third and fourth place is impressive indeed. To see the rest of the list and Nintendo UK’s favorite Zelda tweets, hit the jump!
Welcome to the twelfth and final installment of Piece of Heart, where we look at The Legend of Zelda series through the eyes of a literary professor and examine how its literary elements enhance the gaming experience. This week’s lesson is titled “It’s Never Just Heart Disease… And Rarely Just Illness.” We’re going to take a step away from the weather in setting, to look at the weather in one’s soul. A disease of the heart is almost always caused by emotional or social decay, and all illnesses in literature harbor underlying meditations on character or society.
Illnesses are rarely named in Zelda, though they’re usually caused by a curse or something of that sort. However, we’ve had antagonists die from shots through the heart, and we’ve even had a case of amnesia. So let’s pick apart the symptoms that our dear characters exhibit, and make informed literary diagnoses!
Welcome to the eleventh installment of Piece of Heart, where we look at The Legend of Zelda series through the eyes of a literary professor and examine how its literary elements enhance the gaming experience. This week’s lesson is titled “…So Does Season.” Similar to geography, the season during which a game takes place has a profound affect on the overall theme of the adventure. For instance, Winter usually denotes death and hopelessness, so the despair surrounding Queen Rutela’s death and the disappearance of her only heir was elevated in Twilight Princess by the temporary winter of the then-frozen Zora’s Domain (here we can see how geography and season act hand-in-hand).
Of course Spring, Summer, and Autumn are also host to their own emotional and physical associations. The season in a Zelda title can greatly reflect the mood of the game, and knowing how to spot these seasonal patterns will further aggrandize the game’s plot.
Garfield creator Jim Davis has been talking video games in his most recent interview with Venture Beat. Admitting his partial hiatus from the gaming world, Davis talks about his new project Garfield: Survival of the Fattest, an upcoming mobile game that looks to be in the same vein as the likes of The Simpsons: Tapped Out or FarmVille. It is doubtful that this game has much taken from the Zelda formula, but make the link to check out the interview in which Davis talks about the franchise!
Welcome to the tenth installment of Piece of Heart, where we look at The Legend of Zelda series through the eyes of a literary professor and examine how its literary elements enhance the gaming experience. This week’s lesson is titled “Geography Matters…” The gist of it is that certain environments breed certain types of people– culturally, psychologically, financially, historically, and otherwise. Aside from general settings, specific geographical monuments also have significance.
The effect of geography is easy to see in the Zelda series, one simply has to look at the different races that have developed throughout Hyrule. And hey, if it hadn’t been for the odd customs of the Gerudo Tribe, the Prince of Darkness may not have turned out so dark.
Regarded as the most beloved game for the Nintendo 64, Ocarina of Time has seen three different ports and at least five different controller options through the years. Each new controller has brought with it a different gaming experience, and either enhanced or detracted from the original gameplay. I have had the privilege of experiencing Ocarina of Time on all of its ports, and decided to give my take on how each controller handled the game and changed my overall impression of it. I will be starting with my tried and true favorite, the Nintendo 64 controller, and work my way to the newest in the line of Wii U Fight Pad controllers designed for Super Smash Bros. Without further ado, let’s play!
The Legend of Zelda has a long and storied past with mobile systems; indeed, the marriage of the two dates as far back as the series’ fourth game, Link’s Awakening. In this article, I take a look at the design of portable Zelda games by comparing Link’s Awakening, the oldest, and A Link Between Worlds, the youngest, side by side.
Welcome to the ninth installment of Piece of Heart, where we look at The Legend of Zelda series through the eyes of a literary professor and examine how its literary elements enhance the gaming experience. This week’s lesson is titled “Flights of Fancy”. This chapter could be wholly devoted to Skyward Sword since the name itself implies a departure from land, but instead we’ll examine literal, figurative, and ironic instances of flight that occur throughout the Zelda series.
The Legend of Zelda has a great variety of aerial crafts; from loftwings, to warp tunes, to cuccos, to canons, to carpets, to feathers, to broomsticks, and everything in between! And while the mode of flight is important, whether or not it’s a bumpy ride makes all the difference.
If a franchise lasts as long as Zelda does, you’d eventually need to mix things up a bit or fear stagnation. Gameplay wise there have been a lot of different things, for better or for worse: boats, trains, time loops, physical transformations, time travel, alternate worlds and many more things have been used to keep every Zelda game fresh. The same goes for stories: the more simplistic ones in the original and the GameBoy games, the more complex ones like Ocarina of Time and Wind Waker, the upbeat and optimistic Spirit Tracks and the darker Majora’s Mask and Twilight Princess. There exists a group of fans who call for more games like that, taking the series to explore darker and more “mature” themes. But what are these themes and how should the series look at them? Read more after the break! Read more…