Tag Archives: The Legend of Zelda

tp-darknuts-dumb

Most protagonists are empty, hollow shells in need of something to fill them. Thus was our verdict, as handled by our own Stefan Samurai (this is the link to which this article is a response, by the way… CLICK IT!).

He's the Chosen One because he's so special

What followed, however, was an intriguing proposition, one that put the blame on us rather than on the developers. If protagonists are empty, that’s only because we, the players, failed to fill in this void with our imagination. In other words, all protagonists that lack development are not actually characters per se, but rather avatars.

It does make sense to some degree. For example, those of us who played the original Mario and Zelda without reading any of the stories in their respective manuals would indeed take these two guys fighting lizards to rescue their beloved as mere avatars. In fact, most of the narrative in those two games came from outside the game. Back in the day, only the ones who have either read the game’s instructions or finished Super Mario Bros. would actually know that Mario was trying to save a Princess named Toadstool.

It’s natural …

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That's an awful obvious hint, I'd think

Many a time the statement the main character has no dept has been uttered since games have gotten more complex, and nearly every time I could not help but think someone was missing a point. While not always true in modern games (Final Fantasy ___ makes for a good set of exceptions), most protagonists are empty, hollow shells in need of something to fill them. Trouble is, many players these days are under the impression the protagonists’ characterization is predetermined by the designers and writers. Players have forgotten that in many cases that emptiness is put there to be filled by players.

That's a mighty obvious hint, I'd think

While modern games to have methods of telling players “this character is you,” such as choice systems, dialog trees, or right out telling them they should be responsible for their actions, I would like to take a few steps back in gaming to a time before every other game had multiple endings and/or dialog trees. Games as a genre began to grow in complexity sometime late in the 90s. A lot of genres and series took the leap from pixels to polygons, and suddenly plot was more than a feature advertiseable on …

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some OoT artwork

With the recent release of Ocarina of Time 3D, Mr. Iwata conducted an interview with the five directors that lead the original landmark game.  There is much reminiscing about production of the thirteen-year-old game as they discuss all of the hurdles and complications that went into making one of Nintendo’s and gaming as a whole’s most important and loved releases.

 

yep.

It is quite revealing of the early stages and changes made during the two-and-a-half year production.  For example, Mr. Iwata pointed out at first, it didn’t have autojump.

Mr. Koizumi said: As we were making Super Mario 64, we were thinking about The Legend of Zelda the whole time, and when Mr. Miyamoto saw that signs could be cut and the pieces would float, he said now that’s The Legend of Zelda!  It even explains why Link has tights, a question I know I’ve always been curious about. I mean, why tights? Another interesting tidbit is that OoT was almost an FPS…well, kinda.

nin-nin!

I could go on and summarize it, but it is better to just see for yourself.  You can check it out here.
Apparently the production …

Read More from Thirteen Years Later and Ocarina of Time is Still Worth Talking About

Mid-Boss telling a bit too much

Breaking the immersion is a popular criticism in games these days. Perhaps not with those exact words, but anything that pulls a player out of the world within the game for any reason, be it a bug or an imperfect animation or an unexplained mechanic or even the inclusion of collectibles the gaming community tends to put on a frown and shake their collective heads.

 

Much like how this protagonist does to his midboss

In the film and theater world, particularly pertaining to Japanese film and theater, the words representational and presentational get thrown around a lot. To be representational is to be intending to hide the fact that a film, play, game, or other form of narrative media is a fabrication. Conversely, the presentational is that which makes a point to show or simply does not try to hide the fabricated nature of storytelling. Something like Inception is the epitome of representational–absurd sums of money and effort were put into making it seem as real as physically possible, even when the movie steps out of the boundaries of reality. …

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windwaker

The pursuit of a challenge can be a driving force in life. The accomplishment of something thought to be unobtainable has a certain allure which some find irresistible. Game designers tend to play off of this concept, creating challenges that seem insurmountable in the context of the game world. Typically there will be an option for the player to affect the likelihood of beating the odds through game difficulty. As a designer, the proper implementation of difficulty, in my opinion, is instituting a learning curve and building from there. Once the player has gleaned the knowledge the game has presented, the designer is free to introduce complex obstacles that utilize this knowledge in varying ways. Approaching the difficulty question from this angle allows designers to create more involving situations during the progression of the game. This concept of “learning in order to succeed” seems to eradicate the necessity of a difficulty option altogether.

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THE LEGEND OF ZELDA: TWILIGHT PRINCESS is a videogame developed by Nintendo EAD, published by Nintendo for the Nintendo Wii and Nintendo GameCube. The Nintendo Wii version was played for this review. It was directed by EIJI AONUMA.

This article contains the following types of spoilers:

Game description
Names of some of the featured dungeons, characters and villains
Overall description of the game’s beginnings

We from the Nightmare Mode would also like to spoil the following review and say that The Legend of Zelda: Twilight Princess is a good game and you should play it if you can.

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majora-twili

This article contain spoilers for:

Terminator (movie)
Back to the Future (movie)
The Legend of Zelda: Ocarina of Time
The Legend of Zelda: Majora’s Mask
The Legend of Zelda: Twilight Princess

The goal of this article is not to establish a time line for the Zelda games. I tried doing that and failed because I simply could not fit A Link to the Past (aLttP) anywhere between the existing games. Instead, what I managed to do was to fit Twilight Princess (TP) somewhere, and since this is the Zelda franchise we are talking about, I’m proud of my achievement.

After finishing TP, I honestly had no idea on how to fit it into the storyline, considering certain aspects of its story contradicts other games. Below I’ll try to fit TP in a way I can eliminate as many plot holes as I can – then you see if you support my conclusion or not.

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