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undercityrezident · 1 month ago

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My Thoughts on Echoes of Wisdom

So, I thought I had a decent idea of what I was getting into while playing The Legend of Zelda: Echoes of Wisdom. While the trailers had given me insight into the gameplay and the basic concepts at play, I didn’t envision the sheer synergy of game philosophies being married here: the old Zelda and the new. That and a dash of real-time Pokemon or Pikmin being added to the recipe.

To add to this, Nintendo and Grezzo certainly made this game a lot deeper and more engrossing a game than I thought it would be. And I’m quite glad for that. I hadn’t gone into this game with the intense level of hype I’ve gone into other Zelda games with because I’ve learned to temper my expectations due to my growing level of cynicism with the gaming industry.

However, while this certainly isn’t some 150-hour juggernaut to play through (though it does come at about the same monetary cost as a few of those—thank you, awful Canadian dollar conversion rates), this doesn’t make it feel any less valuable a gaming experience. It packs a lot into its small package through diversity in design ideas, a well-paced story, and thought into how the devs gave a great deal of power to players in tackling challenges.

In short, this means that this game does a lot of the great things I’ve praised Breath of the Wild and Tears of the Kingdom for doing without falling into some of the same pitfalls those games do. Echoes of Wisdom employs much of the same ideas and aesthetics while keeping a core, classic Zelda experience.

Below the cut, I’ll tell you exactly how and why that is. Beware of complete game spoilers from this point forward:

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Echoes of My Voice

To inform any readers here on the standards that I’ll be measuring this game by, I’ve completed, more or less, everything in the game. I’ve finished the story; collected all the echoes, stamps, and might crystals; upgraded all my equipment; collected all the outfits and accessories, and I’m fairly certain I’ve completed all the quests and side quests. However, I’ve not made every single combination of smoothie, and according to a let’s play of the game I watched, I’ve only missed a few overworld cave chests with some minor items inside.

As often I do with open-world games, I tended to explore the regions to reveal the map and collect goodies before attempting quests in the area. Having done just that, I think my usual method of exploration might’ve minorly taken away from the experience of discovery that comes paired with progressing the story, though that’s less a critique of the game and something I have to resolve with myself as a player.

But compared to the awful consequences of the same exploration tendencies with Tears of the Kingdom where you could spoil huge story points by simply exploring, Echoes of Wisdom, thankfully, keeps such things gated behind proper game progression, allowing players to explore without fear of such things. For open-world games, I think exploration should be either a joy, a curiosity to indulge, or a lead-in to teasing boons that help build anticipation for something to come in the game’s plot. If it ends up becoming a detriment to either story or gameplay, then it’s poor open-world design, plain and simple. But I’m happy to report that this is not a concern with Echoes of Wisdom.

Even with trailers and the like to give some light to the story and gameplay we were getting, I could enjoy this game without feeling too spoiled. That said, if you’re a fan who has yet to play this game, stop reading this commentary and try going into it without watching any trailers or viewing any promotional material. I think this game could’ve been even better for me if I’d gone into it completely blind, as the discoveries of what I could do could’ve hit even harder, though they don’t lack any sort of punch, even with my foreknowledge.

So, for those who need not worry about spoilers and with all the above in mind, let me break down this game bit by bit.

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Echoes of Worlds Gone By

Echoes of Wisdom certainly draws inspiration from other Zelda games in designing its world, first and foremost from A Link to the Past. One could say that that majority of the core central map is derived from the Super Nintendo classic, with a sort of frame of new content around it both literal and figurative. That’s not to say this world’s map is copy and pasted. Far from it, in fact. But fans of the old game will no doubt recognize features both obvious and subtle.

You will find the ruins of the Eastern and Desert Palaces in their respective places as examples of obvious landmarks. However, something less obvious is how, to the southwest of the castle, there is a grove of trees with a tree stump at the centre. However, you’ll find no flute-playing phantom and a gathering of wild animals engrossed by it, but a heart piece instead: a nice nod and reward to those who saw and appreciate the reference.

However, that’s where most similarities to A Link to the Past end. What once could’ve once been referred to geographically as Death Mountain are now Hebra Mountain and the Holy Mount Lanayru instead, now doffing their rocky exterior for an ice-capped one—not terribly unlike Lorule’s equivalent in A Link Between Worlds. Meanwhile, the new stand-in for the fiery Death Mountain we all know and love from later games comes in the form of Eldin Volcano in the northwest. Zora’s river has now been greatly expanded to include not just a larger river system but also a large oceanic bay it flows into. As well, entirely new regions have been added in the form of Suthorn Woods and the Faron Wetlands, the former perhaps being a very subtle nod to Twilight Princess’s Ordon (being the origin for Link in this game) and the latter being a reference to the southeastern Faron jungles in Breath of the Wild/Tears of the Kingdom.

Regardless of where your era of play experience in the Zelda franchise comes from, you’ll probably find something to look at and point and say with all the sincerity of Captain America, “I understood that reference!”

But while geography is all well and good, it’s only one half of the picture when it comes to creating full and real worlds. The other half is its denizens, and I’m happy to report that Echoes of Wisdom has picked up the slack that Breath of the Wild and Tears of the Kingdom left unchecked. While this might be an unfair critique or comparison given the massive size differences in maps between the 3D Switch titles and this one, I do sorely believe that the former titles’ worlds could’ve felt so much deeper and richer with greater populations inhabiting them. I completely understand the need for Breath of the Wild to make its Hyrule uninhabited, but I feel Tears of the Kingdom could’ve stood to add some people in various repopulation and reclamation efforts throughout its otherwise empty vistas.

But, focusing on this game, Echoes of Wisdom’s size and population match each other far better. While people aren’t everywhere, I certainly feel like I need to travel a lot shorter distances to find people, whether they be Hylians, Zora, Gorons, Deku Scrubs, or Gerudo. This makes the world feel a bit more lived in, which made me more excited to explore and see who I could meet.

The only thing I can’t say that are improvements over the previous Switch titles is the depth of the cultures. However, neither were they declines in quality. The stories and lore surrounding each area’s culture were fun and characterized each group of people well. But, at the same time, since these areas were scaled down, there was less happening outside of the main quest, giving us fewer opportunities to learn about their associated people and their traditions. And the few side quests there were quite shallow compared to some we completed in the 3D Switch titles. But what we lost in depth, we gained in zany comedy and bits aimed at younger audiences, so I can’t fault it too much.

As for aesthetics in the game and its people, I can see plenty of people being turned off by this game’s art style. Yes, it’s drawn from the same DNA as the Link’s Awakening remake, but I found a lot of charm with that game, and I found the same charm here as well, and then some. I hope that those who focus on the presentation of the game and its world can look past the surface of its apparent childish design and see the depth of emotion it presents, ranging from peaks of comedy to valleys of tragedy. I might not have been hit as hard by this game in critical moments as I was in Tears of the Kingdom, but Echoes of Wisdom still had great moments that leaned into its style very well.

It’s also damn adorable, and that counts for something with me.

Yet, this game didn’t just do cute. It managed to do creepy, as well. Nowhere was this more evident than in the Stilled World. It had a tense, oppressing atmosphere that conveyed the threat that we were dealing with. From the disparate floating patches of slowly dripping world stolen from ours to the petrified, photo-negative-coloured people hung in the air to slowly decay to nothing, even the cute art style did nothing to soften this purple-hued world that reflects the rifts we see marking its entry points Hyrule. Art and colour direction go a long way to convey the foreboding nature of the Stilled World, making it a perfect contrast to the more charming Hyrule we know. Yes, it’s another take on a “Dark World” variant, but it works, as it’s both intrinsically tied to the story and provides a contrasting aesthetic to the bright and sunny Hyrule that stands apart from its contemporaries.

Admittedly, this game isn’t beating the Pokemon comparison allegations with how the Stilled World resembles the Distortion World… not that such a comparison is a bad thing in my eyes.

In any case, this game nails its world design on both sides of the coin. If you’re up for exploring a new Hyrule, I very much endorse exploring this awesome version of it.

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Echoes of Gameplay

Super Smash Bros aside, this is the closest we’re getting to a Pokemon crossover with the Legend of Zelda, plain and simple. If you know me and my blog, this is absolutely my jam.

I knew we were eschewing the traditional Legend of Zelda sword-and-shield gameplay in favour of Zelda’s summoner-esque style of combat. What I didn’t expect was such a complex system of monsters and battling.

Now, don’t get me wrong, it’s not 15+ types of dense, pseudo-rock-paper-scissors advantages/weaknesses equations like actual Pokemon, but it definitely keeps ideas like that in mind. Whenever you pick up a new echo—and dear lord, there are so many, it’s amazing but also overwhelming at times—you can read a quick blurb about it, not unlike a Pokedex entry, and see its features. Some, like the Darknut line (yes, there are improvements on echoes throughout the game, so some of your faves can get stronger), move slowly but hit hard. Others are fast but hit lightly or frequently. Certain monsters have weaknesses to certain types of damage, like how plant monsters are typically vulnerable to fire. Environmental factors come into play, too. Some beasts only function or cannot function at all in water, while some are amphibious!

While there are some instances where picking echoes for a particular combat scenario is encouraged, I found you can proceed with your favourites for most of the game without too much issue, though you’ll probably feel you need to use more powerful ones as the game goes on for practicality. That said, you can field a variety of favourites for flexibility, not unlike an actual Pokemon team. I greatly enjoyed thinking about what to employ in a situation for best effect, though I often ended up defaulting to a few of my favourites anyway.

In case anyone is interested, I’m one of the many who used Peahats to steamroll through the early game, though I often ended up using Wolfos around that time for their mobility. By mid-game, I had found a great combination in the form of the Ball-and-Chain Trooper and ReDeads: the ReDeads stunning foes while the troopers revved up before attacking was a favourite combination of mine. Towards the end of the game, I found the White Wolfos and their summoned pack alongside a Guay for aerial support was pretty effective as well.

Similarly, I watched a let’s play of someone who used Peahats about 75% of the time throughout the game and absolutely had a ball with it. I think the mark of this game’s success comes in the fact people can approach its combat in so many ways and enjoy it in all those myriad fashions.

Some might complain that this indirect method of combat boils down to summoning your echoes and waiting—or even literally sleeping if you summon a bed and decide to recover your hearts while your minions fight for you—is very uninvolved, uninspiring, or even boring. I can understand how a person might say this, especially toward the beginning of the game while you’re sitting at a vulnerable three or four hearts and only have Zols or Moblins for summons. However, I find the combat becomes so much more dynamic as the game goes on.

In fact, you quickly gain swordfighter form near the beginning of the game, which allows you to get into the fray directly if you want to or if your echoes can’t do the job themselves. I’m glad the swordfighter form is limited though, as I think treating what is usually an infinite resource as finite is a great twist on the Zelda formula. It puts one’s mind through their paces to think things through differently, making the game that much more engaging and differentiating it from other Zelda games. Considering we’re working with a completely different protagonist with entirely unique strengths and weaknesses, it makes complete sense, and it’s a beautiful way of uniting gameplay with characterization.

Unfortunately, I do have to say there were times when I felt the monster AI could’ve used some polish. I can’t be sure if the instances of this were designed around the idea that not all monsters are smart or if it was a flaw in the system, but even when I targeted specific creatures or objects for my echoes to attack or interact with, they sometimes took ages to comply, making timing or precision-based puzzles or encounters a greater pain than they ought to have been. This was a minor source of annoyance from time to time.

As well, some echoes worked in cycles, and if your monster echoes got into an animation or attack cycle that made them completely ineffectual against monsters around them, it could be quite tedious. If you ever picked a Wizzrobe to fight another Wizzrobe, you probably know what I’m talking about with its spell wind-up time.

But, overall, I found the combat experience to be quite satisfying and engrossing. Granted, it taxed the hell out of my brain at times, especially near the end of the game with the final two boss fights: having to evade attacks, summon echoes, and then also toggle on and off swordfighter mode to intervene or attack the boss while my echoes dealt with their minions was a lot to mentally juggle. It was enjoyable, but it sometimes left me a little frenetic.

And this might’ve just been me, but I barely made use of Dampe’s inventions in combat. It felt great to make them as part of his questlines, but deploying and winding them up felt so much slower than simply deploying an echo and having them do the same job faster. This mode of combat felt almost tacked on to the game, an outlier from the bevy of abilities that Tri granted you to the point of feeling out-of-theme.

But while combat was an intrinsic part of the game, I’d say that, in keeping with the wisdom theme of the game, the puzzles were an even bigger and more crucial part. While monsters made up a great deal of your echoes, more mundane—but no less important—object-based echoes made up a significant portion of your echo arsenal. And damn, were they used to great effect.

Both in the isometric top-down and the side-scroller-like 2D sections, the game employed puzzles that forced you to think about everything you had available to you. Yes, I felt quite stupid when I forgot that I had the bind ability a dozen times at the start of the game, but as I discovered the game’s MO with how it expected you to solve puzzles, they became incredibly satisfying to solve with a combination of echoes, bind, and reverse bind—though I will say the latter of those three tended to go unused for long portions of the game for me.

But, having watched another person play this game after I finished it, I was so pleased to discover just how flexible the solutions were. Breath of the Wild and Tears of the Kingdom often fostered numerous approaches to problems, though many still expected one kind of solution. However, this game feels like it perfected the art of freeform puzzle solving.

People often refer to Oracle of Ages as having some of the best puzzles in the series, as it was designed to be the puzzle-solving complement to Oracle of Seasons’ combat-focused gameplay. However, I felt that many of Oracle of Ages’ puzzles had solutions that were too obscure or unintuitive. Echoes of Wisdom, in contrast, is a game focused on puzzles (both in and out of combat) where, with very few exceptions (I’m looking at you Eastern Temple…), the puzzles feel very satisfying to solve. While there might be a few that absolutely stumped me for a while, if I looked at it long enough and tried enough solutions, I eventually got it.

That said, on seeing other people solve the same puzzles, I often had that 20/20 hindsight reaction where I wondered “How did I not think of that? That was so simple!” Such is the brilliance of this game in its variety, though I will concede that some echoes (the Flying Tile and the Platboom in particular) do rob a lot of creativity of certain puzzles where traversal is key.

Navigating around the world was also a challenge, and I mean that in a good way. In many games nowadays, climbing a mountain has been made to not feel nearly as daunting as it once did. If it is a challenge, then it’s only so in a cinematic way and not a gameplay one, with curated paths in the form of marked scalable walls or other easy-to-execute controller maneuvers.

In Echoes of Wisdom, scaling mountains, cliffs, walls, and gaps does require some forethought, especially when the game provides some wrinkle in the form of enemies or architecture. This truly makes this game a thinking-person’s game, as everything you do requires some measure of planning and execution, making even world traversal feel validating in some way. This also has the added benefit of giving the world’s fast-travel points even more value than usual, something I think we in the gaming community take for granted now.

Where the features of puzzle-solving and traversal blended beautifully was in the game’s dungeons. Yes, true-to-form traditional Zelda dungeons returned in this game, and I couldn’t have been happier! While most of the dungeons were fairly linear—the exceptions being Jabul Ruins and Faron Temple—I didn’t mind their structures at all. Most dungeons featured a series of great individual sequential puzzle challenges that tested me and my knowledge of the game and what I had available to me very well. How these features and ideas tied into both navigating the dungeon and fighting the bosses of each dungeon were also fantastic and usually very intuitive. While I very much appreciate the idea of dungeons whose entire layout or form is some sort of puzzle itself, Echoes of Wisdom’s dungeons are a variety I love as well.

The fact these dungeons blended the threat of the Stilled World with the traditional perils of delving into classic Zelda dungeons made them even better. A few of them have even been given the “Skull Woods” treatment from A Link to the Past, allowing several points of entry and exit. This, like Skull Woods, gives these dungeons a welcome sense of being tied to the world around it.

I have to say that my favourites are—the first being unsurprising given my love for desert-themed temples—the Gerudo Sanctum and the Lanayru Temple. Both are long, complex, and feature fantastic puzzles that iterate throughout the dungeon. Both also nailed their respective aesthetics, though the same could be said of any of the game’s dungeons.

Returning to the topic of traversal, one criticism I have is how the isometric view leads to some issues of perspective, whether in aiming projectiles, echoes, or in executing jumps. It was only through a video online that I discovered you could press the right stick into the controller to have the view centred above you directly. Whether this instruction was present in the initial tutorials or not, I cannot recall. If it was, it was easily missed on my end.

Another thing that contributed to some frustrations for me was the game’s controls. As with Tears of the Kingdom, I felt like it took too long for me to adjust to the game’s complicated control system. There are so many things you can do and features your character has that it can feel easy to press the wrong button and execute the wrong command all too often. This most often happened to me in combat when I wanted to summon something, and hit bind instead, or when I wanted to switch to a new echo and accidentally hit swordfighter form. This could be less an issue of the game and more of something to do with me, but considering I’ve heard the same from others, I feel like there could be something done to better align the controls to something more convenient or to streamline features somehow.

A lesser, though still often equally frustrating thing I felt when playing was how it was hard to deploy echoes, monsters or objects alike, in the exact spaces you wanted. While the game didn’t force you to move on a grid as it did in Link’s Awakening or other older 2D Zelda games, you generally deployed echoes on an invisible in-game grid that often forced things to spawn in spaces I didn’t intend. When this happened numerous times in a row, despite me repositioning myself many times—or having to muck around in the heat of combat to do so—I definitely found myself grinding my teeth a little bit.

Further, with regards to selecting echoes, this game does slightly improve on Tears of the Kingdom’s menuing issue. While you still generally must scroll through a seemingly endless selection of echoes by the game’s end through the side-scrolling “quick menu,” at least you now have a proper pause menu to equip echoes when you want to. Still, I think a great way to solve this would’ve been a better allocation of controller buttons so that we could’ve had two or three buttons dedicated to multiple echoes rather than only one. Having to swap between echoes constantly due to our limited buttons dedicated to them was a definite pain and one of the biggest flaws in the game.

But, even with these criticisms, I felt like the overall gameplay experience with Echoes of Wisdom was fantastic! Yes, there were moments I absolutely wanted to chuck my controller out the window for repeated issues occurring in crucial moments. But for the great majority of my time spent playing this game, I was very happy. From solving mind-bending puzzles to seeing my army of echoes wreck enemy faces, I thoroughly enjoyed how this game played.

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Echoes of Music

This game brings its own musical compositions and twists, reflecting its originality but also its ties previous games in the Zelda series. You’ll be hearing new tunes in familiar places, but if you listen closely enough, you’ll hear references and traces to classic tunes associated with those locales. From Hyrule Castle to the Ranch to Kakariko Village, you’ll find notes of familiarity amongst engaging new tracks that, for the most part, fit this game’s tone and mood very well.

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One track I want to bring particular attention to is the overworld track. It’s based on the game’s main theme, which is already a banger. Then, in the second half of the game, once Zelda is free to wander about without concealing her identity, the track is redone with an intro containing an upbeat version of Zelda’s Lullaby before transitioning back into the reprise of the main theme once more. I feel this is a fantastic way of not only varying one of the tracks you’ll be hearing most often but also showcasing the progression of the game’s plot.

Moreover, I’m just happy to have an overworld/field theme that has that bombastic Zelda feel that I’ve been missing since before Breath of the Wild and Tears of the Kingdom. It truly conveys that grandiose sense of adventure that I adore about Zelda games.

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At the same time, I can’t say the atmospheric pieces aren’t also memorable, as the Stilled World theme is tense, creepy, and subdued, suiting that world and its void-like presence perfectly. It’s certainly a highlight for me as well.

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I have to say, though, my favourites are the new dungeon themes. I’ve always been partial to the music of dungeons, but that’s also meant that I’ve come to expect more of them. Thankfully, this game delivers with them in particular, with my notable favourites being the Gerudo Sanctum and Eldin Temple themes, both of which feature some fantastic violin-work.

It’s safe to say that I’ll be listening to this soundtrack for a while and integrating this game’s tunes into my Zelda D&D campaign.

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An Echoed Story

For a new, original 2D title, I will admit I was not expecting such revelations relating to overall Zelda lore. Like a lot of one-off Zelda projects, which I had written this game off as being, I expected this game to have a relatively simple plot with a greater focus on gameplay and a reuse of old plot ideas and villains. Such has been Nintendo’s philosophy toward Zelda games for a while, and I expected Echoes of Wisdom to conform to this ideology as well.

Colour me surprised when this game debuted a great story with a whole new villain whose scale I don’t think we’ve ever seen in a Zelda game previously.

Ah, but I’m getting ahead of myself.

I do love how we begin the story as many a Zelda game might end: as Link finding Zelda and defeating Ganon to rescue her. This was a great way to not only tutorialize the start of the game but also to introduce us to two of the principal characters while also tying us back to previous Zelda games.

Following a quick escape as Zelda once she’s freed and Link is lost to one of the rifts, we find ourselves finally loose on the world as criminal-branded Zelda, along with her new companion Tri, finding that the rifts can not only take people, but spawn dark imposters of them, a theme we’ll see recurring throughout the game. From there, narratively speaking, we follow a fairly typical Zelda formula: we visit regions and complete dungeons there to help the residents of each area dealing with a particular calamity. Only this time, the calamity is a universal one they’re all dealing with, but with each with a unique wrinkle, courtesy of the rifts’ ability to spawn imposters.

From a surface level, the above formula seems pretty on-brand for Zelda. The main difference is how we go about it. Besides the obvious gameplay differences I listed in a previous section, we also get a brief, simple, though ultimately interesting story involving Zelda and each resident culture from these regions. The first ones we deal with in earnest are the Gerudo and the Zora, with our choice of which of the two to tackle first after we’ve finished our “tutorial” in Suthorn Woods.

I do like the Gerudo’s take on the classic “traitorous vizier” centred storyline, with Facette, who is eventually revealed to be an imposter, giving poor directions to the Gerudo Chieftan, Seera. Meanwhile, Dohna, the chief’s daughter and head of Gerudo soldiers, is attempting to solve problems along with Zelda. Getting a clone reveal of Facette and the subsequent merciless actions by Seera to dispatch the imposter was a great and far more decisive action than I expected from a Zelda NPC. Let’s just say, I’m a fan of both her and Dohna.

Meanwhile, over in Jabul Waters, we have two Zora tribes: the River and Sea Zora. I was stoked to see both types of Zora getting representation in one game. I love the idea of the two contrasting tribes having their own traditions and perspectives through the two chiefs, Dradd and Kushara. Navigating the waters of both Zora Cove and the rivers, not to mention the waters of the chiefs’ tumultuous relationship, was engaging, especially when it came to dealing with the raging Jabu-Jabu, who turned out to be an imposter as well. Having Jabu’s antics be disguised as displeasure at having their den consumed by a rift was a decent red herring for the true cause, though it wasn’t that hard to see what the real deal was.

In the end, having the Zora chiefs reconcile and play their song together to access the den was a heartwarming moment, with that cutscene in particular really driving that point home.

With those two problems resolved, two major rifts sealed, and two of three victims from Hyrule Castle rescued, we brought about the game’s second venture into Hyrule Castle and the mid-game twist. As it turns out, Ganon was never the threat here, as he was just an echo created by something far older and far more malevolent. It’s not Demise, but a being that could be put on par in both age—and potentially power—with the three Golden Goddesses: a void being named Null.

As we learn shortly after this, Null is a being who existed in the nothingness before creation but was dismayed when the goddesses made the world and imprisoned Null inside it. Continuously spawning rifts consuming places and people (something that was established to be happening long before this game began and the canonical reason for this incarnation of Link’s muteness), prompted the Goddesses to create Tri’s people to mend and contain the rifts. Unfortunately, now, Null has now-taken Link and imprisoned the Goddesses in the three lands of their namesakes: Faron, Lanayru, and Eldin. Naturally, it falls to the newly exonerated Zelda, the newly dubbed priestess, to put things right and rescue Link… for a change. Oh, and we also need to free the goddesses to find this “Prime Energy” that might help us.

From there, we choose to attend to any of the three areas first. I chose Faron first, though I feel, in retrospect, Eldin was probably the most natural first choice. Regardless, we got to visit the wetlands and all the Deku Scrubs who, much like the Gorons of Tears of the Kingdom, find themselves amid a cultural addiction. This time, it’s the spider webs spawned by the rifts in their region, which they’re eating as cotton candy on sticks. I’m not sure if this recent trend of addictive foods in Zelda games is indicative of Nintendo taking an active interest in making allegories to help kids say no to drugs, but two such cases in a row can’t be a coincidence. Funnily, this one is also framed as a cautionary tale against following trends blindly, as the Deku Scrubs seem to be epitomizing popular kids trying to stay popular by any means.

Either way, through doing small tasks throughout the region, we managed to access the temple, now swathed in the biggest rift in the region, and tackle the dungeon to take out the latest incarnation of Gohma. While interesting, I feel this regional story is one of the weaker ones in the game due to us not connecting to a particular individual or individuals through it, but all the same, the game’s charm is on full display throughout, with a lot of comedic bits coming through here strongly.

On Eldin Volcano, we have to deal with the fallout of the rifts while helping a newly minted Goron chief in Darston. The poor lad is coming to terms with his new role, relying on the 56 teachings of his recently-passed father in tablet form, leaving him paralyzed with indecision during this unprecedented crisis. Through rescuing two elders and traversing a secret path all chiefs must undertake to reach the volcano’s crater, he gains some level of confidence and recognizes that he must rely on his own perspectives and ideas to become a fully realized chief. While we don’t really get enough time with him to feel like this newfound confidence is fully developed or earned narratively, it’s nice to see the effort made. In any case, I do like him better than Yunobo, effectively his equivalent in terms of role in the 3D Switch games.

Regardless, we take on the Eldin Temple, and after its myriad tense and heated challenges we get to face… holy shit, Volvagia! You’re back! I was not expecting to see a new Volvagia, but it was a fun fight and a good conclusion to the dungeon and the region as a whole.

Lastly, I visited the Holy Mt. Lanayru, by and far the most desolate (even compared to the desert) and least populated area in the game. The only resident there is a Yeti named Conde, easily a contender for the character who wears his heart on his sleeve the most in the entire franchise. With a series of fun and sometimes bittersweet encounters with him as we travel up the mountain, we discover he once had a father who has since passed on and a brother who is travelling the world on an adventure. However, he believes he’s returned as we see something akin to him going up the mountain ahead of Conde. In one of the more, if not the most, heartbreaking moments in the game, we hear—thankfully not see—said supposed brother strike Conde and continue up the mountain.

We follow this unknown yeti into the Stilled World, finding out through a mural that Conde’s brother doesn’t hate him, and he is in fact excited to take him on an adventure someday, leading us with some new motivation (aside from saving the region) to delve into Lanayru Temple and confront the beast. Naturally, we discover that the beast is not Conde’s brother—though I’m as of yet unsure if it's an echo of him or not or just something that resembles him—and defeat them in a great boss battle. Following that, in another touching moment, we get to deliver the good news to Conde, that his brother is still out there adventuring and thinks the world of him.

Finally, with the power of all three goddesses on our side, we make ready to go to the Eternal Forest, but not before Null creates an echo of us, the perfect agent to infiltrate the resting place of the Prime Energy.

After some comical buffoonery of one of the Castle NPCs we rescued earlier in the game and the briefest of conversations with the Deku Tree, we catch up to the echo of Zelda and find that the Prime Energy is nothing less than the Triforce. At this point, I’m unsure if it was named that to throw us off the true nature of the power or if there’s some significance to the “Prime Energy” name. I’ve heard some people speculate that it’s called that so the Triforce can get its name from our companion Tri as a result of her role in this game. If this game sits where I think it does in the timeline, that explanation doesn’t make sense to me, but I’m not too concerned with the logistics of that as far as this game’s plot goes.

In any case, as often happens with the Triforce when someone impure and out-of-balance touches it, it splits—though kudos to the worrisome cutscene where it seems to radiate dark power before stopping and splitting, I appreciate a very tense moment like that—with the Triforce of Power coming to rest with Null’s Zelda echo, Wisdom with Zelda herself, and Courage going to Link imprisoned in the Stilled World. After a brief pursuit through said dimension, we finally get our battle with our echo, and a fun one at that! Once defeated, the Zelda echo retreats into the Null’s main body, a horrifying dark mass, and we finally free Link—I did so in the same way he did us at the start of the game: with a single arrow. Man, I love things coming full circle!

With an awesome cooperative segment with Link through Null’s ghastly body, we finally make our way to the final boss, Null itself, who has a startingly familiar appearance, seeming to have taken on aspects of Tri’s people, who have been largely their jailer for aeons. This seems perfect to me, considering the echo power they possess. Considering, throughout the fight, we see imprisoned members of Tri’s race both in its grasp and throughout its body, this seems like a great way to reveal their true, domineering or even parasitic nature.

The final boss fight was a spectacle and a ton of fun. I loved yanking on Null’s arms, only to have Link leap into a flying spin attack to sever said arm. The whole encounter left me absolutely thrilled as it ended with Link and Zelda both making that final pull to yank the Triforce of Power from Null’s form.

Null’s dying breath rattling with a need for more power to overcome the Goddesses’ perceived wrongdoings against them was fantastic, giving me light chills at the pure hunger and desperation of this primordial being. This is probably one of the best-done villains the franchise has conjured in a long time, and I’m wholly surprised it was devised for a 2D game that probably took a fraction of the time that the 3D games did. While I’ve seen far more complex villains in other media, this is a big step up from the simple, nearly one-dimensional incarnations of Ganon or Ganondorf we’ve seen recently (the exception being Ganondorf’s Wind Waker incarnation—I still think he's fantastic and I hope he gets that level of depth again someday).

We get a bittersweet ending with Tri departing from us as they reminisce on what they’ve learned of the nature of the people in Hyrule, especially in their gratitude toward Zelda. The reprise of the “thank you” notion from earlier in the game hit particularly hard, and I have to say, I had my hand over my heart “aww”-ing in that moment.

With Link and Zelda returning to Castletown, the citizens coming out to celebrate us, including the King and his formerly missing advisors, was wonderful, and getting to see Link speak for the first time since… who knows how long, provoking everyone’s shocked expressions, was a great moment to cap off the story before Zelda’s wistful look into the sky to where Tri vanished. This was only made better by the credits roll showing everyone in the wake of the events—including Conde’s brother coming back in his balloon! Heck yeah—and the final post-credits scene showing the framed Tri Rod enshrined on Zelda’s wall. What a brilliant, heartfelt ending!

As a story, Echoes of Wisdom wasn’t an epic for the ages, but it was a story told wonderfully and a return to form after some worrisome practices had crept into Zelda’s storytelling in the last two games. This game saw the—heh—wisdom in correcting previous games’ errors and opted to design their world and gameplay to cooperate with their story. While it’s not as narratively innovative as other games I’ve seen and played, it’s good to see the Zelda series bouncing back in this department.

In terms of characterization, Princess Zelda, of course, suffers from Zelda protagonist syndrome in that they don’t get much characterization besides a few great expressions drawn on her face during key moments. That said, such is a price to pay for seeing our girl finally get to be the active agent in the legend of her namesake. This doesn’t lessen the poignant emotions I felt at the end of the game with Zelda’s sadness on Tri’s departure. Like the departure of companions of Navi, Midna, and Fi from Link before, sometimes, we don’t need to speech to know there’s deep-rooted feelings there.

And on Tri’s side of things, I appreciate Tri having been characterized as a being unfamiliar with Hyrulean traditions, expressions, emotions, and ideas. It gave her a few funny and interesting moments to dissect the nature of human emotions involved in this game, not to mention the aforementioned “thank you” moment at the end.

Besides this, supporting characters got to have a few moments here and there, but they were few and fleeting and rarely recurred outside their regions besides when we revisited them for additional side quests. Still, the fact they’re there and had an impact made the story and world feel just that bit more whole than it otherwise could’ve been.

Overall, this game’s story was a wonderful surprise, and I’ll be continuing to mull it over time goes on. And I’ll likely learn and gain new perspectives on it as I consume more media about the game in the near future.

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A Reflected Echo

So, in the wake of the Echoes of Wisdom and all these reflections on it, what’s my final verdict on it?

While I’ve had plenty to say about what the game needs to do to improve, I feel all my complaints are rather diminutive in the face of its accomplishments. It looks great, sounds great, plays great, tells a wonderful story, and does fun things both new and old that blend the best of old and new philosophies in the Zelda franchise. This marriage of ideas is something I hope Nintendo and its partners iterate on to create better and ever-evolving Zelda games.

Nintendo seems to be learning from some of its mistakes in Breath of the Wild and Tears of the Kingdom, and I’m truly grateful for that. In some ways, it’s still not quite up to the standards other games set in the industry, but in other ways, it exceeds them. So much attention to detail and quality has clearly been paid to this game, and I hope to see that attention continue to help refine the series further.

In the end, I’m glad Zelda’s first outing as a proper protagonist went so well. There was an underlying fear I had going into this game that the game wouldn’t receive the attention and love it deserved from the developers because it didn’t feature Link or because it wasn’t a proper 3D Zelda game. In the wake of Princess Peach: Showtime being received less-than-favourably, I couldn’t put the worrisome idea that Echoes of Wisdom could suffer a similar fate. Thankfully, I was proven wrong, and Zelda got to be the hero she deserved to be after carrying the franchise’s title decades.

Well done, Princess Zelda! You saved Hyrule, the world, and have set a new precedent for your character moving forward.

Now, after that final segment of the game leading up to the final boss battle, not to mention the battle itself, Nintendo has demonstrated that they can make a co-op Legend of Zelda game featuring both Link and the titular princess. I’m expecting you to come up with something great for us, devs! My Zelink-shipping-heart is depending on it!

#The Legend of Zelda #Echoes of Wisdom #EoW #Legend of Zelda #Princess Zelda #EoW Spoilers #Echoes of Wisdom Spoilers #It's finally done!#I'll be honest #given this was a shorter game #I figured that this review wouldn't get this long #But I guess I had a lot to say... again #Still I think this game deserves a lot of praise #And I hope they keep going this direction for future Zelda games

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