#but Nintendo tends to experiment more

[delicatefury]

You know, every time someone talks about Nintendo as if it’s dying or that it’s being outclassed by Sony/Xbox/PC and can’t compete, I remember the list of the 50 best selling video games of all time.

And I remember that 24/50 are Nintendo exclusives. And all but 1 of the remaining 26 are multi-platform releases, many of which are/were available on Nintendo platforms.

Like, sure, the Switch isn’t nearly as powerful as other consoles (and definitely doesn’t compare to PCs), and Switch 2 will likely also be comparatively underpowered, but do not underestimate the power of exclusive rights to multiple best-selling IPs.

[devotedlystrangewizard]

ok ok fine most of this website consists of people who only own a switch. but if we're going to yell at nintendo for making their games 70$ can we have the same energy for the playstation store. 70 is the norm now. i dont know about xbox but im guessing theyre not sticking to 60 either. the most recent call of duty is 70 on steam. criticize nintendo for rarely putting their major ips on sale YES but lets not forget that the entire gaming industry is raising its prices

[blueskittlesart]

I've heard that while most people really really love BotW and TotK, some people hate those two for going open-world, and some people hate TotK specifically for something about the story. As the resident Zelda expert I know of, what do you think of those takes?

"something about the story" is a bit too vague for me to answer--if you look at my totk liveblog tag from back when the game was newly released or my general zelda analysis tag you may be able to find some of my in-depth thoughts about the story of totk, but in general i liked it.

the open world thing though is something i can and will talk about for hours. (I am obsessed with loz and game design and this is an essay now <3) breath of the wild is a game that was so well-received that a lot of the criticism from older fans who were expecting something closer to the classic zelda formula was just kind of immediately drowned out and ignored, and while i don't think it's a valid criticism to suggest that botw strayed too far from its origins in going open-world, i am more than willing to look into those criticisms, why they exist, and why i think going open-world was ultimately the best decision botw devs could have made. (totk is a slightly different story, we'll cross that bridge when we come to it.)

Loz is a franchise with a ton of history and a ton of really, REALLY dedicated fans. it's probably second only to mario in terms of recognizability and impact in nintendo's catalog. To us younger fans, the older games can sometimes seem, like, prehistoric when compared to what we're used to nowadays, but it's important to remember just how YOUNG the gaming industry is and how rapidly it's changed and grown. the first zelda game was released in 1986, which was 31 years before botw came out in 2017. What this means for nintendo and its developers is that they have to walk a very fine line between catering to older fans in their 30s and 40s now who would have been in nintendo's prime demographic when the first few games in the franchise were coming out AND making a game that's engaging to their MODERN target demographic and that age group's expectations for what a gaming experience should look like.

LOZ is in kind of a tough spot when it comes to modernizing, because a lot of its core gameplay elements are very much staples of early RPGs, and a lot of those gameplay elements have been phased out of modern RPGs for one reason or another. gathering collectibles, fighting one's way through multilevel, mapless dungeons, and especially classic zelda's relative lack of guidance through the story are all things that date games and which modern audiences tend to get frustrated with. for the last few releases before botw, the devs had kind of been playing with this -- skyward sword in particular is what i consider their big experiment and what (i think) became the driving force behind a lot of what happened with botw. Skyward sword attempted to solve the issues I listed by, basically, making the map small and the story much, much more blatantly linear. Skyward sword feels much more like other modern rpgs to me than most zelda games in terms of its playstyle, because the game is constantly pushing you to do specific things. this is a common storytelling style in modern RPGs--obviously, the player usually needs to take specific actions in order to progress the story, and so when there's downtime between story sections the supporting characters push the player towards the next goal. but this actually isn't what loz games usually do. in the standard loz formula, you as the player are generally directly given at most 4 objectives. these objectives will (roughly) be as follows: 1. go through some dungeons and defeat their bosses, 2. claim the master sword, 3. go through another set of dungeons and defeat their bosses, 4. defeat the final boss of the game. (not necessarily in that order, although that order is the standard formula.) the ONLY time the player will be expressly pushed by supporting characters towards a certain action (excluding guide characters) is when the game is first presenting them with those objectives. in-between dungeons and other gameplay segments, there's no sense of urgency, no one pushing you onto the next task. this method of storytelling encourages players to take their time and explore the world they're in, which in turn helps them find the collectibles and puzzles traditionally hidden around the map that will make it easier for them to continue on. Skyward sword, as previously mentioned, experimented with breaking this formula a bit--its overworld was small and unlocked sequentially, so you couldn't explore it fully without progressing the narrative, and it gave players a "home base" to return to in skyloft which housed many of the puzzles and collectibles rather than scattering them throughout the overworld. This method worked... to an extent, but it also meant that skyward sword felt drastically different in its storytelling and how its narrative was presented to the player than its predecessors. this isn't necessarily a BAD thing, but i am of the opinion that one of zelda's strongest elements has always been the level of immersion and relatability its stories have, and the constant push to continue the narrative has the potential to pull players out of your story a bit, making skyward sword slightly less engaging to the viewer than other games in the franchise. (to address the elephant in the room, there were also obviously some other major issues with the design of sksw that messed with player immersion, but imo even if the control scheme had been perfect on the first try, the hyperlinear method would STILL have been less engaging to a player than the standard exploration-based zeldas.)

So when people say that botw was the first open-world zelda, I'm not actually sure how true I personally believe that is. I think a lot of the initial hype surrounding botw's open map were tainted by what came before it--compared to the truly linear, intensely restricted map of skyward sword, botw's map feels INSANE. but strictly speaking, botw actually sticks pretty closely to the standard zelda gameplay experience, at least as far as the overworld map is concerned. from the beginning, one of the draws of loz is that there's a large, populated map that you as the player can explore (relatively) freely. it was UNUSUAL for the player to not have access to almost the entire map either immediately or very quickly after beginning a new zelda game. (the size and population of these maps was restricted by software and storage capabilities in earlier games, but pretty muhc every zelda game has what would have been considered a large & well populated map at the time of its release.) what truly made botw different was two things; the first being the sheer SIZE of the map and the second being the lack of dungeons and collectibles in a traditional sense. Everything that needs to be said about the size of the map already has been said: it's huge and it's crazy and it's executed PERFECTLY and it's never been done before and every game since has been trying to replicate it. nothing much else to say there. but I do want to talk about the percieved difference in gameplay as it relates to the open-world collectibles and dungeons, because, again, i don't think it's actually as big of a difference as people seem to think it is.

Once again, let's look at the classic formula. I'm going to start with the collectibles and lead into the dungeons. The main classic collectible that's a staple of every zelda game pre-botw is the heart piece. This is a quarter of a heart that will usually be sitting out somewhere in the open world or in a dungeon, and will require the player to either solve a puzzle or perform a specific action to get. botw is the first game to not include heart pieces... TECHNICALLY. but in practice, they're still there, just renamed. they're spirit orbs now, and rather than being hidden in puzzles within the overworld (with no explanation as to how or why they ended up there, mind you) they're hidden within shrines, and they're given a clear purpose for existing throughout hyrule and for requiring puzzle-solving skills to access. Functionally, these two items are exactly the same--it's an object that gives you an extra heart container once you collect four of them. no major difference beyond a reskin and renaming to make the object make sense within the greater world instead of just having a little ❤️ floating randomly in the middle of their otherwise hyperrealistic scenery. the heart piece vs spirit orb i think is a good microcosm of the "it's too different" criticisms of botw as a whole--is it ACTUALLY that different, or is it just repackaged in a way that doesn't make it immediately obvious what you're looking at anymore? I think it's worth noting that botw gives a narrative reason for that visual/linguistic disconnect from other games, too--it's set at minimum TEN THOUSAND YEARS after any other given game. while we don't have any concrete information about how much time passes between new-incarnation games, it's safe to assume that botw is significantly further removed from other incarnations of hyrule/link/zelda/etc than any other game on the timeline. It's not at all inconceivable within the context of the game that heart pieces may have changed form or come to be known by a different name. most of the changes between botw and other games can be reasoned away this way, because most of them have SOME obvious origins in a previous game mechanic, it's just been updated for botw's specific setting and narrative.

The dungeons ARE an actual departure from the classic formula, i will grant you. the usual way a zelda dungeon works is that link enters the dungeon, solves a few puzzles, fights a mini boss at about the halfway point, and after defeating the mini boss he gets a dungeon item which makes the second half of the dungeon accessible. He then uses that item in the dungeon's final boss fight, which is specifically engineered with that item in mind as the catalyst to win it. Botw's dungeons are the divine beasts. we've removed the presence of mini-bosses entirely, because the 'dungeon items' aren't something link needs to get within the dungeon itself--he alredy has them. they're the sheikah slate runes: magnesis, cryonis, stasis, and remote bombs. Each of the divine beast blight battles is actually built around using one of these runes to win it--cryonis to break waterblight's ice projectiles, magnesis to strike down thunderblight with its own lightning rods, remote bombs to take out fireblight's shield. (i ASSUME there's some way to use stasis effectively against windblight, mostly because it's obvious to me that that's how all the other fights were designed, but in practice it's the best strategy for that fight is to just slow down time via aerial archery, so i've never tried to win that way lol.) So even though we've removed traditional dungeon items and mini-boss fights, the bones of the franchise remain unchanged underneath. this is what makes botw such an ingenious move for this franchise imo; the fact that it manages to update itself into such a beautiful, engaging, MODERN game while still retaining the underlying structure that defines its franchise and the games that came before it. botw is an effective modern installment to this 30-year-old franchise because it takes what made the old games great and updates it in a way that still stays true to the core of the franchise.

I did mention totk in my opening paragraph and you mention it in your ask so i have to come back to it somehow. Do i think that totk did the gigantic-open-world thing as well as botw did? no. But i also don't really think there was any other direction to go with that game specifically. botw literally changed the landscape of game development when it was released. I KNOW you all remember how for a good year or two after botw's release, EVERY SINGLE GAME that came out HAD to have a massive open-world map, regardless of whether or not that actually made sense for that game. (pokemon is still suffering from the effects of that botw-driven open world craze to this day. rip scarlet/violet your gameplay was SUCH dogshit) I'm not sure to what degree nintendo and the botw devs anticipated that success, (I remember the open world and the versatility in terms of problem-solving being the two main advertising angles pre-release, but it's been 7 years. oh jesus christ it's been SEVEN YEARS. anyways) but in any case, there's basically NO WAY that they anticipated their specific gameplay style taking off to that degree. That's not something you can predict. When creating totk, they were once again walking that line between old and new, but because they were only 3ish years out from botw when totk went into development, they were REALLY under pressure to stay true to what it was that had made botw such an insane success. I think that's probably what led to the expanded map in the sky and depths as well as the fuse/build mechanics--they basically took their two big draws from botw, big map and versatility, and said ok BIGGER MAP and MORE VERSATILITY. Was this effective? yeah. do i think they maybe could have made a more engaging and well-rounded game if they'd been willing to diverge a little more from botw? also yeah. I won't say that I wanted totk to be skyward sword-style linear, because literally no one wanted that, but I do think that because of the insane wave of success that botw's huge open world brought in the developers were under pressure to stay very true to botw in their designing the gameplay of totk, and I think that both the gameplay and story might have been a bit more engaging if they had been allowed to experiment a little more in their delivery of the material.

[chronicbitchsyndrome]

the thing is, in my crippled opinion, i think we're missing something when pointing at art that's inaccessible in various (including dangerous) ways and saying there's no reason for it to exist. in that like, yes, nobody needs to play a game that needs such intense motor coordination skills that even fully abled players take years of practice to finish the full game, and nobody needs to look at a webcomic where the colors are so saturated they leave the site with a massive headache, and nobody needs to risk death via latent-seizure-disorder by watching a movie with intense red-blue color flashes.

but some people like those experiences, for whatever reasons. some people enjoy doing things that are uncomfortable, risky, and even harmful, like getting choked by their sex partners, or belay-free mountain climbing, or going to a concert with a ton of flashing lights. so it's incredibly low-hanging fruit for someone to be like "but there is a reason. me. the target demographic. i am the reason this art exists" and like. that's real!

which is why i tend to aim my cripple bitching more towards accurate content warnings and diversity of media. i'm not trying to remove all video games that require extremely fast reflexes from existence; i just think video games that are accessible to people with the worst hand-eye coordination known to man should also be able to get made with equal amounts of funding and structural support (and also i really want IP law to shift enough that mods of existing games that change the skills necessary + entirely retooled spinoff games that focus on entirely different skillsets can exist without constantly being under attack from IP holders like nintendo). i'm not trying to take away the spiderverse movies as they currently exist; i just want all of their advertising plus the movie itself to contain warnings for flashing lights and other seizure triggers.

and this isn't even a compromise, to me; i don't see any reason things that are unpleasant and dangerous to me shouldn't exist for other people. but like, i am extremely kinkbrained and that's probably where this mindset comes from. it's very hard to be like "something that could possibly kill me shouldn't exist even if other people like doing it with fully informed consent!" when i just listened with great interest the other night to my discussion group partner describing an actual crucifixion scene she attended.

[ganondoodle]

Not gonna lie, the "It looks like a Divine Circle but is actually just hundreds of years of superstition & propaganda"-Concept is the coolest fucking thing I didn't know I needed until ten minutes ago. It's a super cool inversion of the classic trope, opens up a million possibilities for stories and arcs and on top of that, in game, you would obviously not know about it form the beginning but slowly have to collect clues and hints that things are not quite as everyone tells you.

So yeah, very cool concept!

Not directly related, but it's probably no surprise that my favorite Ganondorf line is the "I coveted that Wind"-line from the finale of Wind Waker. He doesn't even go into detail, cause he doesn't have to, this line alone instantly humanizes him. Like, its the end of the game, we are about to fight him, there is no way this will not end in a fight, and yet, at that point, that line, just goes so fucking hard. Because you instantly know what he's talking about, that he simply wanted a future for his people, which, you know, is a very human thing to do. It wont stop us from fighting him here and now, way too much has happened for that, but it reminds us, the audience, that he has motives and reasons and thoughts and is an actual character.

So yeah, in case it's not obvious yet, I too despise the extremely flat "I'm evil because evil, waaaaaaaaagh!" Ganondorf from TOTK. Why even include him if you cant be arsed to actually write him?

Anyways, last thing, I'll have to somewhat disagree on the Gameplay vs Story thing, at least partially because I work in the field and have had experiences with this problem myself. Not saying its impossible to have both, but its a lot more difficult than one would expect.

Towards your point, yes a good story can pull people through a game, but so can strong gameplay. Take the Doom games, I dont really care about their story, but the gameplay is great. On the other hand, the gameplay of the average Telltale game would be incredibly boring without the story behind it. There are hybrids, but even they tend to lean one way or the other: The Assassins Creed or Uncharted Series have solid and fun gameplay, but would probably get repetitive or boring if we didn't have strong characters and stories that keep us interested. And all of that is before you consider that there are different player types that gravitate to one or the other and it gets even more complicated. (There's more to this but I my thoughts on the topic could easily be a full bachelors Thesis, so I'll stop here.)

I should add that I dont think that the gameplay over story (or vice versa) argument can or should be used to defend games or design choices. Yes, Nintendo does prefer to focus on Gameplay over Story. Does that mean we shouldn't expect a good story, or are not allowed to criticize a bad one in their games? Hell no! (And if my previous ask sounded like I was doing that, I apologize, that was NOT what I meant to say! I'll happily critique all of TOTKs flaws, both in gameplay & story, otherwise how can we learn from it?)

This argument can be used to understand and analyze or interpret design decisions but it shouldn't ever be used to defend them. Just like the "just for kids" argument, by using such arguments, the person in question basically admits that they are aware of the weaknesses and faults in their story/game/whatever but didn't fix or improve them. So yeah, I do agree with you on that front 100%, hiding behind such arguments is a problem.

Anyway, sorry for leaving another wall of text in your inbox, hope you're having a nice day!

thank you! that 'cycle' concept is also what destiny (zelda comic) is based on, since it takes place before skyward sword you get to see the set up for it, and, in this story, the gods have been trying to achieve it countless times, throughout the story of it its supposed to slowly be revealed- like demise already knowing some parts since hes yet another 'failed' version of that plan (im reusing that concept for the totk rewrite as well bc i am very original wahoo)

oh you work in that field! thats cool!! yeah my opinion on this sort of thing is very much a thing i formed bc i play games, though i still dream of gamedev, i guess i understood your mention of it a little too much into the dismissive argument way (though not as an attack) and its been repeated so so many times i cant help but get a little >_> at it; the point i was trying to make was more like ... they need to find a balance with it, like you can make it all about gameplay, but then dont pretend you have the most epicest story that ever storied, maybe even do it less or more subtle, like the fromsoft game i feel like are very well balanced in that regard, bc their lore and story is very neat and intertwined, but you have to look and think to get it, and the gameplay is strong on its own so much so that it kinda ends up being both soemthing for people that dont care about lore and those that do, more than about the gameplay

zelda feels like it doesnt quite know what to do (even moreso modern zelda), bc they prioritize the gameplay but then still put in a story that they want understood .. so its like, babiefied? like there is a "simple" story and its few points are repeated into your face over and over and over so the people that dont care to read into soemthing GET IT but also annoy them, bc they dont care anyway, and the people who care about lore/story above gameplay are bored bc the narrative isnt engaging enough and they dont care as much about the gameplay

especially so with totk i think, its so weird, botw wasnt like that imo, it wasnt overly complicated either but at least it left you wondering, and let you think, the more you thought about the more interesting it was (at least to me) totk feels like the opposite, it doesnt want you to think, bc the more you think about it the more it falls apart and makes less sense

like theres types of games that focus HARD on one or the other (like slay the princess for example, its like an interactive audio book, there isnt much gameplay but it goes hard on narrative), so obviously the balance of gameplay and story isnt applicable to every game, but for zelda in particular they say they are one but then still want the other part just as much? like the lore in skyward sword isnt great, the characters are strong though, the gameplay isnt that engaging (to me, since that needs to be said) i got through it mostly just bc i wanted to see what comes next and liked the characters, in botw the freedom and world and gameplay were like nothign i ever experienced, exploring was addictive and the story took a bit of a backseat, but it was fitting for the game and lend itself so well to theorize, in totk they .. idk what the focus was, the .. glue? the toys to glue together? nothing fits together there and each part works against another instead of together, somehow, its so weird to me

the thing is, if you do gameplay over story, you need to roll with it? if thats what it is then let the story take a backseat, make it subtle and in the background or vague, dont stuff the game full of unskippable cutscenes where a character you dont care about explains you a thing you already figured out through the gameplay; like the zelda dragon point, let the design of the dragon and its music, what its carrying speak for itself, the way the deku tree is weirded out by the sword moving, maybe a quick subtle voice line once you get the sword fading away like the last parts of her soul being whispered away- but dont mention it in one of the first cutscenes, fail to bury it in 'thats illegal though and irreversible so nono dont you do it' (why mention it then huh) allude to it multiple times, and then just straight up show it (i get people like the scene but man, it would have been way cooler to figure it out yourself)

same goes for the fake zelda thing, the weird way she said the bloodmoon text already alluded to it, have her show up here and there but vanish before you (no "omg thats zelda omg what is she dooooing") , or go even harder and make her an NPC standing around the world interacting with you all nromally but animals react weirldy to her- make the midfight against her (maybe even that she isnt talking so you are unsure if its actually her but controlled by sth else, or talk all normally while literally going for your throat) and then have her dissolve into goop and woa the bloodmoon thing is without her now the zelda you have been talking to has been fake the whole time, its creepy!! leave out the stupid cutscenes of showing it multiple times!! stop monologing at me!!

ppl that dont care about it can go and do a fight and i can think about it! everyone wins yahoo!

(actually ... if you leave out all the cutscenes in totk i feel like it improves the game by alot ...)

(what my point in the previous thing was in the end that you can repeat the same old trope only so many times without changing anything before it gets boring as hell, like what you said here, and the series seems to really be setting itself on fire bc it just wants to do the trope of old so badly and at some point its gonna drag down even the best of gameplays like gameplay over story means (to me) gameplay is prioritized so whatever narrative there is is in the background, subtle and not overtly in your face with big cutscenes etc- but what i feel like its often supposed to mean is "its fine if theres a shitty story that makes no sense pasted on top bc they prioritize gameplay so stop complaining" like to me what it should mean is more gameplay, less story, a measure of quantity not of quality, but what i feel like it often means is better gameplay, bad story, a measure of quality, not quantity )

maybe my problem lies elsewhere and im just projecting it on gameplay > story, that could very much be the case, i could have a fundamental missunderstanding about this here, im still just a guy with opinions in the end and got no knowledge about anything other than i play games sometimes and these are the things i like and dislike and would do differently *puts my head in my hands*

idk if im making sense, im usually not very good at explaining how i feel or think :/ (or i THINK im bad at it, autism be damned)

(sorry this got so long again ......................)

[undercityrezident]

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:

---

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.

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.

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.

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!

[pickles4nickles]

So I’ve been watching playthroughs of Yakuza games for a while now, but when I saw that the newest game takes place in Hawai’i, the place where I was born, raised, and have lived in for nearly 30 years now, I knew that this was something I had to have first-hand experience with and not let some guy tell me how to feel about it, to put it bluntly.

I went on a month and a half long journey to finish this game, so I sat around for a bit like

Jesus Christ I should write a review on it.

So if you’d like to read about 5k words on what I thought about The Video Game™, here you go.

Overall, Like a Dragon: Infinite Wealth is a really really good game. However, as Hawai’i local it was kind of hard for me to turn my brain off to some of the cultural inaccuracies and as someone who tends to play smaller indie games, I clocked in about 110 hours on this and I burned out a little towards the end.

GAMEPLAY

Let’s get into Gameplay first because I think I have the most positive thoughts about it. If you haven’t heard my thoughts about Pokemon lately, it mostly boils down to “It’s the only RPG I’ve really been playing in recent years and the gameplay has been very watered down and I yearn for a decent PvE experience.” This game definitely scratched that itch in more ways than one.

Infinite Wealth’s turn-based combat system revolves around positioning. Some moves have an AoE of either a straight line or a circle. Positioning a character next to an ally will proc a combo move with them and positioning them near items will proc an item attack where you can beat a guy to death with a traffic cone or something.

The job system is robust. Every character starts off with a default class- Ichiban’s is Hero, an all-rounder that can pretty much do anything; characters like Nanba and Eric (I know the game calls him Tomi or Tomizawa, but I’m not the game and “Fuckin’ Eric” sounds way better than “Fuckin’ Tomi”) are magic-oriented, so they’re basically wizards by default. You can change their class to other jobs (Desperado is my favorite because it’s basically gun mage), which unlocks new skills as you level them up. You can also change jobs as much as you want and skills carry over between them, so there’s a bit of moveset mixing and matching that makes my brain feel good.

Ryu Ga Gotoku Studio, (the Yakuza devs, which we’re just gonna abbreviate to RGG from here on out) have always been REALLY good at asset reuse (again, I cast a dirty look to Game Freak). They’ll make a whole-ass map of a region and reuse that same map for several games down the line. Not only do you spend a significant time in Ijincho again and not only do you go to Kamurocho for little bit… AGAIN, but there are two… what I can only call “macro” games that have the best asset reuse I’ve seen in, like, maybe anything ever.

DONDOKO ISLAND

Like A Dragon: Infinite Wealth comes with a whole-ass Animal Crossing clone that’s also kind of The Sims called Dondoko Island. In this, you rehab an island that’s being used as a dump for some trash pirates (no, seriously, they’re actually pirates, yar har and everything) back into a five star resort. There’s a whole-ass crafting system where you go around the island, harvesting resources, to build furniture and facilities, which include whole-ass buildings which have appeared in past Yakuza games. The crafting system is GREATLY improved over Animal Crossing: New Horizon in that you can skip the goddamn animation and craft multiple of the same items at once. You don’t even have to have all the materials in your inventory, it’ll take it from your storage. Placing items in the world is also in an overhead view and the only grievance I have with the system is that placing paths is really weird and you can only place a limited number of them. But overall, Nintendo, was it really that hard to put into the video game. Why did you make AC:NH disrespect my time in that way?

Once the island has been cleaned up enough, you can start inviting guests over, which all have their own set of preferences for the vibe of your island (rustic, pop, sleazy, etc), their lodging quality, and how much of the island’s flora and fauna (and minerals, I guess??) you’ve discovered.

I really really liked Dondoko Island because who am I to say no to a management mini/macro game with decoration elements. I mostly really appreciate that it doesn’t waste your time. I wanna say I finished it in like less than 20 hours… which is not short for a game within a game (actually, that’s insane for a game within a game), but for a game of this genre, it’s pretty short.

There’s also an entire separate mini-island that further helps you with efficiently running your island by passively collecting resources over time and just being a general stockpile of bugs and fish to catch. But I can’t talk about this part without talking about…

SUJIMON

A returning character voiced by Keith Silverstein in the English dub – yes, that Keith Silverstein, who voices Masayoshi Shido of Persona 5 and Zhongli of The Genshin Impact™ is a professor who documents the behavior of weird and often hostile middle aged men, called Sujimon. When Ichiban goes to Hawai’i, he asks him to also document the native Sujimon there as there’s a prominent Sujimon scene there. Mans wasn’t kidding as there is an underground, more or less ilicit Sujimon fight club called The Sujimon League with its own Elite Four called The Discrete Four.

In the previous game, Sujimon was just your bestiary (literally called the Sujidex), but now it’s a whole-ass game, which I can mostly only describe as simplified Yokai Watch, but a glorified card game. Just so we’re not here for forever talking about middle-aged men cockfights… because I can talk about the mechanics and inner workings of middle-aged men cockfights for a hot minute, Sujimon League basically operates on a 3v3, with an additional bench of 3, rock-paper-scissors kind of system. You’ll need strong Sujimon to get through this macro game and you’ll recruit new guys through four ways- through random fights on the map, through literal Pokemon GO raids, through a gacha system, and through combining Sujimon of the same type into stronger Sujimon (don’t think too hard about that one). I had a LOT of fun with this and, again, it scratched an itch I’ve had for a while. Almost all of the Sujimon are just guys you’ll fight in-game, so, again, an excellent use of asset reuse.

Sujimon smoothly integrates into Dondoko Island in a way that makes Palworld look even more balls-less than it already is. You know that little island I was talking about a few paragraphs back? That’s Dondoko Farm. You can put your Sujimon to work on it! As you’re running around on Dondoko Island, letting it consume your life, your Sujimon will grow crops, scrounge around for resources, and earn some cash for you. The island also has some resources to help with Sujimon League by leveling them up with a small investment of some dondoko bucks and your time, but also a Pokemon-Amie type mini-mini game that helps strengthen the friendship of your current Sujimon team.

Yes.

This game lets you pet-

The sweaty, weirdo middle-aged men.

Don’t think about it too hard.

Especially don’t think about it too hard when you have a Sujimon on your team that uses Xander Mobus’ voice clips.

Anyway, there’s also another minigame called Sicko Snap, which is basically Pokemon Snap with Sujimon. It’s a good one, too.

STORY

I guess… the best way I’d explain my feelings on Infinite Wealth’s story is

Objectively, this is an okay story. Like, it’s par for the course for a Yakuza game. I have a lot of personal grievances with this plot which I’ll fully unsheathe my blade for in the next section, but for now I’ll just say… this game is basically Hawaii Five-O crammed into a Yakuza game and that was an emotional rollercoaster ride that I’m not sure I enjoyed.

Like a Dragon’s main theme is “Even if you hit rock bottom, it’s never too late to get back up again” and that’s something I hold near and dear to my heart.

They have used this theme to my benefit and to my dismay as this also apparently means it’s never too late for ~*Romance*~ which, sure, yeah, okay, true, but did it have to be Ichiban and Saeko?

I’m trying to give the game the benefit of the doubt because… to me, it’s mostly one-sided (as in, like, Saeko’s willing to give him a chance, but isn’t as crazy for Ichiban as he is for her) and, like, dude is allowed to have a crush. But from what I have seen… because I never got around to finishing her Drink Link (I was gonna but I’m like really burned out on the game), they kinda strap C4 to the Bechdel Test and raze a village to the ground with it when it comes to Saeko’s character arc because most of her dialogue and interactions are about The Incident with Ichiban, which sucks because she had more character than just a romance interest for the protagonist in the previous game. If you’re also REALLY not into this plot point like I am, the story DOES NOT let you forget that this indeed happened as it seems to be a plot thread that might continue into the next game as well.

Needless to say, I don’t ship it, and I don’t get to block tags and just walk away from this one.

The game also kinda keeps nudging at, “Hehe, Chitose’s pretty cute too, right?” to which I say

Yes I understand she’s of legal age but she’s only like 21 AT MOST and Ichiban’s like 40-something you stop with that.

It doesn’t feel like Ichiban really had a character arc in this… unless you count “proposing on the first date” to “saying I love you on a redo and then being weird about it again” as character growth. He went to Hawai’i, had some shenanigans, found mom, got backstabbed again, fought the cult (which I’ll be really salty about in the next section), went back home to help Eiji’s character arc. This isn’t a bad thing, it’s just… Ichiban went on another adventure. And it was ok. I think maybe the game was sizing him up to, again, take Kiryu’s place and be The Hero, but… we already did that already? And I’m not even sure if the game was able to complete that message by the end of the game.

Kiryu probably got the most character development out of this game and talking this over with my friend Andrew, he brought up that it kinda wasn’t fair that this is supposed to be Ichiban’s game, but he had to share half of it with Kiryu. And I agree. His sections were also really hard to get into if you haven’t been a longtime fan. Again, I have a decent amount of Yakuza knowledge, but with Kiryu’s memories, a LOT of it went over my head.  It seems like RGG’s been trying to retire him as a protagonist for like three games now and MAYBE this time they’ll actually do it after this victory lap they’ve given him. But he did learn that “my friends are my power” and “never ever give up, you still have time to do better.” And you know what, that’s rad.

As far as the villains go, just, I dunno, they’re fine? Ebina and Eiji are very “okay bitch, stay mad, then,” and it’s. Fine? My only complaint is that Ebina’s arc felt like it was under-seasoned before they put it in the oven to cook and they could’ve peppered it on a little earlier in the game or something. Bryce’s entire deal I may have taken a little too personally, but that’s for later. Dwight was literally just Danny Trejo doing a villain role and I have absolutely no qualms with it. He was fun to watch.

The supporting cast was fun as always. Eric I hated at first, but he grew on me in the same way that, like, I’d bully a friend. Chitose I also kinda hated at first, was very sus of, but then she had a character arc that was pretty good. The Yokohama gang didn’t really have character arcs to them, but they were still fun to hang out with nonetheless. We got to learn a little bit more about Seonhee and she’s really fun. Both her and Zhao, who is my favorite for several reasons, are really really fun characters as they are both crime bosses (former, in Zhao’s case) who are BIG FUCKING WEIRDOS and I love them for it.

Joongi Han becomes a party member WAY too late in my opinion that, in a way, he’s technically an optional party member, or at least like getting a Dratini right before the Pokemon League in Gold/Silver/Crystal. He had some fun character moments, but felt kinda like an afterthought.

But also, ain’t no way he got his Hawai’i clothes at Hilo Hattie. There’s no way.

To wrap up my thoughts on the main story, I’d just like to say: the plot point that they sailed to Japan on a little tugboat in a handful of hours as opposed to WEEKS is peak Hawaii Five-O vibes and it infuriates me, but everyone kept telling me “it’s okay, the coast guard picked them up, like, halfway” and I will sit down and not start a fistfight over it. And just. That was the vibe of the game for me. Just… alternating between a J-Drama and Hawaii Five-O.

I don’t really have much to say about the substories except that they’re either almost Oscar-worthy material or they’re a snoozefest that I just tabbed through. I can really only think of three substories off the top of my head that were EXCELLENT, though - Nancy and Olivia, the artificial snow quest (THIS ONE IS EMOTIONAL WHIPLASH), and the traveling aquarium one. The rest I mostly just tabbed through because they were just……. Eh. But I think I’m okay with that since we have Sujimon and Dondoko to make up for it.

THE CULTURAL GRIEVANCES

So as I type this section out, I run my hands over my face to remind myself and say

This is a game that takes place in Hawai’i from a Japanese perspective, written primarily for a Japanese audience and I assume that certain things may come from a place of ignorance, but not maliciousness.

Hey Tumblr.

I want you to read that first bolded sentence again.

Because I know how you guys are with reading comprehension.

But that being said, as a Hawai’i-born Chinese person, there’s quite a lot about the Hawai’i cultural aspects of this game that I have problems with. If you wanna see me roast this game, you can stick around, but if not… Here is your chance to bail.

I’ve tried my best to write this in a way where I look at the thing that pissed me off and ask myself,  “Am I taking this too seriously or do I actually have a problem with it?” and write more or less objectively, but some of it might still come off as overly caustic. Just. I tried.

And after a deep breath,

Ho brah,

We go.

WHAT IS HAWAIIAN CULTURE, ANYWAY?

To start off, I’m not sure if RGG knows the difference between being a Hawai’i local and actually being of Hawaiian blood…? The game mentions at the very beginning that Akane is half-Japanese… and half-Hawaiian, which makes Ichiban one-fourth Hawaiian, which makes ME kinda… squint. Like, we’d need to know more about Akane’s backstory, but if you know anything about indigenous cultures, finding someone who’s half native is HARD nowadays. Akane also looks pretty light skinned for someone who’s allegedly half-Japanese, half-Hawaiian but that’s just my tiny nitpick?

I’m also… not sure what kinda research RGG did on Hawaiian last names because some of the ones I see on random enemies are kinda… 

Who is that

What is that

I have never seen anyone named that in my entire life

Sure, my worldview is a little shut in, but, no, what IS that?

Mililani is not a last name, that’s a neighborhood, why’s she Lani Mililani?

WHAT IS THAT?

The pidgin in the game is also there, but… small kine hit or miss. For those of you who don’t know, pidgin is Hawai’i’s creole, which came from a bunch of cultures who don’t speak the same language eventually falling into a kitbashed language system that works for everyone. Looking at the VA listing in the credits, they did hire some local people (they have Hawaiian names) and some of the VO performances work really well like Obispo in the restaurant side story and the cab driver dialogue that ONLY comes up in the Japanese audio version of the game for some reason. Others… are… hm (I don’t know what’s going on with Jeff the taco truck guy). I feel like the voice director got the intonation on the line reads down pretty well, but on the localization side, the syntax and grammar are a little off. Pidgin tends to come off as “broken english,” but it’s technically not since it’s its own language system with its own rules. So you have a lot of line reads that are in the right inflection, but the way it’s written is wrong for pidgin dialogue.

And it just doesn’t sound 100% right to me.

There’s also some… small pronunciation nitpicks that I have. Ukulele is pronounced the white way - it’s not Yooka-Laylee like the Chameleon and Bat, it’s ook-oo-leh-leh like Tapu Lele, the Pokemon. Some characters pronounce Hawai’i as huh-why and not ha-wuh-ee, which is more right (it’s SUPPOSED to be ha-vai-ee but I’m not native Hawaiian and this is kind of an axolotl situation so, y’know).

But shout-outs to the “Whatchu lookin’ at?” line guy.

Because that one is just, no notes, perfect.

NOTHING CAN BE NORMAL, I GUESS

Something that rubbed me the wrong way in this game is the mystification of a culture that’s foreign to you, that is, taking a culture that’s not yours and describing or representing it in such a way that it sounds so deviant and hard to comprehend compared to the one you’re used to. Think of that one tweet where someone describes hamburgers like a white person would describe asian fruit.

There's the lei substory where the girl needs to make a lei with blue plumerias (which does not exist by the way) because there’s an urban legend that if you give a blue plumeria lei to someone, it’s a way of confessing your true love. Lei are just… things you give as, like, a “congrats!” kind of a thing. Or if you wanna be touristy about it, a “welcome!” kind of gift. There’s nothing mystical about it, most grocery stores stock a few that you can just pick up, grab and go style. 

The entire game mechanic of “shaka to make friends” was so?? Like maybe after 8 hours into the Hawai’i map, I was like, okay, I’ll just… fine. I’ll accept it. But my god did I not appreciate it when Kson came up to me and was like “what’s a motherfucker gotta do around here to make some friends” and told me how FRIENDLY the Hawaiian people were and how you can just throw a shaka to make friends; while me, probably the saltiest, introverted Hawai’i local that throws stink-eye at tourists who can’t watch where they’re going, playing the video game on that day was like, “We don’t fucking do that, hello??” I don’t even know why we shaka?? Most people you ask that question will just be like “idk it’s the local thing, they do it at the end of the 5pm news on KHON2.”

There’s a substory in this game with a character named Nathan, but we were all calling him racist Alpharad because he kinda looks like him (ALPHARAD HIMSELF IS NOT RACIST OR IN THIS GAME I WANNA CLARIFY THAT) and he’s basically, like… a weeb. He’s recording what seems like a PBS special on Japanese tourists in Hawai’i, but he’s kind of a shitter about it. He makes Ichiban choose between local foods and cold-ass rice and becomes upset when he chooses kalua pork over the rice since it wasn’t The Japanese Option. It escalates to making Ichiban play darts with shuriken and when he loses, he tells him to “live up to his dishonor,” slides him a knife and board, and asks him if he wants to take a finger or hara-kiri. To which Ichiban goes “dude, I get you like Japanese culture, but you can’t treat people this way”

To which I look back at the game like

You clearly understand how this feels, so why are you doing this to Hawaiian culture?

Again, I understand that a lot of this game was written with maybe just ignorance, and not malice, and this isn’t really a call-out post to RGG or anything, but BOY…

Okay.

Now we get to my biggest gripe with this game.

PALEKANA CAN SUCK MY NUTS

I’m kinda disappointed in their choice to use a Hawaiian cult as a plot point. It’s not quite a native savages kind of a vibe, but… In the year of our lord 2024, I thought we would know better than to portray an indigenous religion as a bloodthirsty cult? I also don’t like how they’re conflating the Hawaiian religion with what’s more like a Christian/Catholic cult in this.

Palekana is portrayed as “cultists who worship a goddess who lives in a mystical land, forbidden only to her chosen and maybe one day we’ll be worthy of her blessings.” Hawaiian religion is… not… like that at all? They did get the part about “giving back to the community” correct as a part of Hawaiian culture is mālama ‘aina, meaning, you need to care for the land you live on, which is… reasonable? I guess the other basic idea of Hawaiian religion is that certain places, things, and times that are important, and you shouldn’t touch it unless you wanna fuck around and find out. But the game just kinda wildly overboils this.

Like, I don’t claim to be an expert, I’ve only scraped the basics from what I learned in school (a year’s worth of Hawaiiana lessons in middle school, a semester’s worth in college; went to a private Catholic school, took two world religion classes in college), but Palekana has a very Catholic European religion kind vibe instead of a Hawaiian one. And I really, really don’t like that the game conflates the two. The Palekana cultists wear hoods, which is a distinctly European thing (it’s too hot for hoods here!). The beaded necklaces also seem more like rosaries, which, again, very Catholic. The idea that a god-figure will save you is also a VERY Catholic idea. I’m also assuming the goddess Nele that they use in the game is an expy for Pele, which… okay, like, you can do that with locations. Ala Moana Shopping Center represented as Anaconda Mall in the game hurts me a lot, but… to change up the name of the most prominent deity in Hawaiian religion is like

Dude, I’m not Hawaiian, but I know better than to shit on Pele?

Maybe I’m taking this a little too seriously, but it comes off as a little(??) disrespectful.

To give them the benefit of the doubt, maybe RGG wrote this plot point in this way to be like, well, they’re the villains, so we’ll write them so hyperbolically evil and wrong so people won’t mistake that for the actual culture? But my gut reaction is that they’re only writing from what they’ve seen in the movies and they wanted to make a story like that.

This was my least favorite part of the plot because not only does the cult aspect feel like it’s in bad taste, but it’s SO MUCH of the story and you REALLY can’t get away from it.

Alright. So now that I’ve aired that out of my system, I’m finally capping off this section with the part of the game that hit the closest to me and that is

CHINESE IN HAWAI’I

Listen. Again.

This is a story about Hawai’i, written by a Japanese team, for a Japanese audience.

Yakuza is a series that often talks about the racial conflict between the Japanese, Chinese, and Koreans. And I don’t expect them to portray any of these groups in anything more than a neutral light in this game about Gang Crime.

But ohhhhh my gooooood did they get the Chinatown section so wroooooooong.

Right off the bat, the big glaring problem I have with this game is. All the guys speak Mandarin. I think they might just be reusing voice clips from Yakuza 7, which, sure, fine, I understand that video games are hard to make and expensive.

In Hawai’i, like, real-world Hawai’i, not the bizzaro Hawai’i this game takes place in, we’re definitely starting to see more Mandarin-speaking immigrants show up, but most of the town speaks Cantonese.

Most of the people here a generation or two above me come from Guangdong or Hong Kong, which are Cantonese-speaking areas. It’s an entirely different dialect that’s really only been represented in small bits in media I’m familiar with, like in Jackie Chan Adventures (the uncle’s chant is basically “no more ghosts, get out of here” in Cantonese) and Digimon Tamers (“Moumentai” is “it’s okay/don’t worry about it” in Cantonese), and it seems really hard to get VAs that speak it, so I’m not… really that mad about it.

BUT. Then there’s Wong Tou.

Wong is the Cantonese pronunciation of 黄 , Huang or Hwang in Mandarin.

So like… clearly they knew?? But?? Decided not to go all in on it??

(And then Daniel Dae Kim is his face model and I just??? Bro’s Korean, hello?????)

And then there’s the name of Wong Tou’s gang. The Ganzhe.

Which is a stupid name.

The Chinese dictionary gives me 甘蔗 which translates to sugarcane, which. I get it. The plantation times. The Chinese and the Japanese and the Filipinos and the Portuguese and whatever all used to work on the cane plantations.

…But you’re out here calling your BIG KNIFE GANG “Sugarcane??”

My guy, you could start a reggae band with that name instead.

SPEAKING OF REGGAE-

No one knows how to pronounce Ganzhe properly besides Eric’s VA apparently? All the other VAs pronounce the gan closer to “van” when it’s supposed to be more like a “gone.”

Yes. That’s right.

Ganzhe is pronounced more like ganja.

You know.

The Marajuanas™

I’m a Hawai’i-born Chinese, first-generation local on my mom’s side and third-gen local on my dad’s. I grew up in Chinatown, so this was a section of the game that was near and dear to my heart. So I THINK and HOPE you’d understand my frustration to see that work needed to be done on the representation of my culture in this game. It was definitely a little fun to see my hometown modeled in this game- they got Maunakea Marketplace and Keikaulike Mall down pretty accurately and some of the motifs on the buildings made me do a double take because they were so familiar to me. BUT, man, this cultural aspect of the game needed A LOT of work.

SO TO FINALLY CLOSE THIS OUT

Japanese people love Hawai'i a lot.

I think Japanese people love Hawai'i more than Hawai'i locals do.

But as for portraying it accurately, I understand that no one can do it as well as a local islander can. Did I personally think they did the best they could?

………………ehh

Like, if you turn your brain off, it's fine??

If you turn your brain off and not let Palekana get to you, this game is fine.

It can be a little campy.

It can be a little Hollywood.

It can be a little Disneyland.

And despite my four pages of bitching about it, at the end of the day. It is fine.

So with that, I’ve hit like ten full pages on this Google Doc. Despite half of this review being me complaining about what they got wrong about Hawai’i culture in this game, I liked it a lot! When the game didn't have me strapped down for an episode of a J-drama or Hawaii Five-O, I liked running around town, fighting guys, making other guys fight other guys, and managing a resort island. If anything, this game actually motivated me a little to make more local-themed stuff, because as I notice people getting older, there’s less and less people to correctly preserve highly specific culture stuff like this. So a lot of that responsibility falls on me, y’know?

Thank you for making it to the end of this review! I know it was a lot. I don’t know what happened. I do recommend this game, but I ask that you do NOT finish the game with the takeaway that you have learned everything there is to know about Hawai’i.

I’ll fight you with a lawn chair (in Minecraft, for the FBI agent reading this) if you do that.

Other than that, I think you’ll have a lot of fun but also take your time because this game is, like, a 100 hour commitment. Not Persona 5 Royal long, but a commitment nonetheless.

[livwritesstuff]

okay so when i was writing this, i had a whole scene written about how steve is a video game guy and bought himself the SNES when it came out as a reward for getting through undergrad and loves the mario franchise in particular. i ended up cutting it out for the sake of brevity, but it got me thinking

In 2008, Steve and Eddie give their daughters a Nintendo Wii as a collective Christmas gift, and with it comes Mario Kart.

Now, nothing rivals the Harrington Family Mario Kart experience – there’s ganging up on each other and mocking the CPUs and throwing Wii remotes across the room and relentless trash talk. It is an all-time favorite game to play as a family.

That being said – Eddie is horrible at Mario Kart, even the janky earlier versions. He’s able to hold his own against his seven- and five-year old for about as long as it takes for them to figure out the controls (which is approx. two days for Moe, and Robbie’s right behind her). After that, he’s consistently getting destroyed by not only his husband, but also his elementary school-aged children.

Steve, on the other hand, is excellent at Mario Kart. He went easy on the girls while they were learning but the second they had it figured out and started to become real competition for him, it was over. He is also extremely competitive, something Moe and Robbie absolutely picked up from him, so by the time the Nintendo Switch is released in 2017, Mario Kart had become a very serious family affair (much to Eddie’s chagrin).

Eddie gets one look at Metal Mario and insists on playing as him because…metal. Duh. But then he’s careening uncontrollably around the course, spending more time soaring off the track than actually driving on it, and he can’t figure out why.

Robbie: Different characters have different stats, Dad.

Eddie: What the fuck are his stats then?

Robbie: Pretty sure he’s, like, one of the fastest ones.

So he switches over to Lemmy (because “that’s a kick-ass head of hair”) and comfortably ambles around the course, never placing higher than eighth but also no longer sending himself flying off into the abyss.

Hazel inherited her dad’s lack of proclivity for the game (though she’s definitely still better at it than him – it would be hard not to be). She likes the “cute” ones – the babies, the villagers, Toad and Toadette – and she usually chooses a novelty cart like the carousel horse. She also doesn’t have that competitive need to win, which is good because Moe, Robbie, and Steve can collectively bring the “healthy” tension-level to its max capacity.

Moe’s guiding force in choosing a Mario Kart character is a healthy mix of aesthetic and irony. She usually opts for King Boo. She also maintains that the stats don’t actually mean anything, and that she drives the same regardless of who she plays as

Steve and Robbie completely disagree with this. They are arguably the best at Mario Kart out of the entire family, and they’re pretty much matched, skill-wise. As such, they have very strong feelings about those stats that Moe says don’t matter because they tend to be the determining factor in who actually wins.

Steve is always using new combinations of characters and karts – he has an Excel spreadsheet for tracking what he’s tried out and everything.

Conversely, Robbie has firmly settled on Rosalina and will not change her mind.

Steve: There’s, like, six characters way faster than her!

Robbie: It’s about the traction, Pop.

[selenityshiroi]

It's amazing how weird people are being about the house in Hateno and being so adamant that Link doesn't live there.

Like...People can have whatever headcanons and interpretations they want...but it's not exactly rocket science as to Nintendo's intent, here.

There are a lot of nods to BOTW in TOTK but almost all of them are incredibly vague and subtle. The overarching plot is only kind of generally mentioned and interactions with NPCs who had sidequests in BOTW tend to be 'thanks for helping me last time' instead of saying what Link did.

This is clearly because Nintendo are trying to keep BOTW spoilers to an absolute minimum. So that if anyone wants to play it who hasn't (or if you've missed things and you plan to play it in more detail later) then the experience is affected as little as possible.

I think the only side quest I can think of that is kind of spoiled is Kohga mentioning Link throwing him down into the depths. And that was more because it was difficult to explain what he was doing down there otherwise.

So the reason why Link's ownership of the Hateno house isn't mentioned? Because it's a BOTW side quest. That's it.

They could have had Zelda living anywhere. Even in one of the new houses just on the other side of the bridge. She could have been living with Purah or something. They chose to have her living in the house Link brought. And not because Link's ownership has been erased. But because Link's ownership is bonus knowledge for those who played BOTW and it adds to the tease of the ambiguity of their relationship status.

[arkus-rhapsode]

Fire Emblem and Aesthetics-A Mini Discussion

So for those who don't know, I don't really play Fire Emblem Heroes, but I still have an interest in seeing what units they release. Usually for fanfic purposes or just keeping track of new resplendent designs. But recently, FEH had an update for the original character of Dagr and it got me thinking about how resplendent from jotunheim look

Combined with FEH's ongoing storyline of taking from Norse mythology it really made me think-"Wait, why don't we have a Norse Fire Emblem game?"

Now look, I'm not here to bemoan that FEH don't have a console version, non gacha style game, but it really got me thinking about how we may be missing out on something relating to the use of a rich mythology and it only being in a mobile game more about collecting waifus and husbandos.

You see, Fire Emblem is no stranger to cribbing from existing mythologies like Norse in Genealogy, Arthurian myth and the matters of France in Elibe, and several characters just straight up being named after mythological/classic literature characters like Beowulf, Sampson, Priam etc. But its always done in this relatively Anglo-Saxon-British-French homogeny of aesthetics for their tales. So we can have a character named Sigurd, but he's not gonna look like he's fresh off the Viking Ship. Now Fire Emblem isn't the only franchise to do this, many pieces of media made by other countries draw upon these sort of exaggerated/romanticized look for fantasy stories all the time. And I want to be clear I am not advocating for "Medieval accuracy," I think that's silly. What I'm more getting at is I feel like FE could do with changing up its setting/aesthetics to perhaps inspire newer experiences.

Now I'm not saying FE as a franchise needs to be reinvented. In fact, I think FE has one of the most universal accessible mechanics in turn-based gaming. Simple to pick up, but still able to create many difficult maps and challenges. And by this point has made the support system one of the most iconic in gaming. But if the mechanics are good, doesn't that mean it could be transplanted into another setting? Well, In a way, yes. But once again, I'm not advocating for FE to stop being this fantasy style sword and sorcery story and become like the Napoleonic wars.

(That is a real Nintendo game by the way. Its wild!)

No what I'm saying is that the broad terms of "Middle Ages Warfare" is much more than simply a certain type Eurocentric fantasy.

I'll tell you what, as much as people like to rip on Birthright, I'm still shocked how it took so long for Fire Emblem to have a game where Japanese culture and aesthetics is super prominent and a main setting for a game. Fire Emblem tends to have one character who is obviously inspired by Japanese culture or even sometimes a single country. But a full blown game where so many characters come from and embrace this Japanese backdrop was unique.

Now of course it was still Birthright, so while you got these cool glimpses of a unique world and story like the Oni inspired Flame Tribe, the start of having a lot of retainers as main characters, the monk class and using fans as a weapons, and even roping in Kitsune. It still doesn't really do much than an average FE adventure with them. But it did at lease prove the the FE formula *could* still work removed from its conventional trappings.

Another in the different aesthetic, but missed opportunity category would be Fire Emblem Three Houses country of Almyra being pretty heavily inspired by Persian/Middle Eastern culture. A country that was gesturing so hard at an interesting idea that its left fan artist and fanfic writers to swoon over the idea of a possible FE game set in Almyra.

And if you want an even more recent example, for all the desert backdrops we've had in Fire Emblem, its kinda astounding it wasn't until Engage that we got a lightly (And admittedly exaggerated) African inspired country.

When I see stuff like this and what FEH is doing it makes me realize that we could be getting more. Im sure the next FE will likely still lean on its typical fantastical Anglo-Saxon look, but eventually there's got to be some spice to it. Sure it may be different, but Fire Emblem is a franchise that with each entry does try to be something different while maintaining certain core gameplay elements. So what is the harm of trying to approach something that looks a bit different?

Im not asking for an extreme change right away. Maybe start lighter. We have tons of pirates in Fire Emblem, why not a pirate/sea based game? We've even had the rare few pirate as a playable character. Its a type of story that could be told within the typical Fire Emblem world.

Then perhaps maybe something a bit more culturally ubiquitous like Greeco-Roman inspired FE? There's plenty of gods and magic, but also swords and spears to draw forth on. Heck, that may even open up new potential enemies or stories to tell with like an Evil Senate or a Gladiator culture. It could even push FE to maybe drop or reinvent certain tropes like how they approach the knighthood type of character where a certain culture's version of knight is different. Maybe even make new classes the way Birthright had to.

Overall, I think Fire Emblem is and always has been a malleable franchise. And because of that, I think it can afford to take certain risks on something as simple as drawing from another culture during the medieval magic era, while still being able to provide things that people still love about the franchise like the combat system and support system. Will there be push back on it looking different? Of course, I remember when Three Houses first teasers dropped and everyone was wondering what was up with the military school outfits and what even race was Claude. And of course a different aesthetic doesn't make the game automatically good. But let's remember, that people were judgmental of Birthright not because it went all in on looking Japanese, but because the general story and writing was lackluster for many.

But if you can make an interesting and likable cast of a characters that elevate the story, and make a memorable world for people to wage war in, I see no reason why you couldn't make Fire Emblem work set in the Netherlands.

If there is a personal aesthetic or theme you'd like to see Fire Emblem tackle, sound off in the replies. I'd love to hear what you guys think.

[seandwalsh]

Not doubting it's existence, but lore is hardly the focus of Mario games. Do you wish it was, or are you fine with games the way they are: welcoming for players old and new?

Lore shouldn’t be the focus of any video game, Mario games included. While video games can be a great storytelling medium, gameplay is and always should be the priority, with the lore being built around the gameplay and written to accommodate for both the established worldbuilding and new pieces of information, while enriching the gameplay content by engaging the players’ imaginations.

Mario games are about as lore focused as Nintendo games tend to be, and I believe a heavier focus on lore would be to the detriment of the game design and intelligent story implementation that’s explored through the player’s experience. One thing I will say is it’d be a little nicer if more Mario fans saw the ample lore that is put into each and every game!

[megamagimugi]

now here’s where we ✨uno reverse✨and you get a question and some praise.

What got you into the Mario fandom? And also!! Your bio says your a fan of TMNT, but which version do you like the most? The 2003 and 2012 version are pretty nostalgic to me, but I loved the 2012 one the most, their designs are personally my most favorite! ROTTMNT I know is a really good one; I started binging it last summer but never got around to finishing it :(

Now praise! I know I’ve said this in your ask for me, but I just REALLY love your art. Your redraws are on another level, you effortlessly nail the M&L style— seriously, why is it so hard for me?? I’m too perfectionist when it comes to them. 😂 I knew once I saw your drawings of Zahra’s amazing Anything for Him story that I’d be hooked. And your attention to detail is just 🤌🏾🤌🏾🤌🏾 like that water from your beach redraw I’m still not over.

And you’re always so supportive of my art, and it means more than words 🥹 especially with the anticipation of my upcoming animation, my motivation fluctuates. I want to pick up my Apple Pencil and just do it, but it’s like something holds me back. Honestly just talking about my art with people is a good source of drive for me, and you’re definitely one of the best sources of motivation ♥️ thank you for being so kind, and thank you for being you! You’re so loved 🫂

Okay, storytime it is! (This is most definitely going to be my longest answer to date; hope you don't mind).

Let me give you some background first. Unlike most people I didn't get into gaming as a little kid. My household was basically video game-free - my father wasn't into gaming, neither was my older sister and my mother was even somewhat against video games. Under these circumstances the first video game I ever played was the Sims, as my sister had a short-lived phase when she liked it. I found it incredibly boring. Sometimes I'd watch my cousins or friends play other games when I visited, but they'd never let me play xD Still, that made me realize that I enjoyed (=wanted to try) racing and action/adventure games.

At one point, when I was a little older, my still humble gaming experience led me to finally playing my first Mario game: Mario Kart. I look back at that experience fondly as I also won against my friend at the time on my first try. He wasn't particularly great at gaming either but hey, a win is a win.

Anyway, I got curious about these characters and started searching for more info, and for more games to try out. I finally got to the Super Mario Bros. series, discovering my love of 2D platformers along the way. There's a retro gaming museum in my area where you can play on old computers and systems so you bet I spent some time there playing the oldest of Mario games, which was a big step in me getting into this genre as a whole and this series in particular.

I also tend to gravitate towards brothers in media and well, Mario and Luigi are obviously brothers so I guess I got curious about their relationship and how it plays into the lore of the games. Which brought me to the Mario & Luigi RPGs, which I loved. I guess you could say I got Hooked On The Brothers™ But honestly, the carefree and fun atmosphere as well as the sort of wacky fairy tale setting were very appealing to me too.

I started slowly but surely collecting whatever Nintendo game consoles and games I could find and afford, and watching playthroughs of those I couldn't. I even played a couple fan games, such as (Mario) The Music Box - despite it being so very different from the source material LOL

And of course, the 2023 movie got me to appreciate the franchise even more and be more active in the fandom, reading more fanfics etc. Which eventually brought me here. I started reading Luigi's Escape Plan by jelly-fish-wishes and some other comics on Tumblr and the site tried to force me to register so often that I eventually gave in, annoyed. I definitely don't regret that decision though!

And look at me now, creating my own content - well, only fanart really - for this lovely fandom. And interacting more and more with other fans.

Now for the Turtles. I've been a fan since I was like 11 and first started watching the 2003 series (only the first 3 seasons were available in my country at the time, but a few years later I found the rest on YouTube). I've watched all versions other than the 1987 series and Michael Bay movies, and read some of the comics (I really love the original Mirage comics!), yet that first series still remains my favorite. My favorite animated show of all time even. You could chalk it up to nostalgia, but it's definitely more than that as nostalgia is rarely a big factor for me when it comes to genuinely enjoying things. I just really like this version of all of the major characters the most, as well as the humor, the dialogue and the action scenes (those fight choreographies were amazing tbh), and the plot overall. As well as the art style in the first 5 seasons. Sure, the show wasn't perfect due to the frequent animation mistakes and the painfully bad Japanese (the fake kanji were bad enough but the horrible pronunciation, man... the pronunciation...), but everything else more than makes up for it.

In case you're curious, overall I did enjoy the 2012 series too. Really, I enjoyed most of the Turtle media. Tbh I have a bit of a weird love-hate relationship with RotTMNT though.

And last but not least, thank you so much for your kind words! It's so interesting that some people here praise my style while it was something my old professor criticized as too generic in my digital art and animation when I was applying to college. And people like you saying I pay a lot of attention to detail when my art teachers and professors criticized me for going too abstract in my paintings and not precise enough in my drawings. It's been healing some of these old art related insecurities stashed away somewhere in my brain, ngl.

I totally get your struggle with perfectionism. It's my old frenemy that to this day rears its ugly head more often than I care to admit, especially when it comes to art. It's important to relax and do your thing anyway. I'm sure you'll make some sick animations and I'll be here cheering you on along the way. You got this, girl!

And I appreciate what you said about me at the end. If there's anyone in this world who makes me feel loved and like I'm actually worth something, it's you and other amazing people in this community. Thank you so much :))

[talesfromthebacklog]

Tales From The Frontlog: Princess Peach Showtime.

7/10

Princess Peach Showtime is good. It’s a game I’m willing to bet will be overlooked in the sea of Mario titles that exist on the Switch. It’ll probably be even a bit pricey down the line. The smaller weird titles like this tend to do that.

The best way to describe this game is that it’s a game about a being magical girl who uses various transformations to help people. When you look hard enough almost all the tropes are there and that alone makes this worth a pickup. Because games that are so blatantly like that are rare.

But you really feel like it’s missing something that could’ve made it truly special. Which is weird because it does offer a very complete experience. I guess the best way to put it is it has trouble feeling like a “Mario” world title. And not because Mario is missing. Give me some credit.

I had a fantastic time playing, but we’re about the dissect what I think Princess Peach Showtime is missing.

Firstly I want to get aesthetic out of the way. Partially because there were a lot arguments online if Peach was “fem” enough. Which was peak stupidity. Peach is the fem of fems. It was insane this was even an argument. Also these outfits rocked.

But more importantly her game really lacked that Mario pop. Peach is fun, the premise is great, but you really could swap out Peach for a different magical girl and the premise/world still work. Peach just sells better. And she’s cute. Just look at her.

And I’m not complaining about the absence of most of the Mario cast. Characters as individuals should be able to shine on their own. Peach being the only main cast member used was a great decision. But you don’t feel like you’re in that high fantasy Mario environment. Even when away from the Mushroom Kingdom mario still has a very specific look to it.

Mario is high fantasy in its own way. I wanted to see that better reflected in Princess Peach Showtime. Every once in a while you do see glimpses, specifically in a Paper Mario way. Where the backgrounds are obviously set dressing, the horses have strings, some thorns were cardboard cut out, etc.

I think they needed to lean into this more. In a way I think the environment needed to be less immersive. I get that “there’s evil magic” but I think it should’ve looked a bit more hokey like real plays. Also put some people in the audience watching Peach rescue people. Have curtains close at the end of levels instead of it fading to white and then closing. You’re closing the curtain. You don’t need the fade to white. They’re small details that would’ve gone a long way to really increase the look. Maybe even bring some of the lighting in as part of the platforming where you’re running on the equipment and then reenter on a stage over.

It might be a useless complaint. I think this might’ve been more of a quick budget title for Nintendo at the end of a console life cycle, but don’t quote me on that.

There’s small aesthetic nitpicks I have too.

Like what the fuck is this? And they do this with the green and blue dresses too where they add this clashing purple. I’m not going to sit here and tell you she looks hideous. She doesn’t, but let us have a dress that is completely blue! And they don’t match the shoe color to any of the dresses fyi. Those stay her traditional red. I know that’s a nitpick, like a really small one, but it still… bothers me. I understand why they put it there. I just don’t care. Purple and yellow? And so lazily executed? Hmpf.

And she obviously looks better when everything matches to some degree. Look at that! Why did they restrict the color palette on the dress options so much. I get that pink is her color but… come on. The costumes are allowed to break the mold but the dresses aren’t?

Also just missed opportunity for some simple easter egg dresses. Especially since some of those challenges are tedious as all get out. I did all that to earn this ⬇️ and not something genuinely cool. Fucking ick. It’s not bad looking but not worth doing a frustrating to control challenge for. I’m not even asking for new dress models. But let us put her in a Daisy dress or something. I don’t know.

And the levels… are always fun on a first play through. But if you’re playing without a guide as a completionist you’ll need to run through them more than once because it is easy to miss stuff. And it can be more time consuming than it’s worth. And when you’re on a fourth attempt that shit gets old quick.

Don’t get it twisted though: this game is short, sweet, and regularly mixes up the gameplay to keep gamer’s on their toes. There are no costumes or game mechanics that overstay their welcome. Whenever I walked into a new stage I was uncertain what I would be walking into and the costumes are all equally fun in different ways. They do a good job balancing out the adventure and recreation costumes too. So you get a break from faster paced action by baking instead. Smart. My favorite is you get a magical girl transformation for each new costume you get and only for the first time you get it.

The transformations are fun. Plain and simple.

From a gameplay perspective I don’t actually have that many complaints. It’s not complicated by any means, nor is it hard. But it’s not meant to be those things. Princess Peach Showtime is just a fun cozy game getaway. Maybe even something you play in between other games.

Then there’s Madame Grape. I get what they were going for. They wanted a fruit villain because they have a “fruit” protagonist. (I think there is an homage to Dionysus as well.) But it’s just very eh. I don’t know how to fix that to make it less eh. I think it’s a core design problem. Additionally Madame Grape, despite being mentioned throughout the entire story, isn’t very important. She is a vessel for the plot to exist. Which isn’t inherently a bad thing, a lot of Nintendo villains fill this role, but she also has no iconic qualities to her either. She’s just kind’ve this purple blob that shows up from time to time. I do like that Nintendo didn’t use Bowser though. It keeps the game female centric. So that’s cool.

I can’t get over how she needs to look more grape themed. I know Peach doesn’t necessarily have Peach themes but like… you could’ve told me she was the fucking plum queen and I would’ve believed you. But I’m nitpicking again.

Stella the helper is… nothing. She exists as the vessel to make Peach a magical girl. Stella is the magical girl pet/wand/narrator for the adventure. She’s not bad. She’s just nothing.

The other NPCs (both friend and foe) fall into that Nintendo hole of being the same cardboard cutout person in different costumes over and over too. (At least they had different costumes…) Which is to be expected at this point, they’re just “not Toads”. And I know not every game can have a Mario Odyssey budget but I feel like we needed more visual variety within the NPC cast. Though this is an old ass complaint folks have had about Mario titles for a while so I’m not going to dwell on it too much.

Also while “stars” make sense the little “not toads” should’ve been fruit themed too. That way you could at least swap out multiple colors and call them different “fruits” if you wanted to be lazy about it.

I guess that’s the issue with the game in general. The only real character that has any semblance of personality is Peach. Everything and everyone else is just set dressing so Peach can perform for the player. it makes sense but it leaves the world feeling empty. And I’m not asking for lore. This is not that kind of game. I think I just want more substance. Which is hard to do when you’re boiling down tropes into a 3 act structure for each costume.

And I have a lot of nitpicks here. Almost like I dislike the game. Which was not the case at all. I had a grand time. The costumes are fun, it’s fun to play all the way through, and the levels in the game itself also doesn’t overstay its welcome. At max you’re looking at a 12 hour experience if you’re a completionist.

Under ten if you just want to play it.

Visually the game is beautiful. The music was nothing to write home about.

But. I think because it’s a short experience I’m disappointed it didn’t push itself harder to be high aesthetic. Games that are both genuinely good and girly are hard to find. Often “feminine focused” games like this just fucking suck. You can tell Nintendo cared about this project.

But I think to be an 8 or 9 experience it needed to push its visuals a bit harder.

[squwooshk]

I wrote this essay for another platform, but I want to share it here.

Capitalism is killing art, in every part of the process. From the creation, the consumption and finally the preservation. In this serious of essays, we'll be looking at the preservation in particular. Looking at the ending of the process, and working backwards, will help give us a stronger understanding of the concepts and powers at play in the production, for the preservation and consumption directly effect the creation. This first part of the series will look into the effects of capitalism, and private property, more specifically intellectual property, on the preservation of art and the methods of art preservation that are at odds with capitalism.

Emulation & Video-game Piracy

An important part of the process of preserving art is making sure that the art work can be experienced by as many people, for as long as possible. When it comes to video-games in particular, there's plenty of fans who are dedicated enough to the art for to make sure retro games are always playable for a more general audience, and with as much accuracy to the original experience as possible. These dedicated fans create emulators, software programs that are able to replicate the functions of older video-game consoles, in order to allow older games to be easily playable to modern gamers.

Emulators themselves, are fully allowed under the law[1], however we do encounter a problem. The data that emulators are designed to read, is often illegal to distribute on the internet. The spread of this software, the actual data of a particular video game, is considered digital piracy, a theft of intellectual property[2]. This is an argument often used by corporations like Nintendo to shutdown websites that host these data files[3]. However, these same corporations often give no good alternatives to emulation, and in extention this piracy.

Many of these companies do not re-release these games, at best they may remake them or occasionally offer a limited selection on their own emulators, which can often have errors or be tied to a subscription service, as is the case with Nintendo.[4],

The preservation of these games often come down to an effort from the fans, an effort that is in direct conflict with the intellectual property owners. Without emulation, many more obscure games, and a good number of games with complex licensing agreements, would be permanently lost to time.

I would like to take the time to look at two examples in particular, Metal Gear Solid (Game Boy Color, also known as Metal Gear Solid Ghost Babel in Japan) and Mother 3. These examples are far from being the only examples worth talking about, but I think they both greatly exemplify the ideas I wish to discuss.

Metal Gear Solid (Gameboy Color) which I will refer to as Ghost Babel for the rest of this essay, for simplicity and to avoid confusion with Metal Gear Solid (PlayStation) which is a completely different game, is a game released in 2000 by Konami for the Nintendo Gameboy Color. The game was a spin-off of the Metal Gear Solid series. The game has never been re-release.

This is primarily due to the lower sales of the release brought in compared to any mainline Metal Gear Solid game (all of which have been re-release and remastered many times) and the little market demand, especially in the AAA gaming world that Konami is a part of, for 2D stealth action games. There is little profit to be found in porting over Ghost Babel to more modern systems, so it just isn't done. Art that isn't profitable is cast aside by the capitalist.

The only way to play this game, and comply with the laws of a capitalist society, is to own a Gameboy Color, Gameboy Advance or a DS (but not a DSI or 3DS) and an original physical copy of the game. All these items are no longer being produced, they are all in the second hand market, and as the supply will never rise, the prices can tend to get high pretty quickly.

Not only is pricing an issue, but these objects will not last forever. The cartridges used to store the data of Gameboy Color games have batteries that will one day die, preventing saved data from being written on them[5], and the electronic parts in these systems, and in the cartridges, will one day fail as any other machine will without constant maintenance. Preservation through the ownership of the original hardware is limited in scope, and is doomed for failure.

The only method of preservation that solves all these problems, the problem of limited supply, high prices and degradation of hardware, is digital emulation and piracy. This is however, in direct conflict with the intellectual property of the capitalist. The capitalist wishes to actively suppress these acts of preservation in the name of preserving their intellectual property[6]

Mother 3 is a video game created by Nintendo that has never been released outside of Japan. The reason for this is once again a profit one, Mother 2 (know simply as Earthbound outside of Japan) did not sell well at all when it first came out and Mother 1 was never released outside of Japan untill way later, where it got a digital release, do to the growth in a western Mother Fandom. The Mother series has a very particular style and humor, that doesn't always sell as well with western audiences, making localization a process that yealds little profit, thus the localization is never made.

For anyone who lives outside of Japan, the only way to play this game is illegally. You must rely on fan translation and emulation. No one other than Japanese people, or people who know Japanese, own a Japanese Game Boy Advanced, and have a copy of the game, can play it without going in direct violation of the interests of the capitalist and violating their intellectual property rights.

Music preservation and Intellectual Property

Video-games are far from the only art from that's preservation is at threat from capitalism. Music is another art form that has been plagued by intellectual property. From songs that quote passages of other songs, to song that uses samples with licensing issues, so much art has been altered, limited or destroyed by capitalism. I'll be looking at three different examples.

The Gun Song by Car Seat Headrest has two versions, the original version of the song, and the No Trigger Version. The differences between these two versions is pretty simple, the no trigger version is what you'll find on streaming services, and the original thay is only available on the Bandcamp version of the album. The reason for this is a lyric change due to copyright issues.

The original version of the song end with the lyrics "Down by the river, I shot my baby" sung with the same melody as the song Down by the River by Neil Young. Do to the shared melody and lyrics, this caused copyright issues. All releases of the song, other than the original independent release, have been altered to cut this part out. This song, as it was intended to be heard, has become difficult to access for most people.

The album Everything is a Lot by Will Wood and the Tapeworms was drastically altered when it was remastered, because all the samples used in the original ran into licensing issues. This lead to the more accessible version of the album (the only version getting physically releases) missing important parts of songs, in particular, the vocal send off on the track "Thermodynamic Lawyer" which originally opened with a sample from the movie Liar Liar, but now just opens immediately into the song, removing a lot of the punch of the original

The Faces mixtape by Mac Miller has faced a similar treatment to that of the Will Wood album, but on a more severe scale. The version of the album available on streaming has been gutted of many of it's samples (at least 9).

Intellectual Property & Profit Motive

Now, it's time to talk about how all these issues are an intrinsic part of capitalism. Capitalism as a system prioritizes one thing above all else, capital. Capital is itself a form of private property, and intellectual property is an idea or artistic expression turned into private property. The property holders will defend their right to profit off this property using the violence of the state, using the power of law to punish those who violate their property.

This become a problem for art when the profit motive gets involved. Profit is the driving factor behind all of these anti-preservation decisions we have discussed here today. With video-games, companies want to continue to indefinitely make a profit off of their old creations, but fail to offer an adequate way too, and often prioritizes only the cash cows. When the public tries to take this into their own hands, out of the love of art, they get punished. Their preservation is a threat, because they allow all games to be preserved and experienced freely, even the cash cows that corporations don't wish to abandon.

As for music, record labels (and in some of these cases film studios who own sound bites) want to profit off of royalties. When a song uses a sample, a good bit of the profit made on that song goes to the owners of royalty licenses, despite the fact that their intellectual property often makes up only a fraction of a truly transformational work. When they can't make their royalties, they leave the work to die.

Conclusion

Capitalism, primarily through the medium of intellectual property, a form of private property, actively disrupts the preservation of art. It seeks to destroy methods of preserving art that would eat into the profits of capitalist, without offering a viable alternative except when it seems financially beneficial to the capitalist.

Bibliography

1.https://scholarlycommons.law.northwestern.edu/njtip/vol2/iss2/3/

2.https://www.howtogeek.com/262758/is-downloading-retro-video-game-roms-ever-legal/

3.https://kotaku.com/nintendo-orders-rom-site-to-destroy-all-its-games-or-1847487357

4.https://www.tomsguide.com/opinion/nintendo-switch-online-is-terrible-and-its-only-getting-worse

5.https://forums.atariage.com/topic/193374-battery-life-of-old-game-cartridges/

6.(to actually gain access to this you'll probably have to prepend it with 12ft.io/) https://www.scribd.com/document/709016504/Nintendo-of-America-Inc-v-Tropic-Haze-LLC-1-24-Cv-00082-No-1-D-R-I-Feb-26-2024

[thecurioustale]

My Incredible Expanding List of "High Priority" Creative Works to Read / Watch / Play / Etc. 😰

(No spoilers of any kind in this outburst.)

My To-Read / To-Watch / To-Listen list is where media go to die the long and quiet death of entropy and ice. 😓

Some people, it's like they can read a book a week, or watch a movie a day, or get through a whole TV series every month, or whatever. Not just for a short season, but regularly and indefinitely. It's an integrated part of their lifestyle.

Inconceivable!!

For me it is wildly hard to get around to starting media that I genuinely do want to get to. The reason why is a topic for another day, but I just want to marvel publicly with you at the absurdity of my Current Efforts. All of the following are assigned High Priority:

My sister got me a Nintendo Switch for my birthday this year, and included with it both of the new mainline Zelda games (Breath of the Wild and Tears of the Kingdom) as well as Pokémon Legends: Arceus. The Pokémon game is my latest Actually Doing It effort; I actually began playing it last week. I told myself that I would absolutely play at least one of these games because I can't have my sister getting me a present that expensive and then me not doing anything with it. And I will say that I am enjoying the game as much as I could have hoped! It's a very pleasant escapist fantasy with very low mental overhead, which my stressed-out, brain-fog-addled self sorely needs.

I would also like to replay the original Life Is Strange (Season 1) ahead of the upcoming sequel with Max Caulfield in it, as well as the prequel and the other two mainline Life Is Strange games. And I bought the entire Life Is Strange comic as it was coming out, and want to read it all the way through when the actual game is fresh in my memory.

Now that I have a Switch I want to get and play Metroid Dread, because I've been avoiding spoilers for it all this time and I would like to stop doing that, and I would also really like to have a new Metroid gameplay experience.

I asked my friend and number one fan Fip for a recommendation of suggested reading to learn more about Incan and pre-Incan Quechua-speaking peoples so that I could better characterize aspects of Cherry's character in Galaxy Federal. She recommended The Saga of the Borderlands. I've bought a used copy of the first book, The Days of the Deer, and it is literally the top book on my Pile of Books by my bed. I've even committed to trying to read the two other books in the trilogy in Spanish (since there is no English translation) if I enjoy the first one.

Fip herself has a number of works that I have been itching to read for quite some time, both out of artistic solidarity as a fellow artist and also because I'm just genuinely interested in what kinds of things a person who likes my work would create with their work.

I have long wanted to read Almost Nowhere ever since another online friend of mine, nostalgebraist, finished writing it, but I told myself that I would read his earlier work Floornight first and so they're both on my List. I'm actually kind of afraid to read these because his work The Northern Caves was heavily inspiring for me with regard to the Galaxy Federal Inaugural Novel and my fear is that I'm going to read these other works and discover heavy serendipitous overlap, just because I think he and I sometimes tend to have quite similar ideas (albeit thinking about them differently).

Another friend's mom recommended a book to me that my dad recommended like 20 years ago, The Map that Changed the World. This is another book that I've already bought, again used, and it is sitting right under The Days of the Deer in the Pile beside my bed. (And is the only other unread book in said Pile; the others are The Lord of the Rings, which I managed to finally reread a number of months ago, and my own book Tokens of Zeal: Words from a Vanished Age.) I am really looking forward to pleasantly surprising my friend's mom with word that I've read this book, and it would be a nice homage to Dad to finally read it as well.

I've been trying to complete my "Grand Tour of the Virus Comix Online Empire"—i.e., all the online works by Winston Rowntree—for like three years now. As part of this tour I've been sending him detailed notes, but it's been so long since my peopleWatching watchthrough that I'm going to have to rewatch it to compose notes. (I didn't think to start sending him notes until I got to the old Captain Estar webcomic.) I "rushed" my Captain Estar notes when I learned that he was doing a rebooted novelization of the same premise, which became Shirley Estar Goes to Heaven and which I highly recommend you read. There's a new peopleWatching season coming out in a year or two so now I want to expedite that, but I also have to go through all of Subnormality (the best webcomic of all time) and various other works of his.

This is all just the stuff at the highest level of priority for me to get to. There are, like, three more tiers below this—all of them longer. And I'm prolly gonna be playing Pokémon Arceus for months, because I am taking my sweet time with it. (I don't get to play video games nearly as often as I would like to, and this one is a really cathartic end-of-day treat, which is proving especially helpful because of the health problems that are making it difficult for me to get to sleep sometimes.) Oh lord and I haven't even touched on any YouTube videos or music works! 😰

And then, of course, there is my own creative work also pressing for my time.

I just find it maddening and ludicrous and comical and tragic all at once that I am so slow at both consuming and creating work.

I am molasses in January. 😭😭😭 How do y'all do it?!!

Actually, I don't know if I would truly want to consume a high amount of choice media on the regular. I know this sounds melodramatic, but, whenever some consumer activity competes for my extremely limited leisure time, I'm like "I have to finish writing as many of my books as possible before I die," and I really mean it. And I also have a kind of tainted image of people who spend all their time consuming media due to the fact that my abusive mom spent most of her time watching TV and reading books when I was a kid. That worked its way into me as a worldview that "You have to do more than just consume; you have to do something with the energy that comes from digesting the things you consume." Which I realize isn't objectively true...but it also kinda totally aesthetically is true, at least if you're an artist or have the soul of an artist, which I grant most people are not and do not.

[crazylittlejester]

TW FOR *MENTIONS* OF S/A

I don’t want to ask stupid questions or anything but is there SA/RP/NCON stuff between ur wars and ur cia? Ik its a popular LU headcannon for wars, and it feels very implied in some of your fics (one of the FH9 spin offs, I think) but I also don’t wanna read too deep into this or say something’s there when it isn’t. If this is a major plot point or smth you can’t answer bcuz if spoilers just don’t reply and I’ll figure it out :p

It’s not a stupid question at all, and the short answer is yes.

The severity of the situation and also like, the circumstances are very different depending on which series it is. For example in FH9 Wars and Cia were actually together as a couple for a bit where in some of the other things I’ve written they do not even know each other and have met like twice. For the most part I try to keep it as more of an implied thing because, with the exception of FH9, the interactions between them are never super relevant to the plot, but it is there, and that’s how I meant it to be read.

I know it’s a bit of a sensitive topic for a lot of people, so even though it’s only been implied and not outright stated, I try to post trigger warnings at the start of the chapters/fics that imply it, and also (unless it’s super plot relevant) I try to write it in a way where if you don’t want to read into that, you can kinda skip over it or imagine they’re talking about something else. I know a good portion of this fandom is on the younger side and because most of my fics are rated T, I feel like if I wrote anything more than just heavily implying what happened I should move the rating up, if that makes sense…?

One thing really important to me is representation in writing, being able to read a book or watch a show and see someone who’s gone through something similar to you and be able to feel seen through that character. Male SA survivors are something I rarely see in media, and without talking too much about my private life, I personally would’ve loved to have seen more characters healing from traumas growing up, I think it would’ve really helped me when I was younger. I tend to write a lot about my own experiences and traumas, it’s really helpful actually- And this is just another thing I’ve kinda thrown unto Wars, although this one has a lot more canon ‘backing’ than a lot of my other headcanons and I know this is a headcanon a lot of other people have as well

The whole canon situation between those two was honestly a bit insane for a nintendo game, like just the wiki thing about her that shows up on google is kinda crazy. Like I’m not sure what the hell nintendo meant their whole dynamic to be but playing the game it made me uncomfortable as hell

So yeah, I have this headcanon too, I’m not sure if I’ll ever write a detailed fic about it, that would be a lot for me mentally I think. The most I’ll ever get into it is probably having him say the words ‘I was assaulted’, but nothing more than that.

Full disclosure I wrote this out in my car twenty minutes before class starts so sorry if parts of this make no sense but TL;DR: Yes in my fics Wars was assaulted, I don’t wanna trigger people because I know that’s a bit of a darker headcanon, I think Male SA survivor rep is important, and yeah I think that summarizes everything 👍

(sorry for spelling errors or oddly autocorrected words i am dyslexic-)