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Tag: Universe of The Legend of Zelda

  • Players Are Already Having A Blast Imagining Zelda’s New Copy Ability In Action

    Players Are Already Having A Blast Imagining Zelda’s New Copy Ability In Action

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    Since the announcement of The Legend of Zelda: Echoes of Wisdom, fans of the series have been expressing their excitement over Zelda’s unique gameplay. Chiefly, they are overjoyed about her ability to copy (or echo) items in the environment and use them against her enemies in battle.

    Tears Of The Kingdom’s Newspaper Questline And The State Of Hyrulean Journalism

    Echoes of Wisdom finally drops players into a mainline entry of the series as the titular princess. When Link goes missing just as he rescues her from Ganon, dark rifts begin to tear apart Hyrule, and Zelda just barely escapes them. With Hyrule’s typical savior out of the picture, it falls on Zelda to save her land and people, and she accomplishes this with the help of Tri, a fairy she encounters as all is falling apart. Tri grants Zelda the Tri Rod, which allows her to copy objects and other creatures in the world in order to navigate environments, solve puzzles, and carry out battles, and it looks great, and indeed poised for numerous jokes and in-game hilarity.

    It all started when a clip of the game’s debut trailer showed Zelda copying a boulder, lifting it and throwing it at an enemy. Many fans noted the fact that in most Zelda games, Link has needed a bracelet that allows him a similar ability, and claimed that Zelda had been quietly getting stronger than her stalwart protector and savior.

    Eventually, the memes about Echoes of Wisdom’s new copy ability got progressively out of hand. Many of the ones I saw within a few hours of the announcement poked fun at how Zelda might use a table or a chair in battle, akin to a professional wrestler. By comparison, Link has largely used more typical weaponry like the Master Sword, as well as a bow and arrow or bombs. The emphasis on furniture has spawned its own series of posts about domesticity and interior decoration. From there, things spiraled out of control until we hit the natural conclusion that the internet always escalates to: giving Zelda a glock.

    But if I had to pick favorites, these final three are the pinnacle of the posts I saw. Sometimes, the internet can be a really funny place.

    It’s actually been really joyous to see communities getting excited for what appears, on its face, to be a novel take on the beloved series. I feel my own fervor for Echoes of Wisdom being stoked with every bit of fanart or memes that I see folks posting online, so please keep it coming. This is the kind of energy I can get behind any day of the week. And yes, you’re all right, we should absolutely give Zelda a gun.

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    Moises Taveras

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  • Alan Wake 2, Zelda: TotK, And More Creative Triumphs: Carolyn Petit’s Top Games Of 2023

    Alan Wake 2, Zelda: TotK, And More Creative Triumphs: Carolyn Petit’s Top Games Of 2023

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    Until very recently, I’d thought that Alan Wake 2 would reside in the #2 slot here, while Tears of the Kingdom would remain my personal game of the year. However, a chance encounter recently with writer Cole Kronman (who wrote this great piece on Xenogears and the games of Tetsuya Takahashi for us) helped me clarify my own feelings. I realized that for me, these two games are in close conversation with each other, strange mirrors of each other’s greatness, and that together, they define the best that 2023’s games had to offer in my mind. I’m not going to spoil plot points for either game, but to engage with why and how this is the case, I need to mention a crucial line of dialogue from the end of Alan Wake 2, one that mirrors the first game’s climactic mic drop of “It’s not a lake, it’s an ocean.” If you haven’t yet finished Alan Wake 2 and want to discover this line for yourself, turn back now.

    In the final moments of Alan Wake 2 (and potentially earlier, depending on how thorough you are in exploring and absorbing Remedy’s metaphysical horror odyssey), a character says, “It’s not a loop, it’s a spiral.” Alan Wake 2 explores the difficulty and anguish many artists find in the creative process, the way it can sometimes feel like you’re just banging your head against the wall and not making a damn bit of progress, seeing no way out whatsoever as that blank page continues to taunt you.

    Read More: Alan Wake 2: The Kotaku Review

    And yet, sometimes at least, a way out does eventually reveal itself. Sometimes, after we’ve been spinning our wheels for what feels like forever, something in our subconscious will finally crack, a bit of light will shine through, and we will see, at long last, a path forward, knowing that we had to go through all of that internal turmoil to find our way out. What felt like a pointless, exhausting, excruciating loop was in fact a spiral all along. Before spotlighting this at the end by having a character speak the line, Alan Wake 2 hides this idea in plain sight, repeatedly putting you in environments that feel like loops that you have no choice but to run through again and again. Eventually, your persistence pays off, something suddenly changes, and a way out reveals itself. You thought you were going in circles but you were actually moving forward all along; it just took a lot of energy and grit to see that.

    I don’t have any particular insight into what the struggle to get Alan Wake 2 made was like for creative director Sam Lake and the other folks at Remedy, but it’s no secret that this is a game the studio had been hoping to make for a very long time. I have to imagine that at times, the setbacks and struggles were crushing, that they felt like defeat. And yet, it’s undeniable that if Remedy had been able to make a sequel to 2010’s Alan Wake some 10 or six years ago, it would not be the game that it is today. Alan Wake 2 is extraordinary in no small part because it is a game that took 13 years to get made, and because, in its creative energy, you can feel the restless struggle, the accumulation of ideas, the desperate search for a way out. Alan Wake 2 is about many things, but perhaps none of them is more crucial to its identity than being about the struggle to make Alan Wake 2.

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    Carolyn Petit

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  • Nintendo Is Trying To Patent Some Really Broad Tears Of The Kingdom Mechanics

    Nintendo Is Trying To Patent Some Really Broad Tears Of The Kingdom Mechanics

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    Screenshot: Nintendo / Kotaku

    Nintendo is registering several new patents from The Legend of Zelda: Tears of the Kingdom that are extremely broad, to the point where they seem unreasonable for other developers to be beholden to.

    The Week In Games: Return To Hyrule

    Automaton, a gaming website that focuses on Japanese games like Zelda, has a roundup of the 32 patents Nintendo put forth. Some of them are specific to Link’s latest adventure, including things like Riju’s lightning ability, which lets the player target enemies with a bow and bring down a lighting strike wherever the arrow lands. The weirder ones are related to baseline game design and coding that applies to plenty of other video games on the market. One of the hopeful patents relates to the physics of a character riding on top of a moving vehicle and reacting dynamically to it in a realistic manner.

    A character is shown standing on top of a moving vehicle.

    The distinction, according to Automaton’s translation of Japanese site Hatena Blog user nayoa2k’s post on the matter, is down to how Tears of the Kingdom codes these interactions. Link and the objects he rides on move together at the same speed, rather than Link being technically stationary on top of a moving object as is common in the physics of other games. The two are functionally the same, but given that plenty of video games displayed characters who can walk around on top of moving vehicles, it’s highly unlikely this kind of approach hasn’t been utilized before.

    On top of trying to patent the tech, Nintendo seeks to patent the loading screen that shows up when the player is fast-traveling across Hyrule. This specifically refers to the screen that shows the map transition from the player’s starting point to their destination. Sure, that’s pretty specific and not something every game utilizes, but it’s still such a general concept that it feels almost petty to patent it when it’s hardly an iconic draw of Tears of the Kingdom.

    It’s not uncommon for game developers to try to patent mechanics and features. One of the most famous examples is when Bandai Namco had a patent on loading screen mini-games, which finally ended in 2015.

    Who knows if these patents actually go anywhere? But when game design concepts are gatekept like this, it only leads to a loss of innovation for other devs. Though these specific patents are small in the grand scheme of things, they can be a slippery slope for things like WB patenting Shadow of Mordor’s Nemesis System, which should be in more games.

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    Kenneth Shepard

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