Too little, too late? New Zelda to make legitimate use of 3D in the wake of the 2DS era

Just when you thought I’d get through a full week without Zelda speculation, this comes to my attention. According to Gamespot, Zelda producer Eiji Aonuma stated last week that A Link Between Worlds will incorporate 3D effects that impact gameplay. My guess is that 3D visuals will help distinguish height differences that may appear unclear in 2D. Height played a role in the E3 Trailer, with Link launching skyward to reach upper floors of a dungeon. How else the 3D benefits puzzle-solvers is anyone’s guess for now.

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That red smiley-face in the bottom corner is actually a launching pad. It’s likely that 3D effects were implemented to make vertical-jumps more discernible.

The other half to this story is the fact that the unveiling of the 2DS shook up Aonuma’s plans. Though he didn’t unload specific details, he did claim to make changes so ALBW could fully function at as 2D-only experience: “We found out about the 2DS during development, not before, and we also made changes so that we were sure that you could still play and solve the puzzles only with 2D.”

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 The paths that cave-drawing Link can take may be easier to distinguish in 3D.

This all echoes back to my earlier thoughts on the 2DS and what it means for the future of 3D gaming (if there is a future). Though gamers and journalists alike have labeled the 3DS’s namesake effects as “gimmicky” and “unnecessary,” Aonuma was clearly trying to prove otherwise with this latest Zelda installment. Then the 2DS arrived at the most awkward of times. In one corner we have Nintendo’s golden franchise ushering in some potentially innovative 3D effects, while in the opposite corner stands a brand new system model that may as well carry the casket for the original 3DS.

Your winner? Flat-screen gaming. For now. But don’t be surprised if some of Aonuma’s ideas leak into future games.

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Zelda 3DS producer ditches hand-holding; wants you to “get stuck and be lost”

Zelda producer Eiji Aonuma is going all-out to ensure that A Link Between Worlds has old-school, open-ended grit to it. He’s dedicated to the point that he spent a whopping three days arguing with his developer over removing a hint in the game. And you know what? They removed it.

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The lost art of in-game exploration: coming to a handheld near you.

Three days. Possibly 72-hours straight for all we know. And all to guarantee that the experience will cater to hardcore fans and usher newbies into classic-style Zelda exploration. Aonuma even insisted that he wanted to “make a game where it would be fun to get stuck and be lost.” Whether this will turn-off modern gamers remains to be seen. 

Soon as I read the news, I instantly thought of the NES Zelda, which went skimpy on hints and let you discover dungeons at your own pace. Remember having to burn a random bush to locate a dungeon? I doubt A Link Between Worlds will have objectives that are that unclear, but at least the game won’t ride us from dungeon to dungeon on a magic carpet.

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Nintendo was once nasty enough to hide a mandatory dungeon under a generic bush.

While I’m stoked for the new Zelda, the bigger issue here is a backlash against the gaming trend of hand-holding. The past decade-and-a-half has all but evicted the magic of exploration and challenge in favor of moving things along. Some games are simply linear (Final Fantasy XIII), while others spoil exploration by pointing you to the finish line (Metroid Fusion). Worse yet are the games that play themselves once they’ve determined that difficulty is bad for you. It’s awful, like a basketball coach urging you to pass the ball instead of refine your jump-shot. The New Super Mario series is the biggest offender here, and I was even appalled when Super Mario Galaxy 2 offered to complete a jumping segment for me.

This upcoming Zelda is a throwback in more ways that just its Link to the Past-inspired overworld. I was on the fence about the nonlinear dungeon order, but soon as I heard the game would go thin on hints, I was sold. November 22, my friends.

Top 5 Tuesday: Ways of Improving Zelda

Last week I broke down the news of Zelda 3DS’s nonlinear dungeon approach, and while I respect Nintendo for shaking the dice with their most revered franchise, I feel there’s a better way to work freedom into future entries. And since it’s Top 5 Tuesday, you’re getting four bonus ideas for powering up Nintendo’s strongest series.

Now, you’re probably thinking I’m batshit insane to suggest that there’s plenty room for improvement in arguably the best series in gaming. I feel you. Believe me, I’ve played and loved the vast majority of the series, and every serious entry is at worst a great game.

But let’s be honest for a second. For as phenomenal as Zelda games are, they’re getting a bit too formulaic. We can always bank on trekking through about eight dungeons, battling an entity of pure evil, and saving the world with a green-skirted young man who can’t conjugate a sentence. We love it, but we know it’s coming.

So here’s five ideas to shake up and improve the Zelda series:

5. Humanize Ganondorf

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Would it kill the King of Evil to desire something other than power?

A mature Zelda storyline shouldn’t involve blood, Elven hookers, or Hylian cuss words. Rather, it’s all about giving characters compelling motivations and showing that good people have flaws and that rotten guys have bright spots. I’m fine with the classic Good vs. Evil theme, but let’s remember than Link and Ganondorf are human despite their moral affinities.

Now, Ganondorf has always been hellbent on attaining power and dominating the world. He’s a ruthless badass, but at the same time he’s pretty one dimensional. I would let this slide if he were Pig Ganon, but Ganondorf is the human incarnation of Ganon. With that in mind, why not make him feel and act human?

Here’s a thought. In Ocarina of Time we learn that Ganondorf is the first male born of the Gerudo race in 100 years. Why not push this further? Give us a gray-haired, 100+ year old Ganondorf who has just fathered the next male in his race. Perhaps Link can set out to kill the child (very un-Nintendo, I know, but bear with me), while Ganondorf struggles to protect his son, not to mention his evil bloodline. We can finally see Ganondorf in a different light, one that illuminates his character and makes him more than just the final boss waiting at the the end of the game.

4. Integrate dungeons into the world of Hyrule

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Hyrule Castle in Twilight Princess barely felt like a dungeon thanks to its immersion with the overworld.

Remember the last dungeon in Twilight Princess, the captured Hyrule Castle? While it wasn’t the best dungeon, it caught me off guard because I wasn’t expecting it to be a dungeon at all–the place simply felt like part of Hyrule, not some enclosed puzzle-factory.

For all the detail and charm that Nintendo pumps into every incarnation of Hyrule, they rarely bother to integrate dungeons into the overworld. Think about it: the Water Temple is just a puzzle-factory beneath Lake Hylia; the Stone Tower Temple is just a puzzle-factory atop rock tower; and so on.

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Though the Sandship in Skyward Sword is technically a standalone dungeon, it still felt like an authentic extension of the overworld.

My issue with this is how disjointed the dungeons feel from the world of Hyrule. Why does Link need to walk through a doorway to enter a dungeon that feels remote and exclusive from the vivid world he just left? Instead of sticking the Water Temple at bottom of Lake Hylia, why not make Lake Hylia itself the dungeon? Imagine Link equipping his Iron Boots and sinking below, landing right on top of the first puzzle. Maybe he needs destroy a tough coral reef or something that impedes him from reaching the lake’s bottom. There can still be locked rooms and small keys, but now Link would search the true depths and nooks of Hyrule rather than arbitrary temples and caves.

3. Give Fierce Deity Link his own spinoff

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Who’s saying no to a game starring this guy? Have Fierce Deity chase Majora across a re-envisioned Termina, and you’ve got some serious potential.

Every Majora’s Mask fan dreams of this. And what better way to freshen up a series than to give it a brand new protagonist? Take Fierce Deity Link, give him a backstory, something to prove, and a villain to vanquish.

The obvious baddie choice is Majora, who happens to bestow the Fierce Deity Mask on Link prior to their final duel in Majora’s Mask. While it may seem odd for a insane, diabolical creature like Majora just hand over godlike power to his greatest enemy, remember that Majora always “wants to play.” Fun, insanity, turmoil, chaos… doesn’t that sound like The Joker? I’d welcome a game where Fierce Deity plays the Batman role as Majora terrorizes Termina as an agent of chaos.

Details on Fierce Deity Link are scant, so the best we can do is speculate on potential storylines and gameplay options. Regardless, there are armies of fans who want to see more of Majora’s Mask’s mystery man.

2. Nonlinear dungeon order, but in sets of three

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Imagine a Zelda where you can play the first three dungeons in any order–and at various difficulties.

Last week I half-praised and half-ripped the new nonlinear dungeon order in A Link Between Worlds. My major concern was dungeons losing their “item identity”–which means that having all items readily available from the start would take away from the puzzles and the overall arc of each dungeon.

The difference between me and other naysayers is that I have a solution. Rather than giving players the option to tackle all eight or nine dungeons in any order, let them liberate Hyrule in nonlinear sets of three. For instance, play them 2-1-3, 6-5-4, and 7-8-9 (or whatever you please). You still have flexibility, but by limiting the freedom to sets of three, you can still maintain the dungeons’ item identities.

But wait, you say. How, can you have nonlinearity AND exclusive dungeon items? 

Well, here’s where it gets clever. Let’s say that each dungeon has three possible paths: an easy path, a medium path, and a hard one. Depending on which items you have, your trip through each dungeon will range from relatively easy to intensely challenging. If you start with Dungeon #3, you’ll have to solve puzzles and reach areas without Dungeon #1 and #2’s items. Maybe you’ll have to find a creative way to reach a ledge that can easily be accessed with the Hookshot (Dungeon #1’s item). Then later you have to find an alternate way around a bombable wall because the Bomb Bag is hidden in Dungeon #2. Once you complete #3 and move onto #2 or #1, your options will open up, and you can access easy routes or spot the difficult ones. Crazy, eh?

Not only does this idea permit a nonlinear approach to the game, but it intensifies the replay value (imagine beating the game several times to get the feel of each dungeon at each difficulty) and allows players to choose their own difficulty (if you want it easy, nab the items from all three dungeons before completing one of them; if you crave a challenge, try beating each dungeon with only its exclusive item). Imagine the gameplay possibilities if Nintendo were to execute this to perfection.

1. Make Link more than just a glorified avatar

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Link’s immortal words… at least until Nintendo gives him working vocal cords.

You knew it was coming. For years Link has been limited to head bobs and trivial dialogue choices when it comes to self-expression. How much longer before the Hero of Time has a persona all his own?

I understand that fans will complain that Link’s vow of silence is tradition, but hasn’t it been established time and again that (almost) every Link is a different one? If every Link is unique, there’s no harm in having one who can speak, one who can tell a joke, or one who can hit on a farm girl. We could have a well-spoken noble Link in one game, a gritty slum rat in the next, and everything in between. And if the Zelda series is to improve from a dramatic standpoint, so too must its protagonist.