Thanks RPCS3. My favourite Souls - Blanketed in sorrow and an intoxicating ambiguity. An artstyle akin to a faded picturebook you've plucked out of an ancient water-logged library. I love so much that all of the environments feel restrained and utilitarian. A soundtrack that is wholly unique, doesn't feel a little inspired by the Hollywood Orchestral Epics nor does it even attempt to hit those notes.
The one title in the franchise that actually feels like a fantastical adventure, with encounters and environments that are more often a challenge of wit and intuition than attack pattern memorisation or a side-flippy shounen damage value race. It reeks!!! But it reeks beauty. I genuinely don't believe FromSoft in their current form have it in them to create a boss battle like King Allant again.

Solid and innovative, continues to be the breath of fresh air now as it was when I first played it in 2009. Nothin like it!!!!

All I'll say on the Bluepoint demake: https://www.youtube.com/watch?v=y5z2-hpZB1w

Mega Man fans are so petty bro I see people complaining about this game like we got THIS instead of X9. Shut up. This is just a way to experience all the X Dive content in a non-bullshit package. It’s fun! I mained Ultimate Armor X for the first 3/4ths of the Story and then X -Kai- for the last 1/4th because of his healing ability. For Events I mostly went with Nightmare Zero and Gangsta Girl Erato because of their mobility and huge screen clearers. I also just like them. The game wasn’t as grindy as I thought it might be, it took me 30-ish hours but I never had to stop and go grind just so I could beat a mission. I did some side event things yeah, but that’s just because I like to be over leveled. By the end of the game I was at 620K power and you only need like 590k to beat it. The gameplay is nothing special, it’s just standard dash and shoot. The story is nothing more than an excuse to get us to where we are, although I really like the inclusion of a pre-virus Sigma and I like ViA. Ik he’s just a palette swap but he’s a cool one. Maybe I’d like the story as a whole better if the translation didn’t read like a bad Google translate job. Check this one out on a sale I think. 30 bucks is a bit much. I’m happy with my purchase because I’m a mega man fan and love the fan service. But I don’t know that the average Joe will.

Remember that moment in Breath of the Wild's tutorial where you have to chop down a tree and then use it as a bridge to cross a river? Remember thinking 'woah, that was neat!' and then not doing that again for the rest of your 80-hour playthrough? Remember when you unlocked Revali's Gale and then realized you would never have to actually work to gain height again? Remember how everyone, even Breath of the Wild's biggest fans, unanimously considered Eventide Island the best part of the entire game?

It wasn't until I played Rain World, a game so dedicated to its survivalist philosophy that it forces you to become intimately familiar with every facet of how its world works if you want to make even the slightest bit of progress, that I fully realized why all of this stuff bothered me so much. At first it was simple: what good was one of the most robust physics systems ever conceived without any challenges that tested your mastery over it? But Rain World, by counterexample, honed this down, helping me understand just how much Breath of the Wild takes every opportunity possible to provide you with means to avoid actually feeling like you're part of Hyrule. The first item you're handed prevents fall damage from ever being an issue. Beating any of the Divine Beasts "rewards" you with ways to avoid engaging in climbing and combat for the rest of your adventure. Harsh climates may pose a threat at first, but, quickly enough, you'll find clothes that (using a menu!!) completely neutralize them. There's a difference in philosophy here that doesn't necessarily come down to their respective levels of difficulty: Breath of the Wild gives you abilities, while Rain World gives you tools. Breath of the Wild makes you lord of your environment, while Rain World puts you at the mercy of it. I could grasp why so many were enchanted by the former, but, for me, Rain World was enchanting, and Breath of the Wild was boring. Why would I chop down a tree and waste my axe's durability when I could, with the press of a button, raise a magic platform out of the water and use that instead? Obviously, the game deserved credit for even allowing you to do any of these things, but I'd rather see a Hyrule where Link felt just as governed by the forces of nature as everybody else.

The last thing I wanted this game to be was more Breath of the Wild (in my eyes there was already far too much of it) and, at first glance, it is. Same Link, same Hyrule, same aesthetic, same general structure. Squint and it passes as an extensive set of DLC for the 2017 release, but, it's only a few hours into the Great Sky Islands when these potential fears get put to rest for good. For me, it happened as I walked out of the penultimate tutorial shrine, stepped onto a Zonai Wing, and used it to fly all the way back to the Temple of Time. Because here's the big open secret that nobody (except for me, apparently) wants to admit: traversal in Breath of the Wild sucks. Having to walk every five seconds to manage your stamina isn't fun, climbing isn't fun, and hopefully I don't have to tell you that fast travel isn't fun. Y'know what is fun, though? Shield surfing. Even though it's generally impractical, usually ending in a broken shield rather than any sort of speedy forward movement, I still found myself doing it nearly every time I was on top of a steep enough hill. Something about just letting it fly and relinquishing control over to the game's physics and hoping for the best never got old, and Tears of the Kingdom is like if they designed an entire game around shield surfing. Zonai Devices are essentially adaptations of traditional Zelda items into the open-air formula, as each has a specific intended use- a spring helps you gain height, a wheel moves objects, and a head targets enemies- but can be creatively applied to other, potentially unrelated scenarios. Whereas Breath of the Wild felt like a set of mechanics without any real structure to encourage you to get the most out of them (and that was a large part of its mass appeal, I get it) Tears comes with one built in. Whenever you're running or swimming or climbing a long distance without first constructing some kind of car or boat or hovercraft, you're losing. And while these vehicles could have just turned out to be another way to bypass Hyrule's rules, they're really the opposite, as Link never feels more at the mercy of his environment than when he's piloting one. Gliders have to be initially propelled in some fashion since they can't gain momentum from a sitting position, fans move your craft in circles instead of forward if placed at a slightly off angle, wheels get caught on awkward terrain, boats are in danger of sinking if their cargo isn't balanced correctly. Controlling a vehicle always means going toe-to-toe with the game's physics, and it's the simple fact that nothing seems to work perfectly that makes this game great. Ultrahand was a turn off at first because of how long it felt like it took to build anything, but, somehow, even this flaw turns into a strength. I often found myself getting impatient and slapping a vehicle together haphazardly, which tends to lead to the most entertaining results. The best parts of the open-air Zeldas are when a harebrained scheme somehow works (or fails in humorous fashion) and figuring out the nuances of how every device works by watching them move around in ways I didn't expect is some of the most pure fun I've had with a game in a long time. Likewise, it's no surprise that you can't purchase any specific device individually and instead have to work with what the gacha dispensaries provide you with, as it's really about making-do rather than having a clean solution for any particular problem. If Breath of the Wild was about giving you ways to manipulate your environment, Tears of the Kingdom is about giving you ways to be manipulated by your environment.

But, perhaps the bigger accomplishment here is that Tears somehow manages to justify reusing Breath of the Wild's map. Since the main theme this time around is efficient traversal, an entirely new Hyrule would have likely resulted in players neglecting vehicles to exhaustively explore each region first, whereas now you're already familiar with points of interest and the onus of enjoyment is shifted from the destination to the journey. And if you've forgotten where you should be going, the game makes sure to remind you, as the bubbulfrog and stable quests, which you'll want to activate ASAP, are located in Akkala and Hebra, two of the last areas I went to the first time I played Breath of the Wild, respectively. You're essentially nudged into doing a breadth-first search of the world instead of a depth-first one, and when your players are reaching the exterior of the map before the interior, you're free to fill that interior with... challenges! Despite my Breath of the Wild veteranship, my first dozen or so hours of Tears had me run up a tree to escape angry bokoblins, struggle against a stone talus in a cave because I was used to fighting them in open areas, and be genuinely perplexed on how to reach a floating shrine. Likewise, I actually felt like I had to prepare and come back to the siege on Lurelin Village, the Great Deku Tree quest, and that test-your-strength bell ringing minigame. It never gets especially difficult (not that I expected or even wanted it to) but there's clearly an effort to set up hurdles that players may not be able to jump on their first lap around the track. And while you could argue that these are simply iterative improvements, to me they're complimentary to the vehicle construction's philosophy of being restricted by the wild instead of empowered by it. Fuse does a good chunk of the heavy lifting here, and marks a shift away from pure sandbox and towards survival-sandbox, as all it really is is menu-free crafting. It's not only enjoyable on a base level, fostering experimentation for both useful and useless combinations to the same degree, but it also provides a sense of scarcity that wasn't really present in Breath of the Wild. Gems are no longer abstract materials that exist only to be sold or traded in exchange for armor, but real objects that have a real effect when fused. Drops from keese, chuchus, and moblins actually feel valuable. Elemental arrows aren't gifted via chests, but created on the fly depending on the situation. This time around, you scavenge with purpose. Out of bombs? Find a cave. Need stronger weapons? Kill stronger monsters. Want to upgrade your battery? Test your luck mining Zonaite in the depths. Revali's Gale exists in this game, though you don't perform it by waiting for a cooldown and then holding the jump button, instead by burning a pinecone using wood and flint that you had to harvest from somewhere in the world. Unfortunately, the presence of unlimited fast travel, universal menu use, and generous autosave means that this survivalist mindset isn't seen through to its fullest potential. It feels like a very Miyamotian design choice to subtract as little from a character's inherent moveset as possible in between games, so hopefully the next Zelda will star a new Link (on a new, more powerful console.) But one persistent ability stings more than the rest: the paraglider. Replacing it would've been easy- a shield fused with some kind of cloth could have been made to have the same effect, and I can only imagine how much more interesting this game would've gotten if descents actually took planning. But, even when you get to the point where nothing can realistically touch you, your other powers never stop feeling like tools and not abilities. There's a reason why this game's runes don't have cooldowns- all of them require external factors to actually be useful. Whereas Sheikah Slate bombs provided a consistent source of weaponless damage, stasis could be used on enemies directly, and cryonis, while requiring a body of water, always produced a static pillar indifferent to its source's movement, their Purah Pad equivalents call for more awareness. Ultrahand necessitates an understanding of how environmental building blocks could potentially fit together to achieve a specific goal, fuse relies on extrapolating an object's behavior and reasoning out as to how it would work when attached to a weapon or shield, and ascend extends your arsenal of means of creative traversal, asking you to survey the surroundings around a height that you want to reach without having to climb. Maybe I'm just lacking a certain creative ligament, but recall's main use for me was to retrieve devices that fell off of a cliff as I was trying to use them, which, to be fair, happens all the time, but it's still disappointing that there's not much to it outside of the puzzles designed around it. Even so, it doesn't break the throughline that happens to be my best guess as to why I enjoy messing around with the chemistry system in this game so much more than in Breath of the Wild: everything you're able to do here comes directly from the world itself.

And what a world it is! Caves were a no-brainer for a sequel, but their implementation here is fantastic. Add an underworld and all of a sudden your overworld doesn't feel bland anymore; constantly checking just around the corner for ways that natural features might open up or connect to others. Bubbulfrogs, at first, felt too carrot-on-a-stick-y to me, but the reward for collecting them is so insignificant that their main purpose instead becomes just to mark caves as fully explored on your map. Unless, of course, you go for all of them, which I personally have no desire to do. If you imagine a scale of collectables from shrines, which you're given enough tools to find all of without an egregious time commitment, to koroks, which you should be institutionalized if you even consider 100%ing, caves sit comfortably in the middle. Their quantity is limited to the point that they're all sufficiently detailed and memorable, but high enough that I feel like I could replay this game and still make significant new discoveries, which was very much not the case for my second run of Breath of the Wild. That sentiment also extends to the depths, which is the only location in either of these games where Link actually feels out of his element, and thus automatically the most enjoyable to explore. In the dark, surrounded by bizarre, hard-to-internalize geography, with tough enemies and an actually punishing status effect... or, what would be one if the game didn't chicken out and make gloom poisoning curable simply by going outside. Though, that's really only the tip of the iceberg in terms of the not-so-invisible hand of modern Nintendo's design philosophy inevitably making its presence known. Every beach has a sail, every hill a sled, every sky island enough materials to get to the next without hitch. When vehicles are this fun to use by themselves, I don't mind all that much, though it does occasionally feel like I'm just doing something the game wants me to do instead of playing by my own rules. It bothers me more in shrines, which, unfortunately, took a massive hit in between games. I've always held the opinion that they don't have to contain amazing puzzles, but should instead serve to prod players towards ways of interacting with open-air mechanics that they might not have thought of themselves. Unfortunately, here, they're neither, being solvable about five seconds after you walk in the door, and teaching you things that you'd already known, or, even worse, wish you'd discovered yourself. I felt pretty damn clever the first time I fused a spring to my shield and surfed on it to gain height, but that feeling was diminished when I was given a pre-fused spring/shield after beating a combat shrine. There's enough going on in the overworld at this point that I'd honestly have been fine if shrines were done away with altogether, except for maybe those mini-Eventide immersive sim ones, which were great all the way through. The lost koroks and crystal missions (because, let's be real, they're the same thing) turn out to be better puzzles than anything inside a shrine without even needing a loading screen or a change of scenery. Didn't think it was possible, but the story is somehow also a downgrade. Breath of the Wild's memories meant that Zelda herself could be characterized in a variety of ways depending on which order you found them in. It didn't do much for me personally, but at least it was going for something. Tears's just feel like watching a series of cutscenes out of order, and by the time you've seen two or three of them you know exactly where the story's going, and also that it's godawful. I'm not sure if it's the dreadful voice acting, or just holdovers from Skyward Sword's writing staff, but it's bizarre to see a series struggle this hard with sentimentality when it used to come so naturally to it. Chibi Link waving bye to his grandma while leaving Outset Island makes me feel more than all of the cutscenes in both of these games do combined. Not that it actually matters, of course, until it starts affecting the gameplay. Locking you into scripted sequences for every Divine Beast was already an egregious clash against player freedom, but they at least made sense logistically. Link could easily reach Vah Medoh by himself if it was in this game, and you actually can get to the water temple (and possibly the others... I didn't bother to check) without completing the corresponding sidequest, only to be arbitrarily rejected from starting the dungeon. Considering the sages only grant you slightly better versions of things you can already do, going through the dungeons without unlocking any of them could've been an enjoyable challenge on subsequent playthroughs. Unfortunately, it's not the only aspect of the game left out of the player's hands.

Waypoints still have no place in a Zelda game. Sidequest lists still have no place in a Zelda game. Loading screen tips still have no place in a Zelda game. And don't get it twisted: this is my favorite game with "Zelda" in its title since '02, but it's still not a Zelda game. Breath of the Wild's marketing as a modern reimagining of Zelda 1 has always struck me as phony, because, aside from not being confined to the series's formula, they're not at all alike. That game, to me, is characterized less by unlimited freedom and more by the fact that you had to find everything yourself, whereas every point of interest in both of the open-air Zeldas is signposted to some degree. Even if you love these games, you have to admit that the appeal has shifted. It's not about exploring to learn more about the world anymore, it's about exploring to find unique scenarios. Aside from a certain way that the depths and overworld are connected (that took me an embarrassingly long time to put together) there's nothing to figure out here. I don't want Impa to tell me that geoglyphs should be viewed from the sky, I want to see them on the ground and logically reason that out for myself. Talking to villagers used to be one of my favorite parts of Zelda games, but now it's something that I actively avoid doing. But this general overhaul isn't my problem; my problem is that Nintendo thinks that no aspects of the previous games are worth carrying over. What if certain caves had Dark Souls-style illusory walls, and you could get the Lens of Truth at some point to see through them? What if there was one guardian left alive in the deepest wilds of Hyrule that you could just stumble upon? What if there was an especially difficult, especially complex shrine somewhere in the world that no NPC even hinted at? Why is there still no hookshot? It feels like Nintendo's terrified to implement anything unique that some players might miss, but the point of a world this vast should be to conceal secrets. I want to travel to a far-off outskirt of the map and find something that doesn't exist anywhere else. A Link to the Past gives me that feeling. The Wind Waker gives me that feeling. Neither of the open-air games do. The closest Tears comes is with the Misko treasures (which are much more fun if you haven't found the hints leading to them) and the costumes in the depths (which are much more fun if you haven't found the maps pointing to them.) And not because of the reward, but because they're housed in cave systems and defunct buildings that are architecturally distinct enough to feel memorable. Exploration in this game is far more varied than in Breath of the Wild, but this Hyrule still doesn't feel mysterious. I can't help my mind from drifting back to Rain World, which went the distance to fill every corner of its universe with unique entities that most players won't even see, let alone meaningfully interact with, part of the reason why it'll continue running laps around every other open world until the end of time. This game consistently delighted me, but it never enchanted me. We may never see a traditional Zelda again, and, if we don't, I'll genuinely feel like something is missing from the series (alongside an actual soundtrack.) If Tears of the Kingdom was, like, 20% more cryptic, I think it'd be my favorite game of all time, but, if I'm being honest with you, it comes pretty close anyway.

In many ways, I don't understand it. This is likely the longest review I've written on this site, but everything above is just an attempt at rationalization as to how this game was able to capture me for four months of nightly sessions when I got sick of Breath of the Wild about a third of the way in. I bounced between an eight and a nine throughout my playthrough, but I don't think I can earnestly not consider this game one of my favorites when it contains so many activities that I just love doing. I love exploring caves. I love trying new fuse combinations. I love picking up korok hitchhikers. I love gathering my party of sages. I love putting my map together in the depths. I love sailing to new sky islands. I love chucking shock fruits at a lizalfos standing in a knee-high pond until it dies. I love watching bots take out monster camps for me. I love using Sidon's ability and making my water warrior marbled gohma hammer do 200 damage. I love riding a Half-Life 2 airboat through flooded tunnels. I love perching a Zonai Cannon on top of a hill at just the right height to stunlock an ice talus. I love driving a monster truck around and sniping bokoblins with Yunobo. I love ascending to the top of mountains. It's not the risky endeavor I asked for back in 2020, and it's still far cry from Nintendo's best sequels- Majora's Mask, Yoshi's Island, and even Mario Sunshine- which may straight up piss off faithfuls of the original. I have a hard time imagining any fans of Breath of the Wild outright disliking this game, though it has succeeded in converting a skeptic in yours truly to the religion of open-air Zelda. It's nowhere near perfect, but perfection is overrated anyway.

HOLY this game holds up to this day

combat is pretty bad
story is pretty alright, although definitely not fleshed out enough considering the potential for story
but oh my god the gameplay is just
absolute peak
and the art style of the game makes it look like it hasn’t aged a day
i suck ass at this game but being able to keep a steady rhythm of momentum in this game is the most rewarding thing in the world
please give this game a try pretty please with a cherry on top

I think movies have gotten to the point where they are reflective about the inherent danger and evilness of the camera. reflective about the bad shit they’ve been responsible for and the evil they’ve brought into this world. I saw it this year with pearl and nope and fabelmans, I don’t think any of those necessarily are intentionally about the evils of the celluloid camera, but maybe being so in love with film is the same as kind of despising both the medium and the industry. and I really don’t care about movies anymore, I used to watch about a hundred new releases per year and hundreds of older movies every year but tastes change and so does the medium. for a while it was disheartening to see the a24fication of indie films and the marvelfication of blockbusters, everything has became one homogenous blob of certain tropes and certain beats to hit, it’s easier to just not care. it’s easier to just hang up ur hat and accept that after a hundred years this medium died, it was inevitable wasn’t it? it died a sad and uneventful death. I guess that comes off as very cynical which I really don’t think I am nor am I trying to be. I’m just trying to be realistic, that something I once cared about and was passionate about is more or less dead. I’m fine with that, I still saw several new releases I really really loved, saw some older stuff like 1981’s possession and 1985’s smooth talk. this review is all over the place but mostly my thoughts boil down to the fact that Sam Barlow is as in love with the medium of film as he is critical and hateful of it. more than any other movie I’ve seen since maybe 2002’s autofocus and reflections of evil, immortality understands the destruction that films have left in the wake of people who worked on them. it’s impossible to not think of weinstein or spacey or baldwin or morrow or lee when playing through this. how many lives have ultimately been fucked over by this monolith of an industry. whether or not intentional the ‘22 movies I mentioned understand this. pearl with both its exploration of exploitation of young women in the industry and how ultimately escapism via movies is some of the most dangerous escapism. nope with its commentary on how most every movie ever made is built on the suffering of minorities, how it’s an industry built upon this that works every day to put people down. fabelmans is directly about how movies stop people from coping directly with their trauma, a very expensive distraction. immortality is all of this, it’s every piece of criticism on the film industry that’s ever existed, condensed into one of the most beautifully dense things I’ve ever experienced. doing things that are only possible in this medium, not the medium of film but the medium of games, because ultimately this does not work as anything but a game. maybe it’s really cynical of where movies are at and where they’ve always kinda been but at the same time it’s ridiculously hopeful of where games are and where they can go.

(scattered thoughts because I just slugged down a fig apple redbull and wrote all of this in my hour before work lol.
crazy that Barlow actually wrote a competent and not fetishistic portrayal of women here, the story here almost comes off as an apology for how he wrote and treated femininity in her story and most likely everything else he ever worked on.
just insane to see the wide range of influences that Barlow cops from here, I have no real issue with this as it’s just as much an exploration of the problematic themes that the directors he’s borrowing from exhibited as it is a homage to rollin and friedkin, etc.
fucking love how truly skeletal this is, ripped away from anything complete makes this feel much more realistic than her story which worked almost entirely on the gotcha of the plot. stripped away from trying to be cinematic and showing the bones of film production makes this more cinematic in the long run.
I like the costumes ^_^)

TOTK matches ever-evolving challenges with a complex, interlocking set of mechanics to push the player to interact with its world in a language of wonder and creativity. The toolkit it presents is remarkable as a mediator between the player and the world, allowing them to speak the language of combat and exploration with the same words - a vehicle being able to traverse long distances as well as trample enemies; being able to rewind an item dropped off a sky island the same way you would a projectile back at a bokoblin's head. Thus, while Breath of the Wild presented a chance to get lost in a world of environments - the slow pace of gameplay incentivizing the player to take in their surroundings - Tears of the Kingdom presents a chance to get lost in a world of mechanics - its new heights forcing the player to turn what is simple and understood into creations that feel truly their own.

That said, there are times when the game gets brought down by the comfort of old solutions. Though solving problems creatively is more rewarding, it is easy to fall into the trap of facing enemies head-on or climbing your way up a mountain instead of thinking of a more effective plan.