Super Mario Bros. 3


With Super Mario Bros., Nintendo had achieved a level of success that made their impressive arcade presence seem quaint by comparison. When it took on a life of its own, a sequel was inevitable. Both domestically and internationally, a game named Super Mario Bros. 2 surfaced in 1986 and 1988 respectively. The Japanese Super Mario Bros. 2, which would eventually be dubbed Super Mario Bros.: The Lost Levels in the West, was rejected by Nintendo of America both for being overly similar to the original and unreasonably difficult. This prompted Nintendo to create an easier Mario game for audiences abroad, which would also be repurposed mid-development as a promotional title for Fuji Television dubbed Dream Factory: Doki Doki Panic. Western enthusiasts at the time had little way of knowing that what they got was a different game reworked to include Mario characters. This in no way, shape, or form stopped the game released as Super Mario Bros. 2 in the West to become a success, eventually moving over ten million units.

Meanwhile, shortly after the release of The Lost Levels in 1986, a ten-person team helmed by Takashi Tezuka known as Nintendo Entertainment Analysis and Development began work on a follow-up. Unlike The Lost Levels, which was considered by reviewers at the time to be frustratingly difficult, this new installment would welcome players of varying skill levels. Mr. Tezuka also wanted to overhaul everything from the characters’ sprites to their movesets. To this end, the programmers had what they called a “Map Room”. True to its name, it was a long, narrow meeting room in which they spent the entire day looking at sheet papers, programming map data. By the end of development, anywhere from twenty to thirty people worked on the game compared to the seven or eight who worked on the original.

The game was slated for a domestic release in the Spring of 1988, but because the developers wanted to add many new features, Nintendo delayed it to the following October. Nintendo was willing to export the game to the West, but this plan quickly encountered a problem. A shortage of ROM chips along with Nintendo’s preparation of the Western Super Mario Bros. 2 prevented them from exporting games such as Zelda II: The Adventure of Link to North America according to their original schedules.

However, the delay proved to be a blessing in disguise. In 1989 as they were preparing to export the latest Mario game, Tom Pollack of Universal Studios approached Nintendo of America’s marketing department with an interesting proposition. Inspired by Nintendo game competitions, he wished to direct a film about them. Specifically, Mr. Pollack envisioned a video game version of Tommy, a famous rock opera released by The Who in 1969 about a deaf, blind, and mute child inexplicably skilled at pinball. Nintendo agreed to these terms, licensing their products to be included in this film. The film, released in December of 1989, would be known as The Wizard.

The plot of the film can be summed up thusly. A boy named Jimmy Woods suffers from PTSD after the death of his twin sister two years prior. He is dead-set on going to California for unknown reasons and has been committed to a mental institute. This spurs his older brother, Corey to sneak Jimmy out and run away from home. After discovering his younger brother’s innate skill for video games, they travel to a tournament being held in Universal Studios Hollywood to compete for a grand prize of $50,000.

Despite being panned by critics, The Wizard was a box office success, making double its budget back in ticket sales. Any enthusiast who watched the film could point out its myriad factual errors. Nonetheless, The Wizard would become a cult classic. Particularly memorable was the dramatic, climactic reveal of a game North American players had no idea existed until then. That game was none other than Super Mario Bros. 3. Nintendo had seen this film as the perfect opportunity to promote the newest Mario game and with the success of The Wizard, the enthusiasm could not have been greater. Two months later, those excited fans would get the opportunity to finally play it for themselves. The promotional campaign was a complete success, for Super Mario Bros. 3 went on to sell over seventeen-million copies worldwide. Even decades after the fact, critics considered Super Mario Bros. 3 one of the finest games ever made. With one of the most impressive legacies in the medium, does Super Mario Bros. 3 manage to stand on equal footing alongside the masterpieces it inspired?

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Super Mario Bros. 2


When Super Mario Bros. was released in tandem with the Nintendo Entertainment System in North America in 1985, it quickly became a pop culture phenomenon. Though many games such as Space Invaders and Pac-Man were smash hits in the arcade scene, what Super Mario Bros. accomplished with its own success was arguably more important. The specs of popular consoles before the 1983 crash were uniformly inferior to anything one could find in arcades. This didn’t matter because the idea of playing a game in the comfort of one’s home was novel at the time – unless they turned out as disastrously as the Atari 2600 version of Pac-Man, that is. However, Super Mario Bros. changed the way people looked at console experiences. This was a game that wouldn’t have felt out of place in the arcades, yet it in many ways, it could be said to have offered an experience far superior to anything the common person played. In 1985, games as easy to pick up as Super Mario Bros. were typically played until the player expended all of their lives. Not only that, but one would be lucky if they even had multiple stages. Super Mario Bros., on the other hand, was a game with thirty-two distinct levels and a definitive ending. With the success of both Super Mario Bros. and its respective platform, a sequel was inevitable.

Fans of the game were in luck, for Takashi Tezuka and Shigeru Miyamoto had been experimenting with challenging level designs. The result of their endeavors was released in June of 1986 for the Famicom Disk System entitled Super Mario Bros. 2. Although it sold over two-million copies and would appear to be a guaranteed best-seller abroad, it wasn’t to be. Howard Phillips, who was in charge of evaluating games for the president of Nintendo of America, deemed it unfairly difficult. The subsidiary as a whole didn’t wish for the series to be associated with the levels of frustration one would feel attempting to play Super Mario Bros. 2. As such, they requested a newer, easier sequel to Super Mario Bros. for the West. Not wishing to stifle the considerable momentum they had gained with their overnight success, Nintendo agreed accepted the proposition of their overseas branch.

Employee Kensuke Tanabe found himself directing this sequel. He quickly developed a prototype that emphasized vertically scrolling levels with two-player cooperative gameplay. They were to ascend by throwing and stacking blocks. In the process, Mr. Tanabe encountered many difficulties when his ideas exceeded the consumer hardware, and his peers expressed that they didn’t care for the gameplay. Mr. Tanabe insisted on sticking with his idea, but relented and agreed to add overtly Mario-like elements such as horizontally scrolling levels. However, development was suspended when no further progress could be made.

Shortly thereafter, Fuji Televison approached Nintendo with an intriguing request; they wanted them to create a game using mascots from Yume Kōjō – a live event they were in the process of orchestrating. The event was conceived in 1984 when Fuji Television producers took a trip to Brazil, taking part in Carnival. They enjoyed it so much that they wanted to preserve its spirit in Japan with a similar festival. It would both promote Fuji Television and display new technology for families. It was also intended to inspire the children of 1987, who would become the first adults of the twenty-first century.

This ultimately provided Nintendo with the inspiration they needed. Collaborating with Shigeru Miyamoto’s own team, they expanded on the gameplay. The result was the 1987 Famicom Disk game Yume Kōjō: Doki Doki Panic – “Doki Doki” alluding to the Japanese onomatopoeia for a rapid heartbeat.

Once Doki Doki Panic proved a commercial success in its native homeland, Nintendo reverted the licensing changes so that the game would once again star Mario in the lead role. This version of Doki Doki Panic was the one released abroad under the name Super Mario Bros. 2 in 1988. Though it was intended to be a Mario game as Mr. Tanabe developed its prototype, Super Mario Bros. 2 is historically considered something of a black sheep in the series. Nonetheless, people in 1988 didn’t mind its radically different gameplay, for it sold ten million copies, making it the third-best selling title on the system. In fact, it was such a success that Nintendo eventually released a Japanese version entitled Super Mario USA. Does Super Mario Bros. 2 measure up to its formidable predecessor’s legacy?

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Reel Life #20: Hero and The Witch

We’re more than halfway through the month and the film distributors, having obviously not learned their lesson, continue their winning streak in 2018 by deciding to give a critically acclaimed Nicolas Cage film a limited release. And Hollywood wonders why they’re not making any money. Anyway, because of the distributor’s continued failure to get a grip, I was light on material this week as well. I ended up seeing two acclaimed films, but I’m sorry to say ahead of time that I only thought one was an above-average experience.

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A Zelda Retrospective Addendum: The Series Ranked from Worst to Best

From the very beginning, I always had a vague idea of where I would place each installment in Nintendo’s long-running The Legend of Zelda franchise. Even so, I did change my mind a few times in the process of writing these reviews. Furthermore, when I wrote my review of The Legend of Zelda back in June of 2017, there were either three or four games I hadn’t yet cleared. Once I did, there were obviously many more aspects to consider. Regardless, I have completed and reviewed every single canonical entry, so as a postscript for the retrospective, here they are – ranked from worst to best.

NOTE: For the sake of this retrospective, I judged that Four Swords isn’t enough of a standalone game to warrant a separate review, lacking a single-player campaign in its initial release and coming across as a bonus feature for the Game Boy Advance port of A Link to the Past. As such, it is not represented on this list. It’s good for what it is, but difficult to judge using my metrics.

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Super Mario Bros.: The Lost Levels


Nintendo’s Famicom console had sold 2.5 million units by the time they looked to international markets. President Hiroshi Yamauchi was particularly interested in marketing to North America, being where the medium originated in the first place. The success of the Atari 2600 console suggested there was a market there just waiting to be tapped into. However, the games console market was suffering from the effects of the industry’s 1983 crash. To have any chance of selling their console abroad, Nintendo had to market their console as an entertainment system instead. Thus, the Famicom became the Nintendo Entertainment System (NES). Among its launch titles in North America was Super Mario Bros. Whatever success the console may have enjoyed up until then was eclipsed by the sales following the release of Super Mario Bros. A mere four months later, tens of millions of consoles were sold, and the seemingly interminable North American recession came to an end.

As Super Mario Bros. was being developed, Nintendo also worked on a coin-operated arcade machine dubbed the VS. System. One of the games to be featured in this system was a port of Super Mario Bros. called Vs. Super Mario Bros. Shigeru Miyamoto and Takashi Tezuka, the two main minds behind Super Mario Bros., took this opportunity to experiment with new, challenging level designs. Though the original game is considered a classic, certain level designs ended up being reused. By the time Vs. Super Mario Bros. made its debut, all of the repeated stages had been replaced with original designs. Enjoying these new stages, they sought to give fans of the original game a sequel that would push their skills even further. By this point, Mr. Miyamoto found himself leading Nintendo’s fourth R&D division, working on a game to be titled The Legend of Zelda. Lacking the time to design new games by himself, Mr. Tezuka found himself in the director’s chair for the first time in his career. He collaborated with Mr. Miyamoto’s team, using the original’s engine to create this sequel.

This game, simply titled Super Mario Bros. 2, was released in June of 1986 for the Famicom Disk System – an add-on for the Famicom that utilized floppy disks in lieu of cartridges. Exactly how well it would have fared in the West is unknown because the newly established Nintendo of America declined its release. Howard Phillips, the man in charge of evaluating games for Nintendo of America’s president, deemed Super Mario Bros. 2 unfairly difficult. He believed that “not having fun is bad when you’re a company selling fun”. A game named Super Mario Bros. 2 surfaced in the United States shortly thereafter, but Western enthusiasts would have no idea that it was, in reality, a retrofitted version of one of Nintendo’s other titles.

It wouldn’t be until the year 1993 that the original Super Mario Bros. 2 saw the light of day in the West. By this point, Nintendo had released the Super Famicom – the successor to the Famicom and known as the Super NES internationally. In its earliest phases, the console was going to be backwards-compatible. When the associated costs rendered this effort infeasible, Nintendo opted to remake the Mario installments that debuted on the NES in a compilation named Super Mario All-Stars. This included the Western Super Mario Bros. 2, which was renamed Super Mario USA domestically. Conversely, the Japanese Super Mario Bros. 2 was renamed Super Mario Bros.: The Lost Levels for its international debut. How does the original Super Mario Bros. 2 compare in the face of its predecessor’s legacy?

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Super Mario Bros.


In an attempt to break into the North American gaming market, the president of Nintendo, Hiroshi Yamauchi, requested employee Shigeru Miyamoto to helm a new project. Being the first time he ever found himself designing a game, Mr. Miyamoto took cues from various inspirations such as Popeye, Beauty and the Beast, and King Kong. The result was the 1981 arcade hit Donkey Kong, which fulfilled Mr. Yamauchi’s goal when it proved popular in the United States and Canada. As a testament to its success, by June of 1982, it had sold 60,000 cabinets, earning a profit of $180 million.

As the arcade scene was enjoying the height of its popularity, the video game market as a whole began to experience periods of rapid growth. Much of this growth could be attributed to the success of the Atari 2600 – the first successful console to utilize interchangeable cartridges. Many third-party developers sought to exploit this rapidly growing industry – Nintendo among them. Suddenly, Donkey Kong saw itself ported and packaged with the ColecoVision – one of the Atari 2600’s top competitors. However, Nintendo did not intend to remain a third-party developer for long.

Since 1980, designer Masayuki Uemura had been leading Nintendo’s R&D team with the intent to create a gaming system of their own. Their aim was for their product to be less expensive than its competitors while also performing at a level no one could match in the foreseeable future. In order to keep costs low, the team opted against using keyboards, modems, or floppy disks. If they were to develop any add-ons, a 15-pin expansion port connection could allow the use of peripheral devices. Having found success with his Game & Watch product line, which proposed the novel concept of portability in the medium, Gunpei Yokoi designed the console’s controller. The controls on a Game & Watch console were intended to replace the bulky joysticks found on arcade cabinets.

The console, dubbed the Family Computer or Famicom, launched on July 15, 1983. Its launch titles included ports of Donkey Kong, Donkey Kong Junior, and Popeye. The Famicom sold well, but consumers quickly began complaining about the units freezing during gameplay. Upon discovering a faulty circuit, Nintendo recalled all of the consoles, suspending production until the issue was resolved. This cost the company millions of dollars. Despite this setback, they reissued the console with a new motherboard. This allowed the Famicom to outsell its primary competitor at the time: the Sega SG-1000. As 1984 drew to a close, Nintendo had sold over 2.5 million units. In the face of this success there was only one logical thing to do: turn their attention to markets abroad.

This proved to be easier said than done. One of the biggest obstacles Nintendo faced was convincing a skeptical public to adopt their system. The reason behind their potential consumers’ lack of faith in the industry stemmed from an event retrospectively dubbed the Video Game Crash of 1983. The Japanese themselves referred to it as the Atari Shock, which was an apt name given that company’s role in the recession. Popular culture attributes the crash to two high-profile disasters – the subpar Atari 2600 port of Pac-Man and the adaptation of E.T. the Extra-Terrestrial, the latter of which became one of the most infamous titles in the medium. However, it’s inaccurate to assume those two games were the sole cause of the crash. If anything, they were symptoms of larger problem the medium as a whole was facing: oversaturation. Because the idea of publishers was a largely foreign concept in gaming at the time, there were few barriers to entry. Coupled with no quick method of determining whether or not a given game adorning store shelves was a quality product, consumers collectively turned their back on consoles.

Nintendo attempted to negotiate with Atari to release the Famicom outside of Japan where it would be known as the Nintendo Enhanced Video System. The companies appeared to have reached an agreement, and the contract papers were to be signed at the 1983 Summer Consumer Electronics Show. However, at the last minute, Atari refused to sign. Coleco, one of their primary competitors, demonstrated a prototype of Donkey Kong for their upcoming Coleco Adam computer system. Though a port had appeared on their earlier console, the ColecoVision, Atari had the exclusive distribution rights in the computer market. Atari then perceived this as Nintendo dealing with Coleco behind their backs. The issue was cleared up, but Atari’s financial problems as a result of the crash ensured they could not proceed with the deal. With nobody willing or able to distribute their product in North America, Nintendo had no choice but to proceed alone.

Mr. Yamauchi assessed that Atari collapsed because they gave too much freedom to third-party developers, swamping their system with barely functional games. They implemented a lockout chip to prevent unauthorized games from being played in their system. Unfortunately, even after taking these precautions, they had to deal with American retailers believing video games to be a passing fad. In order to have any chance of selling the Famicom to a foreign market, Nintendo had to downplay their product’s status as a video game console. Therefore, they decided to market it as a home computer called the Nintendo Advanced Video System (AVS). The AVS was to be then outfitted with a keyboard, cassette data recorder, and a cartridge containing a BASIC interpreter. Tying everything together would be a wireless infrared interface.

Nintendo showcased the AVS at the Consumer Electronics Show in the winter of 1985. Attendees were vaguely impressed, though they didn’t care for the keyboard or the wireless design. Still wary due to the 1983 crash, retailers didn’t order a single system. Even worse, the American gaming press felt the console could have any success in North America. One of the most damning statements came from the March 1985 issue of Electronic Games magazine wherein a writer felt that “this could be a miscalculation on Nintendo’s part”.

That summer, Nintendo returned to the Consumer Electronic Show with a new version of the AVS. They designed the system so it would not resemble a video game console at all, avoiding terms associated with the industry by calling the cartridges “Paks” and the console the “Control Deck”. This new model would also have a front-loading chamber as opposed to the Famicom’s top-loading slot. To further disguise its true nature, the console was renamed the Nintendo Entertainment System (NES).

Enforcing its status as a toy rather than a console were two peripherals: a toy called R.O.B. (Robotic Operating Buddy) and a light gun. Even after R.O.B. helped generate interest, retailers were still unwilling to distribute the console. From there, Nintendo redoubled their efforts, effecting telemarketing campaigns and demonstrations in shopping malls. Retailers at last relented upon learning they wouldn’t have to pay anything upfront. After ninety days, retailers would either pay or return everything to Nintendo. With the console slated for a launch in October of 1985, they knew they would need to make their launch an impactful one. To this end, they decided to bundle each console with one of their games. Luckily for them, Shigeru Miyamoto was putting the finishing touches on a game perfect for such a monumental task. Its name was Super Mario Bros.

Released in 1985 as a North American launch title, Super Mario Bros. quickly became one of the bestselling games in history, eventually moving over 40 million copies. Both the game and the console on which it debuted are credited with reviving the North American industry from the brink of death. As one of the most famous games in existence, could Super Mario Bros. still have a rightful claim as one of the greatest of all time?

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Reel Life #18: Searching, Dragon Inn, Alpha, and An Autumn Afternoon

I didn’t realize this until I began typing up my monthly update post, but I think it’s worth mentioning that I’ve already seen as many films in theaters in September as I did in the entirety of August. Now that we’re reaching the end of the summer blockbuster period, I’ll be interested to see what ends up getting released in the Oscar season.

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The Legend of Zelda: Breath of the Wild


Though Skyward Sword was released to a positive reception, certain players voiced their displeasure over the sheer amount of filler present and the hand-holding nature of the game. The latter aspect was especially ironic given the challenging nature of Skyward Sword. Series producer Eiji Aonuma, though mostly satisfied with what he and his team created, ended up agreeing with these reservations. The series’ next installment, A Link Between Worlds, seemed to openly defy the design choices behind Skyward Sword, featuring a terse narrative and a largely non-linear design. In an era when gaming placed a great emphasis on storytelling, A Link Between Worlds would have been a sleeper hit had it not been part of a famous franchise. Emboldened by this installment’s success, he and his team sought to “rethink the conventions of Zelda” for the series’ next console installment. He made their intent known at the 2014 Electronic Entertainment Expo when their newest project was unveiled. He planned to reform dungeons and puzzles, the elements the series had hinged upon from the very beginning, and arrange them in a way to allow players to reach the end without ever engaging in the story. In other words, their next project was to be an open-world title.

The success of Rockstar’s Grand Theft Auto series throughout the 2000s helped popularize these kinds of games. Players could fulfill mission objectives or explore the large world at their own leisure, occasionally completing a side objective to obtain a helpful reward. Despite the franchise’s success, it wouldn’t be until the 2010s that these open-world games took on a life of their own. Whether it was Assassin’s Creed, Far Cry, or Just Cause, this style became the standard in the Western AAA scene. Such was the extent of its influence that even long-running series known for their linear structure saw sequels placing protagonists in a metaphorical sandbox. One of the most prominent examples of this phenomenon in action was Metal Gear Solid V: The Phantom Pain, which not only drastically changed the series’ gameplay, but also received widespread acclaim for it.

In the face of these numerous success stories, Nintendo found themselves in something of a conundrum; they had never worked on a modern open-world game before. This was quite ironic given they themselves invented what many consider the first interpretation of an open-world game in the form of the original The Legend of Zelda in 1986. Though considered one of the most influential titles of its day, the series began gradually shifting away from the kind of design its debut installment codified. Zelda II: The Adventure of Link seemed like an anomaly when it forced players to adhere to a strict sequence. A Link to the Past was considered a return to form of sorts when it allowed players a degree of freedom in the game’s second half. The series could have continued on as it did with the developers placing all of their effort in gameplay like the Mario franchise. This changed when Yoshiaki Koizumi was allowed to pen the scenario for the series’ first handheld installment, Link’s Awakening. Suddenly, the man who was limited to outlining the instruction manual of A Link to the Past now found himself changing the direction of the series. To accommodate the fact that the plot of Link’s Awakening had a definitive beginning, middle, and end, developers strategically placed roadblocks to ensure players couldn’t deviate from the narrative’s intended sequence. Traces of the series’ debut were seen one last time in the second and third acts of Ocarina of Time before Majora’s Mask made the Link’s Awakening model the standard.

It wouldn’t be until A Link Between Worlds, which was released twenty-two years after the debut of A Link to the Past, that the exploration elements thought to have been completely abandoned made a triumphant return. However, creating a non-linear experience on the same scale as A Link to the Past was a relatively simple task. Translating that knowledge to the home console industry, which had long since adopted three-dimensional gameplay as its bread and butter, would prove significantly more challenging. Nonetheless, the team, led by Hidemaro Fujibayashi and Eiji Aonuma felt they were up for the task. Looking for inspiration, they felt it appropriate to extensively study a highly popular game that took the world by storm upon its 2011 release: The Elder Scrolls V: Skyrim.

As gaming evolved, an interesting dichotomy emerged between Western and Eastern enthusiasts. This was especially noticeable when observing how the two cultures conceived role-playing games. Non-linear experiences were allowed to flourish in the West, for those kinds of enthusiasts preferred the freedom to do as they pleased without interference from the plot or any other outside influence. Meanwhile, the Japanese RPG was often maligned by Western enthusiasts for precluding the ability to explore on one’s own and forcing players to grind levels. Many of them were unaware their Eastern counterparts preferred their games to have a clear goal at all times and grinding levels tied into a common belief that hard work results in a proportionally satisfying payoff.

In other words, when Mr. Fujibayashi and Mr. Aonuma began this project, they had their work cut out for them. In order to bring these concepts to reality, they had to go back and examine the series’ debut installment with a fine-toothed comb.

Before they began developing this game in earnest, the developers designed a playable 2D prototype bearing the distinct 8-bit visuals of The Legend of Zelda to experiment with physics-based puzzles. To ensure everyone was on the same page and to recapture the original’s essence, the staff had to periodically cease working on the game. Whenever this happened, they were tasked with playing through The Legend of Zelda in its entirety. Over the course of this development cycle, the developers had played through the game at least ten times.

Their game was to be released on the Wii U, making extensive use of the touchscreen features on the console’s tablet. Developers then reconsidered when they found looking away from the main screen was distracting. Eventually titled Breath of the Wild, it was originally slated for a 2015 release. However, later in the year, Mr. Aonuma announced that it would be delayed to 2016. In April of that year, another delay was announced, but this time, it would be for a different reason. Around this time, Nintendo was working on their newest console: the Nintendo Switch. After having dominated the handheld market for the past four console generations, the Switch was to be a unique hybrid. Making use of a docking station, the gameplay projected itself onto a television screen. By removing it, one could easily transport it as though it were a tablet. Despite having a selection of quality games, the Nintendo Wii U was a commercial failure. To make their newest console all the more appealing, Breath of the Wild was to be one of the Switch’s launch titles. Because many people claimed to have purchased a Wii U purely for the sake of getting to play Breath of the Wild, a version would be made available for both consoles.

After much speculation, Breath of the Wild was at last released worldwide on March 3, 2017. Though the gaming press had no shortage of praise for the series, the universal acclaim previous titles had no trouble amassing seemed to be utterly dwarfed by how critics felt about Breath of the Wild. A mere few days after its release, countless critics were quick to call it a masterpiece and one of the greatest games ever made. This acclaim translated to a stellar commercial performance. By March of 2018, Breath of the Wild had moved nearly ten million copies across both platforms, making it the best-selling game in the franchise at the time.

When taking a look at what critics had to say about it, one would rarely find a less-than-perfect assessment. Despite this, fans of the series were slightly divided. As the game was being showered with praise, they took to aggregate review sites such as Metacritic to write negative pieces in protest. At one point, it boasted a 7.0 fan rating – a noticeable contrast to what critics had to say. Some fans accused the series of selling out to Western sensibilities while others, observing the greater amount of praise Breath of the Wild got compared to the latest open-world experiences such as Assassin’s Creed Unity and Far Cry Primal, concluded that critics let the Nintendo brand cloud their judgement. It should also be noted that the mid-to-late 2010s marked a severe deterioration in the relationship between fans and critics. Fans would say critics were out of touch; critics insinuated fans had no taste. The takeaway is that while the mainstream media unanimously deemed Breath of the Wild one of the greatest games of the decade, fans weren’t completely convinced. Could the overwhelmingly positive coverage of Breath of the Wild have been the result of the critics’ close relationship with developers at the time? Did the fans overstep their boundaries?

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