First off, I would like to apologize to my readers. My Breath of the Wild review is taking a bit longer than expected. I’m almost finished, and I promise to have it done before the end of the month. Because I’ve been working on what is turning out to be a rather lengthy review, I only got to see two films this past week – both at home. I’ll try to see more when I’m less busy.
Before I get started, I have an announcement to make. I recently decided to create a Twitter account. I can’t guarantee I’ll be particularly active on it; I mostly intend to use it to post minor updates that wouldn’t be enough for an entire post on WordPress (i.e. when I’m finished with a review and have begun editing it or if I’ve seen a recently released film). It can be found here.
With that out of the way, I find myself tagged once more – this time courtesy of Andrew over at The Brink of Gaming. He started his blog relatively recently, and has written some pretty interesting stuff so far, so you should check it out. Anyway, he asked eleven questions, so let’s get right to it.
Alright, now that I’ve been reviewing more films, I have a bit more footing when it comes to talking about them. I’m satisfied with how the last feature turned out, so I think I’ll make my grading scale the standard from here on out. I might even go back and adjust my previous assessments to reflect this change.
With The Legend of Zelda: A Link Between Worlds, Nintendo accomplished a difficult task by making a worthy follow-up to A Link to the Past over twenty years after the fact. During this time, director Hiromasa Shikata expressed the desire to make a multiplayer Zelda title. However, he wished to stray from the competitive nature of Four Swords and its standalone sequel. Furthermore, he acknowledged the limitations players faced when attempting to play those games. Anyone who wished to play Four Swords with friends would need them to possess a copy of the game along with a Game Boy Advance and a specialized cable. Multiplayer sessions in Four Swords Adventures were even more demanding, requiring those interested to locate as many as five discontinued consoles. This is because any such venture would need as many Game Boy Advance consoles as there were total players plus a GameCube or Wii for the actual disc.
Because the Nintendo 3DS linked to other consoles wirelessly, it could easy avoid these problems; players didn’t even need to be in the same room to interact with each other. Therefore, Mr. Shikata along with series producer Eiji Aonuma and a majority of the team behind A Link Between Worlds reformed and started work on this new multiplayer title. Using the aesthetics of A Link Between Worlds as a primary inspiration, Mr. Shikata and his team dubbed this new game Tri Force Heroes – a pun referencing the mystical artifact that had played an integral role in the series from the very beginning. In something of a departure from how the series’ entries were usually handled, Tri Force Heroes ended up being released in 2015 to little buildup or fanfare. This relative lack of excitement seemed to reflect in what critics had to say about it. Compared to its predecessors, all of which had little trouble amassing acclaim, Tri Force Heroes received a lukewarm reception. Would it be accurate to describe Tri Force Heroes as the series’ first significant misstep?
This week, I’ve decided to do something a little different. Up until now, I have been hesitant use my usual rating system on films because, to be frank, I have less sure footing in this medium. With games, I could end up changing my mind somewhere down the line, but because I’ve reviewed over 130 by this point, I know what each number is used for in relation to that medium specifically. Having said that, while I thought my less specific verdict system was serviceable, I realized films of varying quality existed on the same tiers as each other. It didn’t matter if I thought the film was good or great – they both got the “recommended” verdict. I considered using a rating system similar to Roger Ebert’s in which I ranked each film from 1-4 stars, but in the end, I’ve decided to use my own. Because of this, most of my additional scoring rules apply to how I parse films as well. This does mean, among other things, that films with weak endings can’t achieve a score higher than a 5/10 and sequel hooks must be resolved in an expedient manner for me to avoid invoking the former rule. On that note, should I come across a work that’s divided into multiple parts, I will not award any score at all until all of them have seen their release.
With that out of the way, I have to admit I didn’t see that many films this past week. This is because one in particular ended up being quite long, though I can safely say ahead of time it was worth seeing. The other two? I’ll get to those shortly.
The Legend of Zelda: Spirit Tracks was originally slated for a 2010 release. When the staff desired to move on and work on a new console installment, the release date was rescheduled to the end of 2009. Once Spirit Tracks saw its release, a majority of its development team were immediately assigned to work on the game that would become Skyward Sword. Three members of the Spirit Tracks team, including Hiromasa Shikata and Shiro Mouri, opted to begin work on a completely different project that would bear the Zelda banner. They originally intended to build a game around the theme of “communication”. Six months into the project, they presented their idea to Shigeru Miyamoto. Unfortunately, Mr. Miyamoto felt it “[sounded] like an idea [that was] twenty years old”. Realizing they couldn’t proceed with this concept, they decided to rethink the concept of the game from the ground up.
Shortly thereafter, Mr. Shikata proposed an interesting question: what if Link could enter walls? A day later, Mr. Mouri created a prototype to demonstrate the mechanic.
It was through seeing it in action that they truly grasped the idea’s potential for both puzzles and exploration. As they considered the new game to be an extension of the DS installments, the prototype used the same viewpoint and art style as Spirit Tracks. It was around October of 2010 that the trio presented the prototype to Mr. Miyamoto. To their delight, he approved of the new concept and was more than happy to see the project through. However, another major setback two weeks later prevented this from happening. Nintendo was preparing to launch the Wii U in 2012. As a result, core members of the development team were quickly reassigned to work on launch titles for this new console. The trio disbanded, and any further development of this game ceased.
Meanwhile, after Skyward Sword was released in November of 2011, series producer Eiji Aonuma began thinking about the future of the franchise. Nintendo’s newest handheld console, the 3DS, was launched earlier that year. Among its own launch titles was a remake of Ocarina of Time. Fans were highly enthusiastic about the remake, and as a result, the demand for a new, original Zelda installment for the console grew. Having heard of the prototype created by three former members of the Spirit Tracks team, Mr. Aonuma elected to revisit the idea of Link entering walls. With Mr. Shikata and Mr. Mouri still in the middle of developing Wii U games, Mr. Aonuma decided to personally revive the project without its core members – thirteen months after it had been shelved.
Kentaro Tominaga continued where Mr. Shikata left off, refining the system for entering walls and designing small dungeons – all of which were presented to Mr. Miyamoto in May of 2012. Mr. Tominaga then planned to create fifty more small dungeons to further utilize the wall-entering mechanic, but Mr. Miyamoto criticized the approach. Mr. Miyamoto then proposed basing the game off of A Link to the Past – known domestically as Triforce of the Gods. From this, Mr. Aonuma proposed combining the mechanic with the top-down perspective and landforms of A Link to the Past. The shift in perspective would be complemented by the stereoscopic capabilities of the 3DS. Converting the two-dimensional landforms into a three-dimensional space, they began testing the feature extensively. Many more presentations to Mr. Miyamoto ensued, and the project was allowed to proceed in earnest in July of 2012. Even better, two of those core members made a return with Mr. Skikata helming the project and Mr. Mouri serving as the lead programmer.
It was in April of 2013 during a Nintendo Direct presentation that the company made known the existence of this new Zelda installment. The release date was scheduled for late 2013. Having taken several cues from A Link to the Past, there was only one logical thing to do with this installment: make it a sequel to the 1991 classic. As if to erase any doubt, the game was to be titled The Legend of Zelda: Triforce of the Gods 2 in Japan. Even its English title, The Legend of Zelda: A Link Between Worlds made its connection to A Link to the Past quite clear, following a similar naming convention. The game was released in Europe, North America, and Australia in November of 2013 before seeing its domestic launch the following December. As opposed to Spirit Tracks, A Link Between Worlds received nearly universal acclaim with many critics believing it to be one 2013’s strongest titles. Given that the game was advertised as a sequel to A Link to the Past, skeptical members of the circle felt its positive reception could be chalked up to Nintendo cashing in on nostalgia. Time and again was progress on this game stopped only for it to subsequently rise from the ashes every time. Was A Link Between Worlds able to escape its tumultuous development cycle and emerge as one of the 3DS’s best games? Could it even begin to do justice to a game that had over twenty years to establish its legacy?
This was the week Eighth Grade got a larger release. However, I’d already seen it, and there were no other films that seemed interesting, so no trips to the theater this week. I instead decided to take it easy after pushing myself to get the reviews of Spirit Tracks and BioShock Infinite done and get acquainted with several classics at home.
Sorry I’m late with this one. As I said in the last monthly update, July got pretty hectic with me having to somehow write two reviews at the same time. The good news is that the worst of it is over. Either way, this feature will include the four films I saw in July’s final weekend while the next one will include the ones I saw this past week.
Twilight Princess was a critical and commercial success upon its 2006 release. Particularly praised was the Wii version, which showcased the capabilities of the console’s motion controls. When you swung the remote, Link would attack with his sword in response. As he drew his bow, you had him shoot arrows by pointing the remote at the screen like a light gun. However, because Twilight Princess was not intended to be a launch title for the Wii, certain critics accused the developers of tacking on the motion controls at the last minute in an attempt to generate interest for the new console. Eiji Aonuma later admitted he and his team didn’t fully realize their goals when they created Twilight Princess. Therefore, they sought to create a sequel, using their previous work as a base.
Development for this proposed sequel started in 2006 shortly after the release of Twilight Princess. Mr. Aonuma served as its producer while Hidemaro Fujibayashi, whose first experience working on the series involved directing Oracle of Seasons and Oracle of Ages on the Game Boy Color, found himself helming the project. To put this in perspective, the Zelda franchise was no stranger to critical acclaim. Every single one of its 3D installments by this point had been considered among the greatest games ever made. The follow-up to this already impressive legacy was to be Mr. Fujibayashi’s first project for a home console game. He started work on this game upon completing Phantom Hourglass, concurrently contributing to the latter’s own sequel, Spirit Tracks. Wishing to focus entirely on this new project as soon as possible, the release date of Spirit Tracks was shifted to the end of 2009 from its initial projected launch in early 2010. Once Spirit Tracks was released, he and the rest of the team were transferred back to this project, dedicating their full attention to its completion.
The public received their first glimpses of this project in April of 2008. These rumors were later confirmed during the Electronic Entertainment Expo of 2008 and the game itself was formally unveiled the following year. Its title was not yet known, leading it to be dubbed “Zelda Wii” by fans, and Shigeru Miyamoto couldn’t demonstrate the gameplay as he hoped. He instead showed promotional art featuring Link and an unidentified character with an otherworldly design. He also announced that the game would utilize an accessory dubbed the Wii MotionPlus. Once attached to the Wii Remote, this device would be able to register and subsequently translate movements more precisely. With the numerous enhancements, Mr. Miyamoto stated that Twilight Princess was “without a doubt, the last Zelda game as you know it in its present form.”
A vocal minority considered Twilight Princess the game The Wind Waker should have been from the beginning with its grittier tone and darker themes. It was therefore quite a shock to those same fans when Nintendo showed gameplay footage the following year in 2010. Upon being unveiled in 2009, it was implied the game would feature a dark art style similar to that of Twilight Princess. The footage of this new game implied otherwise; it was a window into a bright, colorful, cel-shaded world. It could be described as a fusion of the cartoonish look that defined The Wind Waker and the more realistic character models Twilight Princess boasted. As it would turn out, there was a practical reason for brightening things up. How enemies held their weapons was to play an integral role in gameplay – having dark graphics would make it nearly impossible to properly gauge one’s situation.
The gaming community at large waited with baited breath for this new title. Jerry Holkins and Mike Krahulik, better known as the artists behind the webcomic, Penny Arcade, created a five-part online comic. Robin Williams, a famous actor and comedian who was known for his love for the series, starred in various television commercials promoting the game. The advertisements even featured his daughter Zelda, whom he did indeed name after the title character.
The game, ultimately named The Legend of Zelda: Skyward Sword, was released worldwide for the Nintendo Wii in November of 2011 in celebration of the franchise’s twenty-fifth anniversary. True to form, the game proceeded to amass critical acclaim from nearly every major gaming publication. The 2000s saw Nintendo’s venerable franchise at its most prolific with eight releases in the span of the decade – nine if one were to include the multiplayer-only Four Swords. On top of that, the gaming scene looked quite a bit different than it did even just five years ago. AAA developers were adapting wildly different sensibilities from the ones Nintendo continued to use, churning out experiences that came across as lesser Hollywood productions. Because of this, a big-name company refusing to go along with that trend only to continue winning over critics is no mean feat. Was Skyward Sword truly able to demonstrate the franchise’s continued relevance going into the 2010s?
Summer is usually my favorite time of the year, but for a litany of reasons, July ended up being quite a hassle. The long and short of it is that after finishing my BioShock 2 review at the end of June, I sought to get a head start on Wario Land. Through a set of very bizarre circumstances, I ended up taking longer than expected with the latter review. When I started on Spirit of Justice directly afterwards, similar to the situation with Prosecutor’s Path, I realized by Wednesday that I wouldn’t be able to finish by the weekend. I therefore spontaneously wrote a review of VVVVVV, as I knew it wouldn’t take too long to write about. Amazingly, even with the extra three days, my Spirit of Justice review ended up taking longer than expected. I was able to finish it by Sunday, but at that point, I had another problem: I only had only a week and a half to finish two reviews. I usually write these reviews during my break periods at work, attempting to get 1,000 words written per day. I knew I couldn’t finish both reviews if I stuck to my usual pattern, so I had to write my Spirit Tracks and BioShock Infinite reviews at the same time (meaning I wrote 1,000 words at home and 1,000 at work). Both reviews ended up being over 6,000 words long. And this was all on top of seeing fourteen films and writing about them. Ironically, despite being a difficult month, a majority of the reviews I wrote were positive.
It wasn’t easy, but despite of all these setbacks, I was able to pull through and get every single review I promised in the last update finished. Even better – my Ace Attorney retrospective is at last complete! The only downside is that I had to momentarily sacrifice a Reel Life feature. I saw quite a few films at the end of the month, and I intend to post the feature for that week this coming Wednesday. The feature after that shall include whichever films I end up seeing this weekend.