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Ranking The Legend of Zelda Series

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There is hardly a more beloved franchise in all of video games than The Legend of Zelda, but though so many of its entries are at the top of many players’ lists of all-time favorites, how do each of the titles stack up when pitted against each other? After a lengthy voting process involving several members of our staff (and a complicated point-tallying system), we here at Goomba Stomp have finally come up with a ranking of our favorite Zelda games. These are not in the order of best to worst but instead, they are the ones we love from least to most! Without further Fi-like explanation, here is the list of our favorite Zelda Games:

Editor’s Note: We decided to omit spin-offs and obscure titles and focus solely on the main series. The cover image comes courtesy of Nintendo of Europe.

Ranking the Zelda Series

17. The Legend of Zelda: Four Swords Adventures

Nintendo would have you believe that The Legend of Zelda: Four Swords Adventures is a cooperative game where you can come together with your friends and experience all the joys of dungeon crawling together. In truth, it’s actually a crucible that tests even the greatest of friendships and tempts all players into committing atrocities against their fellow players.

Now, it’s all well and good to just play the game as it is intended to be — but that’s not getting the full depth out it. Oh no. Until you start using the feather to strand your friends across chasms, making it impossible to progress, you haven’t really played. Until you start trapping friends in tiny rooms with bombs, you haven’t lived.

Because, in truth, the game isn’t that hard — especially with four people. What makes it really fun are the resultant fireworks that pop off when the egos of four friends clash together. Did your buddy just nab the item you want? Screw that! Knock him into the void over and over. When he complains, laugh. When your other two friends try to intervene, make them share the same fate until justice is served. Then, after five solid minutes of everyone else begging for mercy, consider stopping so you can move to the next frame. After that, prepare to spend the next five minutes running away from your friends who want to do you harm. It is merely the circle of life.

And that’s why Four Swords is great. Not because of its excellent level design or the cool connectivity between Game Boys and the Gamecube, but because of the way it tricked friends into torturing each other for hours on end. (Jason Krell)

Ranking the Legend of Zelda Series

16. The Legend of Zelda: Spirit Tracks

The Legend of Zelda: Phantom Hourglass was a game with good ideas, but held back with a few big problems. Spirit Tracks, on the other hand, builds on its precursor and fixes those problems to end up being one of the finest portable Zelda titles. Though the new system of traveling on your train initially feels more constricting than before, it still provides a sense of exploration and discovery by unlocking railways and expanding the map. The game also has more interesting items for puzzle solving, with the sand wand and the whip being notable standouts. It also offers more in terms of a narrative worth getting invested in.

As is typically the case, Zelda finds herself in a predicament, and though this inciting incident appears to turn her into a ghost, she actually ends up hanging out for the duration of the game as Link’s new companion. As crucial a character as she is to the plot, this is one of the first times where she actually gets to breathe and spend time with the main character who, despite not talking, still shares great chemistry with Zelda. They also allow for some side characters, notably one of the antagonists, Byrne, to have proper character arcs and a backstory.

Though it still has a similar “central dungeon” mechanic to Phantom Hourglass, they don’t force you to trudge through old areas, nor is it attached with a time limit. And with Zelda in her ghost form, she’s actually able to take over the bodies of those invincible monsters from before, which not only makes the game feel fairer, but it also adds a whole new mechanic of managing two characters at once.

It may have come out late in the system’s life cycle, but it’s a solid and underrated title that deserves a second look. (Daniel Philion)

Ranking the Legend of Zelda Series

15. The Legend of Zelda: Minish Cap

To be clear, The Legend of Zelda: The Minish Cap isn’t a bad game by any means. It’s not even a game that’s undermined by certain key flaws. It’s a perfectly functional entry that doesn’t betray the design philosophy that the Zelda series is known for. But mere competence can’t make up for the fact that this game is extremely forgettable.

This version of Hyrule doesn’t stand out as a particularly unique world to explore, instead relying on the standard location tropes. The characters bring little to the table, with your new companion, Ezlo (not to be confused with Assassin’s Creed’s “Ezio”), being more obnoxious than endearing, and the new villain, Vaati, lacking the presence of Ganon. Zelda herself also has no interesting role to play beyond being a typical damsel in distress.

The major new idea this game brings to the series is the shrinking mechanic, which may have been interesting if it had been offered with more freedom. In practice, you can only shrink in specific places, which makes this less of a fun new way to explore, and more just as a gimmick to set up specific puzzles.

That said, there are still some clever puzzles, and shrinking does offer a unique perspective. Though it’s a dull boss fight, there’s something to be said about taking those easily killed Chu Chu’s and making it more daunting by changing your size. In the end, Minish Cap proves that there’s more to the Zelda experience than the formula itself; there’s a spark or sense of wonder that they need to incite in the player to make them truly resonate. (Daniel Philion)

Ranking the Zelda Series

14. The Legend of Zelda: Oracle of Ages

The Legend of Zelda: Oracle of Ages is the sister game to Oracle of Seasons, both of which are the portable successors to Link’s Awakening DX. Both games share a lot in common with Link’s Awakening, but each took a different route in how it presented its gameplay, Oracle of Ages focused on puzzles and tried to find interesting ways to get the player to think about their surroundings and their inventory, as well as giving the player a lot of items that interacted with the environment rather than with enemies.

On a personal level, Oracle of Ages resonates with me a lot, as it’s the version I had when the two games originally came out. I remember being thoroughly surprised by the boss of the second dungeon, Head Thwomp, as it was a battle based around timing (something I wasn’t very good at when I was ten years old) and did not require the use of the sword, instead making use of bombs. Many of the boss battles in Oracle of Ages followed this trend of not using the sword as your main damage-dealing item. While today that’s not much of an accomplishment for a Zelda title, when the Oracle games were coming out the series was still establishing its footing in 3D, and many bosses in the top-down games were still focused primarily on sword-based combat. Oracle of Ages also has one of my personal favorite items, the Seed Shooter. Intended to be Ages’ version of the staple bow/slingshot, the Seed Shooter is able to ricochet various types of ammo off walls to hit targets. While this is implemented in some puzzles, it’s not carried throughout the game, and ultimately you can still just stand in front of something and spam seeds like rapid-fire arrows.

The Legend of Zelda: Oracle of Ages is an interesting example of how to experiment with an IP, even if some of its most interesting ideas are not fully realized. (Taylor Smith)

Ranking the Legend of Zelda Series

13. The Legend of Zelda: Oracle of Seasons

The Legend of Zelda: Oracle of Seasons is the action game anti-thesis to Ages‘ puzzle-focused gimmicks. Many of the bosses in Oracle of Seasons are reworks or recycles of bosses from the original The Legend of Zelda or other titles. This is probably because when Capcom made their original pitch to Nintendo about working on a Zelda game, it was meant to be a Game Boy remake of the original. Rather than rely on a lot of gimmicks, bosses were more about recognizing cycles and patterns and then punishing accordingly. This focus is reflected in the gear Link can acquire. In Ages, the Seed Shooter allowed for new creative ways to solve projectile based puzzles, but the Slingshot in Seasons serves roughly the same purpose as the Bow and Arrow in any other top-down Zelda.

In order to obtain the true ending in either Oracle of Seasons or Oracle of Ages you would need to link the two games together via a password. If you were lucky enough to own both copies of the Oracles titles it was as simple as completing one game, writing it down, and starting the next, but for the not so lucky it required you to either have a friend who had the opposite title. Thankfully, this problem has sort of been remedied with the two games being put on the 3DS Virtual Console. While Oracle of Seasons was the preferred version here at Goomba Stomp, both titles are great in their own ways. If you’ve yet to play them, I highly recommend checking both out. (Taylor Smith)

Ranking the Zelda Series

12. The Legend of Zelda: Phantom Hourglass

In a many ways, this game should be a lot better than it is. It was the first Zelda game on Nintendo’s dual screen device, and it made use of nearly every feature on the system. The touch screen allowed you to attack enemies in a direct and interesting way, and you were able to write notes on your map screen and chart out your course when sailing across the sea. It also felt a lot more inspired than its portable predecessors by having a much larger world to explore and more out-of-left-field puzzles (including a devilishly clever one where you had to put the DS in sleep mode).

With all that going for it, why then would it be so low on this list? One reason: the Temple of the Ocean King.

The Temple of the Ocean King is possibly the worst/least fun idea of any Zelda game. What it entails is that every time you beat a dungeon you have to go back to this main dungeon to unlock the next area. It’s bad enough that this area is filled with invincible monsters that will send you back to the start of the room after one hit, but in subsequent visits they also have you go through areas you’ve already been to in order to get deeper in the dungeon. It gets very repetitive very quickly and just wastes your time, which happens to be limited here just to add a little more unwanted stress.

It’s also a pity that, in a game’s that meant to be a sequel to the excellent Wind Waker, it has next to nothing carried over from that adventure. The one thing they do carry over is Tetra, who gets relegated to “Damsel in Distress” in the first few minutes. She was an interesting enough character to merit her own game, so having her return just to be taken out of the equation that early can’t help but feel like a letdown. (Daniel Philion)

Ranking Zelda Games

11. The Legend of Zelda: The Adventure of Link

The second installment in The Legend of Zelda series titled The Adventure of Link is often considered the black sheep of the family. Despite being one of the best-selling games in the entire series, many fans hate it and with good reason. The game is tough and I do mean tough. Players must be prepared for repeated failure when sitting down to play Zelda II, but that is sort of what makes the game so great. The sense of accomplishment a player feels when finishing Zelda II is perhaps unmatched by any other game in the NES library.

The Adventure of Link was a bold and radical departure for the series, but it has its supporters and many fans will argue it is not only one of the five best games released on the Nintendo Entertainment System but the most punishing game of the 8-bit generation. It offers players one of the most engrossing gaming experiences available on the console and features some of the best boss battles the series has to offer. The Adventure of Link was an incredibly assured attempt to rewrite the rules and introduced many elements that would become commonplace in future Zelda games a larger focus on storytelling, as well as sidequests. Yes it is difficult and yes it is different, but for better or for worse, that is what makes it stand out from all the other entries in the series. Zelda II is unique, but frustrating – flawed but brilliant – and without question, an important game that helped define what the Zelda games would ultimately be. (Rick D)

Ranking the Legend of Zelda Series

10. The Legend of Zelda: A Link Between Worlds

Nintendo has always been skilled at linking to the past while looking to the future, creating a bridge to franchise evolution, and that philosophy has rarely been better realized than with the 3DS’ The Legend of Zelda: A Link Between Worlds. A sequel of sorts to the seminal SNES classic, this adventure covers basically the same physical ground, but takes much of the established franchise elements of the last 20 years and chucks them out the window. By ditching dungeon rewards and instead allowing players to rent (with the latter option to buy) the hookshot, bow, boomerang, three magic rods, and every other weapon or tool usually reserved as a prize, Nintendo was able to concentrate on what the beloved series used to do best: exploration. The freedom to go wherever one wanted in a Zelda game was a concept so old that it was almost novel, and A Link Between Worlds was a breath of fresh air — at least before the next one came along.

Thanks to impeccable puzzle designs, a lively world full of character, and a brilliant mechanic that sees Link turn himself into a 2D painting that can traverse walls in order to solve puzzles and reach new areas, the game still is. A Link Between Worlds invokes nostalgia in order to mess with fans’ minds, using its new gameplay concepts to twist them into thinking outside the box, producing some of the best “aha!” moments in the series. Gorgeous top-down visuals make the old new again, tight controls are ever-so-satisfying, and a clever story plays on expectations, but The Legend of Zelda: A Link Between Worlds best lives up to its title by bridging the gap between the comforting formula of days gone by and the promise of exciting things to come for Nintendo’s hallowed franchise. (Patrick Murphy)

Ranking the Legend of Zelda Series

9. The Legend of Zelda: Skyward Sword

Fans had to know that Nintendo was up to something truly special when they announced that Skyward Sword would officially become the first game in the Legend of Zelda timeline. Fortunately, Nintendo delivered on all of those expectations and more with The Legend of Zelda: Skyward Sword. A game that took the revolutionary/gimmicky motion controls of the Wii to their fullest extent, Skyward Sword is almost worth playing as much as a proof of concept as it is for its breathtaking adventure and wholly original take on the Zelda mythos.

Set among a series of floating islands that eventually give way to a shattered world below, Skyward Sword both echoes the world design of one of the best Zelda titles in history in the form of The Wind Waker, and calls to mind the scale of the Final Fantasy series in equal measure. Throw in some gorgeous art design and one of the most concise plots in the franchise, and you’re left with a truly underrated classic, easily one of the best games in the series. (Mike Worby)

Ranking the Legend of Zelda Series

8. The Legend of Zelda: Link’s Awakening

The Legend of Zelda: Link’s Awakening was the first portable title in the series, and is easily one of my personal favorites. It was the first Zelda title to make an attempt at exploring Link’s character beyond that of the boy called to action. For once, Link is not seeking to stop Ganon and save the princess, kingdom, or Triforce. Instead, his is a journey of self-discovery, led by a desire to leave the island of Koholint that he has been shipwrecked on. Much of Koholint is full of life, especially when compared to the desolate wasteland that was the original Legend of Zelda and horribly mangled Dark World of A Link to the Past. It’s a breath of fresh air, with plenty of different-looking areas and regions. Overall, the game’s aesthetics’ are great, and the story they present is something that was only ever (theoretically) tackled again once.

Link’s Awakening was also the first top-down Zelda to make use of jumping. While The Legend of Zelda and A Link to the Past both used pitfalls as ways to impede progress, they never had a clear answer to them. This time Link is granted the gift of jumping from an item called the Roc’s Feather, the very first dungeon item in the game. By combining the Roc’s Feather with the Pegasus Boots, Link could clear even bigger gaps and jump over large obstacles. Link’s Awakening is an amazing Zelda title not only for its plethora of new ideas, but for also setting new benchmarks for later games in the series. (Taylor Smith)

Ranking the Legend of Zelda Series

7. The Legend of Zelda

Shigeru Miyamoto’s masterpiece laid the groundwork for almost every action-RPG that came after it, and it has become a staple franchise for Nintendo that is still going strong, 30 years later. When it was released, The Legend of Zelda was a first in so many categories. Not only was it an early example of open world and non-linear gameplay, but it also introduced a battery backup to save your progress. It served as the foundation of many modern adventure games, introducing now-basic concepts like dungeon maps, utility equipment, and boss formulas that we still see used today.

The Legend of Zelda has aged surprisingly well thanks to a brilliant soundtrack, creative visuals and masterfully layered adventure. And while it’s unapologetic in its open world approach, the lack of hand-holding might be what makes it so great. It is, without a doubt, one of the most influential games of all time, and one of the greatest games ever made. It was ahead of its time and it stands the test of time. Very few games can make that claim. (Ricky D)

Ranking the Legend of Zelda Series

6. The Legend of Zelda: Twilight Princess

The adult Link portions of Ocarina of Time got gamers’ appetites whetted for a more badass version of the green tunic-wearing hero, one who could stand tall against the inevitable evil forces and whose sword slashed viciously, cutting a swath through them. Wind Waker was not that, and though looked upon now as a masterpiece, its seemingly lighter tone at the time sparked a little rebellion. Fans of Nintendo’s legendary series were growing up, and just like with Star Wars or comic books, they wanted to hold onto their innocent past while also having it reflect their pragmatic present, something that kept in tone with their rising adult pessimism, something truer to the gloomy outlook that only comes with maturity. In short, as eventually happens with everything fun or innocent that fans go crazy for, they wanted something darker.

I was no different in those days, and so when the first images of Link wielding his blade from atop his trusty steed, surrounded by grossly disfigured moblins and bathed in eerie twilight first surfaced, I was instantly sold. Twilight Princess is no kiddie quest with bright flowers and snot-nosed munchkins; there is war, pain and suffering, noble sacrifice, and trippy weird visions of greed, death, and super-creepy-looking laughing girls slowly descending headfirst from the sky. The land has been poisoned and the people that populate it struggle against the shady sickness taking hold. A somber tone pervades throughout to the melancholy end, few moments of true happiness relaxing in the goat paddock found in between.

Never has a Zelda game relied so much on imagery to set its tone, never have the dungeons been so vast and monstrous, and never has the journey seemed so mythic. Twilight Princess feels like everything Ocarina of Time wanted to be, a fulfillment of years of fan expectations. It hosts the best sidekick in the series, the widest assortment of attacks, some of the most clever dungeons (Snowpeak’s crumbling mansion, the Gerudo desert’s Arbiter’s Grounds) and unique items (magnetic boots=awesome, spinner surfing=fun), and a massive amount of gameplay for those willing to explore every nook and cranny tracking down Poes and bugs. I personally have never bothered with Agitha or the golden Jovani on any of my many playthroughs, but it’s nice to know that there’s more going on in Hyrule than just the main quest.

With an epic setting accompanying the tragic feel, Twilight Princess gave fans exactly what they wanted, and in doing so delivered one of the most powerful entries in the franchise. (Patrick Murphy)

Ranking the Legend of Zelda Series

5. The Legend of Zelda: Wind Waker

Director Eiji Aonuma’s swashbuckling adventure The Legend of Zelda: The Wind Waker, set 100 years after the events in Ocarina of Time, stands as one of three best games released in the series thus far. Along with the N64 classic and A Link to the Past, The Wind Waker masterfully baits and hooks players with its perfect blend of polished design, tightly crafted controls, and beautiful presentation. Utilizing a completely new look with cel-shaded graphics, the game casts players in the role of a familiar young Link, who sets out on a long voyage across troubled seas, into dark dangerous dungeons and against ruthless foes to save his kidnapped sister. At the time of its release, it was immediately evident that Wind Waker was going to be different from the previous Zelda titles, yet it’s surprising that the grandeur of The Wind Waker‘s bold, thick strokes, lusciously saturated palette, and notably boyish protagonist with his humongous, expressive eyes ever caused so much controversy back in 2003. Over a decade later, the game’s legacy remains defined by its visuals.

Players with keen eyes and an appreciation for art will know that Nintendo doesn’t just do things for the sake of pure experimentation. When developing The Wind Waker, Nintendo not only created a hugely stylistic world down to every last detail, but also pushed the power of Gamecube to do so. Upon closer inspection, cel-shading clearly was the right choice. This is a game that emphasizes the vastness of the open ocean and the open sky, and with the application of cel-shading, every wave, every gust of wind is beautifully pronounced against a backdrop of colorful hillsides, small villages, and coastal locales. And like all previous titles in the series, the dungeons prove to be the most enjoyable aspect of this game, despite having so few. It is in these dungeons that Wind Waker shines. The true beauty of the visuals stands out, as each dungeon is brought to life with an astounding amount of detail. It’s ultimately not difficult to see why The Wind Waker has become something of a classic in the years since its release. Overall it is a huge achievement in every way, with a classic mix of sword-swinging action, perplexing puzzles, stirring storylines, vibrant art, evocative soundtrack, a cast of colorful characters, beautiful melodies, and a fantastic battle system that propels the adventure and exploration. For many, the Zelda brand represents the pinnacle of gaming, and The Wind Waker stands tall, side by side with the very best. (Ricky D)

Ranking the Zelda Series

4. The Legend of Zelda: Majora’s Mask

How exactly do you make a follow up to Ocarina of Time? Well, apparently you do it by making one of the few games in the series that doesn’t involve Ganon, you limit Zelda to one tiny appearance in a flashback, and you all but forget about the Triforce. Don’t be fooled, while Majora’s Mask is a clear departure from the typical Zelda formula, it’s still very much a Zelda game at heart, and to me (and at least a few others) it ranks right up there as one of the absolute best games in the franchise.

Taking place a couple of months after the events of OoT, Majora’s Mask kicks off with our good friend Link searching a forest for an old friend, when he stumbles upon an imp wearing a bizarre mask. The nefarious creature, known as Skull Kid, steals Link’s horse and leads him to a parallel version of Hyrule known as Termina. From there Link embarks on one of his typical quests; there are dungeons to explore, puzzles to solve, and bosses to beat, all standard-fare for the Hero of Time. The game is very similar to Ocarina of Time in a lot of respects, as gameplay between the two is near identical, and Nintendo reused also of graphical assets from OoT, so they share many visual similarities. However, despite all their commonalities, Majora’s Mask sets itself apart with its three-day time cycle, and more importantly, its ominous tone.

From Skull Kid’s creepy laugh during the game’s opening to the eerie final boss battle, Majora’s Mask is equally bizarre and unsettling from start to finish. The first time you witness Link transform when putting on a mask is undeniably jarring due to his screams of pain and the poignant visuals. The Happy Mask Salesmen seems like an ally, but one can’t help shake the feeling that he’s hiding malicious intent, which temporarily seeps out when you make him the slightest bit angry. The ever-looming harbinger of death that hangs in the sky, inching closer and closer as the clock winds down, creates a menacing sense of tension that’s not really present in other games in the series. And on top of all that, perhaps the most disturbing aspect of the experience is the game’s world itself. Where exactly is Termina located? Is it a parallel dimension, or perhaps some sort of purgatory state? Why are so many characters from OoT’s Hyrule also in Termina? The name given to the land makes it seem like it was doomed since its very inception.

As good as Ocarina of Time is, it succeeds by employing a somewhat simplistic and expected tone and pace. Majora’s Mask takes a much riskier route, creating an awe-inspiring yet disturbing world, resulting in perhaps the most unique and mesmerizing Zelda adventure to date. (Matt De Azevedo)

Ranking the Legend of Zelda Series

3. The Legend of Zelda: A Link to the Past

How many tales have been told about players popping in A Link to the Past only to be blown away by the game’s opening, an ominous start that begins with a psychic warning of danger, continues through a nighttime thunderstorm, and ends with the death of Link’s uncle and the rescue of Princess Zelda (so soon!) from her imprisonment? Younger gamers may get sick of hearing it, but the reason these moments and something as simple as rain stands out in the minds of those who experienced it at the time is because they were revolutionary, the start of a powerful new kind of storytelling in Zelda and video games in general. Never before had we seen something set such a cinematic mood as those streaking droplets illuminated by flashes of lightning, and from then on a standard was set that see games, for better or for worse, pay more attention to narrative.

But those atmospheric and still-gorgeous 16-bit visuals would have meant nothing if the game wasn’t backed up with an outstanding adventure at its core, and A Link to the Past‘s gameplay and puzzle-solving is where this turning point in the series still really shines. Swinging the sword felt infinitely better than the unsatisfying butter knife that Link wielded in his prior quest, and the various items and weapons acquired throughout were used far more frequently and cleverly. And while the previous entries in the franchise had certainly made their mark with different sorts of takes on exploring the land and battling enemies, it wasn’t until A Link to the Past, that the formula and feel that would define the series henceforth would finally come together. Puzzle-solving became the way to progress through dungeons, the idea of dual worlds or parallel dimensions came into play, and suddenly there were tons of empty bottles to be discovered, including from a guy under a bridge who has an abnormal friendship with birds.

Out of the entire franchise, I’ve easily played A Link to the Past as much as all the others combined, as its efficient pacing and beautiful world are a comfortable joy to return to, where I (unbelievably) keep noticing new surprises each time I take up the Master Sword. (Patrick Murphy)

Ranking the Zelda Series

2. The Legend of Zelda: Breath of the Wild

The Legend of Zelda: Breath of the Wild is a masterclass in open-world design, and with its release comes a true watershed moment in gaming history. The result is nothing less than magical. It artfully blends the best bits of the franchise’s thirty-plus year history and produces a sandbox so full of mystery and so full of adventure, it could take you well over 100 hours to uncover most of its secrets. What we have here is the most ambitious title in the history of the franchise, an epic journey that quivers with anticipation, wonder, surprise and excitement. It never gets old. It never gets tiring. There’s not a minute that goes by in which you’ll want to put down the controller, because Breath of the Wild keeps players constantly curious and fascinated by the world around them. There’s truly something unusually haunting and engrossing about the game, and whatever your opinion on the Nintendo Switch, Breath of the Wild is arguably one of the greatest games ever made.

Since its arrival in 1986, the Zelda series has always pushed the technical boundaries of whatever console it has graced, and Breath of the Wild continues this tradition (times two). Epic, mythic, and simply terrific, Breath of the Wild brings a new kind of experience to fans across the globe. In return, it demands your attention. It’s a landmark in video games such that labeling it a masterpiece almost seems inevitable. In the end, however, most of what makes Breath of the Wild so beloved is Nintendo’s determination to constantly challenge themselves while crafting an unforgettable experience that also doubles as a commentary on the freedom of playing on the Switch. That a game of this magnitude can be playable anywhere you go is a remarkable feat. (Ricky D)

Ranking the Zelda Series

1. The Legend of Zelda: Ocarina of Time

You won’t find a gamer alive who doesn’t remember the first time they played The Legend of Zelda: Ocarina of Time, and there’s a very good reason for that: OOT isn’t just regularly counted as one of the best Zelda games of all time, but it also routinely finds itself in the conversation for the best games ever made. As a trendsetter and pioneering effort for 3D adventure games, action titles and RPGs alike, Ocarina of Time holds a special place in a lot of gamers’ hearts, particularly those who were young enough to have a lot of imagination in them upon its initial release.

It was a game that opened a tiny door in our minds when it first introduced us to a young Link in Kokiri Forest, and then wrenched that door all the way open a mere hour later when we were unleashed onto the full expanse of Hyrule Field and were gifted with a world to explore which was bigger than life. If, through some very strange events, you have still managed to not play OOT then you are doing yourself a disservice as a gamer. With awe-inspiring environments, a cast of memorable characters, a charming story, and one of the most epic adventures ever experienced, The Legend of Zelda: Ocarina of Time is a game that will stick in your grey matter even decades from now, and it is well deserving of its place there. (Mike Worby)

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Let us know your rankings in the comments below!

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6 Comments

6 Comments

  1. Ricky D

    April 2, 2016 at 4:02 pm

    This list would be great if the order was changed around… as in … changing the entire list. Seriously, WTF guys? ALTTP should be top 3 if not number one and the original deserves far more respect. Skyward Sword is way too high … way too high …

    • Patrick

      April 2, 2016 at 7:00 pm

      I’ll agree with you on ALTTP being too low and Skyward Sword being a bit high, but the original is right where it belongs. Keep in mind though, this is a list of FAVORITES, not “best.”

    • ClanPsi

      July 7, 2019 at 7:52 pm

      It is top 3. Are you high?

      • Patrick Murphy

        July 9, 2019 at 3:22 pm

        Ha, it does look that way. This list was originally published in 2016 though, and with a new game and new staff, the rankings have changed since then. I assure you, at the time those comments were completely justified.

  2. www.paidvideogamers.com

    April 3, 2016 at 8:59 pm

    great article!

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20 Memorable Moments from Telltale’s ‘The Walking Dead’ Series

To commemorate The Walking Dead game series, we’ll be counting down 20 of the most memorable moments throughout the series.

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Recently rumours have surfaced that Telltale Games will be making a comeback following interest from a pair of investors. After the closure of the studio last year upcoming Telltale titles — such as The Wolf Among Us 2 –– were cancelled indefinitely but this news could mean that a revival of these games may be on the way. Skybound Games have also recently released The Walking Dead: The Telltale Definitive Edition, a collection of all 4 seasons of The Walking Dead game alongside some bonus content such as concept art, music and commentaries. Due to this release, and the newfound hope for Telltale Games, now seems like a good time to reflect on the game that thrust Telltale into the spotlight: The Walking Dead. The series was halfway through its final season when Telltale closed its doors but Skybound Games jumped in to finish off the story of Clementine, the hugely beloved protagonist.

To commemorate The Walking Dead game series, I’ll be counting down 20 of the most memorable moments throughout the series.  A quick side note before we begin: when Telltale first closed down I wrote an article about the top ten moments from Telltale Games in general which included some Walking Dead moments. I will be using the same entries — with a few minor adjustments — if those moments find themselves on this list too, as my opinion has not changed.

*Major spoilers ahead for all 4 seasons of The Walking Dead.*

20. Kenny/Jane Flashback: A New Frontier

In Season Three, Clementine becomes a companion as the player takes on the role of a new character, Javier Garcia. We get some flashbacks as to what happened to Clementine in the gap between seasons two and three. There are multiple endings to season two, so it is the flashbacks that we get from two particular endings that are most memorable. In one ending Clementine can take baby A.J. and go with Kenny and in another she can leave with Jane. If the player leaves with Kenny, the flashback shows Kenny teaching Clementine how to drive. They get into an accident and Kenny is thrown through the windscreen, losing the feeling in his legs. To allow Clementine and A.J to escape, he uses himself as bait for walkers and gets eaten alive. This flashback is memorable for all the wrong reasons. It feels like a rushed and half thought out way of getting rid of Kenny to explain why Clementine is alone. For such a beloved character, it seems so wrong to merely dispose of him in order to wrap up a loose end. This ending for Kenny is an injustice to his character. Memorable doesn’t have to mean good! In the other flashback, Jane, Clementine and A.J return to Howe’s and are living comfortably enough. Jane sends Clementine to do a perimeter sweep but when she returns, she finds that Jane has hung herself. A distraught and confused Clementine finds a positive pregnancy test on the ground. This makes sense for Jane’s character. She was always a somewhat cold lone wolf who was uncomfortable with children. Finding out she was pregnant in a post-apocalyptic world would have been the worst possible outcome. She was a survivor who was willing to do whatever it took to stay alive and to have not one but two helpless babies in her care would not have been an option. There was also a somewhat selfish nature to Jane, so killing herself to avoid her pregnancy, and leaving Clementine and A.J alone, is a believable and fitting end to her story.

19. Clem Leaves to Search for A.J: A New Frontier

At the end of Season Three, Clem decides to venture out alone to search for A.J, the baby from Season Two who she had taken into her care. We see her navigating through walkers, taking them out confidently and with ease. This moment is a good representation of Clementine’s development through the years. Although she still had one more season to go, it was clear at this point just how much she has grown and matured since her introduction in season one. You can’t help but feel a connection with her if you have been playing the game since the beginning and seeing Clementine go it alone with a fierce determination about her made me feel proud of the person she had become.

18. Basement Scene: The Final Season

Something that I wasn’t expecting from The Final Season was a moment that felt like it was ripped straight out of a horror movie. Despite the horror zombie theme running through The Walking Dead series, it plays as an interactive point and click story rather than a horror game. In episode one of The Final Season, Clementine is locked in a basement with a character called Brody who has recently died. Clementine knows that Brody will turn into a walker soon, so she starts looking for a way to escape. The darkness of the basement is lit only by a flashlight which Clem goes to find. As she does, you can see that Brody’s body has gone. As the player maneuvers through the dark, disturbing noises can be heard as Brody slowly turns. It’s all very unsettling so I couldn’t help but feel a little unnerved. The creepiest moment comes when Clementine struggles to get the basement doors open and we then cut to Brody’s perspective as she approaches Clementine from behind. Just as Clem opens the doors, we see Brody’s zombified face appear behind her and drag her back into the dark. Of course, Clem survives the encounter but it is a genuinely scary moment due to the horror and suspense elements being crafted and utilized so well. It was a scene that left me feeling surprised, impressed and freaked out all at once.

17. Clementine’s Parents: Season One

From the beginning of the game, Clementine is certain that her parents are still alive and that she will find them. Voicemails left on Clementine’s house phone tell us that her father has been bitten but her mother’s fate is left ambiguous. Dialogue options allow the player to lie to Clementine but canon dialogue suggests that Lee is certain that they are both gone. This is more than likely the case but Clementine’s boundless optimism in the darkest of situations would give even the most cynical player some hope. When the group get to Savannah, Clementine is kidnapped and the final episode centres on Lee trying to get her back safely before his time runs out. He finally tracks her down in the hotel her parents had been staying and after covering her in walker guts to sneak her past a herd, Lee and Clementine begin their escape through the walker filled streets. As you navigate your way through the walkers, Clementine stops dead in her tracks with a horrified look on her face. We then see what has stopped her: the reanimated corpses of her parents aimlessly wandering the streets. It is in this moment that Clementine’s optimism is quashed. It doesn’t disappear entirely, but it certainly wanes from this point on. It is a turning point for her as a character as she has to stare the harsh reality of this new world in the face. There are no happy endings. There are only cold, hard facts. I myself was shocked by this too, having adopted some of Clementine’s positivity throughout my time playing. But I quickly realized that there was never really any hope for her parents, this was the harsh truth and perhaps I should have made Lee be more honest with Clementine about it from the start. This scene was impressive for the genuine gut punch it delivers as well as for being a pivotal moment for Clementine as a character.

16. The Walker Barn: The Final Season

An interesting new character from The Walking Dead: The Final Season is James, an ex-Whisperer who tries to convince Clementine that the walkers are more than just mindless monsters. When Clementine needs James to help her in the fight against Lilly, he only agrees on the condition that Clementine makes more of an effort to see things his way. To do this, Clem must don James’s walker skin mask and enter a barn full of walkers with the goal of touching the wind chime in the back. She reluctantly does so but when she reaches the wind chime and it starts to ring out, the walkers seem to look on in awe and confusion. James’s argument that there is a semblance of the person that they used to be within the walkers suddenly becomes far more convincing. The player can decide whether Clementine believes James might be right or not, but even if you remain unconvinced, it is hard not to see something vaguely resembling a human reaction when the walkers observe the wind chime. This is the first time in the game series that has suggested that there may be more to the walkers than first meets the eye. This is most likely not the case as Clementine later says, but it is hard not to see the expression in the eyes of the rotting corpses as they listen to the soft chimes. Jared Emerson-Johnson’s simple yet powerful music score for this moment is also one of the best in the entire game.

15. Clementine Dreams of Lee: The Final Season

Lee was such an important figure to Clementine as he taught her about survival and saved her life countless times so to see him again was a nice moment in The Final Season. Clementine dreams of Lee the night before she is due to lead an attack on Lilly and her group of raiders. She gets his advice and gives him an update of how things are going. Not only is it cool to see Lee’s updated character model in the new game engine, it is also good for Clementine to have one final moment with him to act as a form of closure to the series as a whole. I definitely felt emotional seeing Lee again, particularly when he comments on how big Clementine has gotten when he sees her at the age she is now. It was a great moment that wrapped up Lee and Clementine’s time together.

14. Duck Gets Bitten: Season One

Duck is one of the more polarising characters from The Walking Dead. Acting as the antithesis to the gentle and mild-mannered Clementine, Duck is the hyperactive, loud and somewhat irritating child of Kenny and Katjaa. Duck is well intentioned but it is difficult to find him anywhere near as likeable as Clementine. However, when it is revealed that he has been bitten by a walker in episode three, it is a sorrowful moment. Duck’s energy depletes more and more as he gets sick before either being put out of his misery by Lee or Kenny, or left to turn (depending on player choice). Kenny’s refusal to acknowledge the truth of Duck’s wound makes the situation all the more emotional. No matter what you thought of Duck, he was an innocent child who didn’t deserve the death he got. Duck’s bite and slow descent into death was memorable in that it showed that the game was very much in the same line as the corresponding comics. No one is safe.  Any man, woman or child can die at any second in this walker infested world.

13. Clementine and Sam: Season Two

A brief but memorable interaction from Season Two of The Walking Dead is Clementine’s time with a stray dog called Sam. She encounters him near an abandoned campsite and though wary of each other initially, the player can choose to interact with Sam in a way that suggests he could be a new companion for Clementine. It all seems to be going well until Clementine finds a can of food. Once she gets it open, the player can choose to offer some to Sam. No matter what they choose to do, Sam snatches the food and tries to eat it all. When Clementine tries to grab it back, Sam attacks her. He clamps his jaw onto her arm and the player must wrestle with the dog to stop him. Clementine kicks Sam just as he goes for her throat and he ends up being impaled on an old tent pole. This moment is  heart-breaking for both Clementine and the player. No matter how the player interacts with him, it is clear that Clementine and Sam like one another and she could have found herself a friend. As Sam lies dying, struggling and unable to move after his impalement, the player chooses whether they will leave Sam to die a slow and painful death or kill him outright to end his suffering. This is the final emotional blow in a scene that is already hard to watch.

12. Omid’s Death: Season Two

Another The Walking Dead scene that was difficult to watch was the opening moment from Season Two. Having lost Lee in the climax of Season One, Clementine becomes the playable character and is left with Omid and a heavily pregnant Christa. After stopping for a break at a gas station bathroom, Clementine makes the mistake of leaving her gun unattended. She ends up held at gunpoint with her own weapon as a teenage scavenger attempts to rob her. When Omid enters the bathroom to try and help Clementine, the shocked robber accidentally shoots him through the heart and kills him. Omid was one of the more likeable characters of Season One, despite being introduced late into the game, so to see him gunned down whilst attempting to protect Clementine is horrible. It is clear that Clementine blames herself for what happened due to leaving her gun to the side — as does Christa — which adds another dimension of sadness to this moment.

11. Katjaa’s Suicide: Season One

One of the most human and heart-breaking deaths in The Walking Dead game is Katjaa, Kenny’s wife and Duck’s mother. When Duck is bitten and on the verge of death, Katjaa and Kenny take him into the woods with the intent of putting him out of his misery. Although we don’t see it, we hear Katjaa suddenly turn the gun on herself. Katjaa was being incredibly strong about the situation and was far more grounded in reality about the situation then Kenny was. However, her sudden decision to take her own life made her character all the more tragic. Her strength faltered for one moment and she couldn’t handle it. Because of that, she made a split second decision. This was incredibly realistic and painful due to the sheer humanity of Katjaa’s thought process and her choice. The fact that it happens off screen and is still able to be so powerful is also testament to Telltale’s skill at constructing meaningful moments within their games.

10. Mariana’s Death: A New Frontier

You will probably notice that I haven’t included many entries from Season Three of The Walking Dead (also known as A New Frontier). It’s the weakest in the series of games and it doesn’t have quite as many iconic moments. However, there is one scene in particular that I always come back to when considering the game series as a whole. One of the faults of the series is, in my opinion, the decision to switch the focus to entirely new characters. Clementine is demoted to a supporting player in A New Frontier as the focus turns to Javier Garcia and his family. The characters aren’t nearly as easy to get emotionally attached to as the characters were in Season One and Season Two. Certain characters seem to act bitter and angry towards Javier no matter what dialogue you choose to use with them, such as Javier’s brother David and his nephew Gabe. Even Clementine seems surlier in this title (I can forgive her for that due to the fact that she is now a hormonal teenager). Despite that, there is one character that is sweeter in nature than the rest: Javier’s niece Mariana. Although the player only spends a small amount of time with her, her intelligence, maturity, creativity and soulful attitude instantly make her likeable. I couldn’t help but feel a connection to her and a desire to protect her, similar to the feeling that I got upon first meeting Clementine. At the end of the first episode, Mariana is suddenly shot through the head whilst retrieving her beloved headphones. It is not only a shock due to the unexpected nature of the moment but also emotional as Mariana is a good character who is still very young. For someone to callously shoot a little girl through the head is horrific, but very much aligned to The Walking Dead’s brutal style. Mariana’s death is similar to that of Duck’s, reminding us that children are certainly not safe from a gruesome death in this new and cruel world.

9. Lilly Returns: The Final Season

Lilly’s exit from The Walking Dead game was left open ended in Season One, no matter whether the player decides to leave her on the side of the road or not. Her return in The Final Season wasn’t a huge surprise due to trailers beforehand confirming her appearance but her relationship with Clementine is one of the more interesting elements. Clementine and Lilly had a good relationship in Season One. Though you don’t get to see much interaction between them, it is clear that Lilly cares for Clementine and wants to protect her as most of the other adults in the group do. In a sweet and familial gesture, Lilly is the one who gives Clementine the hair ties that she uses throughout the series. Things have obviously changed by the time that they meet again. Lilly is the lieutenant of a group of raiders from a haven called the Delta who are in search of soldiers to defend their home as they embark on a war with another group of survivors. This isn’t optional though and Lilly and her crew plan to kidnap those they want to recruit. They purposely travel to Ericson Boarding School to recruit the teenagers living there, having already taken some kids from Ericson beforehand.  It is here that Lilly meets Clementine again. Their meeting isn’t exactly a joyous one. Clementine is thrown to the ground; a boot is firmly planted on her neck and a gun pointed at the back of her head. It isn’t until Clem is kicked in the face that she is turned around and Lilly recognises her. The conversation between the two can differ depending on Lee’s actions in Season One. Lilly is harsh and disrespectful towards those who have died (not remembering Carley/Doug’s name and suggesting that Lee was a bad mentor) but if Lee showed her kindness then she has a slightly softer edge to her. If Clem chooses to acknowledge Lilly and not be aggressive, she will also be a tad more understanding. However, as the game progresses the relationship between the two gets even more strained and Clementine ends up going to war against Lilly with the Ericson kids. Lilly and Clementine’s reunion is very bittersweet. Lilly was always a tough character so a cheerful reunion wasn’t expected, but to see two people who were once like family turn to mortal enemies is saddening. The character development for both Lilly and Clementine that their meeting leads to is also an interesting element, making it one of the more memorable parts of the game series.

8. Lilly Shoots Carley/Doug: Season One

Episode Three of Season One of The Walking Dead is arguably the best episode of the entire series. So much happens in a short space of time and by the end of the episode, things are vastly different from how they started. Halfway through Episode Three, tensions are running high in the group of survivors. Lilly is close to breaking point due to having to watch her father die in brutal fashion in Episode Two.  When one of the group is found to be making a deal with bandits, Lilly is on a mission to find the culprit. As she tries to figure out who it was, she is pushed over the edge and snaps. She shoots Carley/Doug, whoever Lee saved in the first episode, and instantly kills them. The sudden death proved that Telltale weren’t afraid to kill off any of their characters and that everyone was expendable. It also showed how the horrors of the apocalypse can change people and turn them into ruthless killers. Lee is then left to choose whether to abandon Lilly on the side of the road or let her stay with the group, another tough player choice. The shocking murder and aftermath from Lee’s choice made for one of the most gripping episodes of the entire series.

7. Clementine Stitches Her Arm: Season Two

Clementine is shown to be a strong-willed and determined little girl, even from the very beginning of The Walking Dead game, when she was at her youngest. She continued to prove herself to be more than capable of surviving, but this moment in particular shows just how resilient she is. Clementine is left with a large gaping bite wound on her arm after the attack from Sam the dog. The new group she finds is suspicious of her bite so she is locked in a shed. After finding the items she needs to clean her wound and stitch it up, she sets about patching herself up. The player is forced to sew up Clem’s arm with a regular needle and watch as she screams and cries in pain. It’s hard enough to watch, but even harder having to control Clementine as she digs the needle into her flesh and her wound bleeds. Painful in every sense of the word, this moment not only shows that Clementine is more capable than most adults, yet alone an ordinary child, but also that Telltale are able to make their players squirm with a simple press of a button.

6. A.J. Shoots Marlon: The Final Season

One of the staples of The Final Season of The Walking Dead is the relationship between A.J and Clementine. A.J. was born in Season Two and after the death of his parents, Clementine adopts him as her own and raises him either alone, in Wellington or with Kenny or Jane depending on the player choice. No matter what the player chooses, Clementine is eventually reunited with A.J after he is taken from her by the New Frontier group from Season Three. She has been raising him ever since in a relationship that parallels the one between Clementine and Lee. The player has to be careful in what they say to A.J. as he is always paying attention, again in a similar fashion to how Clementine would take note of Lee’s actions (Clementine will remember that, after all). Being born into the apocalypse with no knowledge of the world before has made A.J tougher and less stable than Clementine was at his age. His decision to kill another human being at the end of the first episode shows just how warped his world view has become. Marlon is the leader of the Ericson Boarding School for Troubled Youths, where Clementine and A.J find themselves after the boarding school kids save them following a car accident. It is revealed at the end of the episode that Marlon has been making deals with bandits, letting them kidnap some of the students in exchange for leaving the others at the school in peace. Clementine confronts Marlon and they engage in a tense standoff with Marlon pointing his gun at Clem. It can end a couple of ways. Clementine can physically overpower Marlon or she can convince him to stand down and drop his weapon. What can’t be changed is A.J’s decision to shoot Marlon in the back of the head despite him surrendering. After he has killed Marlon, A.J. will then say that he did what Clementine told him to and he will repeat the phrase that she said to him earlier in the episode (either “aim for the head”, “don’t hesitate” or “save the last bullet for yourself” depending on player choice). The repercussions of Clementine’s teachings are highlighted here and I certainly started to wonder as to whether I had been teaching A.J the right things after this. In Season One, Clementine only killed when Lee was in mortal danger. This is not the same situation. Marlon had stood down. He had lowered his weapon. He was no longer a threat and yet A.J still found it necessary to kill him. I found myself feeling responsible for A.J.’s decision and that is what I believe makes this moment memorable. To engage the player enough for them to feel guilty on behalf of another character’s action is an impressive feat and Telltale pulls it off perfectly here.

5. The Return of Kenny: Season Two

The first Walking Dead season from Telltale was pretty brutal when it came to the final death count. One of those assumed casualties was Kenny, a lovable, albeit infuriating, character. His annoyance with player character Lee if you didn’t side with him at all times was a cause of frustration for many, but Kenny clearly had a good heart. When his family are taken from him, you can’t help but feel his pain. Although the death of his wife and child is a powerful moment in itself, Kenny’s return in Season Two represents some hope and light in an unforgiving world. Clementine is left entirely alone after the opening of Season Two so having a trusted person come back into her life, one she assumed was dead, is a positive thing for her. It is a far more positive outcome in comparison to her reunion with Lilly. Kenny goes through an interesting character arc as it becomes clear he is still fighting demons. He’s clearly traumatized by what happened to his family. He even seems to have regrets in the way he treated Lee, if the player did not always take his side. Kenny is a flawed but endearing character and his return allows for more character development, as well as giving Clementine a member of her new family back.

4. Clementine Gets Bitten: The Final Season

Toward the end of the last episode of The Final Season, the unthinkable happens: Clementine gets bitten. After an encounter with the brainwashed Minerva on a bridge, Clementine ends up with a massive axe wound on her leg. Unable to move quickly, she and A.J. end up trapped with walkers closing in. A.J. scrambles up a rock and attempts to help Clementine up after him. She isn’t able to move quickly enough and a pursuing walker bites her on the ankle. It is a horrible moment to watch, seeing the character that we have kept safe all this time finally meeting the fate that fans of the series were so afraid of. As Clementine checks her ankle, the player has to slowly open her boot and the tension is palpable as you do so. The music disappears and all you can hear is Clementine’s laboured breathing as she makes the discovery of teeth marks on her already mangled leg. Players who have completed the game know that this isn’t the end of Clementine –more on that later– but to see her grow weaker and weaker as she succumbs to her bite is pretty excruciating. A.J. and Clementine take shelter in a barn where she collapses to the ground, no longer able to move.  She props herself up and instructs A.J. on how to secure the area as walkers attempt to get in. The scene is a direct reflection of the Season One ending, where Lee teaches Clementine to defend herself and helps her escape, whilst he sits on the floor unable to move. It is harrowing to see Clementine succumbing to the same fate as her protector, as she also teaches her ward how to go it alone. The scene makes the story come full circle, with Clementine saying her last goodbyes to A.J. and asking him to kill her as Lee did (players can also decide to tell A.J. to leave her there as with Lee). The strong parallels with Season One symbolise the completion of Clementine’s journey with the player and it is a memorable, and particularly affecting, scene.

3. Lee Gets Bitten: Season One

In Season One, Clementine goes missing at the end of the fourth episode whilst the group is in Savannah looking for a boat to escape. Intent on finding her parents, Clementine puts her trust in a stranger and, of course, it ends badly. As Lee, the player starts searching the house they are holed up in to try and find her. Lee becomes panicked as he spots Clementine’s hat and her radio outside of the fence. As the player reaches down to pick up the radio, a hidden walker lashes out and takes a bite out of Lee’s wrist. I still remember playing this part of the game for the first time years ago. I remember feeling absolute shock as the camera panned down to reveal the bite mark on Lee’s wrist. Lee starts to panic, saying “No!” over and over, and clutching at his wrist. His reaction wasn’t too different from my own. As soon as you realize he has been bitten, you know he is going to die. I had grown attached to Lee’s character as he had brilliant development through the series as well as an interesting arc and back story. Knowing that this was the end for him was so upsetting. Tension and anticipation also make up the scene, with the radio crackling as the player approaches just before Lee picks it up. You can tell something is going to happen, but can’t be sure what. This masterful approach to suspense, combined with the genuinely saddening and emotional moment, and Dave Fennoy’s fantastic voice acting, is what makes Lee’s bite one of the most memorable moments in The Walking Dead series.

2. Clementine is Alive!: The Final Season

After Clementine is bitten, we see A.J swing his axe down before the screen cuts to black. It’s assumed that he has put Clem out of her misery, and we begin playing as A.J. A.J is going about life at Ericson and catching some fish for dinner when he sees Clementine’s hat floating down the river (Clem lost her hat during the attack on Lilly and the raiders). As he carries the hat back to Ericson, Alela Diane’s ‘Take Us Back’ starts to play and some of the other kids join him on the way. This is the same song that plays during the credits of Season One, so it is assumed that this is the end of the game. A.J. has finally found a home and is living out his life with the boarding school kids whilst remembering the teachings that Clem gave him, just as Lee did for Clementine. However, upon his return we see that Clementine is actually alive but now missing a leg. Again, this is a moment that I remember well as I felt such emotion upon playing it. I think I may have audibly cheered. I had shed a tear over Clementine’s faux death — just as I did over Lee — and had resigned myself to the fact that she was gone. Seeing her limp onto screen, crutch in tow, was such a brilliant moment. Of course, if you think about it too much it doesn’t make that much sense. How could A.J, who can’t be more than 6 or 7, have managed to cut off a grown teenager’s leg? The axe he used was also covered in walker blood so surely if Clementine hadn’t bled out, she would have still been infected. How did A.J manage to get Clem back to the school by himself before she died of blood loss?? These are all valid questions which would usually seriously bug me, but I honestly did not care for any of it. All I cared about was that this character, who I had come to love after protecting her and watching her grow up and survive in a new and brutal world, was alive. Clementine has become such a beloved character amongst the gaming community that Skybound were able to save the game from complete cancellation. That wouldn’t have happened if the players hadn’t resonated with her the way that they did. We, as a community, needed the conclusion of her story and, thanks to Skybound, we were able to see her get the ending she deserved. The player’s role of Clementine ends in the barn as the player takes on the role of A.J. in the epilogue as he chats to Clem. Melissa Hutchison gives an impressive and tearful performance as Clem as she asks A.J. if she has done a good job taking care of him after spending so much time running and looking for somewhere to call home. She then hands over her hat to A.J., hanging it up for good, both physically and symbolically. Again, the emotion is potent here as we have experienced everything that Clementine has been through to finally get to this point. She can rest now, even if it is with only one leg. Clementine surviving her bite may not be entirely logical, but if there is anyone who deserves a happy ending (or as happy an ending as you can get from The Walking Dead) it is certainly our sweet pea Clementine. Lee will remember that.

1. Goodbye Lee:  Season One

Having played through Season One of Telltale’s The Walking Dead multiple times, I can say with honesty that I still cry at the ending. Moving, brutal and emotionally crippling, Season One culminates with Lee succumbing to his bite and suffering one of two fates, depending on player choice. Choice one is to be shot in the head by Clementine, the little girl who you’ve given your life to protect. Choice two is to be left to turn into a walker, arguably a fate worse than death. So there are no winners here, no matter what you pick. Lee is an excellent protagonist, his dark past makes him a criminal and this contradicts his role of protector to Clementine. He isn’t perfect. He has made mistakes and continues to do so as you play. But he is believable as a flawed, but ultimately well-meaning, man. A man who sees his opportunity to redeem himself by saving, and taking care of, Clementine. To see him bitten at the end of episode four is a painful moment but watching him deteriorate through episode five, and eventually die, is excruciating. You feel a connection with him, a person struggling to do the right thing and protect those he cares about, despite the end of the world situation. As he and Clementine have a final moment together, it becomes clear that it has all led to this. That you have taught her how to survive, how to behave, but also how to say goodbye. The final words and last goodbye that he and Clementine share are, in my opinion, the most powerful and memorable of any Telltale game. And make sure to keep that hair short.

The Walking Dead: The Telltale Definitive Series is out now for PlayStation 4, Xbox One, Nintendo Switch and Microsoft Windows.

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‘Final Fantasy VIII’: A Beloved Black Sheep

If the the general operative way to make a sequel to a massive success like Final Fantasy VII would be to give people more of the same, only bigger and better, Squaresoft opted for something of a different approach.

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When Final Fantasy VII emerged on the scene back in 1997, it changed the way gamers looked at, and experienced, JRPGs. With its flashy cutscenes, cool aesthetic and myriad of anime badasses, Final Fantasy VII pulled off the seemingly impossible task of making RPGs cool. It also gave RPGs a breath of fresh air, exposing them to the mainstream and earning them a much bigger slice of the gaming industry. Then came Final Fantasy VIII.

If the the general operative way to make a sequel to a massive success like Final Fantasy VII would be to give people more of the same, only bigger and better, Squaresoft opted for something of a different approach. In fact, Final Fantasy VIII was so wildly different from its predecessor that it wouldn’t be stretch to call them polar opposites.

Where FFVII took place in a world that was dark, moody and foreboding, FFVIII was bright, colorful and drenched in sunlight. Where VII began in the desolate slums of a fascist, dystopian nightmare, VIII opened in the sort of beautifully-rendered, futuristic facility that would be right at home in paradise. Though Final Fantasy VI  and VII were separated by an entire hardware generation, there similar venues of dark steampunk and darker cyberpunk make them far more comparable in terms of their look and feel then VII and VIII.

Final Fantasy VIII

Beautiful scenes like this would be wildly out of place in Final Fantasy VIII’s predecessors.

The characters were just as distinctly different. There were no caped monster men or gun-armed maniacs here, just 6 high school students of relatively similar age, build and disposition. From the magic system to the way experience was garnered, from the way that weapons were upgraded to the method with which players earned money, Final Fantasy VIII re-did literally everything VII had built, right from the ground up.

This comparison goes a long way toward explaining Final Fantasy VIII and its strangely disjointed place in the series. Where VI, VII, IX and are all fondly and widely remembered, VIII is more stridently beloved by a small group of loyalists. Despite its strong reviews and fantastic salesFinal Fantasy VIII found itself slipping further and further from the series’ limelight as the years passed by.

Now, however, with the release of Final Fantasy VIII Remastered, the black sheep of the mainline Final Fantasy franchise has gained a new lease on life. As one of the last of the golden age titles in the series to finally reach a mass market rerelease, FFVIII finally has a chance to redeem itself from years of teasing and jibes about its confounding junction system and endlessly plot-twisting time compression storyline.

Final Fantasy VIII

Despite the games often sunny disposition, scenes of nail-biting suspense were often just around the corner.

Getting down to brass tacks, there was indeed a LOT to learn from the outset. Critics of the game are absolutely right in one respect: this game is complicated. If that weren’t readily apparent, the seemingly never-ending stream of tutorials that unfold over the course of the games first 10 hours oughta clue you in real quick. How to junction a GF, how to draw magic, how to junction magic, how to switch junctions, etc. You’ll be reading the word junction so much, you’ll think you’re watching an educational special.

With that said, though, once you’d finally mastered the many idiosyncratic elements of the junction system, you’d never felt more powerful in your life. Junctioning Ultima to strength, Full-Life to HP, and casting some Aura magic could make short work of just about any threat the game threw at you, and that’s just one of dozens of strategies that the malleable junction system provided players with. As Quistis points out early on, junctioning a status effect like blind or sleep to your elemental attack attribute could render seemingly insurmountable enemies relatively harmless in one fell stroke.

Of course, the complex nature of such a system could not be overstated. If anyone were to read this who hadn’t played the game, I’m sure it would come across as absolute jibberish. That’s part of the charm of Final Fantasy VIII though: like many a beloved cult classic, this game is as uncompromising and unabashedly against the grain as a sequel we might get from the likes of David Lynch.

Few JRPGs are peppered with as much colorfully silly levity as Final Fantasy VIII.

The same goes for the magic system. While drawing magic from draw points and enemies is initially confusing, the amount of freedom it gives the player to stock up on spells and utilize them for a myriad of purposes was utterly earth-shattering. The fact that entire GFs (Guardian Forces) could be missed just because the player forgot to check the draw options on a particular boss was the kind of kick in the general genital region that made a game like Final Fantasy VIII worth going back to at least once more after completion.

Upgrading weapons with collected materials was also very different. No more just buying the next awesome sword from a new vendor, the player would instead need to find a Weapons Monthly issue for the information on the upgrade, and then mine the respective materials needed to improve their weapon. Finally, the SeeD salary system ranked and evaluated the player as they made their way through the game. No more earning a shower of gil just for offing a few enemies, if you weren’t representing the SeeDs and Gardens in an optimal fashion, your pay would suffer as a result.

Outside of gameplay, these wild 180 degree turns continued in Final Fantasy VIII‘s plotline.  Following the hard science fiction bent of the story of FFVIII could be a task in and of itself. A game that ostensibly begins with high school mercenaries being dispatched to aid rogue organizations around the world eventually evolves into an endless battle across space and time with a sorceress from the future. Meanwhile, some of the most seemingly important plot points in the game, such as Squall’s parentage, or the party’s connection with Laguna and company, are resolved only in the background. Players looking to piece together the many disparate elements of this story will have to put on their Dark Souls helmets and do a bit of individual exploration if they want answers.

The keyart for the game, presented after the opening cinematic, immediately makes the focus of Final Fantasy VIII clear.

The way the game focused on love as an essential motivation is also unique to the series. Though there had been love stories in Final Fantasy games prior to this, they never offered this much depth and emotion. Essentially the central character arc of the game, that of Squall Leonhart, is that of a damaged, emotionally bereft man opening up and learning to love again after suffering loss in the form of childhood traumas. The importance of this focus cannot be overstated. Final Fantasy VIII is a love story first and foremost, and anyone who might doubt that prospect need look no further than the keyart that accompanies the title sequence.

This focus on love, and its healing power, offers Squall perhaps the most fascinating character arc of any in the Final Fantasy franchise. Ostensibly a cold, apathetic loner at the outset, Squall transforms over the course of the story into a man who’s willing to throw caution to the wind if it means saving his friends or his love. Take, for example, the sequence toward the end of the game wherein Squall hurtles himself into the depths of space to save Rinoa, with absolutely no plan on how he might make his return. His love is so important to who he is, and what it has made him, that he would rather die than let it go.

The defining moment for this character, Squall, is unimaginable to players who first meet him sulking and brooding his way through the little monologue snippets that play in his mind. Even in the middle of the story, he opts to send Zell to save Rinoa from a potentially fatal fall, only going himself when there appears to be no other option. This gradual arc from stoic and closed off to open and supportive is still fascinating over 20 years later, and one of the key charms of Final Fantasy VIII.

The heartfelt love story between Squall and Rinoa remains one of the games greatest strengths all these years later.

Back in the fold and better than ever after 2 decades, Final Fantasy VIII Remastered has given the beloved black sheep of the Final Fantasy family a new lease on life, and a second chance to redefine its legacy. Whether it’s your first time venturing into this mad little piece of fiction or you’re coming back for the 10th replay, there’s never been a better, or more convenient, way to experience this one of a kind story.

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Games

‘Dragon Quest’: A One of a Kind RPG

Even as time moves further away from May 27, 1986, Dragon Quest doesn’t feel dated. It certainly shows its age, but it has an elegance that only the best of games can boast. Even today, Dragon Quest is one of a kind. 

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The original Dragon Quest on the NES can be an incredibly difficult game to revisit. As the game that more or less set the foundation for all future JRPGs, Dragon Quest naturally feels primitive in comparison. Grinding is an outright necessity, there are next to no boss fights, and dungeons emphasize maze-like exploration over puzzle solving. The game’s initial Japanese release even used a password system to maintain progress. It wouldn’t be until the game was localized as Dragon Warrior in the west where it would gain a proper save system. In spite of all this, the first Dragon Quest has a certain charm unlike anything else on the NES. 

Dragon Quest, plain and simple, isn’t like other RPGs— even of its era. Combat has little depth beyond “attack and sometimes heal;” there’s no party system with the player instead exploring the world entirely on their own; and virtually every single area on the world map is open to the player as soon as they start the game. Dragon Quest doesn’t follow traditional JRPG rules, but there were no set rules on how to make a Famicom RPG in 1986. That Dragon Quest opts for a smaller scoped solo adventure allows players to better immerse themselves into the role of the Hero, if nothing else. 

Which is something Dragon Quest pulls off better than both The Legend of Zelda and Final Fantasy. Even though players can name him, Link has a distinct enough design where he truly does feel like his own character. On the flipside, while the Warriors of Light are genuine blank slates, the fact they function as a group of four instead of a single character means that NPCs never directly speak to the player— only the party. 

Dragon Quest (Famicom)

With Dragon Quest, however, the Hero is a blank slate who’s roped into dialogue at virtually every turn. NPCs aren’t monologuing into thin air, they’re talking to the player. The player is railroaded into saving the princess, but they can choose to side with the final boss at the end of the game for no reason other than pure curiosity. The story’s only real main arc revolves around the player proving their lineage as the descendant of a legendary hero. Dragon Quest caters itself towards the player’s experience in every sense. 

This is a detail that translates right into the main script and helps give Alefgard a real personality. The King explicitly mentions his disappointment with the Hero when he dies in combat. The same characters who praise the hero for being Erdrick’s descendant lambast him if players dare speak to them without proof. The Hero physically needs to carry the princess back to the castle after rescuing her, but there’s unique dialogue after defeating the final boss while still holding her. 

In many ways, these little distinctions are necessary for Dragon Quest to thrive. As an RPG, it’s far too simple for its own good. While Sleep does end up adding a layer of strategy to mid-game combat, the majority of the game will be spent mashing the Attack command at enemies. Not only because spells are best saved for when needed, but because of how important a role grinding plays. At the same time, it’s not as if Dragon Quest’s constant grinding is inherently a bad thing. 


Dragon Quest (Mobile)

While yes, grinding is more often than not a way to pad out a game with filler, there’s a therapeutic quality to grinding in Dragon Quest. It’s low maintenance with just enough thrills where it can be quite a zen experience. It’s certainly time consuming, but it’s time spent grounding the player in Alefgard. Given how small the map is, it’s more than likely for players to gain an intimate understanding of the overworld in a single playthrough. Usually, RPG overworlds are large enough where most won’t even humor learning the overall geography, but Dragon Quest makes it simple.

And almost necessary considering how much backtracking there can be. To its credit, though, it’s the good kind of backtracking dictated more or less by players. Although moving further and further away from the starting castle triggers stronger enemies to appear, the player really can go just about anywhere right at the beginning of the game. Enemies will massacre them with little to no effort, but it’s not difficult to find the three major relics in any order. It’s even possible to hold off saving the princess until the very end of the game. 

This is also to say nothing of what Dragon Quest offers from a pure gameplay experience. While battles are incredibly simple, stat numbers are grounded to the point where every little point of damage makes a difference. There’s a thrill to underestimating an Axe Knight, barely surviving, and then landing a critical hit that kills him in one swoop. The occasional Goldman and Metal Slime go a long way in adding a level of excitement to the Dragon Quest grind. If it’s going to be mandatory, why shouldn’t it be potentially interesting?

Dragon Quest (Super Famicom)

Battles are made even better by Dragon Quest’s dynamic first person perspective. Upon entering a random battle, a new in-game window pops up depicting an enemy with a lush background behind them. Toriyama’s art design is already a massive boon to the game’s aesthetic, but depicting backgrounds in-battle helps better present Alefgard as an actual, living world— something very few NES RPGs went through the effort of doing. 

Even dungeons manage to be compelling in their simplicity. Players need to rely on torches early on to see anything inside of caves. The fact that light slowly dims over time can force players to rush for the exit as darkness creeps in around them. Dragon Quest is a game that’s more than comfortable leaving players to rot in a pitch black dungeon. It’s an RPG that emphasized the importance of preparation without needing to make it a constant game mechanic. 

Healing magic ends up replacing herbs, Radiant makes torches useless, and Return ensures that players never need to waste an inventory slot on a Warp Wing. At the same time, healing magic is the most reliable way to heal so players might want to stock up on torches and Warp Wings anyways just to save MP. There isn’t much depth at play, but a fair bit of thought does go into the moment to moment gameplay. 

At its core, Dragon Quest is a game that never out-stays its welcome. It’ll be a challenging title for fans of the genre to experience, but it’s one that can take players back to 1986, when Final Fantasy was still an entire year away and the JRPG genre was in its infancy. Dragon Quest doesn’t humor the player, but emotionally involves them in the world of the game. Even as time moves further away May 27, 1986, Dragon Quest doesn’t feel dated. It certainly shows its age, but it has an elegance that only the best of games can boast. Even today, Dragon Quest is one of a kind. 

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Games

‘Mages of Mystralia’ and the Fear of the Bigger Fish

‘Mages of Mystralia’ challenges notion of the magic user as an Other, tasking players with determining the truth of its world for themselves.

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Magic as a misunderstood disaster engine is pretty routine with our fantasy worldbuilding friends. Identifying cosmically gifted individuals as something Other exists within the narratives of the fantastic as everything from plot-relevant physical division (like the Circle in Dragon Age) to garden-variety bigotry (like the witch-boy in Overlord II, for the six people that remember that absolute unit of a tale). Some characters think magic is dangerous, others just think it’s cheating, but almost without exception the magic users of any established world are treated like people who walk into work with blood and gooey bits on their hands; maybe there’s a perfectly reasonable, innocent, non-murder explanation, but the safe bet is to assume they started their day by throwing unsuspecting virgins into equally unsuspecting volcanoes.

Which is fair, since Mages of Mystralia begins with the red-haired Zia yeeting out of the town of Greyleaf after accidentally setting her entire house on fire. Because Zia, obviously, is a mage, and in Mystralia, this is a very big problem.

Mages of Mystralia house

In the Before Time [crashing thunder], there were Mage Kings, kings that were mages, and kings that had magic (the poison specifically for Kuzco, Kuzco’s poison). Those possessing this gift were whisked away from their tiny, little villages and raised in the castle to be heirs and guardians and suspicious viziers. Then the goblins came and started wrecking shop, and one squirrelly moron named Aetius (first — and probably last — of his name) went looking for the Celestial Magic that you’re uber-super-not supposed to touch. He touched it, kept touching it, went crazy, and set the country on fire, ruining magery for everybody else. A slightly less squirrelly dude called the Marquis (the only one to survive stopping Aetius), then took over and made magery and anybody who practices it illegal. All the existing mages were killed or banished, and new mages, if they were found, were nixed on the spot.

Making unchangeable personal qualities illegal doesn’t solve things, however, because once every decade magic wakes up in somebody anyway — and this time, that person is Zia. So, the magic wakes up, sets her house on fire, and the citizens of Greyleaf take it upon themselves to throw her out since the Marquis is far away and doesn’t care about them anymore.

And so, the adventure begins.

After getting booted, Zia makes her way to the mage village of Haven, and on the way finds this objectively evil book in what looks like an abandoned altar…pillar…gateway…thing. It’s been here for a hot minute before she picks it up; it starts talking to her and teaching spells that her magery mentor (named Mentor) tells her a few minutes later she shouldn’t have yet, but he’s sure it’s fine.

This is objectively evil book — it has a smoky black speech bubble and everything — teaches spells and gives all kinds of historical context for the places Zia goes while looking for ways to keep a solar eclipse from ending the world. In particular, he says something that encapsulates the theme of Mages of Mystralia: the word “spellcraft.” Zia corrects him and says, “You mean magery.” He responds: “Magery is a word used by people who are afraid of the Marquis and his men. Spellcraft better describes what mages do. You should call things by their real name.

The book isn’t the only one to talk about this. At the very beginning of the game, Mentor is sitting on a log in front of a safe house in the woods, saying that he’s going to start teaching Zia spellcraft — and then immediately corrects himself to “magery,” because Zia hears “spellcraft” and kind of loses her mind. “Fine, magery, then if that word scares you less.”

“Spellcraft” is a heavily stigmatized word in the universe of Mages of Mystralia, and the different ways in which the book and Mentor react to it are important. Mentor resigns himself to Zia’s fear of it, while the objectively evil book is actively combating this attitude. These characters represent the two ways one can approach this kind of total exile. Mentor is from the older generation, the ones who saw the fall of the mage kings and who almost definitely knew mages who died in the initial purge. He is jaded and irritable, and twice in the first twenty minutes says to Zia, “Life is so easy, is it not?” when she gets antsy about using her magic.

The book, however, is older. The book represents a time when having mage-kings and actively roaming mage-guardians worked, letting players know that this system isn’t inherently flawed. Mage-kings used to be the reason people could walk freely in the valley at all; under the Marquis, the goblins run totally wild, and all the roads in and out of everywhere are unsafe. The book is calling things by their “real names,” as he remembers them, and wants to know why the modern language has shellacked all this new jargon over the truth. (Side-note, I have literally no reason to believe this evil book is male, but anyway…)

So, the objectively evil spellbook is thus far the only Socratic character in the story (which is fine, as you don’t need more than one). The purpose of a Socratic character is to be the voice of dissent in a story-world with which an audience is unfamiliar. While the book’s questions are rarely overt, his casual observations and concerns about the state of the world as it is and the world as he once knew it imply a hoard of information players don’t have — like the old quarry having flooded itself out of practical use in “[his] time,” and the seal table thing in the mage town of Haven having once been in the castle — and this inspires the player to ask questions of their own — like whether Celestial magic is truly an evil thing. It’s easy to fall into the bad-fantasy-novel trap of having everything a character tells you about the history of the land be the complete and unadulterated, non-propagandized truth; the book is our anchor against this type of narrative complacency.

The book functions as Zia’s anchor as well; alone, she wouldn’t think to ask these questions. The people she meets who know she’s a mage — and who fear her because of it — believe that magic is dangerous, and to keep themselves safe, the Valley just can’t have any magic in it at all. Zia was raised by these people; she grew up believing the same thing. Now that Zia is in the thick of it, she has to look further into it; but they don’t, because they are satisfied with the answers they already have. Their terror of mages stems from physical insecurity and an unwillingness to trust people with inherently more power over the world than they’ll ever possess, even in theory. The fastest way to solve that problem at the time was to get rid of the offending power. That way, their ‘side’ (non-mages) would be the biggest fish in the ocean. There would be nothing left — in theory — capable of scaring them.

The turning point of Mages of Mystralia happens when the Marquis dies in the most suspicious fire ever. The Chancellor says, “A mage did it” and decides to find all the ones they let go the first time in order to kill them properly now. The first place to be attacked is Zia’s home village, Greyleaf.

This incident is the turning point not because it’s where the status quo gets paved over, but because public opinion begins to turn in Zia’s favor. The Marquis is dead, and the Chancellor — who was the voice of the Marquis and a man in whom the public had great trust — is becoming as dangerous as mages had ever been. Aetius had to be stopped not because of his Celestial magic, but because he was using it to burn villages to the ground; now the Chancellor is doing the exact same thing. The only difference is the Chancellor is using the army instead of magic.

The most eye-opening thing Zia learns, however, is that the fear of mages was not entirely organic, but orchestrated by a single person. The Chancellor, we discover, is a mage. His goal is to exact revenge on the mages of Haven who exiled him for trying to master magic he was not ready for — Celestial magic, just like Aetius. Does this mean, then, that mages are evil? If the last two people to burn down the Valley were mages, surely magic must be the problem. Yet it is not, precisely because Zia also a mage. If both the hero and the villain are mages, the only difference between them is who they are as people.

Mages of Mystralia is Zia’s journey — not only to love her new self, but in learning that, to quote The Blacklist of all things: “the line of good and evil runs through us all,” and the world is never as simple as we think. Mages aren’t inherently evil, and non-mages aren’t inherently good. We are presented with mages who are good and mages who are evil; we are shown people who fear the player, and people who do not. The Chancellor is a mage who hurts people; Zia, Mentor, and everyone in Haven are mages who save them. The world is full of evidence to something, but whatever that might be, Zia and the book have to find out what’s really true for themselves.

“You will not always find the answers you seek,” says the Enchanter in Haven, “but you will always grow stronger, seeking them.”

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Game Reviews

‘Creature In The Well’ Review: Dungeon Crawling Pinballing

‘Creature in the Well’ is a unique blend of genres, and an absolute must-try for audiences of both the pinball and puzzle games.

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Creature in the Well Review

A top-down, pinball-inspired, hack-and-slash dungeon crawler? That certainly may be a genre combination never done before. But in reflection to the sciences of chemistry, sometimes grouping elements into a mixture can create something that is definitively unique and distinguishable from its initial ingredients. Creature In The Well is a whole new breed of game design — by blending various genres, developer Flight School has created one of the most distinctive and satisfying puzzle games in recent years. The closest comparison you can probably make is if Hyper Light Drifter collided with a classic pinball cabinet and Breakout.

Acquiring a New Beat

Creature in the Well tasks the final remaining BOT-C unit in a mysterious world to venture into the desert mountain that lies in wait next to the imprisoned city of Mirage, a land captured by a deadly sandstorm. Inside the mountain rests an ancient facility in need of power; but there’s also a fearsome creature who stuck in a state of despair. It is the bot’s job to reboot the machine, stop the monster, and save the city of Mirage from the never-ending storm that shrouds the land.

Creature in the Well hub

Although it may sound like a hack-and-slash dungeon crawler, Creature In The Well is not a test of strength against all odds; it’s a quest of knowledge that utilizes timed actions. The BOT-C unit is not on a bloodlust to its goal; it’s in a fight for survival through various puzzles that demonstrate adaptability. The game is a test against the active mind.

After obtaining a sword and learning quicker means of movement through dashing, it would be easy to assume that fighting comes next. However, the reality of the situation is that the BOT-C unit’s sword and secondary weapon are never swung directly at an opponent — not once throughout the entire journey. Instead, weapons are used as flippers in a sort of active pinball game, continuously knocking around orbs of energy at various machines that will grant voltage. This energy must be spent to open hydraulic doors throughout each dungeon that block progress, but it can also be used to upgrade the BOT-C unit’s gear via a blacksmith, or to find upgrades secretly scattered behind different pathways. The more thoroughly a dungeon is explored, the more voltage there is to claim from conquering puzzles of higher difficulty.

The environment then ends up becoming the greatest threat, as there are no true enemies to wield weapons against. A variety of projectiles can cause damage, forcing players to move around. Well-placed shots and timely swings are the keys to progression, and the only way of reaching the endgame. Adapting and using creative ways to solve puzzles is the foundation of Creature In The Well. Mastering Breakout and Pong-like movements for multiple projectiles at the same time is the recipe for success.

Creature In The Well makes magnificent use of the Unreal Engine, showcasing a nightly overcast atmosphere with a bleak, dark color palette, but it also manages to remain bright and colorful thanks to the illuminating projectile lights and flashy animations. This ultimately amounts to a game that is not only satisfying to play, but satisfying to watch. It’s a distinct art style that is welcoming to the eyes rather than a confusingly chaotic bunch of unrecognizable firefights.

Repetition Recognition

Creature in the Well urges players to progressively think smarter as they traverse the eight vastly different dungeons. Each puzzle room slowly improves upon the last, as the game consistently and smartly reuses mechanics while introducing new gimmicks to accommodate the metronome-action movements. These gimmicks can range from the way in which energy orbs damage to adding new obstacles like electrical flooring or spiraling death traps.

Puzzles can progressively become more and more challenging, but most are either not mandatory or don’t need to be completed immediately, as there are branching paths and enough energy to skip some roadblocks. This ultimately comes off as a negative or positive aspect depending on the individual player, as puzzle difficulty drastically changes depending on the order in which dungeons are played. Creature In The Well’s lack of a recommended dungeon order might make you work harder in the early-game, which results in a rather carefree late-game that sees you blasting through puzzles with ease — or vice versa.

On the other hand, this gives the player breathing room, allowing them to experiment with routes and return to previous challenges. Skipping or leaving puzzles unsolved lessens opportunities for rewards, so a handy in-game map system allows players to keep track of exactly where they have not completed rooms on designated paths. An unyielding challenge can become an underwhelming enigma with proper dedication and practice. That said, although the endgame can become less challenging than the beginning, the pinball-inspired mechanics are so entertaining that a decline in difficulty never truly becomes an issue. Creature in the Well is never a slog to play through, even when revisiting old dungeons in the latter half of the game.

All of these dungeons conclude with thrilling matchups with the main power sources, as well as the creature who lives beneath the land. Creature In The Well does not have what many would consider traditional dungeon crawler boss fights, but simply sticks to a its puzzle gameplay and challenges players with a larger and more complex version. These battles involve the creature, who extends its arms from beneath the dark abyss in an attempt to attack you.

Embrace The Storm

Creature In The Well is a captivating case of a fresh experiment gone right. Flight School took risks in attempting to dabble in multiple genres at once that seemingly don’t correlate to each other. Yet, the end result is a fascinating concept built on the gorgeously-used Unreal Engine, with the potential to be further expanded upon. Albeit short, the journey to delve into the deepest parts of the mountain to solve new high-speed kinetic puzzles while avoiding a mysterious, calamitous creature never grows stale over the 5-7 hour journey. It is by far the most distinct ‘break the mold’ type game to be released this year, and an absolute must-try for audiences of both the pinball and puzzle game genres.

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