breath of the wild

The New Most Overrated Game Ever

by Jed Pressgrove

The most overrated video game was once The Legend of Zelda: Ocarina of Time for a simple reason: so many called it the greatest achievement in gaming without acknowledging its obvious flaws. The character of Navi, for instance, makes it almost impossible to take the game’s dramatic intentions seriously. Navi peppers the proceedings with unnecessary tutorial-like remarks, and her name, a condescending abbreviation of “Navigator,” symbolizes how many pop games since Ocarina of Time (released in 1998) have treated players like infants — a trend still going strong as we approach 2018.

For close to two decades, it seemed nothing could dethrone Ocarina of Time as the most overrated game of all time. Then the exaggerated hoopla over The Legend of Zelda: Breath of the Wild happened this year. Within weeks of its release, many said Breath of the Wild had surpassed Ocarina of Time as the No. 1 game in history, and a segment of gamers expressed outrage when Breath of the Wild’s Metacritic score dropped one point, from 99 to 98, after all reviews were completed and tallied. During the summer, Edge revised its 100 greatest games list just so it could put Breath of the Wild at the top. I even saw more than one adult praise Breath of the Wild for having a jump button (did they really miss Zelda II: The Adventure of Link or any of the countless platformers out there?).

Why is The Legend of Zelda: Breath of the Wild considered so outstanding, especially when its flaws undercut the potential of its open world? I have identified four areas where the game either falters to a significant degree or is clearly outmatched by other titles.


Breath of the Wild has a huge map and flexible mechanics so that fans do the heavy lifting when it comes to storytelling and so that Nintendo can get away with endless banalities. When people exchange tales about what they have done as players in a game, academics call it “emergent narrative.” Under this (snooze-inducing) framework, the variety of puzzle solutions and environmental factors in Breath of the Wild, for example, suggests the game allows the most potential for fun stories between audience members.

I’m not sure this is true. There are other games, such as Minecraft and Scribblenauts, that can lead to a wider variety of stories than Breath of the Wild. And is emergent narrative automatically compelling anyway? It might be neat that this guy uses Item A to alter Environmental Factor C to overcome Obstacle Z, but I doubt many of these anecdotes will stand the test of time, even as self-absorbed curiosities.

In any case, the greatest game of all time should not have a story as generic and monotonous as Breath of the Wild’s (see the seventh paragraph of my review here); its cast should not amount to little more than peddlers of Nintendo tradition and whimsy if the goal is indeed to depict an ostensibly living world. Just two years ago, critics and fans recognized The Witcher 3 for imbuing its many minor characters with unmistakable, striking humanity, yet Breath of the Wild gets a pass despite being filled with tired contrivances like superfluous side quests and throwaway caricatures of human beings.

The one-dimensional heroism of Breath of the Wild’s plot limits the philosophical possibilities of its world. Why does the press imply this game has the best open world when it completely lacks the morality variable that made Fallout, Planescape: Torment, and The Witcher 3 so vibrant and provocative? Is chopping down trees to create bridges and crush enemies that trailblazing in comparison to what these games did for storytelling?


At first glance, it does seem significant that you can climb, without equipment, mountains and towers in Breath of the Wild. You might even say this feature gives Breath of the Wild a distinct identity as an open-world game. But compared to Assassin’s Creed Origins (also released in 2017), which allows you to scale myriad awe-inspiring structures in ancient Egypt with no need to worry about a stamina bar, Breath of the Wild appears quaint, unimaginative, and plodding. What’s more, Twilight Princess still has the most exciting climbing sequences of any Zelda game with its double-clawshot mechanic, which requires you to use the camera while hanging to reach greater heights.

Weapon Breaking

Because weapons break in Breath of the Wild about as often as an American politician says something stupid, out-of-reach treasure chests aren’t as tempting to pursue if you already have multiple arms in stock. If you know everything you find will soon disintegrate, why get excited about the prospect of new items? The weapon system, like the stamina system, doesn’t serve the exploratory focus of the game and points to a superficial kind of realism. Further, Muramasa: The Demon Blade’s weapon-breaking dynamic exposes Nintendo’s approach as amateurish. In Muramasa, swords temporarily break if you use them too much, forcing you to switch weaponry until the broken ones “heal.” This rule not only spices up the combo-heavy fights but also gives weight to the game’s conceit that swords are living beings. In contrast, Breath of the Wild seems to take place in a world where no one can make anything worth a damn, suggesting its weapon system is a parody at best.


Breath of the Wild has the most pointless stamina system in recent memory. The most appealing part of the game is its invitation to explore a world, yet the invitation holds contempt for those who just want to run at a decent clip without having to worry about an indicator. Perhaps this contradiction could be overlooked if the stamina system made sense. You lose stamina for running, climbing, and gliding but not for standard melee attacks or jumping. Say what you will about the frustration of your protagonist becoming exhausted in Dark Souls, but at least that game applies the concept in a consistent, fair, and understandable fashion. Breath of the Wild’s pretense of realism is merely half-assed.

This flaw is even more egregious in light of Nioh, which was released a month before Breath of the Wild. Nioh reinvents stamina management, wherein a timed button press can save endurance and open up a variety of strategic options, from dodging to jabbing. Whereas Breath of the Wild’s stamina system doesn’t improve anything about the game, Nioh’s unique take on energy conservation sets its combat apart from every release before it. That the gaming world didn’t explicitly acknowledge Nioh’s superiority in this regard speaks to an ignorance surrounding the accolades for Breath of the Wild.


Horizon Zero Dawn Review — Foregone Heroism

by Jed Pressgrove

Horizon Zero Dawn boasts yet another modern open world, but given the unquestionably moral protagonist and cookie-cutter quests (such as killing bandits and wiping out corrupted machines), it would be more accurate to say the game features a big world in which it’s fairly fun to shoot things with a bow. Due to her deer-in-headlights look during dialogue exchanges, Aloy, the red-headed hero at the center of it all, is more interesting for her combat skills than her personality. All of this ultimately makes Horizon Zero Dawn a straightforward action game where the goal is to take out a lot of bad guys as efficiently as possible. And while this simplicity is refreshing when compared to The Legend of Zelda: Breath of the Wild’s more intense pseudo-survival aspects (such as constant weapon breaking and stamina depletion), developer Guerrilla Games doesn’t do enough to ensure drama in the game’s many fight scenes.

With its warring tribes, light settlements, and abundant wildlife, the world of Horizon Zero Dawn recalls that of Far Cry Primal. The main difference is the role of technology: Aloy has a device attached to her ear that can scan her surroundings (think “detective mode”), and the most noteworthy animals in the game are 100 percent machine. Using both natural materials and components salvaged from the mechanical beasts, you produce ammunition for a variety of weapons, which range from a slingshot that fires bombs to a crossbow that slings down ropes that trap enemies. You also wield a spear for melee and stealth attacks, and you level up to activate all of Aloy’s capabilities, the best of which is an ability that slows down time when you aim your weapon while jumping.

Although this game, like Breath of the Wild, opens with tutorialization and exposition rather than a daring invitation to the wilderness, Horizon Zero Dawn surpasses the latest Zelda at keeping the protagonist in exciting motion. There is no stamina meter to distract one from the allure of kineticism, extra ammo can be crafted in the middle of a fight, and Aloy, unlike Link, has weight to her leaping (she can entertainingly scale some mountains in this way if you time and place your jumps well). Horizon Zero Dawn also has an exquisite arrow-shooting system: the longer you hold the fire button, the more Aloy pulls back the string of her bow (you can feel this difference as the controller lightly vibrates), which can improve the trajectory of your shots. Guerrilla Games does misfire by slowing your movement to that of a turtle when you use Aloy’s scanning device, but otherwise the action of Horizon Zero Dawn is allowed to soar.

It’s unfortunate, then, that Aloy’s advantages in combat turn Horizon Zero Dawn into sort of a comedy. The best way to defeat most enemies is to sneak to higher ground and jump and shoot (thus activating slow motion) again and again. This strategy has some challenges, such as anticipating your opponent’s movement and adjusting your aim so that the arrow strikes one of the enemy’s weak points in regular motion once the slow-mo stops, but once you get the hang of it, you are not likely to be taken down, especially if your medicine pouch is leveled up and full. At first, I was delighted to incessantly thrust the game into fits of crawling action, and the pleasure of hearing and feeling Aloy’s feet hit the ground after each John Woo-inspired mini-clip is unlike anything I’ve experienced.

Yet this approach takes the wind out of the game’s dramatic intentions, as the higher ground that you need for the slaughter can be, depending on the threat(s), something as short as a big rock. Watching vicious, technologically souped-up animals circle around a physical structure — one which they should be able to knock me off of — becomes an empty joy, as it exposes Guerrilla Games’ limited kinetic imagination. This problem renders the ho-hum, save-the-tribe story even more inert: in one main quest, you have to fight a giant corrupted machine at a fort, but I dispatched this guardian from a mountain ledge of barely moderate height, despite the monstrosity’s boulder throwing and before I even eliminated all the smaller foes. Aloy is too powerful and too casually heroic for Horizon Zero Dawn to register as anything more than a fleeting curiosity.