Ramblings of a Cranberry Knight

A video gaming blog.

[chatty-moogle]

Final Fantasy XIV Sidequest Guide: Heavensward Edition

When looking up which of FFXIV's many many sidequests were worth doing, I found that most of the lists were heavily focused on the rewards rather than whether the sidequest itself was interesting or added to the overall game experience. So I decided to make a guide myself :)

The sidequests listed here are selected based on their story, or their contribution to the worldbuilding or lore. CTRL+F for the relevant location (e.g. "Coerthas Western Highlands", or "Falcon's Nest"), take a look at the blurbs to see whether they appeal to you, and have fun!

This section is for the Heavensward sidequests, since that's where I started this whole project~ Click below for details!

Note: unlike A Realm Reborn, each settlement will have sidequest chains with a bit more effort put into them, as flagged by the quest pop-up notice having a cutscene screenshot (similar to the more significant MSQs). If you want to get a feel for a place but don’t have the time or inclination to do a lot of sidequests, I’d recommend doing those ones first – though note that they can definitely get quite long! I’ll refer to these as “flagged” below, for clarity.

Ishgard

Like previous cities, Ishgard has a number of sidequests to flesh out the city and get newcomers exploring. Here are some of the better (or at least more informative) ones.

(Foundation – The Forgotten Knight) Gibrillont ~ “Drinking the Pain Away” (Lvl 50) – a story which highlights the extent of Ishgard’s religious dogma, particularly the disastrous effects an accusation of heresy can have on a household

(The Pillars – Fortemps Manor) Torsefers ~ “Dinner for Four” (Lvl 50) – a delivery run on behalf of House Fortemps to the three other High Houses of Ishgard; highlights the connections and rivalries between the Houses

(The Pillars – The Jeweled Crozier) Mathye ~ “Landing a Stable Job” (Lvl 50) – leads you to the Lightfeather Proving Grounds, and gives some context to the culture around chocobos in Ishgard. Not terribly exciting

(Foundation – Aetheryte Plaza) Fury-fearing Elezen ~ “Remembering Ishgard” (Lvl 50) – a tour of some of the locations in Ishgard; outlines lore behind the statues gracing Saint Reinette’s Forum and Saint Valeroyant’s Forum. Not very exciting, but lore-lovers might want to check it out.

(The Pillars – The Jeweled Crozier) Mathye ~ “Landing a Stable Job” (Lvl 56) – leads you to the Scholasticate, and demands a rare bit of simple puzzle-solving

Coerthas Western Highlands

There aren’t a huge amount of sidequests here compared to the other regions, and the pace of them unlocking is not too overwhelming. If you want to give the main story just to give a bit more flavour and context, I’d recommend doing the five already-unlocked sidequests in Falcon’s Nest (+ The Anvil) before progressing with MSQ “At the End of Our Hope” near the end of the Artoirel questline.

Falcon’s Nest

Sigan’s questline (flagged); starts with Auriaune ~ “Stolen Goods” (Lvl 50) – the first quest isn’t all that interesting, but the questline overall deals with how there used to be a village at Falcon’s Nest before the Calamity struck, and how that is being dealt with now

(Not in Falcon’s Nest) Bohemondas “Homesick” (Lvl 51) – a story about a father and son who lived at Falcon’s Nest before the Calamity, and who have rather different viewpoints on its current state. Note that the questgiver is not based in Falcon’s Nest, but in Ishgard, specifically Foundation (X:9.5, Y:10.3)

The Convictory

Saintrelmaux’s questline (flagged); starts with Dominiac ~ “The Secret to Success” (Lvl 51) – this questline does give a bit of insight into life at the Convictory, as well as into Ishgardian high society. But more than anything it’s just a nice story about someone who, in learning more about dragons to hunt them, learns more about himself

Bonifoix ~ “Remember the Fallen” (Lvl 56) – about the sole survivor of a dragon-hunting expedition; a rare illustration of the dangers faced by the Convictors

Margyt and Ayleth’s questline (flagged); starts with Margyt ~ “Unknown Ultimatum” (Lvl 56) – initially a tale of revenge, but it doesn’t go the way you’d expect; this questline also touches upon into the otherwise-unexplored internal politicking and hierarchies at the Convictory. Honestly, I’m not sure whether to recommend this questline as it seems to undermine the ending of Saintrelmaux’s questline, and some plot points are frustratingly gendered (one of the characters is a female dragon-hunter unhappy about not being given opportunities by her male boss, but the story ends with her becoming his loyal subordinate, accepting that it’s better for her to be in a supporting position)

Other

(Located at Falcon’s Nest) Ingaret ~ “Grandfather’s Belongings” (Lvl 50) – gives a little more insight into pre-Calamity Camp Riversmeet area

(Located at the Anvil) Ysaudore ~ “Dances with Wolves” (Lvl 50) – pairs well with “Protecting What’s Important”, as it gives the Ishgardian view of Camp Riversmeet. Note that the questgiver is based at the Anvil (X:26.5, Y:27.9)

(Located at the Convictory) Wealdtheow ~ “For All the Nights to Come” (Lvl 51) – apart from being a must-play due to its completion being necessary to unlock flying in the region, this quest also contains the surprisingly elaborate backstory behind the Dusk Vigil, a tale which leans into the vicious politics of Ishgard

(Located at Falcon’s Nest) Well-mannered Widow ~ “Flower Mill” (Lvl 51) – explains the story behind Gorgagne Mills

(Located at Falcon’s Nest) Troubled Elezen ~ “The Old Man and the Lake” (Lvl 56) – about a man trying to persuade his uncle to move to Falcon’s Nest, away from his house in the middle of nowhere. Best when paired with “When the Ice Melts” (see below), which gives the other’s point of view

(Located at Oakum Landing) Emont ~ “When the Ice Melts” (Lvl 56) – a little vignette about the uncle of “The Old Man and the Lake”, who continues to live out by the frozen lake even after the Calamity. Note that the questgiver is based at Oakum Landing (X:36.4, Y:9.9)

The Dravanian Forelands

There’s a huge amount of sidequests in this area that unlock quite close together (nearly fifty, double that of the Coerthas Western Highlands)! As such, I would definitely recommend doing the minimum to unlock flying (i.e. collecting all the Aether Currents) in the region and maaaybe doing the flagged quest chains before proceeding with the other sidequests. In general, I found the Loth ast Vath and Anyx Trine sidequests more interesting than those at Tailfeather, as the former give you insight into the Vath and the dragons while the latter will feel quite familiar to anyone who’s done the Botanist or Carpenter job quests, or sidequests in the Shroud. If you’re picky, I’d say that the Anyx Trine sidequests are the most worth doing – many of them are cute and give more emotional weight to Ysayle’s position.

Tailfeather

Q’yantaa’s questline (flagged); starts with Loupard ~ “I Wanna Be the Hunter” (Lvl 52) – a tale of a young Miqo'te starting out as a chocobo hunter, and her trials in finding a suitable hunting buddy. One of the weaker flagged quest chain stories IMO, but the very first quest “I Wanna be the Hunter” is worth doing for the insight into the life of a chocobo hunter

Marcechamp ~ “Some Bad News” (Lvl 52) (Aether Current) – gives a little context on how the camps in the Chocobo Forest connect together and Tailfeather’s role as the central hub in the region

(Not in Tailfeather) Guanaret ~ “Why Does the Caged Bird Sing” (Lvl 52) – insight into a chocobo hunter’s everyday life, and one of the key tenets of chocobo hunting. Note that the questgiver is not based in Tailfeather, but at one of the camps (X:39.5, Y:21.7)

Remaclon ~ “What Remaclon Saw” (Lvl 52) – gives a bit of context to the ruins in the Chocobo Forest, and the typical Ishgardian perspective on it. Gives more flavour to the main story if you do this before MSQ “Mourn in Passing”, as it contrasts with Ysayle’s explanation

Hervoix’s questline (flagged); starts with Hervoix ~ “Getting a Legtrap Up” (Lvl 57) – following on from the tale of eager young hunter Q’yantaa is that of a wannabe hunter who shirks his duties, bristling at the menial tasks that his mentor gives him. (This is also a good illustration of what residents of Tailfeather busy themselves with, outside actual chocobo-hunting.) Eventually dovetails nicely with Q’yantaa’s story

Loth ast Vath

(Not in Loth ast Vath) Nonmind Drone ~ “Awakened” (Lvl 53) – a good illustration of how the Vath differ from the earlier beast tribes, in that Vath are not simply “the one good tribe” of that species but rather those of that species who separate from a larger whole. Shows Loth ast Vath’s importance as a sanctuary for nonmind Gnath. Note that for obvious reasons the questgiver is not based in Loth ast Vath, but at the Gnath Stronghold (X:31.8, Y:38.6)

Astute Vath ~ “Advanced Vathematics” (Lvl 53) – following on from “Awakened”, this sidequest illustrates how the line between Vath and Gnath is much more blurred compared to other beast tribes

Vath Storyteller ~ “The Naming of Vath” (Lvl 50) (unlocks Vath Beast Tribe Quests) – similar to “Awakened”, this quest deals with a newly-turned Vath developing a sense of identity, but is a bit more fleshed out and elaborates a bit on the interaction between Gnath, Vath, and the chocobo hunters. Results in a visual change to Loth ast Vath, which is cool! Note that it only unlocks after getting to a certain point in the main story (MSQ Lvl 53).

The Hungerer and Cibleroit’s quests; starting with “Low-hanging Fruit” and “To Each His Own” (both Lvl 52) – a few simple sidequests which do a good job illustrating the difference between Vath and Gnath. Also, the two of them are cute <3

Anyx Trine

Kal Myhk’s questline (flagged); starting with Gullinkambi ~ “When Mother Calls” (Lvl 53) – as a story about the WoL becoming friends with a young dragon, this would already be cute enough, but it’s also a good illustration of the how human-dragon relations were in the past and how they have been soured by the Dragonsong War. Definitely recommended for those who want to add a little more emotional context to the main story, as this gives players an opportunity to really understand where Ysayle is coming from in terms of dragons and humans being able to live in harmony

Toh Y Thrah’s questline; starts with “How to Feed Your Dragon” (Lvl 53) – you help a baby dragon try out some delicacies. The first two sidequests aren’t too exciting, though they do tell you what dragons like to eat if you’re interested, but the third and last one (“A Taste of the Peculiar”) is surprisingly sweet

Ess Khas ~ “A Lesson in Humility” (Lvl 53) (Aether Current) and “Back in the Game” (Lvl 53) – a cute set of sidequests about an old dragon trying to teach his sons humility

Indomitable Wyvern ~ “Blunders in Dragonsitting” (Lvl 53) – a cute story about a dragon looking out for his younger brother (also a dragon)

Sea of Clouds

I personally didn’t find the sidequests in the Sea of Clouds all that interesting; in particular, they don’t flesh out Camp Cloudtop or the Rosehouse beyond what can be gleaned from MSQ dialogue or talking to the NPCs. The Zundu’s sidequests generally weren’t as interesting as the ones for non-human questgivers in the Dravanian Forelands, either.

The Rosehouse

Gildon’s questline (flagged); starts with Gildon ~ “Bargaining Chip” (Lvl 50) – about a man eager to motivate the decidedly unmotivated troops posted to the quiet Camp Cloudtop and Rosehouse, but whose passion is mistaken for foolishness (sometimes correctly). One of the weaker flagged questlines in Heavensward, but the humorously hostile dynamic between Gildon and Camp Cloudtop provisioner Fabrellet is one of the more fleshed out amongst the expansion’s town NPCs

(Not in Sea of Clouds) Hyur on Hard Times ~ “Looking to the Future” (Lvl 51) – somewhat unexpectedly, minor NPC Marielle has a bit of a backstory. Note that the questgiver is based in Ishgard’s Foundation (X:12.5, Y:10.9)

(Not in Sea of Clouds) House Haillenarte Knight ~ “Honoring the Past” (Lvl 56) – goes a bit into some history regarding House Haillenarte, including Laniatte of the Rosehouse’s background. Note that the questgiver is based in Ishgard’s Pillars (X:11.5, Y:10.9)

Ok’Zundu

Gunu Vanu’s questline (flagged); starts with Guna Vanu ~ “Flying the Nest” (Lvl 57) – an amusing tale of a Zundu far past the threshold of adulthood who, due to his laziness, has failed the coming-of-age trial eight times… and counting. Better to leave for when you’ve unlocked flying in the region

Sonu Vanu~ “On Wings of Vanu” (Lvl 57) – a no-combat quest which encourages flying about the area; gives context to the woven orb-like objects you may have seen hanging from some of the islands. Requires flying

(Not in Ok’Zundu) Zundu Intelligencer ~ “For Your Spies Only” (Lvl 57) – a glimpse into the Zundu’s espionage network, which is a fancy way of referring to the scout who monitor the Vundu up close. Note that the questgiver is not based at Ok’Zundu, but at (X:23.0, Y:19.8). Requires flying

Hinu Vali ~ “Returning What’s Ours” (Lvl 57) – gives some context on the tense history between the Zundu and Vundu

Aanu Vanu ~ “Winds of Ill Omen” (Lvl 57) – some lore titbits regarding Vundu totems, and the totems’ significance to the Zundu. IIRC flying is required

Churning Mists

The sidequest unlocks were paced a bit strangely here; the initial round that unlocks when you’re in the area for MSQ reasons is (relatively) manageable in number, though on the whole not that interesting. However, if you for some reason decide to return after a certain point in the MSQ, then you’ll find a ton of sidequests waiting for you… and even more, after you’ve completed that round. Many of the later sidequests are actually part of separate quest-chains, so if you plan on completing most of them, I’d definitely recommend pacing yourself and unlocking flying first.

Moghome

Mogleo’s questline (flagged); starts with Mogleo ~ “A Pebble for Your Thoughts” (Lvl 54) – a cute little tale about a young moogle who dreams of joining the Pomsguard, and his adventures in helping other moogles across the Churning Mists

Mogomo ~ “Nut Job” (Lvl 54) – gives a little insight into life at Moghome; you get to pick kupo nuts!

Pomguard questline (flagged); starts with Mogloo ~ “Protecting the Pom” (Lvl 55) – follows Mogkul, second-in-command of the Pomguard, and his attempts to protect Zenith along with his fellow moogle soldiers. Outlines the arrangement between the moogles and Hraesvelgr, but isn’t particularly interesting as a story. I’m also not keen about how the sole female member of the Pomguard is portrayed as weak and easily-frightened compared to her male peers, especially when there are so few female moogles in the first place

(Not in Moghome) Maenne’s questline (flagged); starts with Unflinching Temple Knight ~ “Into the Mists” (Lvl 56) – a very by-the-numbers look at the work of the dragoon scouting party; basically, you do the entire squad’s work for them. I’d largely skip the story if you do this quest chain (it’s necessary for unlocking the moogle dailies), but the last quest “Laying the First Brick” puts a nice cap on the moogles’ attempts to preserve the ruins in the Churning Mists. Requires flying. Note that the questgiver is posted outside House Fortemps’ manor in Ishgard (X:11.4, Y:11.0)

Twelveswood moogle questline (flagged); starts with House Fortemps Knight ~ “Moogles in the Sky” (Lvl 59) – a story about some Twelveswood moogles who want to visit Moghome. This quest chain is a must-play for anyone interested in moogle lore, as it goes into the cultural differences between the Twelveswood and Moghome residents, as well as their shared ancestral history! But be prepared to spend a lot of time flying all over the Sea of Clouds – it’s to the point where those not interested in moogles may want to give this one a miss. Requires flying. Note that the questgiver is posted outside House Fortemps’ manor in Ishgard (X:11.4, Y:11.0)

Other

(The Monsterie) Mercurial Moogle’s questline; starts with Mercurial Moogle ~ “I Won't Leaf You Behind” (Lvl 55) – a set of three quests about a moogle trying to find herbs to help his sick friend; apart from being heartwarming, it also offers some insight into moogle medicine. Requires flying IIRC. Note that the questgiver is based in the Monsterie (X:34.1, Y:16.0)

(Tharl Oom Khash) Tharl Oom Khash questline; starts with Malingering Moogle ~ “Unwanted Attention” (Lvl 55) – a set of four quests about the moogle research expedition working at the ruins of Tharl Oom Khash (note that the first quest seems very unrelated). There is a lot of flying up and down trying to find the quest objectives, which can be annoying, so I’d mainly recommend this questline to those who are particularly interested in the ruins dotting the region, or in dragon culture. Requires flying. Note that the questgiver is based near Tharl Oom Khash ((X:17.4, Y:11.2)

The Dravanian Hinterlands & Idyllshire

Most of the sidequests in this region actually originate in Idyllshire rather than out in the field, but note that like the Dravanian Hinterlands themselves, the sidequests are unlocked in two phases – first, those that mainly concern the Eastern Hinterlands, and second, those involving the Western Hinterlands. Clearing all the sidequests is not too overwhelming if you do them as they come up (i.e. finish the first set before unlocking the Answering Quarter), but it’s probably quite painful to clear all at once post-Heavensward. Personally, I found that the first set of quests were generally better at fleshing out Idyllshire, but the real stars of the show are the three flagged questlines – two linked ones from Idyllshire, and the one at Matoya’s Cave – definitely focus on these if you can’t be bothered with the rest!

Idyllshire

Slowfix’s questline (flagged); starts with Slowfix ~ “The Pick of the Bunch” (Lvl 58) – about Slowfix’s leaderly struggles in setting up the administrative systems required to run a city; a classic tale of idealism versus practicality. Only this time, the story takes a rather more corporate bent – it’s definitely recommended if you feel strongly about policies and procedures (whether that feeling is positive or negative!). The questgiver is at X:7.0, Y:6.0

Midnight Dew ~ “Community Service” (Lvl 58) – gives a sense of everyday life at and the community of Idyllshire. The questgiver is at X:5.5, Y:6.6

Loudjox ~ “A New Leaf” (Lvl 58) – touches upon what kinds of things goblins trade, including filling for their masks. The questgiver is at X:7.1, Y:7.2

Halfsix ~ “Ebb and Aetherflow” (Lvl 58) – illustrates how recycled Sharlayan technology is crucial to keep Idyllshire running. The questgiver is at X:7.5, Y:6.7

Holepix ~ “The Vangob Job” (Lvl 58) – shows how Sharlayan technology can be reverse-engineered and recycled in less than peaceful ways. The questgiver is at X:7.5, Y:6.7

Notched Bone & Dedean’s questline (flagged); starts with Midnight Dew ~ “The New Arrivals” (Lvl 58) – a thematic continuation of Slowfix’s story, this quest chain explores the ideals behind Idyllshire from a different perspective. It follows two new arrivals who – thanks to bad experiences in Ul’dah – are suspicious of everyone and everything

Other

(Matoya’s Cave) Saro Roggo’s questline (flagged); starts with Saro Roggo ~ “Saro Roggo's Common Life” (Lvl 59) – if you are going to play one quest chain in Heavensward, make it this one. About a self-doubting enchanted frog who fears for his place among Matoya’s familiars, this questline delivers a simple but affecting story, fun (if very simple) riddles to solve instead of the usual “fetch this, kill that” objectives, and gives players a little more insight into the into the excellent Matoya (whose screentime is all too brief!). Flying recommended

Azys Lla

Yes, the final dungeon area has a bunch of sidequests while you wait for the duty to pop (though that’s no longer relevant thanks to NPC support). Unfortunately, said sidequests don’t do much to flesh out the area beyond what you can already learn – or infer – from the MSQ dialogue; there’s only one which might be of interest to lore-lovers. If you’re intent on doing the sidequests regardless, I’d highly recommend progressing with the MSQ first anyway as you’ll unlock all the necessary Aether Currents for flying by doing so.

(Gamma Quadrant) Auditing Node ~ “A Crude Facsimile” (Lvl 59) – touches upon the link between Allag and Garlean technology. The questgiver is based in the Gamma Quadrant (X:29.8, Y:37.6)

[toshiirou]

to be honest, even if you ignored the racism - which we should not - the fact that botw had a plotline where a man (link) invades an explicitly womens' only space by dressing up as a woman, and is taught to do so by another "man" (every character in the game calls villia a man besides villia herself. narratively nintendo is treating her as a man) who "pretends" to be a woman up until you "catch" her out, where you see the beard and can respond with "you're a man" - that should infuriate people. the fact that villia insists on not being treated as a man but is narratively treated as a man by nintendo and other characters - and as the butt of a joke is disgusting. it should infuriate you.

and this is a plot point that's part of an essential quest. if you want to play the game as written then you MUST buy the shitty outfit, MUST sit through transphobic jokes, MUST sneak into a womens' only space and not get caught. that can't be fixed in any meaningful capacity by saying "well actually link is trans" or "actually villia is trans and people accept her" because nobody bothers to rid their stories of the key issues: link MUST cover his face and wear a (racist, sexist, bullshit) outfit in order to pass well enough to be accepted - not real acceptance - and he must sneak into the women's space instead of go in unadulterated. link has never been treated in universe as anything other than a man, no matter how many interviews Nintendo will have about making him marketable to all genders thru androgyny.

the fact remains that you can't get to the heart of the transphobia of this plot decision without acknowledging that it primarily plays into the older, deeply racist, orientalist fantasy of a (brown) womens' only space that is ripe for the picking if only a white man could connive his way inside.

and white 'progressive' fans try to slap some surface level trans inclusion onto this whole situation, while leaving the deeper issues with this narrative unaddressed. while ALSO throwing fans of colour who are hurt by the inherent racism of this plotline under the bus. i am trans, people have my deepest sympathies in their efforts for mainstream gender validation but that sympathy can only extend so far in the face of how utterly racist the gerudo outfit and gerudo town plotline is. redesign the outfit or perish. and the rest of you orientalist fucks can kindly piss off.

[chatty-moogle]

The Story You Want To See: Princess Zelda’s Narrative Arc in The Legend of Zelda: Tears of the Kingdom

Spoilers for The Legend of Zelda: Tears of the Kingdom

A piece about reviewer interpretations of Zelda's role in The Legend of Zelda: Tears of the Kingdom, as analysed by someone who has played neither BOTW or TOTK. (1,219 words)

Unlike many gamers, what I (as a bystander with no interest in any of the Zelda games besides maybe Majora’s Mask) was most curious about with regard to Tears of the Kingdom was how it would treat Princess Zelda in the wake of Breath of the Wild.

You see, although I haven’t played Breath of the Wild, I do know that quite a few people praised Zelda’s portrayal in that game. They argued that while still a princess requiring Link’s rescuing, Zelda being made the focus of the main story (as doled out through flashbacks) and having been locked up in Hyrule Castle with Calamity Ganon by her own choice gave a subversive twist to that game. As summed up by Critical Distance’s Chris Lawrence in a Twitter thread on June 17th, 2021: “…In BOTW, Link may be the playable character, but Zelda is the protagonist—the flashbacks deal principally with her character development, not Link’s. […] The entirety of BOTW […] is about Zelda’s struggle to achieve autonomy.”

I wondered: if Breath of the Wild subverted the typical hero-and-princess story and put the evil to rest, then how would Tears of the Kingdom, which comes after this destruction of the status quo, treat this newly-liberated princess, a damsel no longer in distress?

Fans said that the obvious next step was for Nintendo to give Zelda a more active role in the sequel; as a playable character or deuteragonist, perhaps, but either way, she needed to be able to enjoy the freedom won at the end of the previous game. To return to Chris Lawrence’s thread: “If Zelda is once again damselled and needs to be rescued by Link, the sequel isn’t reflecting the growth of Zelda’s character over the previous game. In other words, the sequel is failing to justify itself as a narrative continuation of the first game.”

So I skimmed through the many glowing reviews of Tears of the Kingdom, hoping to find out what had become of Zelda. At that point, I noticed something odd: reviewers seemed to have strongly conflicting interpretations of Zelda’s part in the narrative.

Many reviews were positive on the story, and some specifically cited Zelda’s role in it as a highlight. Gamereactor’s David Caballero apparently declared that “it is literally the legend of Zelda this time around” (quoted in TOTK review by Gamereactor’s Alex Hopley), and Gamespot’s Steve Watts concurs: “But more than the Sages or even Link, this story truly belongs to Zelda”. The Gamer’s Jade King expanded on this in her review, stating that “[although] Zelda isn’t playable here, […] all the discoverable memories scattered across the open world focus on her arc”, and therefore “she is still given room to shine and comes across as inquisitively capable in recruiting new allies and setting the stage for Link to vanquish evil once and for all”. Checkpoint Gaming’s Luke Mitchell likewise observes that “while [Zelda] isn’t present for your adventuring, the main questline gives you the opportunity to unlock memories, uncovering more about Zelda and her connection to Hyrule”.

But a handful of other reviewers had a very different perspective. Two specifically noted that the premise of the game involves saving Zelda: Eurogamer’s Edwin Evans-Thirlwell wrote that “Zelda […] is still fundamentally a damsel in need of rescuing”, while IGN’s Tom Marks flippantly remarked that the game is “about stopping some evil jerk (welcome back, Ganondorf) and saving Princess Zelda as usual” while pronouncing the story to be “so dang cool”. The Verge’s Ash Parrish and Press Start’s James Berich were rather more critical, stating that “Zelda, though teased as playing a more active role, has been, once again, utterly sidelined — this time in a particularly egregious way”, and “Zelda’s characterisation definitely feels like a step back from her appearance in Breath of the Wild”, respectively.

So what actually happened in the game? After looking up some spoilers on Screenrant, I’m still not too sure myself. It seems that much of the main story sees Link searching for Zelda after getting separated at the start, during the course of which the player unlocks flashbacks showing what befell the princess. These flashbacks, in turn, explain that Zelda got transported into the past, and due to various reasons ended up sacrificing herself in order to ensure that Link is able to defeat the big bad in the present day. This sacrifice involves her turning into a mindless dragon, and she is able to turn back into a human only after being healed by Link (and friends) at the end.

In short:

Zelda is absent from a large portion of the game

Zelda does have a story arc in which she demonstrates agency… by sacrificing herself to ensure that Link can play his heroic role

Without Link’s help, Zelda would be dead (and/or stuck as a dragon with no sense of self)

Hmm. I don’t know, but this sounds very much like Breath of the Wild to me.

But why the praise? Why such a gap in interpretation among the critics? The answer, I think, lies in Ed Smith’s excellent article on Resident Evil 4 Remake, “And Then There Are Things We Don't Remake”. In it, he observes that “commercial entertainment has gotten extremely good at ensuring that your beliefs, whatever they are, are somehow reflected back to you”, taking Ashley from Resident Evil 4 Remake as an example:

“If you’re a feminist, Ashley talks more, does more, is kind of semi appreciably less sexualised than before. It won’t work on everyone, but enough people will be impressed by this ostensible progress as compared to 2005 that Resident Evil 4 Remake more or less passes the look test. If you like things how they were, and you’re worried about how videogames increasingly seem politicised or driven by a liberal agenda, Ashley still doesn’t do that much, and you still get to order her around, and there’s a few decent close-ups of her and Ada.”

Put another way, female characters in modern, big-budget games are frequently written to appeal to all demographics, even conflicting ones. Progressives will latch onto the hints of nuance to the writing of a female character or her gameplay design, while anti-progressives are appeased because they see that nothing has changed in the overall scheme of things.

Tears of the Kingdom is good because all those flashbacks are focused on Zelda, and in them we see a capable, clever young woman make a very hard choice for the sake of her people. Tears of the Kingdom is bad because ultimately Zelda isn’t present for most of the game and needs to be saved by Link.

Alternatively: Tears of the Kingdom’s handling of Zelda isn’t great, but hey, did we really expect any better of Nintendo? The trouble is that the games most kaleidoscopic in their representation are likely the biggest names – and as Smith notes, “there’s only so much indignation you can have about this, because it’s obviously how it’s going to be, and always going to be—they’re always going to make games this way, the big games, because it’s an industry”.

His illustration of this defeatist mindset is spot-on, but I wish it wasn’t. It doesn’t need to be the case. Let’s keep looking to that horizon, rather than only sticking to familiar plains.

[chatty-moogle]

Spoilers for Mobius Final Fantasy – though I don’t expect anyone to be care about spoilers now since the game is no longer playable??

An addendum with an example of a similar story done right, and by a pretty large developer even (albeit in a now-defunct mobile game – the cutscenes are still available on YouTube if interested). (571 words)

At the start of Mobius Final Fantasy, the story seems simple: the hero must defeat the villain, winning the princess’ love along the way. And Princess Sarah does seem like any old video-game princess: feminine, in love with the hero, a woman who inspires and supports the hero in his fight against the big bad. (Though she doesn’t get damselled, so that’s already better than some.) But while progressing through the game, the player discovers that things are not as simple as they seem. The player knows early on that the main character is just one of many vying for the title of hero, but this idea of banality is underscored by a later reveal that the world of Mobius is trapped in a cycle of heroism and villainy: each time, a chosen hero emerges to defeat the villain and bring peace, only for the world to reset immediately afterwards and the cycle to start anew with a new starring protagonist. As the heroic journey is deconstructed, so is Sarah’s part in it. The player finds out that her apparent love for the hero is performed; Sarah was merely playing out the role of “princess” set for her by the narrative. An earlier scene of her gifting the hero her handkerchief, which evokes images of chivalric romance, turns out to be entirely “scripted” – historically, she does that with each hero who manages to survive until that point. Near the end, Sarah breaks from the script for the first time to join the fight, and together with the hero is able to vanquish the evil and put an end to the cycle at the end of the first season. To quickly sum up, this somewhat analogous to Zelda at the end of Breath of the Wild, when Ganon is defeated and she presumably becomes able to live under her own autonomy, free from the shackles of destiny.

Where Mobius differs in a significant way is in the second season, which is basically equivalent to a sequel game. In it, Sarah is an independent character in and of herself: though she lives together with the protagonist at the beginning, she regularly sneaks out for combat training without his knowledge, and when certain events happen she decides to set out on a journey of her own. The protagonist tags along, but crucially she is the one who drives the journey forward; and later even he is left by the wayside when she becomes the leader of a motley group. By the end, even after all the main characters’ issues have been resolved, there is no re-establishment of a status quo wherein the protagonist returns to being the hero and Sarah the supportive heroine. Instead, the game proposes a new narrative in which the other characters are no less important than the protagonist, and Sarah and the protagonist become sworn brother and sister instead of forming a romantic relation.

To summarise: if the first installment leans on tropes for the apparent purpose of subverting them, returning to those tropes unironically in the second installment would seem to undermine not only the sequel, but the original as well. Conversely, Mobius Final Fantasy demonstrates that if the second installment is bold enough to imagine a tale which goes beyond those tropes instead of retreading them, not only will it avoid raising doubts about the sequel’s narrative justification, the story and characters will be stronger for it, too.

[chatty-moogle]

The Story You Want To See: Princess Zelda’s Narrative Arc in The Legend of Zelda: Tears of the Kingdom

Spoilers for The Legend of Zelda: Tears of the Kingdom

A piece about reviewer interpretations of Zelda's role in The Legend of Zelda: Tears of the Kingdom, as analysed by someone who has played neither BOTW or TOTK. (1,219 words)

Unlike many gamers, what I (as a bystander with no interest in any of the Zelda games besides maybe Majora’s Mask) was most curious about with regard to Tears of the Kingdom was how it would treat Princess Zelda in the wake of Breath of the Wild.

You see, although I haven’t played Breath of the Wild, I do know that quite a few people praised Zelda’s portrayal in that game. They argued that while still a princess requiring Link’s rescuing, Zelda being made the focus of the main story (as doled out through flashbacks) and having been locked up in Hyrule Castle with Calamity Ganon by her own choice gave a subversive twist to that game. As summed up by Critical Distance’s Chris Lawrence in a Twitter thread on June 17th, 2021: “…In BOTW, Link may be the playable character, but Zelda is the protagonist—the flashbacks deal principally with her character development, not Link’s. […] The entirety of BOTW […] is about Zelda’s struggle to achieve autonomy.”

I wondered: if Breath of the Wild subverted the typical hero-and-princess story and put the evil to rest, then how would Tears of the Kingdom, which comes after this destruction of the status quo, treat this newly-liberated princess, a damsel no longer in distress?

Fans said that the obvious next step was for Nintendo to give Zelda a more active role in the sequel; as a playable character or deuteragonist, perhaps, but either way, she needed to be able to enjoy the freedom won at the end of the previous game. To return to Chris Lawrence’s thread: “If Zelda is once again damselled and needs to be rescued by Link, the sequel isn’t reflecting the growth of Zelda’s character over the previous game. In other words, the sequel is failing to justify itself as a narrative continuation of the first game.”

So I skimmed through the many glowing reviews of Tears of the Kingdom, hoping to find out what had become of Zelda. At that point, I noticed something odd: reviewers seemed to have strongly conflicting interpretations of Zelda’s part in the narrative.

Many reviews were positive on the story, and some specifically cited Zelda’s role in it as a highlight. Gamereactor’s David Caballero apparently declared that “it is literally the legend of Zelda this time around” (quoted in TOTK review by Gamereactor’s Alex Hopley), and Gamespot’s Steve Watts concurs: “But more than the Sages or even Link, this story truly belongs to Zelda”. The Gamer’s Jade King expanded on this in her review, stating that “[although] Zelda isn’t playable here, […] all the discoverable memories scattered across the open world focus on her arc”, and therefore “she is still given room to shine and comes across as inquisitively capable in recruiting new allies and setting the stage for Link to vanquish evil once and for all”. Checkpoint Gaming’s Luke Mitchell likewise observes that “while [Zelda] isn’t present for your adventuring, the main questline gives you the opportunity to unlock memories, uncovering more about Zelda and her connection to Hyrule”.

But a handful of other reviewers had a very different perspective. Two specifically noted that the premise of the game involves saving Zelda: Eurogamer’s Edwin Evans-Thirlwell wrote that “Zelda […] is still fundamentally a damsel in need of rescuing”, while IGN’s Tom Marks flippantly remarked that the game is “about stopping some evil jerk (welcome back, Ganondorf) and saving Princess Zelda as usual” while pronouncing the story to be “so dang cool”. The Verge’s Ash Parrish and Press Start’s James Berich were rather more critical, stating that “Zelda, though teased as playing a more active role, has been, once again, utterly sidelined — this time in a particularly egregious way”, and “Zelda’s characterisation definitely feels like a step back from her appearance in Breath of the Wild”, respectively.

So what actually happened in the game? After looking up some spoilers on Screenrant, I’m still not too sure myself. It seems that much of the main story sees Link searching for Zelda after getting separated at the start, during the course of which the player unlocks flashbacks showing what befell the princess. These flashbacks, in turn, explain that Zelda got transported into the past, and due to various reasons ended up sacrificing herself in order to ensure that Link is able to defeat the big bad in the present day. This sacrifice involves her turning into a mindless dragon, and she is able to turn back into a human only after being healed by Link (and friends) at the end.

In short:

Zelda is absent from a large portion of the game

Zelda does have a story arc in which she demonstrates agency… by sacrificing herself to ensure that Link can play his heroic role

Without Link’s help, Zelda would be dead (and/or stuck as a dragon with no sense of self)

Hmm. I don’t know, but this sounds very much like Breath of the Wild to me.

But why the praise? Why such a gap in interpretation among the critics? The answer, I think, lies in Ed Smith’s excellent article on Resident Evil 4 Remake, “And Then There Are Things We Don't Remake”. In it, he observes that “commercial entertainment has gotten extremely good at ensuring that your beliefs, whatever they are, are somehow reflected back to you”, taking Ashley from Resident Evil 4 Remake as an example:

“If you’re a feminist, Ashley talks more, does more, is kind of semi appreciably less sexualised than before. It won’t work on everyone, but enough people will be impressed by this ostensible progress as compared to 2005 that Resident Evil 4 Remake more or less passes the look test. If you like things how they were, and you’re worried about how videogames increasingly seem politicised or driven by a liberal agenda, Ashley still doesn’t do that much, and you still get to order her around, and there’s a few decent close-ups of her and Ada.”

Put another way, female characters in modern, big-budget games are frequently written to appeal to all demographics, even conflicting ones. Progressives will latch onto the hints of nuance to the writing of a female character or her gameplay design, while anti-progressives are appeased because they see that nothing has changed in the overall scheme of things.

Tears of the Kingdom is good because all those flashbacks are focused on Zelda, and in them we see a capable, clever young woman make a very hard choice for the sake of her people. Tears of the Kingdom is bad because ultimately Zelda isn’t present for most of the game and needs to be saved by Link.

Alternatively: Tears of the Kingdom’s handling of Zelda isn’t great, but hey, did we really expect any better of Nintendo? The trouble is that the games most kaleidoscopic in their representation are likely the biggest names – and as Smith notes, “there’s only so much indignation you can have about this, because it’s obviously how it’s going to be, and always going to be—they’re always going to make games this way, the big games, because it’s an industry”.

His illustration of this defeatist mindset is spot-on, but I wish it wasn’t. It doesn’t need to be the case. Let’s keep looking to that horizon, rather than only sticking to familiar plains.