Highlight Reel is Kotaku’s regular roundup of great plays, stunts, records and other great moments from around the gaming world. If you record an amazing feat while playing a game (here’s how to record a clip), send it to us with a message confirming that the clip is yours at [email protected]Or, if you see a great clip around that isn’t yours, encourage that person to send it in!
In case you missed it, here’s an archive of our stream of The Legend of Zelda: Link’s Awakening.In it, Jason Schreier and I try to beat the first dungeon of the game in the 15 minutes allotted to us. For more, check out our full review of the game here.
The best feeling you can possibly feel while playing a video game is the act of swinging a sword in Zelda. I came to this conclusion recently, while playing the new remake of Link’s Awakening and trying to pinpoint exactly what it is that makes me love Zelda games so much. The answer, I think, is the way Link swings his sword.
Is there anything more delightful, more palpably satisfying? The developers at Nintendo have always understood that a video game is only as good as its verbs—its actions—and they’ve always endeavored to make those actions induce as much joy as possible. Over the course of this playthrough of Link’s Awakening, I swung that sword thousands of times, and it never failed to bring me a jolt of happiness as it connected. Look at the way the blade cuts through the air, leaving an arc that almost looks like lightning. Watch how that poor Moblin staggers and flashes a satisfying shade of red. You can’t hear it in a gif, but it sounds delicious, too—an empty whiff when you miss, but a satisfying crunch when you hit. If you told me I could only perform one video game action for the rest of my life, Link’s sword swinging would at least be in the top three. Link’s jumping—not common in Zelda games, but brilliant in Link’s Awakening—might be up there, too.
You know what? Everything you can do in this game feels pretty damn good.
This remake of The Legend of Zelda: Link’s Awakening, out for Switch on Friday, is a near 1:1 recreation of the 1993 Game Boy game. At the time of its original release, Link’s Awakening was just the fourth game in the Zelda series, a line of games in which you, as a floppy-capped, pointy-eared boy named Link, solve puzzles, fight monsters, and save princesses. Link’s Awakening was a strange game but a wonderful one, and people still rank it among the best entries in a series full of excellent games. Its music, dungeon design, and light but melancholy story have always made it stand out.
Many people coming to this remake will know of it already and want to know how it’s different. Its structure has not changed, but its aesthetics and the conveniences it affords players have.
For the remake, the developers at Grezzo and Nintendo have re-designed every screen in the world, replacing the old sprites with beautiful painted 3D tableaus that make it feel like you’re looking down on a toy set. The old MIDI soundtrack has transformed into a flowing orchestra, full of woodwinds and choruses. The characters and puzzles remain untouched, but they look very different.
There are a few other key differences between the original and this remake. First and foremost, you no longer have to waste time juggling items. Every Zelda game gives you a stable of go-to gadgets for fighting monsters and solving puzzles, so it’s helpful when you can access as many as possible at once. The Game Boy version of Link’s Awakening was limited by the system’s two action buttons, A and B, and you had to go into the menu and assign an item to one of those buttons every time you wanted to use it. This included the sword, shield, and even the Power Bracelet, an item that let you pick up rocks, bottles, and other heavy objects. If you wanted to, say, lift a rock and throw it at an enemy, you’d need to open your inventory, select the Power Bracelet, swap it in with one of your equipped items, and then press that button next to the rock. It wasn’t hard to get used to this system, but it was tedious.
Fortunately, the Switch has a lot more buttons than the Game Boy, and the designers of the Link’s Awakening remake have taken advantage. Your sword and shield now have dedicated buttons, as do the Pegasus Boots, an item you’ll get early in the game that lets Link dash at super-speed. You no longer have to equip the Power Bracelet to pick up rocks. You just have to own it. These changes might sound minor, but they make a huge difference, and this version of Link’s Awakening feels like it belongs in 2019.
The other big difference is the addition of a side feature—Chamber Dungeons—which is boring and tedious. It’s an optional mode in which you can take rooms from dungeons you’ve already beaten and rearrange them using layouts provided by the Zelda stalwart Dampé the gravedigger. Unless you enjoy playing through the same rooms over and over again, it’s just a big waste of time. (Read more about Chamber Dungeons here.)
There are a handful of smaller tweaks, too. You can save and then re-load the game from anywhere. You can catch fairies in bottles. The fast travel warp points are more frequent and easier to use. Unlike the Game Boy version, Link’s Awakening on Switch has a few notable framerate issues. While walking around the overworld—which, rather than a grid of single-screen rooms, is now a continuous map—I ran into some choppiness. (I played the game entirely in handheld mode.)
What hasn’t changed is everything that made Link’s Awakening work so well in 1993, all of which holds up today: the locations, the puzzles, and most importantly, the moment-to-moment satisfaction of smacking slimes in the face with a boomerang.
Some quick history. Back in 1987, The Legend of Zelda blew people away with its promise of what an open-world video game could look like. It encouraged exploration and instilled a feeling of adventure unlike anything we’d seen on the NES before, but it was very shallow, like a blueprint for what Zelda could look like in the future. Its sequel, the black sheep Zelda II: Adventure of Link, experimented with sidescrolling action to mixed results. It wasn’t until 1991 that the Zelda formula first emerged with The Legend of Zelda: A Link to the Past, the game that established conventions that would be used for many years to come.
Like the original Zelda, Link to the Past dropped you into an open world with little but your wits and the sword in your hand, but unlike the first game’s flat layouts and simple topography, Link to the Past was dense. Different areas of the world had different themes, almost personalities, like the swampy Misery Mire and the chilly Kakariko Village. Rather than ask you to walk through a series of indistinguishable flat maps as the NES game did, Link to the Past was full of elaborate mazes and tangled designs. The world bulged with secrets, and around every corner you’d find a hidden chest or cracked wall to blow up. Your options would be limited to a few areas at first, and over time, as you acquired more items—the Power Gloves, the flippers, the hookshot—you’d be able to access more and more of the world. Backtracking to old areas would reward you with cool stuff, like item upgrades and pieces of heart.
Link’s Awakening started off as an experiment to remake the Link to the Past on the Game Boy, according to an interview with the game’s original developers. Soon it had evolved into something much weirder. Taking influences from sources ranging from Mario to Twin Peaks, the developers filled their world with quirky characters and a variety of locations: magically enhanced forests, cactus-infested deserts, mazes full of bushes and deadly holes.
The game starts off at some indeterminate point in Link’s life. Our hero is sailing through a nasty storm when suddenly everything goes dark. He winds up on a beach, where he’s rescued and taken to safety by a girl named Marin who has a beautiful voice and a magnetic appeal to cute animals, like a chibi Disney princess. Turns out that Link is on a mysterious island called Koholint that’s full of strange people, talking animals, and a whole lot of references to Nintendo’s Super Mario series. A talking owl sends Link on a mission to go wake up the Wind Fish, a godlike creature who lives in a giant egg in the center of the island. Soon he’s off on a journey to go find eight instruments in eight dungeons across the world.
Like Link to the Past’s Hyrule, the world of Link’s Awakening is dense and full of mysteries. It starts off feeling constrained, limiting you to a handful of areas thanks to obstacles like heavy rocks and bottomless pits. The more you play, the more you’ll break down those barriers. By the time you’ve hit your stride and explored enough of the map to see how it all fits together, you may appreciate its intricacy, as if you’ve just cracked open a mechanical watch and learned what makes it tick. In the Game Boy version, the world map was broken up into 256 screens, most of which had their own gimmicks or secrets. The Switch version links them together in one large world map. Both styles are appealing, but the latter is easier to get around, and it’s a delight to see how it all weaves together.
Link’s Awakening’s eight dungeons each follow a traditional pattern, blending puzzles with navigational challenges and obstacles that you’ll need that dungeon’s item to overcome. One puzzle might task you with killing three enemies in the right order; another might involve maneuvering a floating block until it fills every gap in the floor. None of these challenges or puzzles are particularly complicated. Usually they’re just subversive enough to stymie the first solution you think of, but the second will work. Still, completing them is usually satisfying, and the themes grow more interesting as you go. The seventh, Eagle’s Tower, has one of the more memorable gimmicks of any Zelda dungeon to date. The optional ninth Color Dungeon, added for the Game Boy Color version of the game in 1998 and retained for this Switch remake, is actually the weakest of them all, which may come as a disappointment to anyone who played the original and was hoping for something brand new.
And there is nothing brand new to the main adventure here. Link’s Awakening is a beautiful recreation of a legendary game, but it doesn’t have much to offer to players who already know the ins and outs of Koholint Island. For newcomers, or people who played Link’s Awakening two decades ago and can’t remember exactly how to finish the trading quest or track down that damn singing frog, this is a worthy remake and a must-play Zelda game.
You may recall that two years ago, Nintendo released The Legend of Zelda: Breath of the Wild, an all-time great that revitalized the iconic series. The company’s latest Zelda game is so radically different that they basically feel like different genres, but when taken together, they help explain what makes The Legend of Zelda so special. On one end of the spectrum, there’s the vastness of a polished, beautiful open world full of strange places to explore; on the other, there’s the density of an island packed with secrets. If the two games have one thing in common, and offer one reason to keep playing Zelda all these years later, it’s this: They both make it feel pretty damn incredible to swing a sword.
The appeal of a Zelda dungeon is in its intricacy. A good dungeon starts off feeling overwhelming, full of buttons and doors and strange obstacles. As you make progress, solving puzzles and acquiring items, it all slowly begins to make sense. You get a complete understanding of how the passages flow and the rooms all weave together, as if you’ve just solved a tough math problem or learned the secret behind a magician’s trick.
The upcoming remake of Zelda: Link’s Awakening, which launches for Switch on September 20, includes a new optional feature called Chamber Dungeons that lets you design your own versions of Zelda dungeons. In theory, this should let you recreate the elegance of Nintendo’s design, like Mario Maker does for its platformers. In reality, however, these Chamber Dungeons are boring and tedious, a big glaring wart on an otherwise fantastic game.
Here’s how they work. After you’ve played Link’s Awakening for a few hours, you’ll run into Dampé the Gravedigger, a recurring Zelda character who in this game is obsessed with watching Link complete dungeons. Every time you beat one of the game’s nine standard dungeons, Dampé will unlock all of that dungeon’s rooms for his Chamber Dungeon creator. He’ll give you challenges to arrange those rooms into your own unique dungeons, each following a specific set of guidelines or restrictions.
The rules are fairly straightforward. Every dungeon needs an entrance room and a boss room. It needs an even number of stairways. The number of locked doors needs to be equal to or fewer than the number of chests. You can’t choose what’s in these chests, only whether or not you’re placing a room with a chest in it. The final chest you open when you’re adventuring in a dungeon will always be the boss key. The other chests will either contain keys (if there are locked doors) or rupees (if there aren’t). All of the rooms need to be accessible in some way, and almost all of them are based on dungeon rooms that you’ve beaten before. Some of Dampé’s challenges will give you character limitations, like “three hearts only” or “you can’t use a sword,” while others will offer design restrictions, like this early one:
A successful implementation of this challenge might look like this:
When you’re finished arranging a dungeon, you’ll have to go in and beat it, and that’s where the Chamber Dungeon mode becomes truly tedious. Because the bulk of rooms you can place are from dungeons you’ve already finished elsewhere in Link’s Awakening, completing a Chamber Dungeon means doing the same things you’ve already done, just in a different order. Having to defeat all of the hidden slimes to get a key or defeat a tough boxing mini-boss to move forward is far less fun when you’ve already done it. When you know exactly what’s coming next, it’s actively frustrating.
The nature of this mode means that each room has to be completely self-contained—after all, you can play them in any order—which makes them feel even more monotonous. There are no grand, interweaving puzzles or design tricks here. You’re just running from room to room, doing things you’ve already done before, all culminating in a boss fight you’ve already beaten. After a couple of challenges, I found myself starting to design each dungeon based not on what might feel smart or elegant but based on what would let me finish as fast as possible. They’re all so boring and easy that Dampé’s one-liner at the end of each completion makes for a terrible punchline.
This feels like a rudimentary, stripped-down version of what a Zelda Maker could look like, and the results are really bad. Fortunately, Chamber Dungeons are the only major flaw in this Link’s Awakening remake, which is a beautiful recreation of the Game Boy classic. We’ll have a full review next week.
I thought the original The Legend of Zelda: Link’s Awakening looked great on my Game Boy when I was a kid, but they Game Boy had nothing on the graphical capabilities of the Nintendo Switch. In this side-by-side comparison video showing the Switch and the Game Boy Color versions, you can observe the gorgeous details in the upcoming Link’s Awakening remake. Houses in the starting area are stuffed with tiny details, like flowers, clay teapots and framed photos of the characters who live in them. Plain brown tables now have wood grain, and dungeon floors are outfitted with subtle stone detailing. The leaves on the trees in the Mysterious Forest reflect the sunlight, and the water in small pools ripples to suggest depth. All in all, Link’s Awakening looks damn good on Switch.
Breath of the Wild is getting a sequel because the team had too many ideas for downloadable content, Zelda series producer Eiji Aonuma told me last week in Los Angeles. We also talked about how the Link’s Awakening remake came about, why Zelda games haven’t offered button remapping, and work conditions at Nintendo.
Aonuma spoke through an English-Japanese translator in a private area above Nintendo’s E3 booth. He wouldn’t answer most of my questions about Breath of the Wild’s sequel—I suppose they’ve gotta save some material for next E3—but he did share some other interesting nuggets about the series. (One tidbit that didn’t make the cut: Aonuma’s team is working on BOTW2 while Grezzo, the developer behind the Ocarina of Time and Majora’s Mask remakes, is heading up Link’s Awakening.)
Below is a large chunk of our interview, edited for brevity and clarity.
Why Nintendo decided to remake Link’s Awakening
Eiji Aonuma: The original game was released 26 years ago on the Game Boy. Getting that Game Boy version is a little hard to do these days. So I’ve wanted to remake this game for a while.
When I create a remake or reimagination, I don’t want to just make it completely the same; I always want to incorporate new elements. For even people who have played the original, I want it to be a fresh experience. So I was looking for that opportunity.
There was also a discussion separately of an idea of incorporating something where users can arrange something on their own in the game. In Zelda, I was thinking what that could be. We landed on the idea of dungeons. When we were thinking about arranging dungeons, creating a puzzle on your own is always a little bit hard, so we thought, “What’s an easy way to have players be able to arrange things?” We thought maybe room arrangement or a map arrangement would be an easy way, and it’d feel like solving a puzzle. That’s how we landed on the [dungeon editor] Chamber Dungeons.
Once we landed on the idea of arranging dungeons, we were thinking, in Link’s Awakening, pretty much every room is about the same size, so we thought this would be a perfect fit for incorporating the Chamber Dungeons, and that’s how this reimagination came about.
Jason Schreier: When you guys are planning out Zelda games, what makes you decide to go with a remake as opposed to a sequel like Link Between Worlds?
Aonuma: Everything’s case by case; each title’s a little bit different. There could be times where we start with the idea of “let’s make a remake,” and then add new elements. Or if we’re creating a sequel, sometimes it could be that there’s something that would be fitting for a sequel versus a remake or something else. Again, it’s case by case.
Schreier: Developers tend to be creative people who want to be doing new things—is it challenging to do a 1:1 recreation without having the urge to tweak and change things?
Aonuma: I guess in some ways yeah, we are a little bit restricted on going wild and free with new ideas. But at the same time we have the creative opportunity to think about how to maintain the original essence. We would have to think about things we would change or improve on or polish to make a remake. In that way, I think it’s a very creative process.
For this game specifically, we thought about the original game and people who have already played it, but we also wanted to make it accessible for new players. So we incorporated both perspectives, and that’s how we tweaked the game this time around, with both ideas and the feedback.
Schreier: What made you guys decide not to add any new dungeons?
Aonuma: Obviously we have improved the original version, and we wanted to do that. But also we wanted to keep that memory of originally playing the game—the essence of what made that game what it is, and by recalling your memory for the past when you have beaten it, if you have beaten it, I think that makes it even more impressionable if you play it again.
Schreier: If this Chamber Dungeon mode is successful, will you make Zelda Maker?
Aonuma: I can’t predict the future, but if people do love this idea of arranging dungeons, I’ll keep that in mind going forward.
On the lack of button remapping in Breath of the Wild
Aonuma: When we have a button arrangement, we very much put thought into how we do it, because there’s a specific way we want players to feel. In some ways, if we freely let players do customizations on key assignments and such, I feel like we’re letting go of our responsibility as a developer by just kind of handing everything over to the users. We have something in mind for everybody when we play the game, so that’s what we hope players experience and enjoy as well. But we understand also that players have a desire for free customization.
Schreier: Also, physically disabled players might not be able to play the way developers intended.
Aonuma Definitely, that’s a very good point, and that’s something we’ll keep in mind going forward, thinking about that.
Schreier: I mean from a big-picture perspective, similar to the idea of reconstructing puzzles in a Zelda game—that’s a good challenge. What’s the next big challenge for you?
Aonuma: One thing we learned from Breath of the Wild is that when we focused on creating a dungeon that has multiple solutions, it turned into this great title. That’s one thing I want to polish up and use for inspiration going forward.
Schreier: I thought Breath of the Wild was a masterpiece—a lot of people did. But is there anything you wish you could’ve done better?
Aonuma: I can’t really speak to that too specifically—I might use the ideas I have for a next Zelda, or whatever series I might be working on in the future.
On work conditions at Nintendo
Schreier: There’s been a lot of conversation here in America about overtime hours, the hours it takes to get games like this out the door. What’s your team’s stance on overtime?
Aonuma: When creating a game, game development is all about the people. So if one of them or any of them aren’t well, that definitely affects the game and overall quality, and that’s just not good. We always try to think flexibly about delivery dates, and in the past I’ve apologized for delays. That’s because staff comes first, and I always want to think about it when creating a game.
Schreier: Did you work long periods of overtime for games like Breath of the Wild?
Aonuma: Overall as a Nintendo work culture, we focus on flexibility. And so even the staff have that flexibility of when to focus, and use their energy on something, or they have a little bit of leeway in their work schedule, don’t have to exert themselves so much. They can maintain that balance themselves. Especially for Breath of the Wild, it was the same, and we focused on the staff. We didn’t have anybody be exerted or anything like that, and I think we were able to achieve our goal.
Schreier: I’m curious to hear about your day-to-day life, since it seems like you’re supervising a lot of projects—how do you spend your days? Are you playing a lot of builds?
Aonuma: Every day’s a little bit different. Just to explain maybe an average day: In the morning I’ll check my mail, take care of that. In the afternoon, it depends on what’s needed—sometimes one of the teammates will ask for advice or I’ll play through something just to make sure it’s fun. And then before I go home I’ll check my email. Lately I’ve been able to go home pretty early, so it’s been good.
On the Breath of the Wild sequel
Schreier: What made you and the team decide to make a sequel to Breath of the Wild as opposed to a new Zelda game?
Aonuma: When we released the DLC for Breath of the Wild, we realized that this is a great way to add more elements to the same world. But when it comes down to technical things, DLC is pretty much data—you’re adding data to a preexisting title. And so when we wanted to add bigger changes, DLC is not enough, and that’s why we thought maybe a sequel would be a good fit.
Schreier: Was this sequel originally planned as DLC?
Aonuma: Initially we were thinking of just DLC ideas, but then we had a lot of ideas and we said, “This is too many ideas, let’s just make one new game and start from scratch.”
E3 2019It’s time for the biggest gaming show of the year. We’ve got articles, videos, podcasts and maybe even a GIF or two.
Tim Rogers is at E3 checking out all the cool stuff Nintendo has on offer this year. Check out the video above for a look at Pokémon Sword and Shield, the new Mario and Sonic at the Olympic Games, a celebrity interview with Luigi, and more. Tim also faces down his eerie nemesis Gooigi.
E3 2019It’s time for the biggest gaming show of the year. We’ve got articles, videos, podcasts and maybe even a GIF or two.
The Switch remake of 1993’s The Legend of Zelda: Link’s Awakening is here at E3, and we’ve capped as much footage of it as we can to show you. It’s beautiful, largely faithful to the source material and just a bit stumbly on the framerate, which they can hopefully smooth out by the game’s September 20 launch.
Kotaku producer Paul Tamayo was at the controls here, experiencing the game for the first time since age five, when he had to settle for watching his brother play it on the Game Boy. Today, he was playing and I watched him. I guess I’m your little brother now, Paul!
The game has some tweaks from the original, according to a Nintendo rep who helped guide us through it. He mentioned that enemies that used to move in straight lines will now move more freely in eight directions. The map now lets you put pins in areas of interest.
We were not able to try out the game’s newest feature, which was described in Nintendo’s E3 press release as follows:
Players can also earn Chambers (Dungeon Rooms) and arrange them to complete objectives in the new Chamber Dungeon.
We’ll have more on Link’s Awakening in the days ahead.
The long-awaited first Nintendo Direct of 2019 hit today, and as expected, it was packed full of news sure to please Switch owners looking for more Fire Emblem, Mario, and even Zelda. Here’s everything we learned.
Super Mario Maker 2 is coming to Switch—with slopes!—in June 2019.
Freaking finally. We can now create our own Mario courses on the Switch, and Mario can finally slide on his denim-covered ass down diagonal slopes. Nintendo didn’t show off any especially wild new features for the Switch version of this Wii U game, but we did see Cat Mario, too. “Many new elements” were promised.
The Legend of Zelda: Link’s Awakening is getting remade for Switch.
An adorable-looking, 3D, top-down remake of the 1993 black and white Game Boy game is heading to Switch this year. We didn’t get many details about it, but the trailer confirmed that you can still stomp on old-school style Goombas in the side-scrolling bits. There was also a gorgeous 2D animated intro.
Fire Emblem: Three Houses is slightly delayed, to July 26.
Nintendo detailed a lot of the game’s lore, including what the deal is with the titular Houses. Looks like the characters are all students, and they level up and grow through a combination of fighting and book-learnin’ at school. There will be a special edition, of course.
Astral Chain, a new game from Platinum Games, will be out on August 30.
It’s an action game in which you play future cops and fight giant monsters. Seems like it’ll have co-op. Masakazu Katsura, the manga artist known for Video Girl Ai, is on character designs, and Platinum’s Hideki Kamiya and Takahisa Taura are on the development staff.
The BoxBoy series is coming to Switch, with 2-player co-op.
Time to get really mad at your friend as you play through 270 different stages in BoxBoy! + BoxGirl!on April 26. There will also be stages in which you play as Qudy, who is twice the height of BoxBoy.
Dragon Quest XI will hit Switch this fall.
The Switch version of Square Enix’s latest RPG will be titled Dragon Quest XI S: Echoes Of An Elusive Age: Definitive Edition, include both English and Japanese audio, and will also have new storylines for various characters. It’ll even feature the 16-bit style graphical mode from the 3DS version that didn’t leave Japan. Nintendo promised more new information on the Switch version in the future.
Lots of stuff is dropping to the eShop today.
First, there’s Tetris 99. It’s an exclusive for Switch Online. If you’re a member you can play this battle-royale Tetris game, in which 99 players start but only one remains, for free starting today.
Captain Toad: Treasure Tracker for Switch will get a free update today that adds 2-player co-op to each of the game’s courses. There will also be 18 new challenges and five new courses via paid DLC, starting today. You can order the package, called “Special Episode,” now and get the first course, with the rest delivered on March 14. A digital bundle will hit eShop today containing the whole game and DLC access.
Daemon X Machina, the mecha combat game shown at E3, will get a “prototype missions” demo today, with the full game coming this summer. The game is still in development, so developers are looking for feedback. Play the demo and you might get a survey looking for your thoughts.
Yoshi’s Crafted World, coming March 29, will have a demo today. It will include adorable “costumes” that are just Yoshi wearing a cardboard box.
Final Fantasy IXwill also come to the eShop today, with Final Fantasy VIIclose behind on March 26. No word on the other Final Fantasies that are being ported to Switch.
Other new game or content announcements, including…
Disney Tsum Tsum Festival is coming from Bandai Namco. Many different four-player mini-games, playable locally and online. You can also play what looks like a straight-up port of the mobile version of the game.
Oninaki is the new action RPG from the developers of I Am Setsuna and Lost Sphear. The character must jump back and forth between “the living world and beyond” to find “lost souls” to rescue, who give you new powers. It’s coming this summer.
Rune Factory 4 Special has been remastered for the Switch, coming later this year. Rune Factory 5 is also in development.
Starlink: Battle For Atlas is getting more Star Fox-related content in its Spring update. You’ll be able to play as Falco, Peppy, and Slippy and take on the members of Star Wolf in the new battles in April.
Super Smash Bros. Ultimate will get a Version 3.0 update this spring. No details on what it’ll include. The DLC character Joker from Persona is coming in April.
And a whole bunch of other release dates and announcements for Switch, including:
Marvel Ultimate Alliance 3: The Black Order (Summer), Bloodstained: Ritual Of The Night (Summer), Dragon Quest Builders 2 (July 12), Dead By Daylight (Fall), Deltarune (February 28), GRID Autosport (Summer), Hellblade: Senua’s Sacrifice (Spring), Mortal Kombat 11 (April 23), Unravel two (March 22), Assassin’s Creed III Remastered (May 21), and Chocobo’s Mystery Dungeon Every Buddy (March 20).
Oh, and the developers of Bayonetta 3 are reportedly “hard at work.” Glad to hear it.
The Game Boy classic Zelda: Link’s Awakening is getting a full remake in the style of Link Between Worlds. It’ll be out for Switch this year. This is VERY GOOD NEWS, as Link’s Awakening is one of the best Zelda games that’s ever been made.
Link’s Awakening, which came out in 1993, tells the story of Link getting stranded on Koholint Island, a bizarre place full of weird characters, strange monsters, and Goombas for some reason. This remake looks wild and tremendous and I will play the hell out of it.