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Hi. My name's Mark and this is Boss Keys.
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I'm researching the dungeon design in the
Legend of Zelda franchise, to see how Nintendo
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creates these imaginative spaces.
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This time, I'm playing the GameCube and Wii
game Twilight Princess - though, I used the
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HD remaster on Wii U for this video.
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To me, the real strength of The Legend of
Zelda: Twilight Princess is giving each dungeon
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a unique personality and providing iconic
moments that stick in your brain.
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Moments like waking on the ceiling, skateboarding
around a temple, and basically just being
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Spider-Man.
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These enjoyable moments maybe hide the fact
that these dungeons have moved far away from
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the intricate level design of classic Zelda.
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Or the fact that almost all of the dungeons
in this game are eerily similar in their design.
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Let me show you what I mean, starting with
the Forest Temple.
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Here, you work your way into this nice central
room, and find three directions that you can
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take. Left and up happen to be dead ends so
you go right, and explore the east wing of
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the dungeon to save a monkey. Then you come
back to the central room and can now access
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the west wing of the dungeon to save more
monkeys. You come back to the central room
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again, and now have enough monkeys to go up.
Okay?
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Now, look at City in the Sky. It's the same.
And so is Arbiter's Grounds. And Lakebed Temple
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is almost identical but here, the boss door
is in the central room itself. Snowpeak Ruins
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and Palace of Twilight have slightly different
directions, but this knotted structure where
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you come to the central room three times is
the same.
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And, so, what does this mean? Well, I'm not
saying that Nintendo was lazy or that this
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makes Twilight Princess crap. I mean, I never
realised the full extent of their similarities
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until I started mapping the dungeons out for
this series so it didn't immediately impact
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my enjoyment back in 2006.
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But it does, perhaps, explain why the dungeons
all feel a bit unremarkable, and why we remember
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them for their atmosphere, boss fights, and
crazy moments, instead of the actual intricacies
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of their level design.
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It also makes the game feel a bit flat, with
no real progression in the complexity of the
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game's dungeons. Though, there are a few anomalies:
the second dungeon, Goron Mines, is a lot
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more linear. And the final dungeon offers
a bit more choice. And then there's the Temple
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of Time which - well, I'll come back to that.
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Now, this repeated structure - on its own
merits - is actually pretty good. I mean,
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they replicated it six times for a reason.
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For one, it splits the dungeon into small
chunks that can be accomplished in isolation.
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In one of these chunks you might turn a giant
water wheel, track down a ghost, or play with fans.
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In most cases, those chunks can then safely be
ignored altogether once you've finished exploring
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that area - which stops the dungeon from ballooning
out into this massively complex space that you
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need to traverse. There's nothing stopping
you from going back to an older chunk, but
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nothing pushing you there either.
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This structure also keeps the player focused
on their long-term goal in the central room,
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which might involve pouring in water so you
can swim to the boss door, defeating poes
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to light these four torches, or finding Yeta's
bedroom key.
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And by repeatedly bringing the player back
to that previously explored room, it feels
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less linear than just putting the chunks in
a big row, one after the other - which is
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effectively how you're going to play them.
But when set up like this, you get a hint
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of that lovely Zelda-like sensation of carefully
unpicking a dungeon's knot.
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Now, while the layouts are similar, these
dungeons do have some tweaks that make
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them feel different to play - and a lot of
it comes down to the criteria I laid out when
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talking about "find the path" and "follow
the path" dungeons in the previous episode.
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Well, there aren't many branching paths, outside
of the multiple doors in those central rooms.
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And there aren't many choices to make, outside
of some monkey business in the forest temple.
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But the backtracking and hand-holding stuff
does play a role.
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So, I kinda lied about the Forest Temple.
Once you get the Gale Boomerang from the north
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section, you actually do go back to the east
wing to access this final chunk and fight
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the boss. And so you have to backtrack to
this area and it's up to you to remember where
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However! The game does something very simple
but rather clever to help you do so. Earlier
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in the dungeon, when you're trying to unlock
this door, you need to divert from your path
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to get a key - which just
so happens to be in a room that is otherwise
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inaccessible because this bridge is facing
the wrong way.
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Later, you get the Boomerang and use it to
twist some bridges, and hopefully you put
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two and two together and think "aha!", I should
check out that room again. So the game placed
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a key to ensure every single player has visited
that backtracking point, and has the opportunity
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to add it to their mental map.
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Smart stuff.
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Lakebed Temple is another dungeon that trusts
you to figure stuff out. And this time, it
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pulls on the stuff we talked about waaaay
back in the Majora's Mask episode, about considering
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these dungeons as massive interconnected pieces
of architecture.
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The central room has a staircase that can
be rotated in 90 degree notches. Because of
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these walls, you need to twist and climb this
staircase carefully to get around them and
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access the different doors in the central
room. And you need to use the staircase to
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send water from one side of the dungeon to
the other, because the water turns a waterwheel
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that was previously blocking your path.
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That's a wonderful eureka moment and part
of why Lakebed is my favourite dungeon in
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this game.
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There's also a brilliant second puzzle where
you deliver water to the other side of the
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dungeon but it's just for some optional item.
That would have been a great place for the
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boss key, if you ask me.
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Anyway, the other dungeons are far less trusting
and essentially guide you through the loopy
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structure - a lot like the Temple of Droplets
dungeon from Minish Cap, actually, which also
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shares this layout. Hmmm.
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So yeah, in Arbiter's Grounds, the rooms lead
you through the east wing and bring you back
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to the central room - but now on the second
floor so you can hop on over to the west wing...
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where you get lead back around to the central room
again.
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in Snowpeak Ruins, Yeta literally draws markers
on your map to tell you where to go, and she unlocks
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one door after the other, which is all, to be
honest, a bit crap. And then you get to the
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sliding block puzzles and, remind me why people
love this dungeon again?
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Okay, so using the cannons to smash ice is
kinda cool. And the dungeon is less obviously
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split into chunks than the others because
it's laid out like an actual mansion rather
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than four long corridors like most of the
other dungeons.
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So you'll find yourself skipping back over
to previous chunks to pick up a cannonball.
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And then getting that cannonball to the cannon
involves a tiiiiny bit of spatial reasoning
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which... well, i'll take what I can get at
this point in the Zelda series.
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Sadly, the cannon stuff is pretty quickly
sidelined when you get the key item: the Ball
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and Chain which is used to waste enemies and
smash ice.
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Generally, though, Twilight Princess does
a good job of showing you the benefits of
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each dungeon's item by giving you enemies
that are a pain to kill with your current
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tools - and then effortless to defeat with
the new item. And the item also lets you get around
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the dungeon more easily: the Clawshot, for
example, makes the central room of the Lakebed
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Temple easier to traverse.
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Right. Temple of Time. Surprisingly, I don't
hate this dungeon! Commenters kept betting
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that I would because it is completely linear
but the dungeon is interesting because it
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leans heavily into that linearity. It does
something interesting with its straightforward design.
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So you go through the whole thing, solving
some puzzles and killing enemies. until you
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get to the end where you kill the mini boss,
get the dominion rod, and then take control
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of this massive statue. Now, the goal is to
bring the statue back to the beginning of
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the dungeon - now doing all the puzzles in
reverse and taking into account that you have
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to guide this heavy statue. It's not massively
challenging. but it is clever, it is interesting,
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and by golly it is different. Lots of bonus
points, right there.
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And Twilight Princess does have some good
puzzles! In Arbiter's Grounds it sets up this
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system where you pull a chain to lift a chandelier,
and then run under it before it smashes down
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on your head. Later, you do the same thing
but just wind up at a dead end. You've got
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to figure out that you need to drop the chandelier
on your bonce so you can climb up on top.
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That's a good'un. I also really liked these
swinging platforms in Snowpeak that you bat
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about with the Ball and Chain. Better than
a sliding block puzzle!
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I haven't shown any graphs in this episode
because, frankly, they're pretty boring in
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Twilight Princess. Forest Temple is probably
the most interesting but, for the most part,
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the graphs all look the same. Which makes
sense.
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In the Wind Waker episode I talked about warp
pots, which help you get from the beginning
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of the dungeon, to the middle, or to the boss
door. Twilight Princess doesn't have any of
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that stuff: probably because the looping structure
means everything is pretty close to the central
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room anyway. But more so because if you die,
the game just lets you retry from the last
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door you went through, rather than kicking
you to the beginning of the dungeon.
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Which, well, let's not get into a whole thing
on Nintendo and difficulty. But I will say
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that the bosses in this game are easier than
ever. They all use the key item from the dungeon,
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which makes them a bit trivial, and they all
telegraph moves and highlight their weak points
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super clearly. Oh, and this one is a total
Shadow of the Colossus rip-off, right?
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Bit cheeky.
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Commenters ask me to talk about the atmosphere
and aesthetics of the dungeons. and so, here we go:
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They're good! Right? They look nice,
they look different from one another, the
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music's good, and you can pretend that the
Zelda games have some kind of connected universe
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or lore or whatever by noticing all of the
interesting similarities to the Ocarina of
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Time dungeons.
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But yeah, Twilight Princess. I think these
dungeons are pretty good. Inoffensive, at
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least. They hide their simplicity better than
The Wind Waker, and are full of those
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memorable moments.
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But this is, ultimately, a long way from where
we started. This video series is about how
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Nintendo builds intricately designed spaces,
with clever architectural puzzles and interconnected
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layouts that test your spatial awareness.
And at this point... finding anything that
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speaks to that legacy is like picking for
scraps.
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Oh well. Next time on Boss Keys, grab your
sword and grab your stylus because we're going
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to find out how making your own maps affects
the dungeon design of The Legend of Zelda:
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Phantom Hourglass. And maybe Spirit Tracks.
We'll see.
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