Breath Of The Wild 2 Should Do Away With Flashback Storytelling

Her presence in Breath of the Wild 2 doesn’t inspire confidence. In past trailers she explores the underground...

Her presence in Breath of the Wild 2 doesn’t inspire confidence. In past trailers she explores the underground caverns of Hyrule Castle with Link before coming across the corpse of Ganondorf. It’s cursed or something, so our hero is quickly infected with an ancient curse as Zelda is yeeted into a dark hole of oblivion. I desperately hope she isn’t stuck there for the entire story as a generic damsel in distress, because the first game helped prove that her character is far more than the archetypal mould from which she was born. Nintendo needs to subvert expectations, whether it be through additional playable characters or a narrative that is far from traditional. Pull a Majora’s Mask – we rarely see numbered sequels in the canonical timeline, so it’s time to try something that isn’t afraid to alter the landscape.

It’s heartbreaking, with Zelda’s increased trepidation as she marches towards oblivion reflected in her distrust of Link, an aura of royal pretentiousness that inevitably morphs into fondness over time. Link begins his journey as a knight tasked with watching over the princess, but eventually becomes a close friend she can confide in when everything seems lost. It’s powerful, and the fact something this emotionally resonant is told through the medium of discordant flashbacks is quite an accomplishment.

Despite Breath of the Wild being recognised as a masterpiece, its storytelling aspects are one of its most criticised elements. Given the nature of its narrative, and how Link finds himself awakening a century after the world began to fall apart, it’s natural that a number of critical characters have either perished, moved on, or just aren’t part of the picture anymore. It’s a lonely game, but deliberately so.

The GladiatrixFinal Fantasy 9 ’s Princess Garnet is the closest comparison to Zelda in the gaming world, largely because their circumstances, personality, and overall drive are so similar. Garnet takes a dagger to her hair at a pivotal point in her character arc. Her kingdom is approaching ruin and her mother is gone, so this moment is a reclamation of agency that has long been kept away from her. Gone is the received pronunciation and royal procedures that have long held her back from living a normal, fulfilling life. Travelling with Zidane and company has taught her the importance of this heritage while simultaneously inspiring her to walk away from it. However, blood remains thicker than water, so returning to the city that helped shape her only to solemnly leave it behind is poetic.

Hyrule is safe once more, but so much was lost to acquire even a semblance of peace. Now, Zelda must emerge from the ruins of destruction and build something from the wreckage. It’s a heartbreaking conclusion to her destiny, and Zelda is left with so much emotional and physical baggage that it’s easier just to cut it all away – this detachment has been presented in a rather literal sense with her new hairstyle.

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Catra from She-Ra and The Princesses of Power and Amity Blight from The Owl House also change their hairstyles to serve their character development, whether that be accepting their own sexuality and leaving behind oppressive familial structures or welcoming those who once pushed you away and putting aside a toxic life of villainy. Once again, these are all female characters confronting a heteronormative society and fighting back against it, even if said worlds are fantastical in nature and far more eccentric than our own. If done right, characters can still be grounded and relatable, as their struggles become ones we can sympathise with. It’s beautiful, so perhaps there’s a reason this tried-and-true trope has so much staying power in modern media.