Saturday, October the 23rd, 2004

It feels like this super-special illegitimate-yet-legal child of an Irish tourist and a Japanese woman.

I’ve only had about 4–5 hours of “The Legend of Zelda: The Wind Waker” (wind waker, for short), but I can unequivocally state it is probably one of the most awesome gaming experiences one can ever have. The visuals are stunning. There are those who claim cartoony-is-bad. Don’t listen to them. It feels fabulous. Everything just fits. The expressions on the characters say so much more than most voice acting. The controls are responsive and intuitive. The worlds are immersive and impressively deep.

The Pirates in Wind Waker.

You don’t get to play Link, but some random kid hundreds of years in the future to whom the adventures of Link are just a legend. It doesn’t matter. Most relevant details of the original story are captured and brilliantly portrayed through this little boy’s quest to rescue his sister. The most moving part in all of this, for me, is the exquisite music (I near wept during some sequences). The tunes have portions close enough to remind you of special moments in older games, but still distinct enough to be fresh and entertaining.

It’s awesome.

I read somewhere that you ought to “Sell your grandmother, remortgage the cat, do whatever you have to do, just don’t miss-out” when it comes to Half-Life 2. I’d say that is a worthy description of how I feel about the wind waker.

Such updates will eventually be mirrored in the GameCube page. And no, I don’t get paid by Nintendo to write such things.

Update: Vaguely related — because you can.

This is a printer-friendly version of the journal entry “The Wind Waker, A Short Interlude” from actuality.log. Visit to read the original entry and follow any responses to it.

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