Lazlo Bonin, the creative director of Été at Impossible, introduces a potentially divisive aspect of Tears of the Kingdom: the rewards, which may appear underwhelming. However, Bonin considers this a positive attribute. Specifically, the rewards seem disconnected from the difficulty of the task at hand. Engaging in an immensely challenging fight in the Chasm may result in receiving a comedic hat, while defeating random Bokoblins on the surface could yield exceptional gear from their modest wooden chests. Bonin believes that this design choice effectively disrupts the typical dopamine response that motivates players to pursue activities solely for the rewards. Instead, it allows players to focus on the inherent enjoyment of the activities themselves. Accomplishing this feat of game design is truly masterful, as creating intrinsically enjoyable activities is far more challenging than providing satisfying rewards for mundane tasks.
Xalavier Nelson Jr, a writer on Hypnospace Outlaw and head of Strange Scaffold, highlights one of the most difficult aspects of sandbox games: guiding players to perceive their experiences from the same perspective as the developers. Determining priorities, discerning what activities hold value, and understanding the role of each activity in the overall adventure pose constant challenges. However, Tears of the Kingdom effortlessly tackles these issues. By explicitly teaching players various content classifications—side quests for specific tasks, side adventures that introduce narrative threads, and main quests for progression—the game can introduce any content without confusion. Players organically grasp how each piece of content will impact their experience, empowering them to choose when to tackle it based on their personal preferences and needs. Nelson praises this approach as truly brilliant.
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Nicholas McDonnell, a designer and director at Samurai Punk, acknowledges that Tears of the Kingdom introduces immersive-sim thinking patterns to a broader range of players who may be accustomed to more prescriptive content. The shrines within the game excel at encouraging players to explore various combinations and approaches, while never penalizing them for thinking outside the conventional boundaries. By reducing the number of abilities to a smaller, yet potent, set of powers, the game reinforces the notion that creativity and fun solutions are key components to overcoming challenges. This design choice empowers players to think innovatively and find enjoyable ways to tackle problems.
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Asher Einhorn, a technical game designer on The Last of Us Part 2 and lead technical designer at Archetype Entertainment, expresses a sentiment regarding Tears of the Kingdom. Despite acknowledging its brilliance, Einhorn sometimes feels as though they unintentionally stray from the narrative, engrossed in tinkering and wandering for hours in areas the game seems to have overlooked. In comparison, older 3D Zelda games, due to their smaller size, often reflected the current tone of the story in the world, providing a constant sense of being immersed in the adventure. For Einhorn, this feeling has somewhat diminished in Tears of the Kingdom.
Dave Oshry, the head of New Blood Interactive, candidly shares their experience with the game. They admit to becoming bored after around 60 hours of gameplay and struggling to regain interest. However, Oshry humorously points out that they encountered a similar situation with Breath of the Wild, which eventually became their Game of the Year for 2017 when they finally completed it in 2019. Feel free to include this amusing tidbit in your article!
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Joakim Sandberg, the creator of Iconoclasts, appreciates Tears of the Kingdom as a remarkable demonstration of how building upon a strong foundation can result in a game with exceptional polish, content, and enjoyment. Similar to Majora’s Mask and Super Mario Galaxy 2, which expanded upon robust engines, Tears of the Kingdom stands solid, incredibly impressive, and offers the most enjoyable open-world playground experience Sandberg has encountered. Nintendo’s design prowess shines through in their ability to set limits that encourage players to explore new approaches in reaching places and defeating enemies. A core strength lies in Nintendo’s philosophy of allowing players to skip content. While beginners may follow the designed path, they are never forced to, and Tears of the Kingdom epitomizes this approach.
Miguel Vidaure, a writer and narrative designer on the Zelda-like game Blossom Tales, highlights the exceptional puzzle design in Tears of the Kingdom. Referring to a quote by Eiji Aonuma in Nintendo Power about Skyward Sword, Vidaure emphasizes that good puzzles make players feel intelligent, even if there is only one solution. Tears of the Kingdom takes this concept to new heights by incorporating a range of enjoyable abilities. Even after playing for only 15 hours, Vidaure has already experienced numerous moments of awe, exclaiming “ooh, that’s clever” upon solving physics puzzles or discovering creative traversal methods.
Jay Baylis, the co-director at Bytten Studio and a designer on the Zelda-like game Lenna’s Inception, recognizes the incredible creativity behind the Flux Construct fights in Tears of the Kingdom. These fights are so inventive that any other studio would have made them the focal point of an entire game, resulting in a high-quality experience. However, Tears of the Kingdom confidently integrates them as optional side content, alongside the game’s extensive offerings.
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Isaac Epp, the game director at Dauntless and Fae Farm studio Phoenix Labs, reflects on an aspect of Tears of the Kingdom that stands out after playing Breath of the Wild. This experience leads to contemplation about Nintendo as a company. Epp finds it remarkable that Nintendo consistently manages to reinvent gaming experiences in a way that feels entirely authentic, fresh, and surprising. Their ability to inspire other developers while delighting players is unparalleled. When Breath of the Wild was released, Epp quickly realized that it would have a profound impact on future plans in the industry. Approaching Tears of the Kingdom, there was a sense of uncertainty—would it be similar to Breath of the Wild? However, from the moment the game starts, players are introduced to unique gameplay elements that they have never encountered before. It evokes a similar feeling to playing Portal for the first time and experiencing the “I’d never thought of that before” moment. Tears of the Kingdom continues to provide numerous moments like this, stacking upon each other throughout the game.
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Mike Profeta, a staff designer at Bungie, finds the impressive aspect of Tears of the Kingdom, as well as its predecessor Breath of the Wild, lies not in their introduction of new features, but rather in the organic integration of various elements to create a compelling world and gameplay experience. Tears of the Kingdom allows players the freedom to engage with its stories, uncover its mysteries, or simply enjoy its scenic beauty at their own pace. It avoids the immersion-breaking false sense of urgency that often plagues other games. Additionally, the absence of an overwhelming number of icons, points of interest, and other map clutter enhances the organic exploration without the need for excessive filters.
The game’s deep physics system, complemented by dynamic weather, leads to fun and sometimes unexpected outcomes. While the building system may not be entirely original, its seamless integration with the existing dynamic physics system results in entertaining and occasionally hilariously destructive effects. Moreover, the world itself evolves meaningfully, striking a balance between familiarity for Breath of the Wild veterans and introducing fresh wonders in each region as players revisit them after the passage of time due to the game’s inciting event.
Mike Zadorojny, the franchise lead on Blue Protocol, appreciates the creativity and freedom granted to players in Tears of the Kingdom. He acknowledges that some of his complaints may stem from not having advanced far enough in the game and not yet acquiring certain tools that could potentially make gameplay easier, such as Autobuild.
Zadorojny initially had concerns for players who hadn’t experienced Breath of the Wild, as there seemed to be a steeper learning curve. However, he finds that the initial shrines effectively explain the game’s mechanics and abilities. Despite this, he does express a longing for the iconic and memorable music that Zelda games are known for. While he understands the deliberate choice to incorporate moments of silence, Zadorojny admits missing the specific music he anticipated when visiting towns or riding a horse.
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Mike Profeta, a staff designer at Bungie, expresses that both Tears of the Kingdom (TOTK) and its predecessor, Breath of the Wild (BOTW), impressed him not solely because of their innovative features, but due to the seamless integration of various elements that create a captivating world and gameplay experience. TOTK allows players the freedom to embark on its stories, uncover its mysteries, or simply appreciate its scenery at their own pace, avoiding the immersion-breaking false sense of urgency often found in other games. Notably, the game promotes organic exploration without overwhelming the map with icons, points of interest, and other clutter, eliminating the need for excessive filters.
The game’s profound physics system, coupled with dynamic weather, generates enjoyable and occasionally surprising outcomes. The introduction of a new building system, while not entirely original, seamlessly integrates with the existing physics, sometimes resulting in hilariously destructive effects. Furthermore, the world itself undergoes meaningful transformations. While maintaining a level of familiarity for BOTW veterans, the game introduces enough changes due to its inciting event, instilling a renewed sense of wonder in every region as players revisit them after the passage of time.
Mike Zadorojny, the franchise lead on Blue Protocol, appreciates the creativity and freedom bestowed upon players in Tears of the Kingdom. He acknowledges that some of his complaints may stem from not having progressed far enough in the game to acquire certain tools, such as Autobuild, that could potentially alleviate those concerns.
Initially, Zadorojny had concerns about players who hadn’t played BOTW, perceiving a steeper learning curve for them. However, he believes that the initial shrines effectively explain the mechanics and abilities, providing a solid foundation. He expresses his enjoyment of the game and shares his only complaint, which also applies to BOTW—the absence of the renowned and outstanding music that the Zelda series is renowned for. While he understands the deliberate use of silence, Zadorojny still longs for the specific music he anticipates when entering towns or riding a horse, acknowledging it as something he misses.
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Shayna Moon, an engine producer at The Coalition and associate producer at Sony Santa Monica on God of War, highlights the impressive aspect of Tears of the Kingdom (TOTK) that stood out to her—the extensive use of physics-enabled objects. This implementation required extensive quality assurance testing to identify and address any potential issues. Moon emphasizes that when people think of polish in games, they often associate it with the addition of creative content. However, polish also encompasses bug fixing, minor design adjustments, and visual refinements that elevate a game from being good to truly great.
Gregorios Kythreotis, the creative director on Sable at Shedworks, acknowledges the incredible technical achievements in Tears of the Kingdom. The game’s ability to seamlessly transition between various environments—air, ground, and chasms—on the aging Switch console is a remarkable feat. Moreover, considering the fidelity of physics interactions within the game and its ability to record and reverse these interactions, it demonstrates the technical prowess of the development team. Kythreotis highlights the tight integration of gameplay with these systems, ensuring that the mechanics feel cohesive and not disjointed or gimmicky. Among the new mechanics, their favorite is the Ascend ability, which they find clever, unique, and providing players with a fresh perspective on appreciating 3D space and world layouts.
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An anonymous engineer praises the impressive physics system in Tears of the Kingdom. Drawing from their experience working in medical simulation, where they faced challenges with implementing realistic rope physics, they express awe at TOTK’s ability to seamlessly join multiple platforms together and allow for movement and rearrangement without any gaps forming between them. They find this aspect truly mind-blowing, especially considering that the game runs smoothly on the Nintendo Switch. They extend their kudos to the game’s engineers for their mesmerizing work.
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Andrew Shouldice, the lead developer on Tunic, appreciates the Depths in Tears of the Kingdom. He finds their emptiness and alien nature captivating, as they represent a true “underside” filled with peculiar flora and architecture. While past Zelda games often showcase precise and tidy puzzles, with dungeons adhering to a specific sequence of actions, the modern shrines follow a meticulously designed approach. In contrast, the Depths lack intentionality in certain areas, exuding a sense of messiness and brokenness that excites Shouldice.
Greb Lobanov, the lead developer on Chicory and currently working on Beastieball at Wishes Unlimited, shares their experience with Tears of the Kingdom. The majority of their playtime was devoted to building contraptions that ultimately failed to work, yet they cherished every minute of it. Lobanov suggests that if this weren’t a mainline Zelda game, players might have had less patience for such experimentation. At times, the game feels more akin to an offbeat indie concept backed by the resources of a first-party Nintendo production. Lobanov admires it for fearlessly committing to an experimental blend of sandbox building and adventure.
Sarah Northway, the head of Northway Games, expresses her delight in witnessing contraption-building within the Zelda universe, an area her studio has explored in their Fantastic Contraption games. She commends Tears of the Kingdom for seamlessly merging physics-based construction with open-world exploration, applauding the brilliant balance between approachability and creative expression. Additionally, Northway acknowledges the clever design feat of the playfully designed system for saving and auto-building constructs.
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Austin freelanced for the likes of PC Gamer, Eurogamer, IGN, Sports Illustrated, and more while finishing his journalism degree, and he’s been with GamesRadar+ since 2019. They’ve yet to realize that his position as a staff writer is just a cover up for his career-spanning Destiny column, and he’s kept the ruse going with a focus on news and the occasional feature.
