The Zelda games have been around for thirty years now. Thirty years! I, like many other people, have been an avid fan of the series ever since I was a kid (for me, my first exposure was when I was about seven years old). I myself have grown a lot since I first dove into the world of Hyrule, and the recent anniversary articles I’ve been reading have made me ask myself a surprisingly difficult question: in what order would I put the games if I had to rank them?

So I went ahead and did just that. I thought long and hard about the order, and made a lot of changes as I went. I even went and played a little bit of several of the games to give myself a refresher.

And so, in honor of thirty years of gaming bliss, here is my ranking of the Zelda games, my experiences with each one, and other random thoughts I might have.

Some notes:

As a disclaimer, there will be spoilers for many of the games in the series.

I have not played the original Four Swords or Triforce Heroes, so I will not be ranking them. I haven’t played any of the CD-I games, either, but who cares about them? Either way, these games will not be making an appearance on this list.

Honorable mention- Okami

I first read about Okami in an issue of the now defunct Nintendo Power. It was described as a Zelda game set in Japan with a gorgeous watercolor visual style. I bought it shortly thereafter and I was blown away.

If I were counting this game on this list, it would be in the top five. The game has an absolutely stellar overworld, filled with secrets to find and quests to complete. The arena like combat is a nice change of pace form the Zelda games, even if it is on the easy side and the celestial brush is a terrific magic mechanic, even though the Wii had a hard time reading the brush strokes at times. This is on top of some really neat dungeons, unforgettable bosses, an incredibly well written storyline that is funny, emotional, and intense all at once, and an atmosphere that is distinctly Japanese in the best way possible. As someone who is only vaguely familiar with Japanese folklore and beliefs, I learned quite a bit about the country’s culture, legends, and beliefs because the game integrates it all into its very state of being so well.

So seriously, Zelda fans. If you haven’t played Okami yet, play it. It’s an unforgettable game and is better than many of the installments in the Zelda series.

16- Zelda II- The Adventure of Link

There’s a lot that can be said about this game. It’s different. It’s clunky. It’s innovative. It’s unique. It’s bad. I personally fall somewhere in the middle.

On the one hand, I applaud Nintendo for trying something so different from the hyper successful first installment in the series. The way the game is structured- top down overworld with side scrolling action levels, as well as RPG elements like leveling up- is really fascinating. Another interesting aspect is the story- Link is fighting for his life against Ganon’s evil forces who seek to resurrect the evil being. It’s an almost apocalyptic scenario, giving the game a unique atmosphere. Combat is also probably the most challenging in the series. It’s important to know when to block, when to attack, and whether to do so high or low.

However, I, like many others, find the game to be very dated in many ways. Not only does Link move and jump like he has a dump in his pants- not unlike a certain vampire slayer in his first game- but controlling him feels incredibly laggy, oftentimes leading to moments where it feels like the game is at fault for your failure rather than it being on the player. Additionally, some of the puzzles in the game are just obtuse as hell. The one where you need to look under a random table in a random house to find the necessary item to continue the game is a standout, because there’s no way in hell anyone can figure that out unless they’re stupidly lucky or have access to a guide. I don’t mind it when games don’t spell things out for me, but I do mind when they don’t bother setting something up (like looking underneath tables) then expecting you to know how to do it.

This isn’t a bad game, but it’s dated in many ways. When I said above that I wouldn’t mind seeing another game with similar mechanics, I meant it. But I’d like there to be tighter controls and a little less opaqueness.

15- Phantom Hourglass

This is a game that should be easy to love. It has a pretty decent sized world with plenty to do, a charming visual style, soundtrack , and story, some surprising customization options (with the power gems) and you can build your own boat. This is on top of the clever dungeons, well designed boss battles, and really innovative use of the DS hardware. I think one of my weirdly favorite parts of the game is the fact that you can make notes on your map. There’s one island in particular that is totally uncharted. You have to make the map yourself and when you finish it, the island is in the shape of a whale. That’s great! It made me feel like a kid, making maps of fantasy lands.

These are all things that make me love Zelda. Why then, does this game sit so low on the totem pole?

It’s because of one aspect that winds up affecting the whole pacing of the game: The Temple of the Ocean King.

You see, apart from doing traditional Zelda things mentioned in the first paragraph, there’s a centralized dungeon on the first island you wake up on that you must return to every single time you beat one of the other dungeons. Each time, you explore a little further in, but you will inevitably retread places you’ve already been.

Now, I like the idea of it- stealth is a big factor since the Temple of the Ocean King is haunted by indestructible Phantoms that will send you back to the beginning of the floor if they hit you. But, despite the fact that you unlock warps to later floors and unlock shortcuts with new items you gain, it doesn’t change the fact that you are doing the same set of challenges over and over again. It becomes tedious as all hell and it led to something that should never happen in a Zelda game.

I dreaded finishing main dungeons.

The entire point of Zelda is overcoming obstacles and solving puzzles before using all the knowledge you’ve gained of your tools and the environment to beat a hulking boss. And in the best games in the series, it feels rewarding. You feel like you have grown a bit smarter, a bit tougher, a bit more experienced. Hell, this game would have that feeling if it wasn’t for the fact that you had to return to the Temple of the Ocean King for the umpteenth time and redo challenges you’ve already done. And this leads me to the feeling I got when finishing a dungeon in this installment: dread.

It doesn’t sound like a big deal, and indeed, all the positive reviews of the game I read before release made it sound like this wasn’t that big of an issue. But trust me when I say that it nearly kills any feelings of goodwill the game would otherwise inspire. The reason it isn’t last is simply because everything else is so well done- there is genuinely good level design, really great bosses, lots of places to explore and activities to do and they are all undermined by the fact that the game forces you to redo crap that you’ve already done five times before.

14- The Legend of Zelda

This is the part where I have less and less bad things to say about each game. This is the original, the progenitor, the one that started it all and to this day, it’s only rivaled by one other game in the series in terms of being the purest representation of what Zelda is all about (we’ll get to that when we get to it).

Miyamoto has stated that the idea behind the design of the original game was to make a game that captured experiences he enjoyed from his childhood. Exploring the world, fighting pretend monsters. And this game does that. The player is plunked right into the middle of Hyrule, gets a sword shortly thereafter and from then on gets almost no guidance about where to go or what to do. And that’s where this game’s joy comes from- being let loose in a vibrant, fun world and working to uncover all of its secrets for yourself.

To top it off, there’s a much harder second quest that you can access by entering your name as Zelda (which may have inadvertently caused the legions of people who call Link Zelda). There’s lots of bang for your buck. The only thing holding it back is that, much like Zelda II, the controls can often feel stiff and clunky, and the way forward can sometimes be more obtuse than challenging. Still, the game succeeds in what it set out to do when it first came out.

13- Skyward Sword

This is a tough one. When I initially beat it, I had very warm feelings for the game. I thought the art style was neat, the soundtrack great, the dungeons superb. And in many ways, I still think lots of these hold true, especially the level design. There are some truly fun, unique, innovative dungeons in this game, especially the penultimate one, where you must rearrange each room. This is helped by the ARPG quality the game has- you can upgrade your equipment using materials dropped from monsters, craft more item pouches, etc. It leads to a cohesive sense of constant progression that isn’t felt in a way that isn’t felt in other games in the series.

The problem is that, between dungeons, this game is frustrating in a lot of ways. The stealth sections, where you must avoid these freaky white Guardians, wear thin after a while, especially once the end of the game is in sight (and this game is fifty hours long, so it takes quite a while). The motion controls work well most times, but they can still be finicky and mess you up through no fault of your own. Then there are the repeated boss battles and between dungeon tasks. On the subject of the former, you have to fight a hulking beast known as the Imprisoned a total of three times. Granted, each one has a slight variation on the core idea (which is to stop the thing from reaching the top of a massive cavern), but the problem is that the core idea isn’t terribly fun to begin with. When compared with other boss fights in the game, like the absolutely stellar multi armed robot Koloktos, the repetitive fights against the Imprisoned, Girahim, and for some baffling reason a giant scorpion stand out like sore thumbs.

On the subject of the latter, which is the between dungeon tasks, they become thinly veiled padding. It becomes a matter of “I’ll do task A for you if you can get me item B from cave C, which is only available after completing puzzles D, E, and F.” This is in large part due to the weak overworld. Flying in the sky becomes a chore simply because there are almost zero interesting places to go to outside of Skyloft, and the ones that are there don’t hold a candle to other locales in the series. Hell, the entirety of the sky world feels unfinished, like they wanted to cram more in but couldn’t for whatever reason.

To top it all off, Fi is an insufferable side kick. While the other 3D games had genuinely interesting sidekicks for the most part, Fi serves no other purpose than to give the player useless tutorials. She has almost no personality and no motivation in the story. Whenever I actually got stuck, I would consult her for info, and her “hint” would be useless in helping me solve whatever puzzle or area I was stuck on.

Still, though, the good outweighs the bad with this one, and the level design, sense of progression through upgrading your gear, and mostly great bosses kept me coming back for more even when I thought “Oh great, another block puzzle.”

12- A Link Between Worlds

I’m going to come right out and say it- as far as the way this game is structured, I don’t think any other game in the series beats this one. The game puts you through a brief tutorial segment, introduces its story quickly, then lets the player loose in the world. They can explore every corner of the map assuming they have the appropriate item.

Which leads me to another aspect of the game I liked- you can rent items (and eventually buy them for a much greater fee) in whatever order you want. The benefit of buying over renting is that you don’t lose your items when you die. This seems like a bastardization of the formula, but works extremely well given the open ended nature of the game. The wall effect, where Link becomes a drawing and can traverse 2D surfaces, is also used incredibly well. At first I thought it was a throwaway idea, but to my pleasant surprise, it becomes as integral a part of the game as Link’s sword and shield.

To top it all off, the world is brimming with enticing secrets to find, upgrades to earn, and stuff to do. I beat this game in two days and 100%’ed it in four- not because it’s short (I have about twenty two hours total in it, which is a respectable play time) but because the exploration and upgrading was so damn addicting. Nintendo should absolutely take advantage of this setup in future installments.

The game’s issues aren’t really that bad, but they are enough to detract from it a little bit. For one thing, I would have preferred a brand new Hyrule rather than the one from A Link to the Past. Not because I don’t like that game, but because I got an overwhelming sense of déjà vu from playing this one. It relied a bit too much on its predecessor in that way. Additionally, the story is mostly not even there until the ending (which I will admit is surprisingly effective). The main villain has a dull motivation (he wants to make the perfect painting or something like that). Lastly, the level design and bosses are fun, but most of them are very, very easy for Zelda veterans. I understand that, due to the open ended nature of the game, there had to be a different kind of difficulty curve, but the fact that the longest dungeon in the game took me a little over thirty minutes to get through (without using a guide!) shows that the dungeons could have been a bit tougher. The only tough dungeon in the game, the ice themed one, is still really short.

But even though I wasn’t too challenged, I found myself unable to rest until I had looked under every rock, bombed every wall, explored every single inch of Hyrule. Kudos to Nintendo for respecting their players enough to give them total control over the adventure.

11- Twilight Princess

I remember when this game was first announced, and I remember exactly how painful each announced delay was. I was young, I was impatient, and I wanted more Zelda, damnit. When I got this for Christmas, I was elated. I put everything aside and spent my Winter Break of seventh grade beating the game (which should tell you how often I played it since it’s a forty- forty five hour game).

Many people like to call this the “dark” Zelda, the “mature” one. And they are right for the most part, even though I’d argue other games are more mature and dark in their own ways. The tone is a bit more dreary, the villain, Zant (who is one of my favorite in the series) is genuinely unnerving, and the game even shows people being killed in a PG- 13 way.

But I don’t think that’s the game’s biggest strength. That, I think, is how consistently fun the dungeons and between dungeon segments are. You’ll fight on horseback, get launched from a cannon, explore an absolutely massive lake, fight in a segment lifted right out of a classic Western, and more. This is in spite of the really, really slow opening and somewhat weak Wolf Link segments. This game uses the dual world mechanic like many other games in the series, but rather than flip flopping between worlds, in this game you actively work to eliminate the Twilight realm in the “real” world. But the dungeons are all really fun to figure out (my personal favorite being the creepy Arbiter’s Grounds) and the bosses are all massive, intimidating, and fun.

The artistic design of everything is top notch, the soundtrack is really good (it doesn’t have a ton of knockouts, but the ones that are, such as “Midna’s Lament,” are superb), the plot is a bit more involved and fleshed out than in previous games (and Midna is a genuinely interesting, well written sidekick character) and for God’s sake, one of the shopkeepers is a shrewd business oriented toddler. There’s a lot to do, too, and most of it is enjoyable. It’s essentially a refinement of other games in the series, but the final result is a great adventure filled with things to do.

10- Four Swords Adventures

I surprised myself with how high I ranked this one. After all, this is a level based Zelda- surely that can’t lead to something that stands tall with the rest of the series. But against the odds, this game manages to fit in nicely with everything that’s come before and since.

This is because of the fact that each level is essentially its own smaller overworld rather than being a linear set of hallways to go through. Actually, scratch that- some levels are fairly linear, where you’re working from one end of the level to another. But that’s the thing about this game- there’s a ton of variety. Some are open ended and puzzles driven, while others are more focused and linear. One of my personal favorites has almost no combat at all- in The Village of the Blue Maiden level, you must constantly shift back and forth between the Light World and Dark World to bring all of the missing citizens back to their rightful place. It’s an offbeat, surreal, sometimes creepy level that feels unlike anything else in the series. And that’s the beauty of this game- each level is entirely distinct from the previous one, and each one has a ton of creativity put into it. This is on top of the fact that controlling four Links works really well and lends itself to some really tough and creative puzzles.

This game doesn’t come up a whole lot when people are discussing the series, which is a crying shame. It’s incredibly well designed and anyone who enjoys the series deserves to check it out even if, like me, you don’t have anyone to play it with.

9- Minish Cap

This was the only original Zelda game on the stellar Gameboy Advance, and I’m totally fine with that. This is because the game is polished to a fine sheen and has all the elements that people love about Zelda. An intriguing story, great soundtrack, lots of secrets to uncover, and really good level design. The gimmick in this game is that Link can shrink down and explore the world of the Minish, which are the little creatures who are responsible for putting items inside objects like pots and grass. Indeed, this game makes terrific use of this idea- many of the dungeons take place in Minish form, which leads to fun design choices. One of the most memorable bosses in this game comes from an enemy you’ve probably killed dozens of times without blinking: a Chu Jelly.

These are known to be weak enemies, but when Link is no bigger than the head of a pin, they are towering monstrosities that require strategy to bring down. That’s not to say the other bosses are bad- in fact, this game is filled with memorable fights.

This also introduced Kinstones to the series, which are puzzle piece type stones that can be fused together with NPCs’ pieces. Successful fusion often opens up a previously locked area, leading to new reward like an ever coveted heart piece.

To top off the good level design, fun bosses, and abundant side quests, this is probably the best looking and best sounding game on the GBA. The graphics are incredibly smooth, vibrant, and creative and the game’s many new original tracks stand up well against the rest of the series (Picori Forest is one of my favorite themes in the series). There are only two drawbacks I can think of. The first one is that it’s rather short. Zelda games aren’t the longest ever, but this one can be beaten within a few days. The other issue is that there is an item that can be missed and for completionists like me, that’s frustrating to no end. Still, when the game as a whole is so well polished and realized, it’s tough to complain about short length or missable items.

8- Oracle of Seasons

Back when the Gameboy Color was at the height of its popularity, Nintendo and Capcom made and released two Zelda games at the same time. This one tends to be the more action oriented of the two. In it, you control the seasons using the appropriately named Rod of Seasons atop tree trunks. Depending on what time of year it is, different things can happen. Water freezes over in the winter and vines grow in the summer, for instance. On top of using the ability to change seasons to overcome obstacles, there’s an entire underground world known as Subrosia that Link must explore throughout the course of his adventure.

This game was made with the same mindset as the early games, which means it’s all about the exploration and level design. The story isn’t bad by any means, but it definitely takes a backseat to the action. And this game is filled with stuff to do.

There isn’t much more to say about this game than that. It’s a very well refined version of the formula we know and love, with superb levels, great bosses, awesome music, and compelling exploration.

7- A Link to the Past

The SNES was known for being a system that pushed the limits of a series. During that time, gamers were treated amazing sequels like Final Fantasy II and III (actually 4 and 6 respectively, but most people know that), Super Mario World and Super Metroid, as well as some terrific original titles like Yoshi’s Island and Chrono Trigger. This game is a lot like Super Mario World and Super Metroid- much of the core gameplay of the previous games in the series remains, but it’s been refined to near perfection.

Indeed, this game has simply stellar design. The levels are really challenging, the bosses tough and imposing, the dual overworld simply overflowing with secrets and things to do. This game was also a bit more story driven before- not to the degree that later games would be, but this game introduced us to the true nature of the Triforce and gave us some neat lore about an ancient war (which timeline fanatics understand is integral to the series’ chronology).

Much like the previous entry, there isn’t a lot more to say about this game, but that’s because it’s deceptively simple. There’s not a whole lot to its description, but the game mechanics are so refined, so well executed, and so fun that the Zelda fanbase has yet to stop singing it high praises. And that’s something that has to be earned, because if there’s one fanbase I’ve found to be tough to please, it’s Zelda ones.

6- Spirit Tracks

Many people might disagree with me on this one and I can’t for the life of me understand why. Maybe it’s the fact that train exploration is limited to whatever rails are available, but the world is still massive, with lots of places to go. Maybe it’s the story, which, while not great, is serviceable and fun. Maybe it’s the level design, but… well, there’s no other way for me to say it except that this game has terrific level design.

This game is the follow up to Phantom Hourglass, and those of you with good memory remember that I ranked that game super low on this list (second to last, in fact). What changed with this game? That would be the central dungeon.

Whereas the Temple of the Ocean King was a repetitive slog, this game introduces the Tower of Spirits. And instead of retreading through floors you’ve already completed, each time you beat a dungeon, you unlock a brand new set of challenges in the Tower of Spirits, which means more tough puzzles to solve and more enemies to take on. This is on top of the fact that you can possess the previously indestructible phantoms with Zelda’s ghost. There are new Phantom types, each of which has a different ability, leading to more tricky puzzles. The Tower of Spirits is a much more refined, enjoyable aspect of the game than the Temple of the Ocean King was.

That aside though, this game boasts a ton of sidequests to undertake, many of which are worth it. Often times, completing one will give you a new set of tracks to drive on and, more often than not, these lead to a brand new, never before seen area. There are regenerating treasure chests in a lot of these places, making them worth a revisit. In this game, you need to trade certain kinds of treasure in order to get more train parts, so getting a variety of treasures and revisiting side areas (and levels in the Tower of Spirits) is well worth it.

Plus, what kid hasn’t wanted to be the conductor of their very own train? This game makes excellent use of the locomotive, with delivery quests, giant monsters, and one seriously epic boss fight with another demon train. Plus, this is one of the Zelda games that can kill you. I died a lot on my first playthrough, which is a rarity for the series. This game has everything I love about the series in spades, with the added cherry on top being that I can conduct my very own train.

5- Ocarina of Time

I remember days in the first grade where a good friend of mine would tell me about this awesome game he’s played. At that point, the only experience I had with video games was dying a lot in Super Mario Bros 3 and Castlevania at my Grandmother’s house, so my friend’s fantastical tales of a green clad hero riding a horse, fighting monsters, and wielding the Sword of Evil’s Bane sounded amazing.

Then, later that year, my brother got a Nintendo 64 for Christmas, along with a copy of this game. I watched my brother play as often as I could, and eagerly anticipated play sessions where he would let me play my very own file. This was the game my friend had told me about, and it was every bit as magical as his stories promised.

This was the game’s first foray into the third dimension and I think it’s safe to say that this was the best possible transition anyone could have hoped for. Everything about the series remained intact, from the exploration and sidequests, to the stellar soundtrack (Gerudo Valley might be my favorite song in the whole series). It even added an emotional coming of age story into the mix, one with a truly bittersweet ending. The game was the complete package, and lived up to all its hype.

The move to 3D gave the series new life. Characters were full of life and charm, and the world seemed vast and mysterious for the seven year old me. While other games these days have much, much bigger overworlds, few can argue for having as much meaningful content as this game. Every sidequest, every interaction, every hidden cave has a purpose, making this version of Hyrule one of the greats.

This game has rightfully remained a favorite of most people who play it, despite how notorious the Water Temple is (it’s more tedious than difficult, requiring memorization and trial and error more than anything) or how annoying people claim Navi to be (I personally think she’s fine after the opening gameplay section, despite her limited role in the story). Plus, this game introduced the world to the 3D lock on mechanic, which is something that has become a standard in third person action adventure games. This was also the game that got me into gaming, which means it holds a very special place in my heart.

Now if you’ll excuse me, I have an ocarina to purchase, attempt playing, and throw in frustration after I realize how hard it is to actually play.

4- Oracle of Ages

The other game Nintendo and Capcom released on the Gameboy Color, this one is considered to be more cerebral and puzzle oriented. And people who say that are right. This game will give your gray matter a serious workout.

To get a feel for how this game compares to Seasons, let’s examine the first boss of each game. In Seasons, you simply dodge the Dragon’s fire and whack him in the head until he’s dead. Old school, almost arcadey gameplay reliant on reflexes. In Ages, you fight a creepy pumpkin headed ghost thing. It’s not initially clear how to beat him, but you have to whack his body until his head falls off. From there, you must pick up the pumpkin using your newly obtained Power Bracelet and reveal the vulnerable ghost inside.

Clearly, the latter requires a bit more thought to overcome. And from there, the game only gets trickier, especially considering you must jump between the past a present version of the overworlds. And believe it or not, this time travel mechanic gives this game something that I personally feel was a bit lacking in Seasons: atmosphere.

You see, the main villain of the game is a sorceress named Veran. She has traveled to the past and begun a reign of tyranny that has carried over to the present. Possessing the queen of the past, she drives workers to their breaking point, spreading misery across the land. You must set out to fix her wrong doings in order to ensure a brighter future for all. And, in a very Chrono Trigger twist, your actions in the past affect the present in different ways. For instance, the Maku Tree is attacked in the past, causing her to disappear in the present when you first meet her. You must go back and stop the monsters from killing her.

So, apart from what players expect from a Zelda game (challenging puzzles, lots of collectibles and sidequests, a great soundtrack), this game actually provides a pretty great atmosphere. It feels likeLink’s actions have real consequences that aren’t explored in some other games in the series. This, combined with the structure of level design, put this ahead of many other games of this ilk.

Plus, in this game, you can get a flute that summons a flying blue bear named Moosh out of nowhere and that’s just awesome (I’m aware that, depending on your actions in both this game and Seasons, you can get flutes for any of the three animal companions, but Moosh is the canon one in this game and I love it).

3- Link’s Awakening DX

On the surface, this game appears to be “just another Zelda,” only extremely kid friendly. You are on a mysterious island filled with characters with “cute” dialogue and bosses that frequently say “Mwahahahaha!” There’s even a village filled with anthropomorphic animals that has a cute (but admittedly catchy) tune.

Here’s the thing, though: after you have the majority of the game behind you, you learn that the creature you are trying to awaken, the Wind Fish (who can send you back to Hyrule), is actually the being giving this island life. In other words, the Wind Fish is asleep, but its power has sucked Link into its dream world. Meaning that awakening it will essentially destroy the world even though it will send Link home.

This completely changes the story. It stops being about a hero saving the world. It’s about a lost child trying to get home, and he’s willing to destroy a world he gets to know intimately well in order to do it. Indeed, the final cutscene shows the world disappearing, with Link waking up on the beach. If you make it through the game without dying, you even see a girl you meet in the sky. In other words, it doesn’t matter if Koholint Island was real or not. It was real to Link, and that’s all that matters.

How Link lives with this is beyond me.

Themes and story aside, this is an extremely well designed game, filled with great bosses, catchy music, fun sidequests, and lots of weirdness, which are all things I love. There’s a man with a curious penchant for mushrooms who is distinctly Italian in his appearance, you have to take somebody’s pet Chain Chomp for a walk through a swamp at one point, for some reason an acorn gives Link temporary increased defense, and there’s even an enemy that looks distinctly like Kirby.

These similarities to other Nintendo properties opens up a whole slew of interpretations, some meta and some not. I’ve already expounded enough on the story, so instead I’ll talk about the bonus dungeon that this version includes. It’s short, but it has unique color coded enemies and at the end, you can take your pick of armor. There’s red, which doubles your attack, and there’s blue, which halves the damage you take (which can help in getting that bonus image you get for not dying). Even though it’s a pretty short dungeon, it was a great way to get people excited for the Gameboy Color, since it’s color themed.

It’s a truly great adventure that has a deceptive amount of depth in its storytelling, stellar levels and bosses, and a neat bonus dungeon that makes use of color very well.

2- The Wind Waker

This game is a lot of things. Charming, beautiful, easy, fun. Indeed, this game might be one of the easier Zeldas, but everything about its execution makes up for that. For one, the original Gamecube version still looks great. I pick it up every once in a while, and the cel shaded, cartoony visual design has held up remarkably well over the years.

But the visuals are just one aspect that make this game such an unforgettable adventure. For one, the story is incredibly well executed. In the beginning, Link isn’t a hero destined to save the world. He’s just a kid living a fun, quiet life with everyone else on his island. The thing is, it’s his birthday and when boys on the island become of age, they have to wear the green clothes of the “Hero of Legend” (which is heavily implied to be the version of Link from Ocarina of Time). After receiving his little sister’s treasured telescope, Link dons the hero’s clothes, much to his chagrin. But shortly after, his sister is kidnapped by a giant bird. It seems that this bird has gone around the ocean, kidnapping girls with pointy ears and Link’s sister was mistaken for a Pirate Captain named Tetra who, sure enough, has point ears.

This is the brilliance of the story’s execution. Despite the lighthearted visual design, there are real stakes. Link doesn’t set out on his journey to save the world (even though that’s what it eventually becomes). He sets out for something arguably more noble- to save his sister. He does it because he cares about her. Along his journey, he meets a ton of memorable, fun characters, and although the tone is fairly lighthearted overall, there are some seriously dark spots that pop up when they need to (including the infamous head impalement at the end).

This is on top of the fact that this is probably the most varied, adventure packed overworld in the series. Many people hate the sailing mechanic, but I’ve never found it to be a problem. In fact, it really lets you soak in the adventurous, stunning atmosphere, and it builds your anticipation as you sail to the next island. And boy, are there a lot of them to discover and explore.

Even though there aren’t a whole lot of dungeons, and the ones that are there are pretty easy, the game makes up for it with the strength of its sidequests and world. Thanks to the art style, characters are extremely expressive and filled with life, making it a joy to help them. The world is overflowing (no pun intended) with secrets to uncover and upgrades to find. Of course, you’ll be exploring dungeons and sailing around to the tune of what is probably my favorite soundtrack in the series. Even as I sit here writing this, I’m thinking about the Celtic inspired opening theme song, and it’s giving me goosebumps. Every single track in the game is a standout, and only further enhances the feeling of adventure this game has.

The game ends in perfect fashion- the King of Red Lions, the formerly sentient boat who is actually the King of Hyrule, sacrifices himself to seal Ganondorf beneath the waves of the ocean. Then, at the very end, after Link has lost his companion, he makes one of the most heart wrenching decisions I’ve ever seen in a game: he returns home one last time a changed person, says his goodbyes to his sister and grandmother, and he sails the season with Tetra. The shot of Aryll running down the dock, wanting to say something, but only waving, almost makes me tear up every single time I see it. It’s a beautiful ending to an incredible adventure, one that makes you realize the core theme of the series- it’s not about fighting evil, not really.

It’s about growing up, changing as a person, seeing the world, and charting your own path, remembering those you’ve met, helped, and lost along the way, and looking forward to the bright future.

Sorry, I’ve got to grab some tissues. I’ll be right back.

1- Majora’s Mask

Anybody who knows my taste in video games knows that this was coming. It was predictable on my part, but it’s an opinion I stand by: not only is Majora’s Mask my vote for best Zelda game ever, but it’s also my vote for the greatest game of all time. Where Ocarina of Time blew me away and really got me into video games, Majora’s Mask was the game that showed me exactly how unique, incredible, and transcendent the medium can be.

The brilliant thing about this game is that is uses the well-known Zelda formula to go into uncharted waters. You still explore dungeons, fight monsters, and solve puzzles. You still complete sidequests, searching for pieces of heart and other upgrades. You still listen the whole way through to an extremely well done, memorable soundtrack.

But here’s the thing that sets it apart: you have three days to save this world. And no, it’s not from an ancient, prophesized evil. It’s from Skull Kid, a lonely, outcast soul who stumbled across the titular Majora’s Mask. The mask overtakes him (or does it?) and he uses the mask to cause trouble all across the world of Termina. This instantly makes Skull Kid a compelling villain- he’s not some evil lord who wants to take control of the world. He is essentially a scared, sad child who has obtained the means to lash back at a world that has long since given up on him.

And boy does he lash out. He has created a moon that will crash to the ground in three days, wiping out all life in Termina. The issue is that it’s not nearly enough time for Link to save the world, considering he must travel to four different regions and reawaken the giants who reside inside the bodies of the bosses there. Instead, after being turned into a Deku Scrub for the first three days, he reclaims his stolen Ocarina of Time and uses the Song of Time to go back to the first day, right as the moon is about to fall. Everything- everything- has been reset, except for him. Link is now human (thanks to a song taught to him by the Happy Mask Salesman) and a bit wiser about the world.

As you play, you obtain the Bomber’s Notebook, which can be used to keep track of peoples’ problems (essentially a quest list). And this is where the game brilliantly combines gameplay, atmosphere, and storytelling. The main story is all right, but if that’s all you see, you’ll find it somewhat lacking (although the scenarios for each region are compelling in their own way). It’s in the sidequests that the game shines. Not only do they give you real, tangible rewards, but you learn more and more about the people who inhabit Termina, fleshing the world out in a cohesive way that few other games accomplish. In other words, the sidequests all feel like they tie directly in to the main story simply because each scenario is so memorable. Not only that, but every single character has an in game schedule they follow (they’ll be in certain places at certain times) and that makes the world feel well and truly alive.

The effect of making this game so focused on the world is brilliant. You come to care for the people that live in it, making you want to push on to end the evil threatening everything. And this is all done through the natural flow of the gameplay. This is, without a doubt, the most unique, bizarre, but organic world in the series. One quest might have you bringing a piece of paper to a hand that lives in a toilet (and you’re rewarded with a piece of heart after being told that somebody dropped it down there). Another quest might have you defend a shipment of milk from bandits. Perhaps the most famous one in the game features star crossed lovers, in a complex side plot that spans all three days and nets you numerous rewards along the way.

This method of storytelling is the cherry on top of the fantastic Zelda gameplay. Each level is challenging and well designed, as are the many areas in the world you explore. There are numerous upgrades to find, including one category that is entirely unique to this game: masks.

There are twenty four masks to collect, each one with a different effect. Some are only one off mass (like the Bremen mask, which lets you parade animals around), some are infinitely useful (like the Bunny Hood, which doubles your movement speed), and still others are downright weird (like the Blast Mask, which lets Link explode at any time, at the sacrifice of his health). Many of the sidequests result in masks, and many of them are required to get through the game. While most of them simply give Link a special ability or something along those lines, there are four that transform him entirely.

Throughout the game, Link encounters troubled souls with unfinished business. After playing the Song of Heling for them, they can die in peace and Link gets a mask that lets them assume their identity. Ultimately, Link can transform into a Deku Scrub, Goron, Zora, or an evil, powerful God (the latter can only be used in boss rooms). Each one is enjoyable in their own right, and all of them except Fierce Deity (which is given as a reward at the end of the game as a reward for collecting every other mask in the game) figure into puzzles, dungeons, and traveling the overworld. Deku Scrub Link can skip along water and fly using special flowers that launch him into the world. Goron Link can roll around at high speeds and punch boulders apart, but sinks in water. Zora Link, probably the most athletic of the bunch, can swim incredibly fast and walk underwater, as well as use his fins like boomerangs. All of them are fun and creative, and integrated into the game very well.

Everything I’ve mentioned make this game unlike any other out there. It might wear the familiar face of a Zelda game, with all the necessary mechanics, but lifting the mask reveals a dark, sad, incredibly atmospheric adventure that merges its storytelling with its gameplay in a way that no other game can. This is probably one of the darkest games ever made in many ways, even though it’s rated E and features almost no blood.

It’s the small moments that add up to make it the unique beast it is. One anecdote perfectly summarizes the tone of the game. There’s a ranch that, should you fail to remove the obstruction blocking it from the outside world by the end of the first day, will fall victim to mysterious aliens. Should you unblock the obstruction in time, you’ll find a pair of sisters, one almost an adult, one Link’s age. They recruit Link to help the fight the alien invaders, who show up every year. If Link succeeds, they give Link the opportunity to help them defend their caravan from bandits at the end of the second day. Additionally, if Link fails, the younger sister is abducted and returned on the third day, to the sadness of the older sister. She is brainwashed, unknowing of her past or the current situation. So it’s good you stopped that, too. But even if you do all that successfully, you can return on the third day, where the older sister is cradling the younger sister. The older one gives the younger one milk intended for adults, because she knows that they will be dead by the end of the night.

That’s some seriously emotional crap, but there’s genuine depth to the way the game conveys its atmosphere. And because of this, because it does something entirely unique with the well-established Zelda formula, because it drives you to really care about the world and people in it, and because it delivers an ultimately happy but simultaneously melancholy ending (where Link leaves the world he worked so hard to save behind, having not found his fairy friend Navi, who left him at the end of the previous game, and is the reason Link left Hyrule in the first place), I say that Majora’s Mask is the best Zelda game ever, and the best game of all time.

Closing

And that takes care of that.

If you’ve made it this far, I’d like to thank you for reading this extensive retrospect of my favorite series of video games. I hope that you had at least half as much fun reading this list as I did writing it. And feel free to leave me feedback! Was it a great list? Did it suck? Am I a hack fraud? Am I a genius? How would you rank each game in the series?

Zelda has been around for thirty years now. Here’s hoping it’s around for at least thirty more.

There’s a world that needs saving, so until next time, friends.