He’s extremely dramatic, but never to a point where it becomes ridiculous, he’s absolutely odd in stature, and he’s nothing less than deplorable. Playing through The Wind Waker HD this past weekend, I’ve come to the conclusion that Ganondorf in this game may just be my favorite video game villain of all time. All in all, impressive battle with Malladus, but the preceding fights left much to be desired.Īnd lastly, but most certainly not least, is The Wind Waker. It almost feels more like credits music than fight music. The music is surprisingly up-beat for such a creepy battle, but I think it actually fits the game as a whole very well.

Look at him, really, look at him! He’s awesome, really awesome! Quite like Bellum, this boss is never seen until the final fight, but through Chancellor Cole, hatred for this monster has really built up! It’s also fun to see the princess take some action in beating up this giant monster. I was relieved to find that at least Malladus was challenging, and extremely cool. I didn’t find it at all difficult, and Puppet Zelda was even easier. The first fight, the Demon Train, simply bored me. Likewise, I find the Spirit Tracks boss fights similarly uninspiring. How is one meant to do that? I really couldn’t figure it out! I kept doing spin attacks instead, and I felt like a massive idiot throughout the entire fight. The only issue I have with this fight is drawing the figure eights. Allowing actual help from the generally useless fairy was a nice change of pace, and the dual-screen fighting is always a blast. The first piece of the battle when you merely had to fight the monster of Bellum did nothing for me, but the actual final battle against none other than your buddy Linebeck is the fight that I remember most. Did it work? Certainly not as well as it did in the past, but I guess it was interesting. They seemed to attempt the emulation of a Majora-style build-up to the final boss Bellum. In fact, I would go as far as to say that Majora is the perfect example of a boss fight done correctly.Īnd I think the producers of Phantom Hourglass agreed. The music isn’t something I’d listen to outside of the game, but there’s no denying that it fit the battle very well. Given, it was a bit strange with the psychedelic colors and the high-pitched squeals of Majora’s Incarnation. Each phase was challenging, intriguing, and overall exciting. The boss battle itself was very well constructed, being the first major multi-phase final boss fight in the series.

But what is made known is that it must die. Majora, alternatively, was shrouded in mystery, considering little about the strange being is ever made known. That specific antagonist was really built to be absolutely despised through several encounters and explanations of his evil doings, he was a classically linear villain. Majora is a very different kind of villain from Ocarina of Time‘s Ganondorf. I see similar strategies used in later Zelda games, but I don’t believe they even compare to this startling, climactic ending. It’s extremely difficult to pull off a fantastic main villain that the character never actually sees until the final battle (although we see the mask), but Majora’s Mask figured it out.

I really like the build-up to Majora more than anything. Probably the most requested boss in last week’s comments section was the mysterious Majora. That isn’t how bosses should be! It’s too boring that way, and I guess it just failed to live up to my expectations. It’s boringly spammish, in that doing one attack over and over for about five minutes is an effective way to kill him. The boss simply looks exciting! But does the gameplay live up to the aesthetics? In a word, no. It somewhat creates a character for Vaati, and delivers a phenomenal battle with the eye-crazy mage, but although this may be one of the best boss fights in the game, it isn’t the final one.No, that would be the fight with the gargantuan Ganon, as massive and frightening as ever. The fight may be epic, but it feels almost meaningless.įour Swords Adventures, on the other hand, pulls a bit of a bait and switch. Killing Vaati in this game doesn’t feel at all satisfying, as the game fails in all means at introducing the villain’s character. It’s exciting, and it well utilizes the game’s multiple Links aspect. The music is the best track in the game, but its competition is extremely slim. There isn’t really any other plot-line other than “Kill Vaati,” so that’s… decent I suppose. His character is completely undeveloped, and the build-up is… I guess it’s the whole game.

He only appears in mage form, or rather, a giant ball of blackness with a humongous eye. Four Swords shows the inception of Vaati, a villain in only three games who I would personally love to see return in the future. I’ve been known not to mention Four Swords in these editorials, but as the hope is to hit every boss in the series, I think it’s finally time to tackle these two games.

Luca blight boss fight