Immense technological and storytelling evolutions of the last 30 years have elevated video games into a respected art form. Video games today have graphics that make them literal works of digital art and provide cinema-quality experiences to gamers. It’s allowed the industry to transition from quarter arcades to home consoles and grow into an industry with $100 billion annual revenue.
Yet, there are still those who can’t acknowledge that gaming has moved past the “damsel in distress” tropes of the 1980s. A time where Mario was perpetually being told the princess is in another castle and Link was busy fighting across the fields of Hyrule.
For many modern-day feminists, the Mario and The Legend of Zelda game series are targets too easy to pass up. Author and frequent video game critic Anita Sarkeesian wasted little time pouncing on Breath of the Wild, the Zelda franchise’s latest installment. On Twitter, Sarkeesian and her website, Feminist Frequency, attacked the game for its “tired, sexist plot devices” and then began to chastise industry critics who “don’t give a damn about how women are represented in games” all because they gave the game numerous perfect scores.
This opinion met a quick online backlash where most respondents, YouTube streamers, and others openly questioning if Sarkeesian or her team had played much of the game, completely missed the plot’s context, or were just being provocateurs for attention?
So is Princess Zelda still a video game damsel? Not since 1992.
A Hyrule Historia
To understand why Sarkeesian is wrong with her opinion on the latest Zelda game, one must understand the evolution Princess Zelda has gone through as a character. Throughout the course of the action-adventure franchise’s 30 years of players solving puzzles, dungeon-diving, and monster-slaying, we’ve seen several iterations of Zelda; each one different from the previous game. In most of those nearly 20 games, Zelda is not sitting around Hyrule Castle waiting for protagonist Link to show up.
In Ocarina of Time, Zelda sets up the game’s plot by telling Link about prophetic dreams concerning her about the dangers of Ganon (the series perpetual foe). By the game’s second act, she’s disguised as “Sheik,” a mysterious, ninja-like character aiding Link’s quest.
In The Wind Waker, Zelda begins the game as “Tetra,” a cocky, no-nonsense pirate captain. A quintessential tomboy, Tetra doesn’t even know she’s Zelda, even preferring to return to her pirate ways at the game’s conclusion.
Zelda undergoes her own quest in Skyward Sword; one distinctly different, yet parallel to the one the player goes through. Introduced as Link’s childhood friend and sweetheart, Zelda discovers she (and thus every Zelda who follows her) is the reincarnation of a powerful goddess and must complete a plan set into motion by her previous self. Throughout the game we see her transform from carefree girl to mature young woman; one capable of handling the responsibility asked of her.
Three Sides of the Triforce
Nintendo has consciously decided to give each Zelda game the same repetitive plot. This builds up extensive in-world mythology for Hyrule and the Triforce, the in-game MacGuffin that lets its wielder fulfill any desire. Each of the Triforce’s three distinct aspects (Power, Wisdom, and Courage) is held by Ganon, Zelda, and Link respectively.
Essentially each game goes like this: Link is woken up from his sleep, notices bad things are happening and makes his way to Hyrule Castle. There he meets Princess Zelda, who warns him of the oncoming danger of Ganon. Link explores some dungeons to prove his worthiness to wield the Master Sword (the series’ Excalibur). Despite Link and Zelda’s best efforts, Ganon rises to power. More bad things happen, forcing Link to go through even more dungeons. In the end, there’s a final confrontation between the three to determine control over the Triforce. Link wins, usually with Zelda’s help. Ganon is magically sealed away. Wash. Rinse. Repeat.
This repetitive plotline has been cemented into the series’ mythology; explained as the direct result of an ancient curse. In Skyward Sword, Ganon’s first incarnation—the Demon King Demise—promises an “incarnation of his hatred” would be reborn throughout the ages.
Teaming Up, Not Saving Damsels
But where recent Zelda games have truly broken the “damsel trope” is in their final battles, with many ensuring the princess will have her own role in bringing peace to Hyrule. Instead of Link swooping in to “Beat the Bad Guy, Save the Princess,” many of these battles are team-ups between the two characters.
In Ocarina, Zelda provides Link with “Light Arrows” (a recurring final weapon) and uses her Triforce powers to pin down Ganon as Link delivers the final blow. In Windwaker, Zelda shoots arrows at Ganon while Link fights him with his sword. Part of Twilight Princess’ final confrontation takes place on horseback; as Link charges forth on his loyal steed Epona, Zelda is right behind him shooting arrows at Ganon.
A More Human Zelda and Link
(The following contains major spoilers for The Legend of Zelda: Breath of the Wild.)
Nintendo’s newest Zelda game throws out many of the series’ conventions; even in its plot. Yes, there is still the destined standoff, but things go differently. Instead of Ganon kidnapping Zelda, the player discovers she’s been spending the last century containing him—by herself—inside Hyrule Castle to prevent his escape and likely destroy the world.
During that entire time, Link has been recuperating from near-fatal wounds and holds no memories of his past. He must recapture his memories, which serve as the game’s backstory, while bringing peace to Hyrule.
In these memories, players get a Zelda they’ve never experienced before—one who outright detests Link at their first meeting, one who is living under a mountain of pressure. She knows she contains “the blood of the goddess,” but cannot tap into her Triforce powers. She looks at Link; chosen by the Master Sword for his courage and dedication to others, as a living reminder of her failure.
Furthermore, Zelda prefers scholarly work with science and ancient technologies. It’s a lifestyle that brings her into conflict with her father, the King of Hyrule, who demands she do all she can to become the high priestess she’s destined to become.
Zelda’s chief struggle isn’t against Ganon and his minions. It’s about living up to the expectations destiny has for her.
When Zelda’s powers finally manifest, they do so in spectacular fashion. Link, exhausted from non-stop fighting, tries to protect Zelda from another wave of foes. Knowing he is too weary to go on, she pushes him aside and steps in front of an attack. As she does so, her power radiates across the land.
There’s nothing “Damsel” about it.
Zelda’s triumph is not without cost. Link collapses from his injuries and is near death. Knowing he is needed in the fight against Ganon, she ordered him to be sent into his rejuvenating stasis. With newfound purpose (and perhaps a little Triforce wisdom), Zelda puts into motion her plan to save Hyrule from Ganon—one that requires her century-long sacrifice and placing her faith in Link to complete
Reactionary Feminism and Video Games
While there’s little defense for the video game industry’s past sexualization of women, there’s even less for reactionary feminists to act as if the industry hasn’t evolved. These days’ game designers work to make all characters; both male and female, as three-dimensional as the graphics portraying their exploits.
Are there sexist moments in Breath in the Wild? Yes, but neither Sarkeesian doesn’t bothered by Gerudo Town’s “No Men Allowed” policy, or how the Great Fairies qualify as sexual predators in most states.
Zelda’s evolution in Breath of the Wild is one longtime fans of the series can enjoy and celebrate. She doesn’t just hold the game together, she’s the driving force in its narrative; making its story as much hers as it is Link’s.
Anti-Zelda screeds are insulting to the millions of fans (men and women alike) who grew up and cherish these games. These fans know very well, that while they might not be able to play as her, Princess Zelda remains as much the series’ heroine as Link is its hero.
