Let's consider the overworld, which should be the focus of the gamer's attention.  It shouldn't just be the space between towns and dungeons, but rather it should have a profound impact on how the game is played and how the player plans his/her future excursions.  Zelda is generally good at keeping the overworld chock full of secrets, hidden caves, and the like -- but ever since the first game, not much has really changed about it.  You can burn or cut a shrub to dig up some extra money, or you toss a rock or blow up a cracked wall to reveal a cave.  It's all been done so many times that players already know it's coming before they even find it.  Plants become nothing more than meaningless icons denoting possible rupees, and the "secret" passages in the walls are often so obvious (and often not even optional) that you end up just going through the motions, like finding a hidden cavern is an everyday occurrance.  This can no longer be the standard.
For one thing, before we even get to the details conercing the landscape, I will say this: the overworld must be vast.  Even on horseback, where you can zoom along the plains at great speeds, getting to your next major destination should take a matter of days (we're talking in-game "days," of course, not real-life days -- I'm not insane).  This is not just some device to increase gameplay hours, nor should it be a chore -- in fact, a lot of the fun and adventure of the game should come from the thrill of the journey, and on surviving in the wilderness of Hyrule.  An epic, cross-country adventure means nothing if it doesn't take its toll on you, after all.  The environment should feel like a living entity, rife with both predators and prey, hidden opportunities and hidden dangers, and geological/natural obstacles to overcome.  The player should be required to keep this in mind -- that travel across such great distances is not something to be taken lightly, and that there is going to be an element of risk when you venture away from civilization.




There are all kinds of scenarios that can pop up on your way to your next destination.  For instance, things might be going rather straightforward until you come to a rapid-flowing river, where the bridge has been broken.  It's impossible to swim across, but maybe Link could use his grappling hook to swing to the other side.  Of course, the horse could not come along if you try that option.  Maybe there's another bridge elsewhere you could try to find, but is it upstream or downstream?  There's no way to know for sure.  If that doesn't pan out, you could also just try going the roundabout route, past where the river begins or ends.
Let's say you do just swing across on your grappling hook, and continue on foot.  You may come to a forest.  During the day, this forest might seem harmless.  If you're passing through during the night, however, your scent could be picked up by a pack of hungry wolves.  On horseback, you might have been able to outrun them -- but now, your only hope is to try and avoid them.  If they find you, you can try and fight them off (which should be truly dangerous, and not without sacrifice), or try and climb a nearby tree and snipe them from above (however, arrows are scarce and don't drop randomly from most enemies), or hope they lose interest while you're up there.

Night and day should play a significant role in your travels, and not just for determining which NPCs you can talk to in the towns.  With the coming darkness comes increasing danger, whether it be something as simple as decreased visibility or something more fearsome such as skeletons and ghosts rising from their graves, predatory animals like wolves or bears, or the threat of Ganon's minions lurking about in search of a victim.  Yes, Ganon exists in this world, but in a different way -- however, we won't get to that until later.
During the day, there are different sorts of things going on.  The towns' gates are open, sure, but also that means visibility is greater, and therefore enemies can see you easier, and from farther away.  This means that if thieves are out there looking for an easy mark, you'll have to be extra careful about hiding from them -- they can see as far as you can, so it's best to stay low to the ground, keeping hills or trees behind you if possible.  Fighting them might not be an option near the start of the game, if ever -- but if you were going to do so, it would be wiser to do it at night, when most of them are asleep at one of their camps.  You could theoretically sneak around then, taking some of their ill-gotten treasures for yourself, but if you wake them the results could be disastrous.

I mentioned "survival" being one of the key gameplay elements to this new Zelda, and when it comes to that I think some influence from Metal Gear Solid 3 might be in order.  One of the main themes of that game is survival in the wilderness, including the need to hunt or forage for food on a regular basis, as well as avoiding predatory animals if necessary.  There is definitely a "kill or be killed" feeling about the game, and while Zelda need not be so gritty or visceral as Metal Gear is, the concept of having to eat is intriguing.  In so many games, "food" often does nothing more than act as an item that fills up depleted health energy.  In MGS3, however, Snake has a "Stamina" bar in addition to Health, and it slowly degenerates over time if he doesn't eat something (and make sure it's not something poisonous!).  The Stamina bar doesn't affect gameplay much, unless you let it get too low.  When that happens, Snake's performance is severely hampered -- he gets tired easily, his aim is wobbly, his health goes to shit, his wounds don't heal as fast, and generally it's not good times.  Link could have a similar situation going on, requiring him to hunt certain animals, or pick fruits and vegetables he finds for nourishment.  Imagine the thrill of trying to sneak up close enough to a pack of wild boars so you can pick one off with your bow and arrow.  Or, imagine being lost in the desert for a while, and hunger sets in -- do you eat the last scrap of food in your pack, or try shooting down that vulture that's been circling above you?  This system would certainly give new meaning to spotting an apple tree, getting a bottle of milk from a cow, or even trying to snag one of those notoriously dangerous chickens form the farm.  It also makes the contents of Link's "bottles" harder to decide.  Not that having to eat food should be a constant nag, but it should be something you'll have to consider if you're planning a long trip into the unknown.




Graphically, I'd like things to be as realistic and detailed as possible.  The series has always been rather lighthearted in style, even cartoony.  Twilight Princess changed that a bit, but still it's not quite the change I have in mind.  I'm not saying the cartoony style is wrong for Zelda in general, but it wouldn't suit the kind of game I'm thinking of.  The purpose of this is not to make the game darker or more serious, nor is it to shoehorn Link into some contrived political-themed plotline (no, he stays the silent protagonist he always was) -- rather, it is to ensure that the themes of nature, survival, environment, and the exploration of the uncharted frontier is portrayed as effectively as possible.  Yes, there will be blood at times when Link draws his sword -- nothing excessive, but we're not going to pretend that blade isn't sharp, either.
For Link himself, I'd like a change in appearance.  Keep the whisps of yellow hair and the long Kokiri ears, of course -- he wouldn't be Link without those.  The silly green tunic and hat is something I'd like to alter.  Perhaps the hat could disappear altogether, unless it serves some practical purpose.  But, I don't want him wearing green for this one.  There are going to be a lot of gresslands, forests, and lush vegetation around him at times, and I don't want him getting lost in the details.  I'd like his clothes to be white, with a light green trimming arond the cuffs just to save a little of his veridian heritage.  For some reason I picture him wearing a vest of gleaming, silver chain mail.  This could be for protection, or it could be enchanted with some magical purpose in mind for later.  These sorts of details aren't that important, but it is crucial that the graphics be as real and full of detail as the world Link inhabits.  Something along the lines of the SotC screenshots I've been showing you would be ideal.

In terms of sound, Nintendo needs to bite the bullet and go full orchestral.  I see no reason why the series' usual composer Koji Kondo couldn't do the music, but a change in styles is in order, similar to Koh Ohtani's score for Shadow of the Colossus.  I know, I bring that game up too often as a guideline, but I think this could work.
Anyway, the usual upbeat "I'm a hero going on a quest" music we associate with the usual Zelda overworld must be abolished.  Save the exciting music for when something exciting is happening.  When you're out there alone in the overworld and you're not in a fight or a village, and no important events are happening, there should either be no music at all or something minimal and soothing that fades in and out like a gentle breeze.  A few quiet strings and some woodwinds would be perfect.  The up-tempo, bombastic orchestra will come in during major battles with groups of enemies or bosses.
Also, I know this is going to be a point of contention among Zelda fans -- but, when Link finds an item, we are not going to sound the familiar alarm of "Da da da daaaaa!!!!!"  Link's items won't be found inside huge, golden treasure chests, announced by a head-pounding flourish.  That little tune, even though it's fun and I like it, has been done to death.  They do it so often that it's no longer special.  One game where that music doesn't appear is going to do the series some good.  In fact, we don't necessarily need any of the usual Zelda music.  I've always loved the main Zelda theme, but I think for this installment it would be best if we need it to introduce it subtley in a few choice event scenes or perhaps woven into the final boss battle.
What I'm imagining for Link's ocarina, for instance, is that he will just stumble upon it in the middle of a valley, abandoned or lost by its previous owner.  The songs Link eventually learns for it have magical power, but the instrument itself is plain and not unusual.  When he picks it up, he examines it curiously, and perhaps even clumsily toots out that little four-note ditty, just for nostalgia's sake.  He then puts it in his pocket and continues on his way.  No fanfare, no holding the object towards the sky for God's approval.  The instrument is reward enough.

 I'm not sure how the story and characters will go, but those things have never been the focus of a Zelda game anyhow.  Much of Link's time is spent in solitude anyway, and things will be no different this time.  In fact, I'd like to keep the number of characters in the game down to a bare minimum.  The feeling of this game is of being alone in the world, and the usual cast of nutty shopkeepers and minigame proprieters will only serve to clutter things unnecessarily.  In Shadow of the Colossus, there actually were no other characters besides yourself, until the very end of the game.  This fact helped you better focus on the landscape's character, and made your horse a much more welcome sight and a familiar companion.  Speaking of the horse, Link will get her early on, perhaps even the start of the game.  I'm not sure we need to actually come out and call her Epona, because players will already recognize the horse from previous games.  Either way, she's Link's horse from the get go, and taking care of her will be a priority.  Not that you have to babysit her all the time, but it could be something as simple as remembering where you parked her, or hiding her from plain sight when she's not in use, just so the thieves don't come by and steal her when you're not there.  Later on you can get a song for the ocarina that will transport the horse to your location, but for much of the game she can only go where an ordinary horse can go, and can't be expected to track you telepathically or anything like that.



As for Ganon, he won't even be a solid being until the very end.  Ganon is to be thought of more as an elemental force, spreading a dark influence over the land.  An enemy of the natural world, not just another character who inhabits it.  He is represented symbolically, by the cold glare of a snake staring out at your from a darkened corner, by the enshrouding blackness of the night, or by a thunderstorm looming over the horizon.  Sort of the feeling of Sauron in Lord of the Rings.  His role as a character is that of an ancient evil deity, whose monstrous followers are planning to ressurrect by stealing the Triforce of Power from Hyrule Castle.  The summoning spell somehow goes awry, however, and Ganon's rage splits the Triforce of Power into eight pieces, each of which flies off into a different corner of Hyrule and transforms into a great beast.  These beasts would be the game's "bosses," but defeating them isn't really an isolated "boss battle" event done in a closed room underground somewhere.  Some of the beasts might even be visible in the overworld in some way, such as a flying creature seen hovering in the sky above a mountain range, or a huge, hulking mammal grazing in a deep valley.  Locating and defeating these creatures is difficult work, and won't be possible in a quick, three-minute skirmish.  Cunning and patience will have to be employed in these situations, as you use the environment to your advantage.  Perhaps there could be a bull-like boss who will charge at you when threatened, but is covered by a thick armor plating so that it is not even bothered by your sword or arrows.  You might have to do something like climb a nearby cliff, and push a boulder down on its head from above, shattered a piece of its shell and exposing a weak spot.  Then, you may have to sting it with arrows to get its attention, which initiates a desperate chase across plains and through a forest, which ends at a steep prescipice overlooking the sea.  You trick the beast into charging right off the cliff, down into the water below, where it sinks and ultimately drowns.  I don't know if such an ordeal is too complicated or not complicated enough, but the general idea is that it's not the usual matter of "use the item I got in this dungeon on the boss to kill it."  You really have to think about how to find the enemy's weakness, and then be even more cunning to lure your foe into a situation that will allow you to exploit it.  No more fairy companions shouting "hints" at you, like "Hey, Listen!  See how this boss has one big eye?  If only you had some kind of arrow-like weapon to shoot the eye with..."
Anyway, the Triforce of Courage is given to Link to watch over, while Princess Zelda keeps the Triforce of Wisdom and goes into hiding.  I'm not exactly sure how the plot would turn out, but that's hardly the issue here.





Now, as far as items and various tools are concerned, there will also be a minimal amount.  We don't need Link carrying around a Fire Rod and an Ice Rod and Wing Boots and a hundred other crazy contraptions.  I want Link to be able to do more with less, solving the majority of the game's "puzzles" by using the environment and his own wits, and finding multiple uses for the tools he has rather than collecting a myriad of ridiculous things.  Here are a few items that I think would work well:
Sword: Of course, Link needs this to do battle with standard enemies.
Shield: Blocks attacks, or course.  It can also be held above his head to block falling rocks or debris, which especially helps in mountainous areas.
Ocarina:  As usual, various songs can be learned for the instrument later in the game, which may aid in travel, summon your horse, manipulate the elements, change the time of day, temporarily turn you into a fairy so you can fly up high or fit in smaller areas, etc.
Grappling Hook and Pick-Axe:  Unlike the hook-shot, it isn't some rocket-propelled contraption that jets off on a chain.  It's a simple rope with a hook on the end, but it functions in much the same way.  Link can toss it and hook it around various objects, then either climb upwards or pull objects toward him.  The Pick-Axe lets him dig into cliffsides when there isn't an obviously hook-able object nearby (generally, Link can use this to climb any cliffside to get to a higher area, but if he wants to go down he'll have to rappell using the hook and rope).  The Pick-Axe can also be used as another weapon, or for smashing fragile walls much like bombs did.
Bow and Arrow:  Indispensible for hitting things from a distance, and for hunting.
Jumping:  I should mention now, you don't need a Roc's Feather for jumping.  Link can jump at any time as a standard action, and can grab onto ledges if he doesn't quite make it over a gap.
Triforce of Courage:  Since you have it, you can commune with it to locate the other pieces of the Triforce.  This will give you a fairly good indication of where the princess and her Triforce of Wisdom are currently located in case you want to visit them for advice or help, and it also will give you a vague hint as far as what direction the next piece of the Triforce of Power is.  However, that hint will be something like "to the northwest..." and it won't pinpoint exactly how far it is or how to get there.  There could be a huge roadblock of some kind in the way, or the land could suddenly give way into a steep cliff that plummets down for miles -- so, it will be up to you to find another way around or through or under whatever stands in your way.



Well, those are the main features for my version of how to re-think Zelda as a series.  The fine details and kinks would have to be worked out as they come, but I think moving in this general direction would make for an incredible game.  What I'm asking for is probably a huge undertaking, but I think the technology is there to create it now, and besides -- a Zelda game is supposed to be something very special, which only comes around once in a rare while.  This isn't the sort of game you make every year, and it requires a different kind of play style from what most gamers are probably used to these days (not to mention a great deal of time and patience), but the effort would be worth it in every way.


And since we're speaking of drastic changes to the Zelda formula, I should point out this trailer for a new, futuristic Zelda game.  It's already been revealed as an April Fool's joke, but the concept does provide a fresh take on the series that most people probably wouldn't have thought of.  I know that when I first saw it, it really threw me for a loop.
Imagine, though... a futuristic Zelda.  Could it work?  It would certainly be new, but is it new in the right ways?  There is a delicate balance to uphold between changing the series too much and not changing it enough.  Furthermore, yes, the setting is different -- but that doesn't say anything about the gameplay.  I'm pretty sure this one couldn't work, though, the longer I think about it.  It would be hard to come up with believable reasons for why a futuristic society would have a single ounce of unpopulated territory for Link to explore, let alone why there would be "dungeons" full of puzzles and traps.  Also, the futuristic society would undoubtedly be tied in to some form of storyline that requires such a setting, and Zelda games aren't about that kind of heavy-heanded plotline, nor would it be an improvement if they were.  But, it was interesting while it lasted, and does spark the mind into thinking about alternate settings for future Zeldas and other games.


Alright, so that was a lot longer than I intended the article to be.  There are other games that I've thought about reworking, but not in such fine detail.  I'll get to those next time, I promise.