After finishing Final Fantasy XIII-2, I didn't play any new video games for a while. First of all, my spirit was crushed by the weight of Square Enix's complete and utter failure. Also, the weather was finally nice enough to actually go out-of-doors with regularity. I did pick up Civilization V, which I enjoyed quite a bit but found the replay value surprisingly lacking. I even went back to an old stalwart, Heroes of Might and Magic III, which I'm happy to report I still play every so often. But eventually I decided on continuing down the Zelda timeline and playing through my first handheld game in years, The Legend of Zelda: The Minish Cap. It only took me a couple of weeks to explore everything, even with working full-time and five fantasy football drafts to plan for, but no one expects massive amounts of content from an eight-year-old handheld game. What I did expect was vintage Zelda gameplay in bite-size form, and in that, The Minish Cap delivers with aplomb.
Consistently crisp and refreshing, the Zelda franchise satisfies. No, it's not a beer or a candy bar.
I loved the look and feel of The Minish Cap almost immediately. It reeks of an updated Link's Awakening (which I played and replayed religiously as a kid) and the plot continues the threads from Skyward Sword. This was my first experience with game developer Flagship, a subsidiary of Capcom who also worked on Four Swords and the two Oracle games. Their expertise in handheld gaming is evident, as the nuts and bolts of The Minish Cap all feel right. The scale and graphics are wonderful, the controls feel natural, and the dungeons and tasks are short enough that the player won't run out of battery life just before a boss fight. Keeping things short and sweet on a handheld platform is essential, and director Hidemaro Fujibayashi and his team accomplish that goal extremely well.
As mentioned above, The Minish Cap begins with a nod to the world of Skyward Sword. The introduction tells of darkness descending on the land of Hyrule long ago, when a race of very small creatures called the Picori came from the skies (possibly alluding to Skyloft) to bestow a sword and a golden light on a young hero. The hero banished the darkness, locking the evil beings in a bound chest, and the Picori Blade was enshrined by the people of Hyrule. Every year since, they remember the gifts of the Picori in an annual festival. Seems like a standard backstory, but there are two things I appreciate. First, it hints at an untold story of a former Link, one whose adventures would take place between Skyward Sword and The Minish Cap. As the Zelda franchise has grown and changed over the years, Nintendo has done a nice job of tying together themes and stories, and I wouldn't be surprised to see a future Zelda title cover the Picori's initial trip to Hyrule and the hero they encountered. Second, it tells the story of a legendary sword other than the Master Sword, which as we eventually learn in other games, is tucked away in the Sealed Grounds. Instead, the Picori Blade is Link's weapon of choice, and The Minish Cap details how it eventually becomes the Four Sword. It's a fun little story, perfect for both the setting and the handheld console.
Flash forward to this summer, when during one of my customary checks of tour dates I discovered that Kweller was returning to 9:30, only this time he would be the headliner. Needless to say I bought tickets right then and there. As the concert date approached, our enthusiasm swelled, and by the time we were at the venue listening to Lissy Rosemont of the Junior League Band finish up, it was uncontrollable.
I figured the "me, you, piano, guitar" portion was only referencing that he is both a skilled pianist and guitarist. But the show was literally just that -- he performed alone (save for a brief guest spot from Lissy Rosemont) and there were only two guitars and one piano at his disposal.
But no one cared. Kweller, as he did last year, oozed energy and confidence throughout the show. He opened with a track off his latest album Go Fly a Kite called "Mean to Me," which he restarted twice due to some problems with his effects pedals. But even that couldn't slow him down, and he tore through his early set with some wicked guitar licks and enthusiastic vocals. At 31 years old, Kweller still has the baby face of an idealistic young musician from a small Southern town. On stage that night, he even looked like a teenager, complete with sleeveless denim jacket, ripped jeans, and a mullet-like mop-top brimming with wavy curls. One gets the sense that he hasn't changed much from his early days in Texas -- he's still the rock and roll outsider expressing himself through infectious hooks and thoughtful ballads. Only now he has found his audience.
Kweller kept it going with some of his more well-known songs from his first major record, Sha Sha. "Wasted & Ready" and "Falling" were particularly good, as he hopped between piano and guitar seamlessly. But at some point in the middle of his set, he moved on to a combination of lesser known tracks and requests shouted from the audience. I guess that's the advantage to his one-man format -- Kweller was able to completely change his set mid-concert, stop songs on a dime, and generally do whatever the fuck he wanted. This was never more evident than during a track from his self-titled third album, "Until I Die":
Kweller invited any audience member with a set of keys to come up on stage and mimic the jingle bells, cymbals, and triangles from the studio version. It wasn't the greatest auditory product in the world, but everyone involved seemed really pumped to be a part of it, including Kweller himself.
The show marched on at a furious pace. In fact, I remember very little of the setlist order because I was having such a good time. I do remember songs in bunches. "Sundress" and "In Other Words" showcased Kweller's piano and vocal chops. "Jealous Girl," another song off his new record, was heartfelt and seems just a little bit autobiographical, which is also true for "Commerce, TX." He gave a shout out to Evan Dando with his cover of "My Drug Buddy." "Hospital Bed" got the crowd singing along towards the end of the show, and by the time Lissy Rosemont joined him for "Fight," I only wanted to hear one more song. He delivered, and closed his finale with "Penny on the Train Track," although for a song that is such a tour de force, only having one performer sapped the energy just a bit. But I can't complain. The show was awesome, and I'm already lobbying hard for Kweller to come back to 9:30 on his next East Coast swing.
