The Legend of Zelda: Twilight Princess - game review
What species does Zelda belong to? Well, none at all, because even if we assume that the series is genre in its own right, it will remain its only true representative. And this is where the industry privileges of the flagship Nintendo milk cow do not end there. Each title signed with this legendary brand by default receives a wild card to be a hit - little, one of the hallmarks of the period in the history of games in which it was released. So we are talking about the starting base, which 99.4% of game publishers in the world can dream about. And what's the big deal? About a metrosexual, elf-like guy in a green hat, who travels in the not very extensive (in terms of content, not dimensional) fantasy world and solves puzzles. Well, this may not sound like a recipe for an ideal game, but Zelda usually turns out to be dangerously close to this model abstract.
Linek's adventure diagram is like a song at a tempo that, depending on the mood of the listener, can be interpreted as slow or fast. To achieve this effect, developers are not at all trying to give the player a particularly large freedom of action, which very often causes blur in games and dilutes the actual pleasure of fun. And yet there is something in Zelda that allows everyone to see what they want at the moment. Maybe it is this constant intellectual stimulation, maybe purely technical reasons, or maybe the undeniable element of transcendence that decides that, in the opinion of many, Zelda simply does not agree to dislike. Twilight Princess is a crowning example of the firepower of this series, a timeless manifesto of Nintendo's timelessness, which ostentatiously put next-gen into the ground and leveled almost all competition with the earth with a product that does not fight with it on the training grounds, but rather humiliates its magic ą by big we.
Contrary to what some native media are trying to promote, not every Polish player has met Zelda personally, indeed, the cult built around the series is largely the result of a press hype that has been around since the dawn of time and causes people to stylize themselves as big fans knowing about it as much as Shuck about aiming with the pad (and even less, because as far as I know, Boris at least tried to aim). It is therefore appropriate to write a few words about the general assumptions of this title, often incorrectly thrown into the bag with hack'n'slashami or other action-RPGs. Zelda's meat is riddles, usually referred to as environmental. We spend most of the time in the mystical Hyrule in the famous "themed" temples, where each room we enter carries with it another puzzle, usually causing a pleasant itch under the skull. In this aspect, these adventure productions are quite close. Part of the arcade is combat and more or less advanced platforming. And RPG relationships are probably derived from the scale of the penetrated world and the relative freedom in exploring it. This type of eclecticism is not in itself anything shocking or ennobling, only its practical implementation and the proportions between the components are truly striking.
Fiction, Twilight Princess does not leave the classic track, according to which Link begins the adventure as God of spirit a guilty boy, and over time becomes the only person who can save the world from destruction. This time, the evil forces come from a dark dimension, known precisely as Twilight. His despicable ruler spreads darkness, which gradually devour subsequent parts of Hyrule, turning them into populated by the ghosts of former inhabitants of the wasteland. It turns out that Link is the only one able to avoid the destructive influence of evil forces, because instead of becoming a defenseless spirit, they turn him into a pretty bit wolf. If someone had lived in the middle of the equatorial forest for the past few years, he could call it a surprise - yes, we will spend a large part of the game in the form of a quadruped. This is probably the biggest innovation in TP and at the same time the main factor that distinguishes it from the brilliant Zelda 64 (eeej, Ninny, we are waiting here for its release in the Virtual Console). Another such discrepancy in relation to a fairly distant ancestor is the presence of supportive Link schemer, the mysterious Midna. What kind of character in general, he just has a place in terms of graphic design and characteristics. Speaking less than he knows, the cynical creature from Twilight has been successfully named perhaps one of the best so-called Sidekicks (support characters) in game history. And period.
The abbreviation of the above description is most justified. Although the panic around spoiling games often seems too blown, in this case it is a real pleasure to come across the next, fairy-tale motifs and motifs, which no one previously told us to justify how wonderful this production is. I mentioned Zelda 64 , it is worth adding that it is here that she is the main prototype here, the controversial Wind Waker is somewhat omitted. And good, cell-shading leap in the side had its value, but here we go back to the sources that in our opinion have brought us, in the opinion of many authorities, the best game of all time. I have completely different types there, but humbleness is not important.
Throughout the game we go on a string from one point to another. We have the opportunity to deviate from the route marked out for us, but either we will find a transition to another part of Hyrule closed, or simply there will be nothing to do for us. Is it wrong? This is what the spell is about, not it. It is hard to complain about the lack of depth, which is due to the large number of secrets (mostly organized in the form of a collection of items, which we must complete in order to get the prize, so traditionally) and nice mini-games, among which, of course, the famous fishing.
The game is unbelievably long - the minimum to complete it is around forty hours. Well, maybe this is not an "unearthly" number, but remember that we are talking about a game based on puzzles, not RPG, where we spend most of the time reading dialogues (ambitious variant) or crackling experience in battle. The fight is very marginal in TP, clashes with opponents fail with the level of difficulty and even the epic-conceptual bosses do not set too high requirements for us. Especially in the latter case we can read it as a disadvantage, because it is sad to do when the powerful looking monster is defeated at the first attempt, completely on watch. UNLESS that this is a way to distract attention from a certain disadvantage of the Wii version, i.e. strongly for the strength of the control of the sword using the remote control. This, moreover, was expected since it was announced that the game from the beginning to the near-end written under GameCube would end up as the Wii start title. However, the controls have ups and downs, which makes it difficult to criticize them in total. While the annoying, mechanical wagging of the controller during the fight quite quickly calls for vengeance, there are places where the pilot clearly shines, such as aiming with a slingshot or bow - we have never had such a degree of power over the crosshair in games. As for the normal operations performed by most of the game, they were implemented very correctly and you can get it pretty quickly. We do not feel that the control throws logs at our feet, quite the opposite. So the only slip-up remains this swift gladiolus.
Of course, the biggest problem of Twilight Princess is the audiovisual setting, presenting the level of the previous Nintendo console. This does not mean that the game is ugly - on the contrary, it sells us a wonderful, fairy-tale atmosphere with extraordinary taste. It is a pity that in the face of hardware limitations it was not decided to go more artistic (see Okami ). A certain glimpse is the graphic style of the areas absorbed by Twilight , including opponents as if pulled out of the ICO alive, making cosmic screwing sounds. You have to get used to it all and you must not be discouraged after the first few moments after firing the tile (which, moreover, we were guilty to a certain extent when we launched the game in the editorial office on the day of release). In terms of sound, the main problem is the lack of voice-over, quite annoying in its archaic nature. Even the introduction of some weird, mumbling, inner Hyrule language would be a better option than making the game practically deaf. There are little rays of hope (Midna "talks" even quite a lot), but most dialogues lack any sound support. I'm sad, sad as hell, that Picia flew out of Big Brother. And the music? Something like a rumble on MIDI sounds and earnestly defends against catching in the ear. Bida no, I know that Zeldy are productions completely taken out of the game's timeline, but without exaggeration, let's respect each other, beloved Nintendo.
This is not very specific, it has already poured out almost 9,000 characters and it seems that I am still messing around the topic instead of jumping directly on it. But the thing is that if someone wanted to approach this game in an analytical way and diligently dwell on all its aspects, it is not enough that it spoiled the readers' pleasure of discovering them a bit, but was forced to write at least a small book. There are dozens of ways to write about Twilight Princess, trying to find and isolate this magic element, and the probability of success is frighteningly low. Why are these puzzles so engaging? Because they are brilliant, there is no other explanation, no slide and no eye. There is elation and respect, there is mastery in the * design * of video games. I'm loving it, just do it. And tell me I'm not a sports star.
Krzysztof "Lordareon" Gonciarz