This is One Word Review, a concept that I shamelessly lifted from my friend Creighton over at Nerdology (it's okay, he said I could). The idea behind OWR, as we like to call it, is that videogames are so often rated, reviewed, and discussed to exhaustion that it is sometimes a relief to read a succinct, definitive description of a game--a single word that sums up the most prominent characteristics of the gaming experience. That's the idea, so here goes:
Psychowarped
Showing posts with label GCN. Show all posts
Showing posts with label GCN. Show all posts
Sep 17, 2008
Aug 25, 2008
One Word Review | Metroid Prime
This is One Word Review, a concept that I shamelessly lifted from my friend Creighton over at eight bit childhood (it's okay, he said I could). The idea behind OWR, as we like to call it, is that videogames are so often rated, reviewed, and discussed to exhaustion that it is sometimes a relief to read a succinct, definitive description of a game--a single word that sums up the most prominent characteristics of the gaming experience. That's the idea, so here goes:
Archeological
Archeological
Aug 18, 2008
One Word Review | Eternal Darkness
This is One Word Review, a concept that I shamelessly lifted from my friend Creighton over at eight bit childhood (it's okay, he said I could). The idea behind OWR, as we like to call it, is that videogames are so often rated, reviewed, and discussed to exhaustion that it is sometimes a relief to read a succinct, definitive description of a game--a single word that sums up the most prominent characteristics of the gaming experience. That's the idea, so here goes:
Mindsnaring
Mindsnaring
Aug 11, 2008
One Word Review | Madden Football
This is One Word Review, a concept that I shamelessly lifted from my friend Creighton over at eight bit childhood (it's okay, he said I could). The idea behind OWR, as we like to call it, is that videogames are so often rated, reviewed, and discussed to exhaustion that it is sometimes a relief to read a succinct, definitive description of a game--a single word that sums up the most prominent characteristics of the gaming experience. That's the idea, so here goes:
Perennial
Perennial
Jun 9, 2008
One Word Review | Metal Gear Solid
This is One Word Review, a concept that I shamelessly lifted from my friend Creighton over at eight bit childhood (it's okay, he said I could). The idea behind OWR, as we like to call it, is that videogames are so often rated, reviewed, and discussed to exhaustion that it is sometimes a relief to read a succinct, definitive description of a game--a single word that sums up the most prominent characteristics of the gaming experience. That's the idea, so here goes:
Cinemeld
Cinemeld
May 4, 2008
One Word Review | The Legend Of Zelda: The Ocarina Of Time
This is One Word Review, a concept that I shamelessly lifted from my friend Creighton over at eight bit childhood (it's okay, he said I could). The idea behind OWR, as we like to call it, is that videogames are so often rated, reviewed, and discussed to exhaustion that it is sometimes a relief to read a succinct, definitive description of a game--a single word that sums up the most prominent characteristics of the gaming experience. That's the idea, and now we begin:
Quintessential
Quintessential
Feb 27, 2007
Flashback -- Resident Evil 4 Review
So I mentioned Resident Evil 4 a few days ago, and definitely ripped on it a bit. It's been on my mind as of late, because I recently introduced it to my girlfriend, Carolyn, and she became so addicted to it that she indulged in marathon sessions, foregoing schoolwork and anything else that wasn't absolutely essential to her survival. After finishing, she began a second round...just like I remember doing 2 years ago. It has been 777 days since RE4 was release in the US, and in honor of the Killer 7 magnum (which costs 77700 pesetas in the game), I have decided to offer a semi-retro review of my favorite Gamecube game, and easily my 2005 Game of the Year. So, from the Eddie R Inzauto archives, dated January 11th, 2005, here is my review entitled: Introducing a brand new type of game. RE4 is a masterpiece.
Sometimes, a game comes along that reinvents or redefines video games as we know them. Super Mario 64 did it, as did The Legend of Zelda: The Ocarina of Time. I only mention these games to put into perspective where Resident Evil 4 stands among video games up to this point. While it does not totally reinvent gaming, it will prove to be a new benchmark for the industry. Capcom's latest is a masterpiece, and developers should take a lesson from it, especially in what I like to call 'interactive cinematics.' This is what RE4 has invented.
The Resident Evil franchise has a history dating back to 1996, when the first of the zombie-infested series was released on the Playstation. This game alone managed to create a whole new genre, and coined the phrase, “survival horror.” Numerous sequels followed, as well as many copycat titles, exhausting the gameplay style, and leaving some gamers jaded by it. There are likely as many RE haters as there are fans, but with the release of RE4, and the reinvention of the series, these two groups can join together and enjoy again what began nearly a decade ago.
Resident Evil 4 stars Leon S. Kennedy, of RE2 fame, who is on a mission to rescue the president's daughter Ashley from a remote location in the European countryside. Apparently, she is being held in a small village, so Leon goes to investigate. No sooner does he set foot in this little town than he is attacked by a group of zomb- oh, did I fail to mention that there are no zombies in the game? None. Leon is attacked by a group of crazed villagers, and the survival horror has begun.
Probably the first noticeable difference to anyone familiar with the series is the new camera system. No longer will the action be shot from various odd angles, while gamers struggle to orient themselves to the ever-changing view. In RE4, all the action is viewed from behind Leon, so this control problem is never an issue - even with a fundamentally unchanged control scheme. Up always moves forward, down always moves backward, and left and right are always left and right, but since the camera always follows Leon, it is now the most optimal and intuitive setup.
With the new camera system in place, just as controlling Leon becomes second nature, viewing the world he must explore also feels much more natural. You see what Leon sees, which is much more than the old camera style would ever allow. While this may sound like it takes away some of the fear associated with the inability to see more than a few paces in front of you, it only serves to heighten the sense of fright and danger. Now, it always feels as though someone, or something, is creeping up behind you.
Usually, there IS something there threatening you, and throughout the 20-hour adventure you'll encounter enemies like the Ganado (villagers) in many different environments. You'll see forests, caves, villages, a castle, lakes, lava, towers, ruins, and more. Level design ranges from clever to superb, and never disappoints. You'll even get to explore a little bit of it as the unarmed Ashley. Fun...?
Another innovation of Resident Evil 4 is the revamped inventory system. Now you can buy your weapons from a mysterious merchant. Your money comes from enemies, as well as the sale of certain items you find along the way. Basically, all the jewels that would've been used as keys in past RE games are now just there to earn you money. With this money, you choose from the widest selection of weapons in any survival horror game, each of which can be upgraded about a dozen times. This process is implemented very well, and adds a sort of RPG element and depth to the gameplay.
As mentioned earlier, the control scheme is nearly identical to RE games of old. There is still no analog movement, meaning you must hold down the B button to run. A degree of freedom HAS been added to weapon usage, however. To do so you hold the R button, aim, and press A to fire. Sounds like any other RE game, but by aim, I really do mean aim. When the camera pulls in close and looks over Leon's shoulder, you have full control over where the shots will be fired. This is punctuated nicely by the red laser that appears on your enemies' heads, arms, legs, chests, etc. before you let the lead fly.
The ability to target any part of the enemy adds to the game immensely. You will find yourself aiming at different body parts based on the situation at hand. Head shots are nice (and often result in incredible blood and gore), but when twenty crazed lunatics are attacking you at once and you're left with only handgun ammo, you may opt to shoot at main body mass. Leon's aim is not perfect, and head shots are more difficult due to the jitter of the laser sight. At other times, it may be useful to shoot an axe-thrower's arm, causing him to drop his weapon, or it may be wiser still to shoot that stick of dynamite the guy next to him is carrying.
I found myself spending a lot of time shooting enemies in the kneecaps, mostly because the subsequent face-first plunge is quite satisfying, and very effective.
The physics when it comes to these firefights are excellent. Fallen enemies trip up others, heavy fire knocks your assailants back into each other, and picking off an unsuspecting Ganado who has wandered too close to a cliff will send him sailing clear over the edge.
There are a couple of things that would improve the control of RE4, however. Something certainly on the minds of many gamers is strafing. My opinion on this, though, is that the addition of strafing would make for a very different experience, and might ultimately detract from the game's style. More often, Leon could benefit from a quick weapon swap. Something as simple as a 'last weapon' button would've been great, and would make combat even more enjoyable.
Sometimes, the fight comes in too close for comfort, and Leon must resort to hand-to-hand combat. Lucky for you, the combat knife is now mapped to the L button, just as your guns are to the R button. Even more fortunate is the fact that Leon can perform a variety of context sensitive actions during combat, as well as when he's not under attack. If an enemy gets too close for comfort, a quick tap of the A button unleashes a mighty roundhouse kick, sending him flying backwards. Leon can also do things like knock down ladders (that flail-wielding psychos will be climbing), jump through windows, make use of various helpful environmental objects, and even deliver a suplex or two.
The pinnacle of combat in Resident Evil 4 is by far its extraordinary boss encounters, which may very well be the best of all video games. Capcom has managed to mix the context sensitive actions into boss battles so seamlessly and so impressively that these high-adrenaline, awe-inspiring clashes between Leon and a myriad of unique and massive villains will remain on your mind for days.
The fine integration of context sensitive commands doesn't stop at boss battles, either. A simple walk in the woods can turn into a frantic escape from certain death, all determined by the player's reflexes and awareness. And when it comes to cutscenes, don't put down your controller...ever. Even the usual safety of a cutscene can't protect you from the dangers of Resident Evil 4. Rest on your laurels and you'll be the recipient of an axe blade; act swiftly and you'll free yourself from a world of pain.
Describing the graphics of Resident Evil 4 is quite easy to do. Simply put, these are the best visuals on a console game, and even rival the best in PC gaming. Everything in the game is photo-realistic, including the most uncanny of enemies. The character models are excellent, not only from a technical standpoint, but artistically as well.
The level of detail in RE4's environments exceeds those of the pre-rendered backgrounds of Resident Evils past, and this game is fully 3-D! One can literally count the blades of grass or notches in a piece of wood, and the fire effects are phenomenal. The lighting is incredible, as well. Ominous shadows always add to the mood of the game, and when the lightning starts to flash, the alternating illumination and darkness makes for one of the most atmospheric games you could ask for.
It is evident that a great amount of time and effort went into producing what you see throughout Resident Evil 4. For example, there is a particular enemy that you have to shoot in the head to kill, and most likely, you'd be using a zoomed-in sniper rifle. Capcom knew this, of course, so they made the best damn head possible. That's polish.
Also quite shiny is the audio of Resident Evil 4, which runs in Dolby Pro Logic II. The voice acting is much improved over past Resident Evils, and lines are delivered with accurate feeling and intonation. From a series with dark roots in voice acting, the level of effectiveness is certainly welcome. Speech is very well synced to lip movement, as well. Besides the main dialog, you will find that your enemies don't shut up, and are always speaking in threatening, unnerving voices to make you feel that much more tense. Plus, they speak Spanish, which leaves many of us in the dark, not knowing what they are saying.
The overall atmosphere of the game is further heightened by the quality soundtrack, which is always appropriate, and ranges from moody and foreboding to intense and exciting. Like so many other aspects of the game, it is seamless, and is just one part of a total experience presented to the gamer.
One could refer to the entire game as a perpetual series of 'scenes,' because the production values of RE4 are so incredible, rivaling many feature films. The pacing is nearly perfect. The action crescendos and decrescendos throughout the game, balancing fierce confrontation with suspenseful exploration, and the choreography and cinematography are amazing. Every part of the game comes together, and comes together well. The whole package is what I call 'interactive cinematics,' and it will make you stop and say out loud, "wow," "whoa" and "phew" on multiple occasions.
You MUST buy this game...
A glowing review, in retrospect, but I think it was well-deserved. Even without mentioning the Mercenaries minigame (a meaty, never-ending romp that could be called "Resident Evil 4 Arcade") or Assignment Ada (a short foray into the life of Ada Wong), Resident Evil 4 stands firm as one of the best games out there... and it's 2 years old. New style scoring is a no-brainer:
Sometimes, a game comes along that reinvents or redefines video games as we know them. Super Mario 64 did it, as did The Legend of Zelda: The Ocarina of Time. I only mention these games to put into perspective where Resident Evil 4 stands among video games up to this point. While it does not totally reinvent gaming, it will prove to be a new benchmark for the industry. Capcom's latest is a masterpiece, and developers should take a lesson from it, especially in what I like to call 'interactive cinematics.' This is what RE4 has invented.
The Resident Evil franchise has a history dating back to 1996, when the first of the zombie-infested series was released on the Playstation. This game alone managed to create a whole new genre, and coined the phrase, “survival horror.” Numerous sequels followed, as well as many copycat titles, exhausting the gameplay style, and leaving some gamers jaded by it. There are likely as many RE haters as there are fans, but with the release of RE4, and the reinvention of the series, these two groups can join together and enjoy again what began nearly a decade ago.
Resident Evil 4 stars Leon S. Kennedy, of RE2 fame, who is on a mission to rescue the president's daughter Ashley from a remote location in the European countryside. Apparently, she is being held in a small village, so Leon goes to investigate. No sooner does he set foot in this little town than he is attacked by a group of zomb- oh, did I fail to mention that there are no zombies in the game? None. Leon is attacked by a group of crazed villagers, and the survival horror has begun.
Probably the first noticeable difference to anyone familiar with the series is the new camera system. No longer will the action be shot from various odd angles, while gamers struggle to orient themselves to the ever-changing view. In RE4, all the action is viewed from behind Leon, so this control problem is never an issue - even with a fundamentally unchanged control scheme. Up always moves forward, down always moves backward, and left and right are always left and right, but since the camera always follows Leon, it is now the most optimal and intuitive setup.
With the new camera system in place, just as controlling Leon becomes second nature, viewing the world he must explore also feels much more natural. You see what Leon sees, which is much more than the old camera style would ever allow. While this may sound like it takes away some of the fear associated with the inability to see more than a few paces in front of you, it only serves to heighten the sense of fright and danger. Now, it always feels as though someone, or something, is creeping up behind you.
Usually, there IS something there threatening you, and throughout the 20-hour adventure you'll encounter enemies like the Ganado (villagers) in many different environments. You'll see forests, caves, villages, a castle, lakes, lava, towers, ruins, and more. Level design ranges from clever to superb, and never disappoints. You'll even get to explore a little bit of it as the unarmed Ashley. Fun...?
Another innovation of Resident Evil 4 is the revamped inventory system. Now you can buy your weapons from a mysterious merchant. Your money comes from enemies, as well as the sale of certain items you find along the way. Basically, all the jewels that would've been used as keys in past RE games are now just there to earn you money. With this money, you choose from the widest selection of weapons in any survival horror game, each of which can be upgraded about a dozen times. This process is implemented very well, and adds a sort of RPG element and depth to the gameplay.
As mentioned earlier, the control scheme is nearly identical to RE games of old. There is still no analog movement, meaning you must hold down the B button to run. A degree of freedom HAS been added to weapon usage, however. To do so you hold the R button, aim, and press A to fire. Sounds like any other RE game, but by aim, I really do mean aim. When the camera pulls in close and looks over Leon's shoulder, you have full control over where the shots will be fired. This is punctuated nicely by the red laser that appears on your enemies' heads, arms, legs, chests, etc. before you let the lead fly.
The ability to target any part of the enemy adds to the game immensely. You will find yourself aiming at different body parts based on the situation at hand. Head shots are nice (and often result in incredible blood and gore), but when twenty crazed lunatics are attacking you at once and you're left with only handgun ammo, you may opt to shoot at main body mass. Leon's aim is not perfect, and head shots are more difficult due to the jitter of the laser sight. At other times, it may be useful to shoot an axe-thrower's arm, causing him to drop his weapon, or it may be wiser still to shoot that stick of dynamite the guy next to him is carrying.
I found myself spending a lot of time shooting enemies in the kneecaps, mostly because the subsequent face-first plunge is quite satisfying, and very effective.
The physics when it comes to these firefights are excellent. Fallen enemies trip up others, heavy fire knocks your assailants back into each other, and picking off an unsuspecting Ganado who has wandered too close to a cliff will send him sailing clear over the edge.
There are a couple of things that would improve the control of RE4, however. Something certainly on the minds of many gamers is strafing. My opinion on this, though, is that the addition of strafing would make for a very different experience, and might ultimately detract from the game's style. More often, Leon could benefit from a quick weapon swap. Something as simple as a 'last weapon' button would've been great, and would make combat even more enjoyable.
Sometimes, the fight comes in too close for comfort, and Leon must resort to hand-to-hand combat. Lucky for you, the combat knife is now mapped to the L button, just as your guns are to the R button. Even more fortunate is the fact that Leon can perform a variety of context sensitive actions during combat, as well as when he's not under attack. If an enemy gets too close for comfort, a quick tap of the A button unleashes a mighty roundhouse kick, sending him flying backwards. Leon can also do things like knock down ladders (that flail-wielding psychos will be climbing), jump through windows, make use of various helpful environmental objects, and even deliver a suplex or two.
The pinnacle of combat in Resident Evil 4 is by far its extraordinary boss encounters, which may very well be the best of all video games. Capcom has managed to mix the context sensitive actions into boss battles so seamlessly and so impressively that these high-adrenaline, awe-inspiring clashes between Leon and a myriad of unique and massive villains will remain on your mind for days.
The fine integration of context sensitive commands doesn't stop at boss battles, either. A simple walk in the woods can turn into a frantic escape from certain death, all determined by the player's reflexes and awareness. And when it comes to cutscenes, don't put down your controller...ever. Even the usual safety of a cutscene can't protect you from the dangers of Resident Evil 4. Rest on your laurels and you'll be the recipient of an axe blade; act swiftly and you'll free yourself from a world of pain.
Describing the graphics of Resident Evil 4 is quite easy to do. Simply put, these are the best visuals on a console game, and even rival the best in PC gaming. Everything in the game is photo-realistic, including the most uncanny of enemies. The character models are excellent, not only from a technical standpoint, but artistically as well.
The level of detail in RE4's environments exceeds those of the pre-rendered backgrounds of Resident Evils past, and this game is fully 3-D! One can literally count the blades of grass or notches in a piece of wood, and the fire effects are phenomenal. The lighting is incredible, as well. Ominous shadows always add to the mood of the game, and when the lightning starts to flash, the alternating illumination and darkness makes for one of the most atmospheric games you could ask for.
It is evident that a great amount of time and effort went into producing what you see throughout Resident Evil 4. For example, there is a particular enemy that you have to shoot in the head to kill, and most likely, you'd be using a zoomed-in sniper rifle. Capcom knew this, of course, so they made the best damn head possible. That's polish.
Also quite shiny is the audio of Resident Evil 4, which runs in Dolby Pro Logic II. The voice acting is much improved over past Resident Evils, and lines are delivered with accurate feeling and intonation. From a series with dark roots in voice acting, the level of effectiveness is certainly welcome. Speech is very well synced to lip movement, as well. Besides the main dialog, you will find that your enemies don't shut up, and are always speaking in threatening, unnerving voices to make you feel that much more tense. Plus, they speak Spanish, which leaves many of us in the dark, not knowing what they are saying.
The overall atmosphere of the game is further heightened by the quality soundtrack, which is always appropriate, and ranges from moody and foreboding to intense and exciting. Like so many other aspects of the game, it is seamless, and is just one part of a total experience presented to the gamer.
One could refer to the entire game as a perpetual series of 'scenes,' because the production values of RE4 are so incredible, rivaling many feature films. The pacing is nearly perfect. The action crescendos and decrescendos throughout the game, balancing fierce confrontation with suspenseful exploration, and the choreography and cinematography are amazing. Every part of the game comes together, and comes together well. The whole package is what I call 'interactive cinematics,' and it will make you stop and say out loud, "wow," "whoa" and "phew" on multiple occasions.
You MUST buy this game...
A glowing review, in retrospect, but I think it was well-deserved. Even without mentioning the Mercenaries minigame (a meaty, never-ending romp that could be called "Resident Evil 4 Arcade") or Assignment Ada (a short foray into the life of Ada Wong), Resident Evil 4 stands firm as one of the best games out there... and it's 2 years old. New style scoring is a no-brainer:
Dec 16, 2006
Zelda Outshines Zelda -- Legend Of Zelda: Twilight Princess (GCN) Review
The verdict is in...The Legend of Zelda: Twilight Princess is most certainly a GameCube game. A more manageable control scheme and camera system, combined with equivalent audio and visuals make the GameCube edition of Twilight Princess the definitive version to buy. While the Wii version offers a variety of ways to interrupt the action, this release is smooth-sailing. It is entirely more enjoyable despite (and partially the result of) the lack of the Wii remote, and undoubtedly represents the the greatness of the series.
The control system is in fact the biggest difference between the two games, as the GCN version of Twilight Princess reverts to the familiar scheme found in previous Zelda games, with a few minor tweaks. Link wields his sword with the B button, performing special maneuvers like jumps, rolls, and spin attacks using the A button in conjunction with the control stick. Combat feels very responsive and is satisfying throughout, making the gamer really WANT to engage the game's many enemies.
When it comes to secondary weapons, the loss of direct aiming is unfortunate, but not detrimental to the experience. In fact, Link's weapon of choice now shows up on screen while aiming, using the tool itself as a guide in place of the default Wii crosshair. The control stick does its job, and saves the player the trouble of raising his hand to point at the screen. As a result, the "please point remote at the screen" message that was so persistent in the Wii version is completely eliminated. Additionally, the mapping of Link's items is improved upon, by allowing instant access with a single button-push. Whereas the Wii version forced players to first select the desired item with the D-pad, and THEN make use of it with the B button, the GCN Link uses it on-the-fly when X or Y is pressed. The only problem here is that there are now only two buttons available for these items, as opposed to four. In certain situations this is a hassle, and can be more annoying to some gamers than others.
The change that all will undoubtedly welcome is the immensely improved camera system. The player now takes full control of the camera with the C-stick, much like in Wind Waker. The L button still works to center the camera, but becomes relatively unnecessary for anything other than combat. This change, above all others, makes the game a pleasure to play from start to finish - even in a backwards world. The Wii game is a 100% mirror image of this version, because Nintendo thought a right-handed Link would feel more natural to gamers swinging the Wii remote. Now, he is a lefty again.
So the series that has wowed gamers time and time again is taking its final curtain call on the Gamecube, with The Legend of Zelda: The Twilight Princess. The only question that remains is, does this spiritual successor to The Ocarina of Time stand up to the task, and is it worthy of the Zelda name? The answer - yes, it is everything gamers have come to expect from the franchise, and on the GCN, has remedied control and pacing issues that made the Wii version feel somewhat dated.
Twilight Princess is the tale of another young lad named Link, who comes from humble beginnings as a goatherd in the small village of Ordon, just south of "Hyrule Proper." An unfortunate series of events sends Link to the rescue of a few of the villagers, but before he can make it very far, he is drawn into an alternate world known as the Twilight Realm. It is here that a good portion of the game will take place, and serves as this game's analog to the light and dark worlds from A Link to the Past, or even Link's childhood and adulthood in The Ocarina of Time. In this digitized dark filter of Hyrule, Link is transformed into a wolf, and has a different set of abilities than while in his human form. Wolf Link is able to dig into the ground for items, and even pass under obstacles such as gates and walls. He also possesses the "sense" ability, which reveals things that would otherwise be imperceptible, such as scents or apparitions. If these aren't enough, a little twilight-dweller named Midna joins him on his quest, and grants him new combat techniques and the very nifty ability to make seemingly impossible leaps in rapid succession. The dichotomy of the two worlds along with Link's two forms creates a sense of variety in gameplay, which is more fully realized as the quest wears on.
Early on, Link must venture to various portions of Hyrule, in traditional Zelda fashion, complete a series of dungeons to collect a group of items to eventually save the land of Hyrule. The difference here is that each area is initially veiled in Twilight, and Link is charged with the task of locating "tears of light" to de-twilightize it. These portions can feel slightly slow, and combined with excessive hand-holding at the outset, Twilight Princess requires a bit of patience.
Otherwise, the design of the game is very good. Hyrule is huge, approximating roughly five times that of The Ocarina of Time, and it is put together such that it unfolds to the player naturally and elegantly. As Link traverses the landscape, load times are few and far between, and when they do rear their ugly heads, it is brief and relatively painless. This applies to dungeon areas as well, which, as always, are superbly conceived and executed, with very well thought-out progression and plenty of interesting new puzzle ideas. These are really the meat and potatoes of the game, and provide the essence of the Zelda experience. There is generally a point within each dungeon where the gameplay is stepped up, presenting a new set of challenges to the gamer. These points coincide with the acquisition of one of the game's many new secondary weapons and items. Of course there are the old standbys, such as the bow, boomerang, and bombs, but Twilight Princess also incorporates a slew of new toys for Link to play with, and even adds slight tweaks and new uses for the recycled items in order to keep things fresh. Another nice alteration is that Link's tools no longer dwell within the shadows of random treasure chests, but are acquired by defeating mini bosses within each dungeon. The sense of achievement involved is reminiscent of the recovery of abilities in Metroid Prime. Link earns his weapons now.
Similarly, the player must also work to gain new combat skills. Gone are the days of the static move set. Twilight Princess grants seven new techniques to the player at points throughout the adventure, but only after locating special howling stones and subsequently sparring with an ancient spirit. It is possible to eschew these altogether and complete the game as an untalented swordsman, but the skills provided by this spirit add much depth to the combat system, and make swordplay much more entertaining.
One aspect of the game's combat that is especially engaging are the boss fights. As is expected from the Zelda series, the boss battles are all excellent. Each is multifaceted, requiring a few different skills working in conjunction to succeed, and most are multi-staged. There is considerable variance between these conflicts, because each one is reliant upon the primary employment of a specific weapon, and each one makes use of an entirely different gameplay mechanic. No two bosses are the same, and that is greatly appreciated. Another addition to Twilight Princess's combat system is the ability to fight on horseback. Link is no longer limited to using his bow, but can wield his sword and other weapons while perched atop his trusty steed. Mounted swordplay is incredibly satisfying, but unfortunately there are only a few sequences that highlight it as it should be. All other times, gamers will just have to enjoy the fact that Link can now swing his sword as he runs, without interrupting his stride. It is a small improvement, but a noticeable one.
Also very noticeable are the game's graphics. Of course the visuals don't stand up, technically, to HD-era games, but artistically, Twilight Princess is solid. It is one of the prettiest on the GameCube, although textures and animations (the horse and wolf running motions, in particular) can seem lacking in today's graphical battleground. The land of Hyrule is presented as a complete world, with varying land and sea -scapes, as well as a vast desert and stormy tundra. Each dungeon carries a unique theme, which is integrated not only in the the graphical presentation but straight into gameplay. The visuals are actually functional. Beyond the familiar Hyrule horizon is the digitized Twilight Realm. This dark, computerized world is highly stylized and presents some cool effects, like the materialization of warp holes in the sky, which remain visible in the distance at all times. Everything in the Twilight Realm is composed of little black squares, in a sort of pixelated dream-world. When warping, the pieces composing Link will break apart and come together, just as the Twilight creatures do when defeated. All the models in the game are done well, and even though the game has been billed as a more mature-looking title, it maintains a cartoonish look in its characters, who are caricatured and very expressive. Polygonal graphics doesn't mean realistic, and Twilight Princess functions as an artistic exhibition more so than a technical display.
The audio is also presented simply, but artistically. Twilight Princess includes a wonderful score that will constantly poke gamers in the nostalgia center as it remixes tunes from the Zelda archives. The mood is set perfectly in most areas by the appropriate orchestral instrumentation and engrossing compositions. The only problem here is that the sound samples are still not produced by real orchestras, but by their synthesized counterparts. Ambient noise and sound effects are well done, reusing some old sounds to keep things very "Zelda," but adding in strange bits here and there to exemplify the very obviously different themes that are already presented visually. All of this is delivered in Dolby Pro Logic II, with good quality separation and very acceptable field of sound.
All in all, The Legend of Zelda: Twilight Princess is a welcome addition to the Zelda franchise, and stands tall among its brethren. At its core, it is undoubtedly a Zelda game, and produces that magical effect that they are known for. The 'Cube version improves upon nearly all of the Wii's shortcomings, and the game gets better and better as it unfolds. The bottom line is that it is a very enjoyable experience, impossible not to recommend to any gamer. If Zelda was your sole reason for purchasing a Wii, then rejoice, save yourself the $250, buy the GCN version, and rejoice again.
The control system is in fact the biggest difference between the two games, as the GCN version of Twilight Princess reverts to the familiar scheme found in previous Zelda games, with a few minor tweaks. Link wields his sword with the B button, performing special maneuvers like jumps, rolls, and spin attacks using the A button in conjunction with the control stick. Combat feels very responsive and is satisfying throughout, making the gamer really WANT to engage the game's many enemies.
When it comes to secondary weapons, the loss of direct aiming is unfortunate, but not detrimental to the experience. In fact, Link's weapon of choice now shows up on screen while aiming, using the tool itself as a guide in place of the default Wii crosshair. The control stick does its job, and saves the player the trouble of raising his hand to point at the screen. As a result, the "please point remote at the screen" message that was so persistent in the Wii version is completely eliminated. Additionally, the mapping of Link's items is improved upon, by allowing instant access with a single button-push. Whereas the Wii version forced players to first select the desired item with the D-pad, and THEN make use of it with the B button, the GCN Link uses it on-the-fly when X or Y is pressed. The only problem here is that there are now only two buttons available for these items, as opposed to four. In certain situations this is a hassle, and can be more annoying to some gamers than others.
The change that all will undoubtedly welcome is the immensely improved camera system. The player now takes full control of the camera with the C-stick, much like in Wind Waker. The L button still works to center the camera, but becomes relatively unnecessary for anything other than combat. This change, above all others, makes the game a pleasure to play from start to finish - even in a backwards world. The Wii game is a 100% mirror image of this version, because Nintendo thought a right-handed Link would feel more natural to gamers swinging the Wii remote. Now, he is a lefty again.
So the series that has wowed gamers time and time again is taking its final curtain call on the Gamecube, with The Legend of Zelda: The Twilight Princess. The only question that remains is, does this spiritual successor to The Ocarina of Time stand up to the task, and is it worthy of the Zelda name? The answer - yes, it is everything gamers have come to expect from the franchise, and on the GCN, has remedied control and pacing issues that made the Wii version feel somewhat dated.
Twilight Princess is the tale of another young lad named Link, who comes from humble beginnings as a goatherd in the small village of Ordon, just south of "Hyrule Proper." An unfortunate series of events sends Link to the rescue of a few of the villagers, but before he can make it very far, he is drawn into an alternate world known as the Twilight Realm. It is here that a good portion of the game will take place, and serves as this game's analog to the light and dark worlds from A Link to the Past, or even Link's childhood and adulthood in The Ocarina of Time. In this digitized dark filter of Hyrule, Link is transformed into a wolf, and has a different set of abilities than while in his human form. Wolf Link is able to dig into the ground for items, and even pass under obstacles such as gates and walls. He also possesses the "sense" ability, which reveals things that would otherwise be imperceptible, such as scents or apparitions. If these aren't enough, a little twilight-dweller named Midna joins him on his quest, and grants him new combat techniques and the very nifty ability to make seemingly impossible leaps in rapid succession. The dichotomy of the two worlds along with Link's two forms creates a sense of variety in gameplay, which is more fully realized as the quest wears on.
Early on, Link must venture to various portions of Hyrule, in traditional Zelda fashion, complete a series of dungeons to collect a group of items to eventually save the land of Hyrule. The difference here is that each area is initially veiled in Twilight, and Link is charged with the task of locating "tears of light" to de-twilightize it. These portions can feel slightly slow, and combined with excessive hand-holding at the outset, Twilight Princess requires a bit of patience.
Otherwise, the design of the game is very good. Hyrule is huge, approximating roughly five times that of The Ocarina of Time, and it is put together such that it unfolds to the player naturally and elegantly. As Link traverses the landscape, load times are few and far between, and when they do rear their ugly heads, it is brief and relatively painless. This applies to dungeon areas as well, which, as always, are superbly conceived and executed, with very well thought-out progression and plenty of interesting new puzzle ideas. These are really the meat and potatoes of the game, and provide the essence of the Zelda experience. There is generally a point within each dungeon where the gameplay is stepped up, presenting a new set of challenges to the gamer. These points coincide with the acquisition of one of the game's many new secondary weapons and items. Of course there are the old standbys, such as the bow, boomerang, and bombs, but Twilight Princess also incorporates a slew of new toys for Link to play with, and even adds slight tweaks and new uses for the recycled items in order to keep things fresh. Another nice alteration is that Link's tools no longer dwell within the shadows of random treasure chests, but are acquired by defeating mini bosses within each dungeon. The sense of achievement involved is reminiscent of the recovery of abilities in Metroid Prime. Link earns his weapons now.
Similarly, the player must also work to gain new combat skills. Gone are the days of the static move set. Twilight Princess grants seven new techniques to the player at points throughout the adventure, but only after locating special howling stones and subsequently sparring with an ancient spirit. It is possible to eschew these altogether and complete the game as an untalented swordsman, but the skills provided by this spirit add much depth to the combat system, and make swordplay much more entertaining.
One aspect of the game's combat that is especially engaging are the boss fights. As is expected from the Zelda series, the boss battles are all excellent. Each is multifaceted, requiring a few different skills working in conjunction to succeed, and most are multi-staged. There is considerable variance between these conflicts, because each one is reliant upon the primary employment of a specific weapon, and each one makes use of an entirely different gameplay mechanic. No two bosses are the same, and that is greatly appreciated. Another addition to Twilight Princess's combat system is the ability to fight on horseback. Link is no longer limited to using his bow, but can wield his sword and other weapons while perched atop his trusty steed. Mounted swordplay is incredibly satisfying, but unfortunately there are only a few sequences that highlight it as it should be. All other times, gamers will just have to enjoy the fact that Link can now swing his sword as he runs, without interrupting his stride. It is a small improvement, but a noticeable one.
Also very noticeable are the game's graphics. Of course the visuals don't stand up, technically, to HD-era games, but artistically, Twilight Princess is solid. It is one of the prettiest on the GameCube, although textures and animations (the horse and wolf running motions, in particular) can seem lacking in today's graphical battleground. The land of Hyrule is presented as a complete world, with varying land and sea -scapes, as well as a vast desert and stormy tundra. Each dungeon carries a unique theme, which is integrated not only in the the graphical presentation but straight into gameplay. The visuals are actually functional. Beyond the familiar Hyrule horizon is the digitized Twilight Realm. This dark, computerized world is highly stylized and presents some cool effects, like the materialization of warp holes in the sky, which remain visible in the distance at all times. Everything in the Twilight Realm is composed of little black squares, in a sort of pixelated dream-world. When warping, the pieces composing Link will break apart and come together, just as the Twilight creatures do when defeated. All the models in the game are done well, and even though the game has been billed as a more mature-looking title, it maintains a cartoonish look in its characters, who are caricatured and very expressive. Polygonal graphics doesn't mean realistic, and Twilight Princess functions as an artistic exhibition more so than a technical display.
The audio is also presented simply, but artistically. Twilight Princess includes a wonderful score that will constantly poke gamers in the nostalgia center as it remixes tunes from the Zelda archives. The mood is set perfectly in most areas by the appropriate orchestral instrumentation and engrossing compositions. The only problem here is that the sound samples are still not produced by real orchestras, but by their synthesized counterparts. Ambient noise and sound effects are well done, reusing some old sounds to keep things very "Zelda," but adding in strange bits here and there to exemplify the very obviously different themes that are already presented visually. All of this is delivered in Dolby Pro Logic II, with good quality separation and very acceptable field of sound.
All in all, The Legend of Zelda: Twilight Princess is a welcome addition to the Zelda franchise, and stands tall among its brethren. At its core, it is undoubtedly a Zelda game, and produces that magical effect that they are known for. The 'Cube version improves upon nearly all of the Wii's shortcomings, and the game gets better and better as it unfolds. The bottom line is that it is a very enjoyable experience, impossible not to recommend to any gamer. If Zelda was your sole reason for purchasing a Wii, then rejoice, save yourself the $250, buy the GCN version, and rejoice again.
PS - I STILL don't need to know about the more valuable rupees EVERY TIME I play the game!!!
Nov 18, 2006
Zelda: Twilight Princess Discussion
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Brian: F*** the Super Mario games already. F*** Mario! He's not an interesting character he appeals to f***ing little kids, mainly, I guess. I dunno who he even appeals to. Self respecting adults see Mario and think they want to play? I can't picture that. Your Nintendo love may make you unobjective. Is there any way you could ever talk s*** about the new Zelda? I mean, you loved Wind Waker right?
Eddie: I liked it, but it needed more to it. More dungeons, and less sailing.
Brian: Do you ever think to yourself, "Hmm, rehash of Ocarina of Time?" F*** it.
Eddie: Well, yeah. I think 3D action-adventure game based on dungeon exploration and completion, slight puzzle solving.
Brian: What you should really be thinking is, alright, more of this Zelda s***. The same story is rehashed every time with slight variation.
Eddie: But the thing is..."this Zelda s***" is fun.
Brian: Blah, blah. Triforce every time; successive dungeons to get you a boomerang, hookshot, bottles, etc - the same weapons every time. If it's basically enjoyable, that's cool, but nothing is basically enjoyable after 3 rehashes, or 4 or 5 or whatever. I don't play Tony Hawk anymore
Eddie: Yeah, I understand, however, Zelda is a game that has a slight plot to it.
Brian: The same plot, slightly different.
Eddie: Yes, the same damn plot, in general, but it has a new world to explore each time.
Brian: A new world offering many of the same elements and challenges over and over.
Eddie: But still different
Brian: Not by much
Eddie: Right, there always seems to be just enough added to keep it familiar but at the same time, fresh. Maybe not in the case of Majora's Mask.
Brian: Ocarina was good. It was taking it to 3D. Cool. But Wind Waker and Twilight Princess? They're still just 3D - nothing drastically new. WW has a boat...
Eddie: Well, they're not going to be f***ing 4D, are they?
Brian: Yeah, but they need to move to the next level - the new gameplay paradigm - and the Wii-mote isn't that for TP. It was made for GameCube.
Eddie: Right, nobody could use that as a defense. It is mapping. Map to button, map to gesture - same idea. Well, the boomerang and bow are done up well.
Brian: I was sort of getting excited but then I realized something... I sort of wasn't so much. Like, "wow a new Zelda, I should care about this," but my heart is black, Eddie, black as night.
Eddie: I know, I know.
Brian: Black as a brick of coal under a bridge at night. I have no love for anything, except for what is purely fun and awesome.
Eddie: Put a little love in there, Brian.
Brian: I won't give a game love that doesn't deserve it. I am the best reviewer this world will ever see, because I don't give a damn.
Eddie: And I won't try too hard to defend a game I have yet to play.
Brian: I will destroy it for you, so you can't enjoy it, hahahaha. I will make you see every flaw, till even the games you love most are horrible.
Eddie: Well, I can use history as an indicator. I enjoyed the previous Zelda games, so the newest iteration is expected to please.
Brian: I enjoyed 3 of them. Zelda 2 ate s***, Wind Waker just couldn't hold my interest at all - I just didnt care - and TP looks like an Ocarina upgrade.
Eddie: Well, even if it doesn't impress, at least it will make for an enjoyable time. Of that, I can be certain.
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