Twilight Princess: Shining Bright

Score: 10

Personal Score: 10

*DISCLAIMER*

This review is based on the Gamecube release of Twilight Princess.  The Wii Version is discussed at the end of this entry.

Twilight Princess was simultaneously the swan song of the Gamecube and the first Zelda game to hit the Wii.  Much like The Wind Waker before it, Twilight Princess generated a massive hype storm prior to its release.  Many fans were happy to see Link return to a more photo-realistic Hyrule akin to Ocarina of Time and Majora’s mask, as opposed to the cel-shaded visuals used in The Wind Waker and Four Swords Adventure.  With numerous comparisons to Ocarina of Time being drawn, expectations for Twilight Princess were understandably high.  Upon its release, Twilight Princess was praised universally, on both the Wii and the Gamecube.  For the first time since The Wind Waker, a Zelda game was subject to staggeringly positive reviews and showered with love in the fan community.  The graphics were beautiful, the story and characters were brilliant, and the gameplay was rock-solid in standard Zelda fashion.  In a departure for the franchise, Twilight Princess presented its story in a decidedly cinematic fashion and featured complex characters/subplots throughout.  There were even whispers in the review and fan community that Twilight Princess had topped Ocarina of Time for the coveted ‘Best Zelda Game Evah.’

Over time, the unabashed love for Twilight Princess has faded somewhat, and points of contention have become more prevalent among Zelda fans.  Twilight Princess is criticized for much of what makes it similar to Ocarina of Time.  It is among the most linear of the Zelda games, and only encourages players to explore Hyrule in small doses.  While many fans were happy to see Twilight Princess abandon the cel-shading of The Wind Waker, others were disappointed that the land of Hyrule had become drab and colorless when compared to its predecessor.  In regards to the Wii version, many fans felt the motion-controls felt tacked-on and unwieldy.  Lastly, many felt that some of the story elements were constricted in order to conform with Zelda traditions (MANY gamers feel that Ganondorf hijacked the game from Zant, who starts out as a fully respectable villain in his own right).

When I first played Twilight Princess, I was not impressed.  I was still flying high off of another play-through of The Wind Waker, and consequently judged Twilight Princess with heavily biased eyes.  Every moment of my initial play-through was accompanied with negative thoughts of “that’s not how it was in The Wind Waker…I’m not sure I like that.”  If I were to have given TP a score following my first completion, I would have given it a very unfair score.  Time passed and I re-approached the game with a more open mind, free of the biases that accompanied my first play-through.  Thankfully, it was like playing it for the first time.  While not my absolute favorite Zelda game, Twilight Princess stands as a beacon of untouchable quality in my eyes.  The story is exemplary when compared to the rest of the Zelda games, the graphics paint a melancholy atmosphere that lends itself to the narrative, and the gameplay mechanics are outstanding.  Twilight Princess is the crowning achievement in The Legend of Zelda franchise, and is the standard by which all other Zelda games should be compared.

        THE PROS:

Where to begin…?

Twilight Princess takes place in the ‘Child Link’ timeline.  Hyrule is largely unchanged from Ocarina of Time, a sprawling landscape of varying geographical specifications.  The Hyrule of Twilight Princess is indeed one of the most intricately crafted overworlds ever seen in the Zelda franchise.  Hyrule castle is the center of it all and the stage for some of the best moments in the game.  Castle City appears to be a busier, more populated place in Twilight Princess, and gives the locale a more RPG-type feel with numerous NPCs to talk to (or ignore).  Kakariko Village is another familiar place with a personality of its own.  While Castle City seems upscale and busy, Kakariko Village is homely and quiet.  Like Castle City, Kakariko Village is populated by a colorful group of natives, all of whom are a delight to interact with.  More so than any other Zelda game, Twilight Princess makes Hyrule a place that feels complete.  When you leave Castle City or Kakariko Village, it’s easy to believe that their respective denizens are continuing to go about their lives instead of just waiting for Link to return.  While the overworlds of The Wind Waker and Skyward Sword feel fragmented, Twilight Princess offers players a world that feels connected and cohesive.

Outside of the two major hubs, Hyrule is made up of a variety of strange and fascinating locales.  Scattered across the landscape are sprawling plains, dark forests, treacherous mountains, harsh deserts, and dilapidated ruins.  Many of these places feel ripped out of the ‘build your own adventure story’ handbook, but Nintendo crafted each locale with such detail and grandiosity that you replace any feelings of familiarity with wonder and excitement.  When faced with exploring this sweeping landscape and all its various mysteries, it feels as if you’re taking part in a genuine adventure.  Fear, excitement, awe, and wonder are all emotions I frequently felt when exploring the land of Hyrule in Twilight Princess.  The dungeon layouts are equally impressive.  The temples are standard Zelda fare.  You get a forested temple, a fiery temple, a wet temple, a dry temple, a frozen temple, and a celestial/divine/whatever temple (I’m noticing pattern in my reviews…).  What sets them apart from other Zelda temples is the intimidating, sinister atmosphere of the Twilight Princess temples.  Not since Ocarina of Time and Majora’s Mask have Zelda temples felt so malevolently creepy throughout.  A sense of dread hangs in the air of each temple as you attempt to navigate the dark corridors.  Majora’s Mask is often cited for its darker, macabre atmosphere, and Twilight Princess gives MM a run for its money in that department.

The land of Hyrule is the stage for some of the best storytelling in the franchise’s history.  Hyrule is beset by a malicious blanket of Twilight, brought forth by the insane despot of a twisted world.  Having no choice but to surrender her castle to Zant, princess Zelda is forced into house arrest as she watches her kingdom fall into perpetual twilight.  Link is captured while minding his own business in his home village and is changed into a wolf after exposure to the encroaching twilight.  Rescued by Midna (who is the titular character, transformed into an imp by Zant), Link must traverse Hyrule in search of a way to return Hyrule to normal and put an end to Zant (and, it turns out, Ganondorf).  The length of this blog would certainly suffer from too much detail regarding the plot and various subplots, but what unfolds is a fascinating narrative full of surprises and complex character development.

Most of the core cast of characters in Twilight Princess standout as some the most complex in Zelda history.  Within the Zelda fan community, it’s almost a cliched notion to talk about Midna, given how often she’s cited as one of the most intricately presented characters in the franchise.  Midna acts as Link’s companion in TP,  but is a stark contrast to what fans had come to expect from the winged chatterboxes normally following Link around.  Throughout the beginning of the game, Midna is creepy, self-serving, manipulative and speaks with a sardonic sense of dismissal of Link and the land of Hyrule.  She takes visible pleasure in watching Link attempt to navigate twilit Hyrule as a wolf in clumsy fashion.  While this behavior could have garnered some intense dislike, Midna rarely comes across as malevolent, and is endearing in her very unique, eerie way.  We even get a glimpse of some implied mental instability following her exile from the Twilight Realm (in one of the best cutscenes in all of video game history).  As the story progresses, Midna shows her true colors when her motivations are revealed and adopts a less mocking attitude.  Where she was sarcastic and dismissive in the beginning, she becomes driven and sympathetic to the plight of Hyrule, thanks to the selflessness of Link and Zelda (again, complex stuff that would make this review WAY too long).  At the end of the game, after her curse has been lifted, we see that Midna is every bit the regal princess that Zelda is.  It’s truly a shame that we haven’t seen hide nor hair of Midna since Twilight Princess.  It is my genuine belief that Midna deserves another appearance in the Zelda series, one that I will continue to wait for with escalating anticipation.

 

One of the weirdest pairs in video games, and one of the best.  Bring ’em back, Nintendo!

        Princess Zelda again plays the role of ‘damsel in distress,’ albeit a little differently this time around.  Zelda was not captured by Zant or Ganon through conniving treachery and stored away.  Instead, she willingly gives Zant control of Hyrule in order to avoid bloodshed in her kingdom.  In one of the early cutscenes, we see a downright intimidating-looking Zelda preparing to cross blades with the twilit intruders, not cowering behind sages or praying for safety.  Historically, Zelda has been largely helpless in the face of danger and is quick to cry out for help when threatened.  Twilight Princess Zelda is a mature, regal figurehead who commands respect.  She only remains locked away in her tower for fear that Zant will bring ruin to her people.  Given different circumstances, it’s easy to believe that Zelda would have cut Zant and his followers to ribbons (and oh how I wish we could have seen that happen).  While we don’t get to see much of this Zelda , she remains an important part of the story throughout.

To wrap up my examination of the characters, I’d like to touch on Ganondorf.  While Ganondorf in The Wind Waker was given more complex motivations and a deeper emotional presentation, Twilight Princess Ganondorf returns as the purely evil and powerful fiend we fought in Ocarina of Time.  Ganondorf is presented in a decidedly more frightening manner this time around, displaying terrible power and ruthlessness. He’s intimidating, powerful, malicious, and driven by a single-minded thirst for power and destruction.  While not overly complex or standout as a character, Ganondorf embodies the idea of ‘The King of Evil’ perfectly in Twilight Princess.  The final fight with Ganondorf is a dream come true for Zelda fans that wanted Link and Ganondorf to engage in a true sword-fight, mano a mano.

The gameplay department in Twilight Princess builds off of the mechanics introduced in The Wind Waker and improves upon them.  Link navigates the landscape of Hyrule with the familiar ease we’ve come to expect from a Zelda game.  Epona makes her return, and galloping about the landscape is as fluid and comfortable as one could hope for.  You even have the option of JUMPING onto Epona and starting off at a gallop.  Awesome.  Combat is also improved in Twilight Princess.  The counter system in WW has been replaced by the need to hunt for hidden skills taught to Link by a ghost of Hyrule’s past (no spoilers from me, but you should look that up if you’re curious).  While this can be a bit irksome, knowing that the sweet-ass counter moves you used in The Wind Waker must be acquired in Twilight Princess before you can use them, it adds a sense of accomplishment to exploring the landscape and a layer of sense to why Link is such a good swordsman.  Additionally, Twilight Princess adds new skills Link can use in combat that weren’t available in The Wind Waker.  You can finish the game without ever having acquired any of the hidden skills, but you’ll be a much more versatile and effective combatant if you take the time to find them.

I’ll wrap up the ‘PROS’ section with the enemies of Hyrule.  I mentioned previously how intimidating the dungeons are, and part of that has to do with how sinister the enemies of Twilight Princess are.  Lizalfos, Bokoblin, Bulbins, Shadow Beasts, Stalfos and Poes all look decidedly more intimidating and threatening than the bright and colorful enemies of The Wind Waker and Phantom Hourglass.  Simply put, they look like BAD GUYS.  Fighting the various beasts in Twilight Princess conjured feelings of fear and anxiety I hadn’t felt since I was a kid playing Ocarina of Time for the first time.  Death Sword may go down as one of the most frighteningly sinister mini-bosses in Zelda history.  This makes defeating even the smallest of enemies a satisfying experience (made even more so when following an encounter, Link adds a badass flourish before sheathing his blade).  Encounters with Darknuts in Twilight Princess feel like genuine sword-fights between two warriors, and are among the most exciting and brilliant fights to engage in.  The boss fights of Twilight Princess are no slouches either.  Again, we see Nintendo returning to the intimidating, evil-looking beasts we saw in Ocarina of Time and Majora’s Mask.  While most of the bosses in Twilight Princess go down after a few telegraphed patterns using the shiny new item you just acquired, the encounters still feel larger than life and maintain the grand spectacle introduced in The Wind Waker.  In terms of satisfying experience, Twilight Princess is rivaled only by a few other games in the series for best boss fights.

 

Yeah, the fight with this guy is as badass as you’d think it’d be.

THE CONS:

While it might seem like I have nothing but good things to say about Twilight Princess, a few things stand out as less-than-stellar.

My first point of contention is one that seems to be shared by many gamers; the game is VERY linear.  This is, unfortunately, one of the downsides to having a high-quality narrative.  Twilight Princess often restricts your gameplay options in order to move the narrative along.  While this makes for an engrossing and involved experience, it does make it difficult to return to Twilight Princess for subsequent playthroughs, knowing you wouldn’t be able to do whatever you want right out of the gate. True, there is a lot of exploring to be done in Hyrule, but most of it must wait until the core narrative has all but completed and you leave Hyrule Castle to do some backtracking. The best way to avoid excess frustration is to either take extended breaks from the game following a full playthrough, or keep an extra save file that you can return to when you just want to roam around Hyrule at the end of the game.

In the character department, two things stand out as disappointments in my eyes.  First, Link himself.  While Link fills the role of steadfast hero well enough, he kinda looks like a mannequin throughout the entirety of the game.  The only emotion that looks genuine is the look of determination we see when Link enters a battle or pursuit of an enemy.  Everything else looks robotic and poorly animated.  Following the expressiveness of The Wind Waker Link, Twilight Princess Link is a letdown.  This disappointment is amplified by the fact that everyone around Link, including NPCs, exude ample amounts of personality and expressiveness.

 

I am Link, the master compartmentalizer with the expressiveness of a sociopath!

Lastly, I want to touch on Zant.  There’s a bit of a divide in the Zelda community regarding Zant’s role in Twilight Princess.  Many felt that Zant was a brilliant villain that could have carried the story to its conclusion without the help of Ganondorf.  Others felt that he started out as a good villain, and then devolved into a cackling lunatic who couldn’t be taken seriously.  I myself hold a bit of both those opinions as my own.  I believe Zant started out as a fantastic villain, emanating a Sith-like presence and displaying terrible power.  I thought he was brilliant and intimidating throughout the majority of the game.  However, I was surprised to see him turn into a child throwing a tantrum during the final encounter with him.  He had displayed such cold, dismissive indifference throughout the rest of the game, so where was this nonsense coming from?  His behavior is explained as an emotional reaction to not being given a high standing in the Twilight Realm’s royal court.  He could have remained an emotionless despot-type figure right up to his demise at the hands of Midna, but Nintendo made the decision to give him a more distinct and unstable demeanor in his final moments.  While this makes him a difficult villain to like (in the way people like Darth Vader), it’s a writing decision made by Nintendo that allows Zant to stand out amongst the rest of the series’ villains.

I am of the camp that believes Ganondorf was not responsible for hijacking the game from Zant.  Zant’s startling power is explained nicely through his bargain with Ganondorf, and Ganondorf is an integral part of the Zelda lore.  Because Link, Zelda and Ganondorf are fated to be linked as long as the Triforce exists, discluding him would have been a crime in my eyes.  What I would have been a nice twist in the narrative would have been to see Zant and Ganondorf fighting for control of Hyrule once Ganondorf regained his full strength.  Instead, Nintendo decided to lower Zant to the pathetic status of puppet villain, which undermines his whole character throughout the beginning of the game.

 

Zant: Simultaneously one of the best and worst villains in The Legend of Zelda

        At this point in time, Twilight Princess occupies an odd spot in the minds of the fan community.  It’s been almost seven years since it initially released, but it hasn’t exactly garnered ‘classic’ status as of yet.  At the same time, it’s new enough that many gamers see it as ‘the game that came out before Skyward Sword.’  On various gaming sites, Twilight Princess is largely ignored on ‘Top Ten’ lists.  I believe that many people are hesitant to show TP any love because it is sometimes seen as Nintendo’s effort to satisfy fan’s demands for an Ocarina of Time carbon-copy Zelda.  It’s not exactly ‘Zelda Chic’ to say you like an entry in the series because it’s ‘darker’ or ‘more mature.’  Of course, this is an unforgivable dismissal of what makes Twilight Princess so great.  If you put down on paper what makes a Zelda game mechanically great by building off the groundwork laid by Ocarina of Time, Twilight Princess is the definitive Zelda experience.  In terms of crafting a sublime gaming experience and penning a marvelous narrative with complex characters, Twilight Princess stands at least a head above what was done before or after.  With a new Zelda game on the horizon for the Wii U, my expectations are very, very high.  Not because of what Skyward Sword was able to accomplish in the gameplay department, or what Majora’s Mask was able to do in the storytelling department; but because of what Twilight Princess did on both levels.  There’s an impossibly high bar that Nintendo must vault when they make a new Zelda game, and the name that is etched in the highest spot of that bar is ‘Twilight Princess.’

Gamecube VS Wii:

This review is based on the Gamecube release, which I believe is superior.  I played through both versions in their entirety, and every moment I played the Wii version was accompanied with a groan of “ugh, this waggling is ridiculous.”   I was still able to enjoy the game, but I definitely preferred having a Gamecube controller in my hand as opposed to the Wii-Mote.  The motion controls of Skyward Sword blow TPs motion controls out the water and into obsolete space.  Also, the nerd in me was a little miffed that Link was right-handed in the Wii version.  Yeah, that’s a little bit ‘Han Shot First’ of me, but I have no shame. Thpt.

Phantom Hourglass: Uncharted Waters

Score: 8.0

Personal Score: 8.5

Phantom Hourglass holds the distinct honor of being the first original Zelda title released on the venerable DS handheld system.  Legend of Zelda fans had a long wait for an entry into the series, and expectations had built up in the three-four year waiting period (depending on where you lived).  Following Twilight Princess, Nintendo’s decision to return to the ‘toon link’ art style was welcomed by some and scorned by others.  Upon release, the game was praised for it’s innovative control scheme and use of the DS’s unique mechanics to create something entirely new in the Zelda universe.  Players controlled Link and Linebeck’s ship using the touchpad almost exclusively.  Critics generally welcomed the fresh control layout, and Phantom Hourglass was given high scores and numerous accolades in handheld gaming.

In the community, the control scheme didn’t seem to polarize fan’s opinions as much as one would think; the control scheme does little to detract from a traditional Zelda experience.  Of course, not everyone loves the unique controls, and many fans were disappointed in not being able to move Link with the D-Pad.  Additionally, the controls seem to determine the way dungeons and boss encounters are designed, which can feel constricting and telegraphed.  Phantom Hourglass is also criticized for much of what it’s spiritual predecessor (The Wind Waker) was criticized for; boring sailing mechanics.  Phantom Hourglass even removes the freedom to steer your ship on a whim, forcing you instead to follow set paths drawn onto the touchpad.  On an aesthetic front,  Phantom Hourglass seems a bit drab in comparison to other Zelda titles, normally bursting with color and vibrance.  As a handheld Zelda title, Phantom Hourglass excels at offering a fresh, new experience for the Zelda faithful.  However, the very same design choices that make PH unique can also serve to hold it back from the immersive, inclusive adventure we normally associate with Zelda titles.

THE PROS:

Phantom Hourglass is a direct sequel to The Wind Waker.  The story begins where WW left off, with the returning cast of characters exploring a vast sea in search of a new land to call home.  Link, Tetra and the Pirates make their return in fine fashion, interacting with each other in the same quirky manner we saw in The Wind Waker.   Having fond memories of the characters and storylines introduced in The Wind Waker, Phantom Hourglass had a hook in me before I even started playing.  I was eager to continue the adventure I loved so much on the Gamecube, and I certainly wasn’t disappointed with what Phantom Hourglass offered.Tetra again plays the role of scolding care-taker to Link and the Pirates, who are all rambunctious bumblers.  For Zelda fans that like the more innocent, playful atmosphere of The Wind Waker and The Minish Cap, Phantom Hourglass delivers more of the same charm.  I personally welcomed the familiar atmosphere, and it maintains itself well throughout the remainder of the game following Link and Tetra’s accidental journey into the realm of the Ocean King.

The characters that follow Link throughout the bulk of the game are endearing and memorable as well.  Captain Linebeck and the fairy/spirit Ciela accompany Link on his adventure in the Ocean King’s domain.  Ciela fills the shoes that Navi and Tatl wore in Ocarina of Time and Majora’s Mask.  All in all, she retains the same charm and chattiness fans expect from a fairy companion.  This is either a blessing or a curse for some players.  While not quite as intrusive as Fi in Skyward Sword, Ciela is guilty of screaming at Link during inopportune moments of gameplay a la Navi.  This time around, however, she actually HELPS players by drawing attention to what’s going on during sequences that require them to divide their attention between two screens.  In that sense, Ciela is a much more welcome assistant than Navi or Tatl were.  I myself loved having Ciela travel with Link, and found her banter a welcome break from the silence of our historically mute Hero.

Linebeck has become a fan favorite in the community.  He is an unwilling participant in Link’s quest in the beginning, only accompanying Link under the pretense that his assistance will garner him some treasure.  In typical pirate/treasure hunter fashion, Linebeck is obsessed with riches and constantly reminds Link of that fact.  Linebeck frequently voices his dissatisfaction with his situation and has every bit of the entertainment value found in other comic relief characters we’ve seen in other Zelda games.  Between Link and Linebeck, there’s enough slapstick humor to make a Three Stooges episode.  Linebeck also displays some depth in character, showing genuine love for his beloved boat the S.S. Linebeck and a humbled attitude towards the plight of Link, Tetra and the Ocean King during the game’s final segments.  I truly enjoyed having Linebeck around during my time with Phantom Hourglass, as he often lightens the mood in otherwise drab and dreary situations.  Linebeck’s character was revisited in the form of his ancestor (Linebeck III) in Spirit Tracks, albeit in much smaller and more conservative role.  I don’t know if Nintendo will decide to revisit the character in future Zelda titles, but I certainly wouldn’t mind another dose of Linebeck down the road.

In the same vein as The Wind Waker, Four Swords Adventures and The Minish Cap, Phantom Hourglass adopts cartoon-style visuals/designs instead of the more photo-realistic design choices found in Twilight Princess.  This design choice lends itself very well to the graphical capabilities of the DS, and the character models translate well.  The cast of characters are all expressive and endearing.  While not as involved or fleshed-out as the core cast of characters, NPCs and enemies/bosses are expressive and unique in their own right.  The Ocean King’s domain is not as varied as other overworlds we’ve seen in Zelda titles, but it succeeds at providing interesting locales and memorable character designs.  The Gorons make a return, along with two new races (the Anouki and the Yook).  Boss designs themselves are not particularly groundbreaking, but each encounter is transcendent of mere aesthetic quality thanks to the novel quality of their encounters with Link (which I’ll touch on in the next paragraph).  The exceptions to this are the designs of the Cubus Sisters and Bellum, both of which are shiver-inducing.  Bellum is a welcome change from the scheming sorcerer-types most notably associated with Zelda games.  Bellum is more of a malevolent force of nature, seeking out life-forces to drain in order to prolong it’s own.  The intimidating single-mindedness of Bellum gives players a different sense of evil, almost like a virus that consumes and destroys everything around it before moving on.

Each character Link encounters during his journey seem to have their own personality, which speaks volumes about Nintendo’s commitment to provide an immersive experience.  This trend of unique and endearing characters continued in Spirit Tracks, and I hope Nintendo continues to adhere to the standards present in Phantom Hourglass.

Please instruct small children to seek counseling following their encounter with The Cubus Sisters…

The last positive element I’d like to touch on are the combat aspect of Phantom Hourglass.  Standard enemy encounters are largely forgettable and the same as we’ve seen before, but Boss encounters really take handheld Zelda gaming into new and exciting territory.  For those who read my review of Spirit Tracks, you’ll remember that Boss encounters were one of my favorite aspects of ST, and they all built off of the groundwork laid down in Phantom Hourglass.  Nintendo utilizes the dual screen capability of the DS remarkably well in Phantom Hourglass, and the unique mechanics make for some of the best and most memorable experiences in the Zelda universe.  Crayk and Bellum stand out in particular by using the top screen to display another character’s perspective on the fight taking place.  Crayk’s encounter in particular sticks out, as the top screen is used to display what Crayk is seeing while it approaches Link.  This was a brilliant and unique design decision, and I was happy to see Spirit Tracks continue with those innovations.  I hope that Nintendo revisits the unique capability of dual-screen gameplay in future handheld Zelda titles.

THE CONS:

As I mentioned before, not everyone loves the control scheme of Phantom Hourglass and Spirit Tracks.  While I don’t think PH is quite as infuriating as ST was in the control department, I never found myself 100% comfortable with the stylus.  Using swipes and pokes to move Link and control his items is indeed innovative and (for the most part) quite intuitive, it isn’t as easy as using a D -Pad or joystick.  I wouldn’t say I’m altogether against the control scheme of PH and ST, but I definitely prefer the more traditional control schemes of older handheld entries in the franchise.  This is a small caveat that certainly didn’t massively detract from my enjoyment of Phantom Hourglass (in the way it did with Spirit Tracks), but it exists none-the-less.  I won’t complain if Nintendo decides to revisit this control scheme, but I will undoubtedly grimace to myself.

Despite strong characters and solid controls, Phantom Hourglass is not without it’s shortcomings in the design department.  As many critics have pointed out, sailing in Phantom Hourglass is a tedious necessity that occasionally stalls the pacing of the game.  When players have drawn a route for the S.S. Linebeck to take, there’s little to do besides wait for your ship to arrive at it’s destination.  Occasionally players will have to defend the tiny boat from aquatic enemies, but they pose little threat and are dispatched with relative ease.  There’s also no real sense of freedom or anticipation that accompanied the sailing in The Wind Waker.

Good thing the boat has a second gear…otherwise, this might take forever! …ugh.

Pacing is indeed the weakest aspect of Phantom Hourglass.  While the story itself is well done (spoiler alert, the Ocean King’s domain is an alternate reality that Link and Tetra stumble into before returning to their world only to find that a mere ten minutes had passed), the presentation is stuck in a very, very familiar Zelda formula.  Link is essentially sent on a game-long fetch quest for this and that in order to rescue Tetra from her unfortunate episode of Medusa worship…er, being turned into a statue.  Link hops from island to island, retrieving one after another essential item that will inevitably result in the return of the Ocean King, the resurrection of Tetra, and the downfall of Bellum.

“Great job, Link! You found the invaluable thing! Now, go fetcheth ANOTHER ONE and bring it back here!”

After a few dungeons, this pattern becomes tiresome.

Speaking of dungeons, Phantom Hourglass has no shortage of unique puzzles for Link to solve.  However, the puzzles are all very constricted in nature and tend to present themselves in very telegraphed manners.  Once you’ve defeated a few enemies and found a few keys, you’re given the item that will determine how you approach the rest of the dungeon.  While the use of the touch pad and PH’s control scheme are certainly innovative, they shouldn’t be the singular basis for how a dungeon is designed.  This makes completing dungeons a somewhat boring and uninspired affair, as a savvy player will have predicted exactly what they need to do in order to progress as soon as they’ve acquired the essential item.

The last aspect of Phantom Hourglass that deserves some criticism is the color department.  Aesthetically, Phantom Hourglass appears a bit drab in comparison to previous Zelda titles.  Sailing the Ocean King’s domain and traversing dungeons becomes a somewhat melancholy affair thanks to some washed-out and dull color schemes.  While the characters do a fine job of brightening up the mood throughout the game, it would have been nice to see some more vibrant colors in the world of Phantom Hourglass, especially when you consider that PH is the sequel to The Wind Waker.

As far as being an innovator in the realm of control schemes and gameplay mechanics, Phantom Hourglass stands on almost as high a podium as Skyward Sword.  It’s fresh, new, and feels genuinely different than other Zelda games.  That, combined with the same spirit that made me love The Wind Waker, makes for what I would call one of the best handheld Zelda experiences.  It’s certainly the best Zelda game on the DS, in my opinion.  Phantom Hourglass is definitely a stand-out entry in the series, and should be experienced by anyone that claims to be a fan of The Legend of Zelda.

A Criminal Omission…

I’ve noticed a fatal flaw in my last two reviews…they don’t touch on the orchestration.

This. Is. Criminal.

I cannot express in words how foolish I find this oversight.  I have stated several times that the scores in Zelda games have contributed to how much I’ve enjoyed them.  The score of The Wind Waker is indeed a major factor in why I consider it my favorite entry in the series.  I consider Koji Kondo as important a part of the Zelda process as Miyamoto and Aonuma.

In order to correct this egregious error, I have decided to dedicate a blog entry entirely to the music of The Legend of Zelda.  I will examine what makes Zelda scores unique, some standout entries, and some significant points of impact in popular and local culture.

This will be an entry I do once I’m finished with the reviews I’ve already committed to writing.  As such, I will continue to omit any discussion of the music in my future reviews.

That is all. My bad. Keep reading my stuff.

Spirit Tracks: Riding On Awkward Rails

Score: 8.0

Personal Score: 5.0

Spirit Tracks was the second game released on the DS in the style of Phantom Hourglass.  Immediate comparisons were drawn between the two, which is understandable, considering how similar the two games are.  They use the same control scheme, art style, and overworld navigation.  Reviews for the game were pretty solid, though the gushing normally associated with Zelda releases was largely absent from most reviews.  The majority of reviewers were content to give it high scores based solely on the fact that it retains the charm and involvement we’ve all come to expect from a major Zelda game.  The puzzles, enemy/boss encounters and dungeon layouts all received generally high marks.  However, most reviewers cite boring train traveling and some repetitive elements throughout the game as reasons for not giving Spirit Tracks a higher score.  Additionally, the control scheme used in Spirit Tracks (and Phantom Hourglass) is not universally loved by critics or gamers.  One element of the game that is both praised and loathed in the gaming community is the inclusion of the Spirit Flute (the game’s obligatory instrument, which functions using the DS’s microphone and touch pad).  It is here, in the control department, that I find myself unable to truly look beyond the flaws of Spirit Tracks.  In my previous review, I praised Skyward Sword for its fantastic control scheme and stronger story, but found the character designs and environment layout severely lacking.  When it comes to Spirit Tracks, the reverse becomes the case;  Spirit Tracks excels at providing a memorable cast of characters and cleverly designed environments, but it derails itself with awkward controls and a forgettable story.

THE PROS:

An interesting thing to note about Spirit Tracks is its place in the Zelda canon; it takes place several generations after Phantom Hourglass, in a time after Link and Tetra have discovered a new land to explore. Here, they establish a new Hyrule kingdom.  The landscape is sprawling in all directions, with most areas of the map following standard Zelda environments (Forest, Fire, Ice, Desert, Water, etc).  What makes these environments exciting to explore is their particular placement in Hyrule history.  Having completed The Wind Waker and Phantom Hourglass, traveling seemingly endless oceans in search of a new home, players are now faced with a brand new world to explore.  This is an exciting prospect for one who follows the Zelda storylines.  This is what Link and Tetra were looking for, following the final farewell of old Hyrule and its king as they were engulfed by the sea.  I was there when Link and Tetra first set out, and I was eager to see what their search had yielded.  The world of Spirit Tracks seems untouched and exhilarating, begging to be explored.

The character designs in Spirit Tracks are in the same vein as The Wind Waker and Phantom Hourglass.  Expressive, colorful and quirky, the characters in Spirit Tracks are among the most endearing in the Zelda franchise.  Many of the characters are familiar faces from Wind Waker/Phantom Hourglass (or in some cases, distant relations).  All of the characters you encounter are brimming with life and personality.

Link and Zelda are once again the focus of the story, but this time they’re very rarely apart from one another.  Early on in the story, Zelda’s spirit is split from her body and her antagonists abscond with her lifeless coil.  Throughout the remainder of the story, Zelda accompanies Link as a spirit, able to possess suits of armor in dungeons (referred to as ‘guardians’).  When not dungeon crawling, Zelda and Link engage in some of the most heart-warming interactions found in the series to date.  Zelda is a bit less ‘brave and bold’ than we’ve seen her in previous titles, adopting a more regal and delicate manner.  Zelda attempts to deal with her unfortunate situation with trepidation and uncertainty, while Link blazes ahead with confidence and youthful exuberance.  Part of the charm of Spirit Tracks is watching Zelda evolve from a frightened, mostly helpless girl into a more confident and helpful companion to Link.  It’s definitely nice to see Zelda in something closer to an active role in the story, as opposed to a passive figurehead.

She looks pretty tough in that armor…but watch out for mice.  Mice will MESS YOU UP, girl.

The NPCs in Spirit Tracks are also a bright spot throughout the game.  Local wildlife, friends and enemies are all uniquely colorful and charming.  Following the art style, NPCs tend to be flamboyant and evocative (i.e., Bunnio and the Postman).  Most of the characters scattered about the land of New Hyrule are endearing and memorable, and help Spirit tracks stand out as a testament to Nintendo’s ability to craft unique, quirky and charming characters.  The main antagonists are slightly less memorable than our heroes or the townsfolk, but are appealing in their own right none-the-less.  Chancellor Cole and Byrne fill the roles of mustache-twiddling schemer and the strong, silent enforcer.  Malladus (who steps in to fill the shoes of Ganondorf) is pretty typical of your final boss; intimidating, wicked, and somewhat mysterious.  While he doesn’t exactly have the same iconic presence or significant ties to the main characters that Ganondorf does, he serves his purpose as the ‘larger-than-life evil entity’ well enough.  It would be nice to see Nintendo revisit Malladus in the future, and perhaps give him some more complex motivations (similar the motivations Nintendo gave Skull Kid in Majora’s Mask, or Ganondorf in The Wind Waker).

The last standout feature of Spirit Tracks I’d like to address are the dungeons and bosses.  Following Phantom Hourglass, Nintendo had moved the bar a little lower than previously set with other handheld Zelda games.  Spirit Tracks improves on every design element in Phantom Hourglass and makes for some genuinely unique experiences in the Zelda franchise.  Typically, most dungeons focus on using a touch pad mechanic that has been applied to a particular item (i.e. the boomerang or the whip).  While this process definitely feels familiar to the Zelda faithful, Spirit Tracks seems to flow in such a way that keeps the entire dungeon fresh (the exception being The Tower of Spirits, which I’ll touch on later).  I found myself traversing dungeons and completing puzzles in an almost seamless journey towards the boss encounter.  The Sand Sanctuary in particular feels fluid and cohesive.  This particular dungeon is a standout.  Link and Zelda appear to have gotten mixed up in an Indiana Jones adventure, avoiding massive boulders and dispatching undead fiends while employing one of the coolest items in the series (the Sand Wand).  When I’d finally completed the dungeon, I found myself feeling accomplished, but somewhat sorry that the experience was over.

Boss encounters in Spirit Tracks are a definite improvement over Phantom Hourglass.  While a good portion of them retain the dreaded “use the item you just got in a telegraphed manner” formula frequently used in Zelda games, Spirit Tracks manages to use the DS hardware and dungeon-specific items in memorable ways.  The fight with Cragma and Byrne are particularly memorable, using the top and bottom screens of the DS to create a very dramatic encounter.  If Nintendo decides to revisit the Phantom Hourglass/Spirit Tracks formula of play for the 3DS, I’d relish the opportunity to encounter more bosses like the ones present in Spirit Tracks.

THE CONS:

Reading THE PROS, you might think I’d have given Spirit Tracks a much higher score.  The sad fact is, there are a few key aspects of the game that almost ruin the experience for me.  Notably, the control scheme, a weak story, repetitive elements and the damn Spirit Flute work together to make Spirit Tracks my least favorite Zelda game to date.  I consistently had to force myself to complete certain sections of the game, specifically every visit to The Tower of Spirits and any segment requiring me to use the Spirit Flute.  I expect great things as a Zelda fan, and no amount of charm can redeem a game that I have to wince through.

To be fair, most of what I didn’t enjoy about Spirit Tracks is largely a result of individual preference and not necessarily any technical problems with the game.  I would consider Spirit Tracks a strong entry in the series based solely on it’s aesthetic quality and more unique gameplay elements.  However, not everything about Spirit Tracks is objectively without flaw.  One point of criticism that seems to follow the entries in this particular storyline (WW, PH and ST) is the tedious over-world travel.  In The Wind Waker we had a vast sea to sail on, as we did in Phantom Hourglass.  In Spirit Tracks, the tedium of the predetermined paths in Phantom Hourglass is simply put on rails.  Moving from one locale to the next requires you to plot out a course following the train tracks that lay over the landscape, with nothing much to do except wait for your train to arrive at its destination (save the occasional necessity of fending off aggressive animals with bombs, or altering your course to avoid malicious steam engines).  This makes pursuing many side quests a bit of a chore, considering you’ll be plotting a course that will take time and might distance you even further from your next destination.

Another qualm that reviewers (and myself) have found with Spirit Tracks involves the necessity to return to the Tower of Spirits following the completion of each dungeon.  Each visit results in largely the same experience…activate switches and/or light torches, avoid/kill occasional enemies, and try to get Zelda to go in the direction you draw on the map.  This is always a bit awkward, as you must stop what you’re doing in order to direct Zelda about the dungeon quite frequently.  Drawing her route on the touch pad is technically sound, but it is definitely tedious.  You must return to this dungeon six times.  SIX.  I found myself having to take a break from playing after completing the other dungeons, knowing I’d have to go back to the Tower of Spirits ONCE AGAIN.

TOWER OF SPIRITS: HERE WE GO AGAIN…AGAIN.

The story of Spirit Tracks might not have anything to do with the Triforce or Ganondorf, but it’s feels pretty familiar.  Hyrule is in danger from a demon king, the spirits of Hyrule are powerless to stop it without Link and Zelda’s help, and Link and Zelda have to traipse about the land gathering gems and whatnot before they can confront the big baddie.  Aside from a rotating cast of characters, Spirit Tracks does nothing innovative in terms of storytelling to set it apart from other Zelda games.  In fact, it’s even more primitive than previous entries in the series, having little in the way of political intrigue or inter-woven plots.  Following the superior storytelling of Majora’s Mask, The Wind Waker and Twilight Princess, Spirit Tracks is a massive step backwards.

Now to address the Spirit Flute.  The bloody Spirit Flute.  Whoever thought it was a brilliant idea to blow into the microphone and use the touch pad at the same time should have their fingernails removed.  I found this mechanic to be awkward, unresponsive, and downright silly.  I often play my DS while in bed, while my wife is sleeping next to me.  You can imagine how thrilled she was to hear me blowing air at my DS in the wee hours of the night.  Sorta like this…

Me: *blows air at the DS*

Wife: *rolls over* “What the hell are you doing?”

Me: “Um…playing the flute.”

Wife: “Go to sleep, weirdo.”

Needless to say, this prevented me from playing the game at night.  Even during daylight hours I found myself unable to effectively play the Spirit Flute.  Whether it was a flaw with my technique or a faulty microphone, I never had an easy time playing the various songs throughout the Spirit Tracks. Dreading having to play the Spirit Flute made me dread playing the game at all.

The Spirit Flute, combined with the repetitive nature of The Tower of Spirits, the tedium of riding the train, and the weak story create a massive disappointment for me as a Zelda fan.  The reason I’ve developed a sore spot for this game in particular is because I love SO MUCH about it.  The characters are great. The concept of New Hyrule and what it could mean for future Zelda titles is exciting.  Truly enjoyable dungeons offer some shining moments in The Legend of Zelda’s storied history.  There are entries in the series that I found far less innovative or exciting.  Yet I never had to force myself to play a Zelda game prior to Spirit Tracks.  As much as I wanted to lose myself in New Hyrule and get swept into a rousing Zelda experience, I simply could not.

I’ve given Spirit Tracks a high score because I believe it is an objectively great game.  Despite my own dislike for the game, I would call Spirit Tracks an essential playthrough for anyone remotely interested in The Legend of Zelda.  It made great improvements to the formula introduced in Phantom Hourglass and was able to stay true to what could be considered ‘the Zelda experience.’  Almost all of what makes Spirit Tracks my least favorite entry is based on personal caveats in the gameplay and storytelling department.  I hope that one day I may be able to return to New Hyrule with a new perspective and really be able to enjoy Spirit Tracks.  Until then, I cannot bring myself to award it a high personal score.

Skyward Sword: A Flawed Masterpiece

Score: 7.5

Personal Score: 6.0

Skyward Sword has proven to be one of the most polarizing entries in the franchise.  The reviews have been mostly positive, which is to be expected of a Zelda title, but it has been subject to a few precise points of criticism; specifically, the controls and the inclusion of Fi.  Game Informer praised the controls in their review, while GameSpot found them “cumbersome.”  Within the Zelda fan community, the polarization is even more apparent.  Fans of the game love the controls, while detractors can’t stand them.  Link’s traveling companion is also the subject of debate among fans.  Fi is very robotic and stoic in her demeanor, which turned off a good portion of players.  Additionally, Fi is constantly talking to Link, giving him statistical analysis and letting him know that the Wii-mote is low on battery life.  Fi also adds another layer to the franchise’s lore, giving sentience to the legendary Master Sword, which has been a large part of the series since A Link to The Past.  These factors and some others combine to put Skyward Sword in an odd place amongst the rest of the entries in the series.  While it is a massive adventure filled with shining moments of gaming bliss, it is marred by design flaws that keep it from true Zelda greatness.  Despite strong controls and a solid story, Skyward Sword is bogged down by lazy and uninspired design choices across the board.  It has pretty skin, but it is almost completely hollow beneath the surface.

THE PROS:

The first thing I’d like to address about Skyward Sword are the controls.  I found them to be overwhelmingly well done, especially in the wake of the Wii version of Twilight Princess’ awkward motion controls.  I found combat to be fluid and traversing Skyloft a breeze.  Combat in particular felt great, as if I were actually participating in actual swordplay.  A good example of this is during the first boss encounter with Ghirahim, the primary antagonist throughout most of the game.  The encounter forces you to use specific strokes to penetrate Ghirahim’s defenses, and punishes you if you flail the Wii-mote about with reckless abandon.  Successfully vanquishing an enemy is incredibly satisfying, even more so than the encounters found in Zelda titles that only require button-presses.  Additionally, moving Link about the world (on land or in the air) is almost relaxing.  Link and his Loftwing respond to the Wii-motion Plus almost perfectly.  I had no problems flying the skies or rolling around the landscape.  After experiencing the controls of Skyward Sword, it was almost a shame to return to the more traditional controls of previous entries.

The story in Skyward Sword is pretty solid fare, especially when comparing it to other entries in the franchise.  In the official canon, Skyward Sword is the first entry in the series.  There is no Hyrule kingdom established, and as such there is no Kingdom of Hyrule (go figure).  This puts the responsibility of ‘central hub’ onto the shoulders of Skyloft, where the descendants of the Goddess Hylia reside.  Zelda is the direct descendant of Hylia, and Link is the reincarnation of the very first Hero.  Below Skyloft are the remnants of the original world that Hylia created and subsequently abandoned after the war with Demise.  The lore included in Skyward Sword has spurred many discussions between players regarding the great war between the Goddess Hylia and Demise, the first great evil.  Many, like myself, hope that Nintendo will pursue these story elements in future entries into the series.

Skyward Sword follows the standard Zelda formula: Link and Zelda are thrust into a conflict between the forces of good and evil and must obtain the triforce in order to contain the evil of Demise (who returns in subsequent entries in the canon as Ganondorf).  Zelda finds herself in the position of ‘damsel in distress’ once again, but is not officially captured until the final moments of the story.  More often, Zelda is traveling the surface world with her guardian Impa, driving the core plot forward a few steps ahead of Link (who is really good at showing up just after Zelda leaves the scene).  Following the groundwork set by previous entries in the series, Skyward Sword is able to pen an interesting narrative without straying very far from the Zelda storytelling formula.

The core cast of characters stand out in the franchise as more fleshed out/developed.  Link himself is the standard steadfast hero with courage to spare.  Link has traditionally been mostly vapid and hollow, which allows the player to step into his shoes and make each adventure their own.  In Skyward Sword, Link is given more of a personality, similar to the Link in Twilight Princess (albeit to a greater extent in SS).  He’s a young man faced with countless perils, both domestic and foreign (that might not make any sense, but it made me chuckle, so I went with it).  Link’s facial animations are very expressive in Skyward Sword.  You can see the look of determination in his face when his eyebrows crease and his gaze intensifies.  You can see his surprise when Zelda shoves him off platforms.  Skyward Sword Link is definitely a welcome change from the walking mannequin seen in other entries.  He carries himself like a hero would, brave and determined in the face of danger.  The look he gives Demise before the battle begins would have been enough to end the fight against a lesser opponent.

I’m gonna make you SO dead…

Zelda is also more fleshed out as a character in Skyward Sword.  The Legend of Zelda is not a series known for it’s complex or evolving characters, but SS Zelda is a standout in the series.  She transitions from a carefree girl with a bubbly attitude to a reluctant participant in the fight against Demise, displaying visible difficulty with the massive burdens of saving the world.  The difficulty of dealing with her inherited hardships shows in her face during the cutscenes.  In one particularly touching scene, the look of pure joy on Zelda’s face when she’s briefly reunited with Link in Lanayru Desert is animated beautifully.

THE CONS:

Despite my love for the controls, I did struggle occasionally.  Some standout moments in the game that I found myself frustrated with the controls occurred in the game’s second dungeon and the final encounter with Demise.  In the Earth Temple, there’s a segment that requires you to navigate a pool of lava with a large stone sphere.  I frequently found myself unable to get Link to move forward carefully enough to avoid slamming into debris or avoid oncoming enemy attacks.  This is an instance where traditional Zelda controls would have been appreciated.  During the encounter with Demise at the end of the game, Link is required to use the Skyward Strike to attack Demise.  The Skyward Strike is not the easiest move to use, and this boss encounter requires you to employ it quickly during the onslaught of your foe’s own sword strikes.  The Skyward Strike is fickle, not always activating when you think you’ve got the Wii-mote just right.  It took me a few tries before I could put Demise away for good, and it didn’t feel like it was because I lacked the skills to defeat my foe; it felt more like the controls weren’t allowing me defeat to my foe.

Where Skyward Sword really falls flat is in the design department.  In terms of overworld layout and dungeon progression, Skyward Sword does nothing to provide a unique experience.  You’ve got your forest temple, your fire temple, your desert wasteland, your water temple (which is actually the forest temple under water) and your ‘temple of the gods’…uh…temple.  Even the color coding is cookie-cutter Zelda (green forest temple, red fire temple, etc).  Progressing through these temples feels like a predictable romp through archived pages of the publishers drawing boards.  Given the potential for a sprawling post apocalyptic world, it’s disappointing to see only one dungeon really explore a ruined and war-torn past.  Instead, Nintendo decided to stick with tired themes that seem overdone and lazy.

More so than the design of the world, Skyward Sword feels lazy and lifeless in the character design department.  Friend and foe alike appear to be soulless afterthoughts.  The residents of Skyloft are all walking cliches with no distinguishing personalities.  You’ve got the friendly teaching staff/mentors, town bully and his cronies, the over-achieving classmates, the vapid shopkeepers, and the token round-faced children that run around chasing bugs.  Almost none of them are included in cutscenes, and they certainly do nothing to enhance the plot (with the exception of Groose, who magically turns into a good guy in the second half of the game).  The enemies are even bigger offenders in this department.  Moblins are bright red, cherub-faced goofballs that wouldn’t frighten a toddler.  Even the large Moblins are simply obese versions of the standard Moblin.  The boss designs are easily the worst in the history of the console Zelda games.  Ghirahim has loads of personality, but instead of scary and villainous, he comes across as goofy and awkward.  All the subsequent bosses look like preschool art projects (you don’t have the heart to tell them that they suck).  The worst offenders are Scaldera and Tentalus.  I literally laughed aloud to myself when they showed themselves to face Link.

PLEASE DON’T SQUISH ME WITH YOUR PLAY-DO ARMS!  I WILL NEVER BE ABLE TO FIND YOUR WEAK SPOT!

The laziness and uninspired design of the NPCs and enemies is a huge disappointment in a series that historically features very memorable and unique characters.  The lack of soul in Skyward Sword’s characters contributes to what inevitably becomes a forgettable experience.

It’s time to touch on Fi.  Fi is, quite literally, the worst thing to happen to the Zelda franchise since fan fiction became assumed canon (in my humble opinion).  Not only is Fi intrusive and annoying, she complicates the Zelda lore in an unnecessary fashion.  Fi is essentially the spirit of the Master Sword, and following the conclusion of the game, remains inside the Master Sword.  This means she is present in previously released Zelda games that follow Skyward Sword in the series’ canon.  This has lead to several theories about why Link can wield the Master Sword in every other game, including the theory that Fi is responsible for choosing Link as the Hero of each story.  This is not a decision I’m very willing to accept.  Before Skyward Sword, the Master Sword was simply ‘The Blade of Evil’s Bane.’  It was a tool of righteousness and justice, wielded by Link to strike down Ganon.  Now, it’s a sentient being that can potentially make decisions.  This is a shallow and unnecessary layer added to the Zelda lore, and one that I will consciously ignore as more Zelda games are developed.

The last thing to note about Skyward Sword is that it’s a very, very slow start.  The first hour and a half are all about teaching the player the basics (which is a pretty common theme in 3D Zelda games), starting with moving.  This isn’t much of an annoyance during the first playthrough, but it is very grating during subsequent playthroughs.  I’ve only played through Skyward Sword twice, and I stopped playing after half an hour during my third playthrough.  I simply did not have the stomach to hear an explanation of running and navigating the menu.  On a similar note, Skyward Sword commits the Twilight Princess sin of repeating ‘item acquisition’ cutscenes.  Every time you pick up a collectible bug, you get to read it’s description and see it added to your collection in the menu.  This almost made me want to stop collecting bugs altogether, for fear of that damn mini cutscene.

Skyward Sword is a necessary step in the evolution of the Zelda series in terms of gameplay, but it is a definite misstep in terms of providing a unique, imaginative Zelda experience.  Hopefully, subsequent entries in the franchise will take more steps to provide a unique experience with more personality.  All in all, I wouldn’t call Skyward Sword a weak entry.  However, I certainly wouldn’t call it a strong entry either.