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In Defense of ‘Twilight Princess’

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We are less than two weeks away from the release of The Legend Of Zelda: Twilight Princess HD on the Wii U and almost ten years on from it’s original release, so maybe now is the time to re-evaluate a game which has divided many fans of the series. In my opinion, the game is often unfairly maligned by fans who write it off as one of the weakest 3D Zelda games released. There are recurring themes that crop up in discussion of the game, but are these complaints justified? Well, let’s have a look at three of the most common:

“The beginning drags”

This is a complaint that is levelled at a lot of games in general nowadays, especially RPGs. There’s nothing worse than a game that takes far too long in teaching you about the game’s rules, not letting go of your hand. This is something that can be very frustrating for an experienced gamer, and is often a systematic problem when creating a game which has got to be appealing to players who are both well-versed in series and coming to it for the first time. But while it may take its sweet time in letting you off the leash, the extended introduction does serve a purpose.

Spending a few hours in the Ordon Village makes you accustomed to this village lifestyle, and grounds Link’s character in a way which had never really been done before. It establishes his normality, so that when things go wrong (such as, I don’t know, turning into a wolf) the impact feels more real, as you can sense what is at stake. When you go back to the village as a wolf and all the villagers show their animosity towards you, it is genuinely quite upsetting. As you progress through the game these humble beginnings emphasis the breadth of your journey. If you pay a visit to the village as you are making your way towards the end game, it does make you realise just how far you have come. This feeling is a hallmark of a successful adventure game.

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The beginning also sets in motion one of the best character arcs in the series, that of your companion Midna. She is by far and away the best companion in the Zelda series to date, with more personality than Tatl, less needy than Fi, and far more likable than the infamously infuriating Navi. When you are first introduced to Midna you don’t particularly trust or like her, laughing at Link through the prison bars like some callous madwoman. But over the course of the game, and as her motives become more clear, she becomes one of the series’ defining characters. Your attachment to her throughout is set-up perfectly by the slow build-up in the first few hours of the game, to the point where it is hard not feel emotional when she is injured and fighting for her life after the game’s third dungeon. That segues nicely to the next complaint…

“The dunegons are formulaic”

By this point we all know how a Zelda dungeon works. You go in, look around, see which doors you can open, notice some stuff that you can’t get to, fight a mini-boss, get an item, use said item to reach previously unreachable areas, fight the main boss, done. It’s a simple but effective formula, but the limits of it mean that a successful dungeon lives or dies by its presentation and overall gimmick. The dungeons in Twilight Princess don’t stray much from the sacred formula, and this certainly is a problem in the first half of the game. The Forest and Fire temples do little to excite well-worn Zelda players, and the less said about the Water Temple the better. Not only is the whole “adjusting water levels throughout the dungeon” idea cumbersome and tedious, it is also remarkably unoriginal at this point.

However, the game changes in the second half, with dungeons opening up and having more originality and personality. The Arbiter’s Grounds and Snowpeak Temple are perfect examples of this. We have seen sand-based and snow-based dungeons before, but they have a central gimmick (being set in a haunted prison in the former, a yeti’s mansion in the latter) that gives the place a bit of backstory, making you more keen to explore further. Quite often in Zelda it can feel like you are just wandering from room to room, puzzle to puzzle without any real meaning to the places you’re exploring. You’re just progressing through the game rather than exploring a world. Twilight Princess took steps to give the dungeons you explore character, and try to mix-up the presentation of them, if not the core formula. But while Twilight Princess does have some of the best 3D dungeons, it also has some of the worst. The aforementioned Water Temple and the City In The Sky are particular drags. And because the dungeons are so huge, when one of them does underwhelm it’s more noticeable, given the amount of time you spend in each one.

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“The overworld is dull and empty”

After experimenting with the overworld in Wind Waker, Nintendo went back to the classic field-based overworld here. The new technology meant they could make the largest overworld in the series history, and also meant the re-introduction of Link’s trusty steed Epona, who actually controls like something nearing an actual horse in this game, rather than like a furry tank in the N64 titles. What the overworld aims to do in this game is make the world feel big, and thus make your adventure feel more, well, adventurous. The pure scale of the winding roads, the arching mountains, and the decaying ruins makes you feel tiny in this version of Hyrule.

But the criticism aimed at the game is that while the overworld may be huge, it simply has nothing in it. This baffles me, for the simple reason that in every 3D Zelda the overworld is pretty barren. In the N64 titles, the overworld acts merely as a corridor between the various areas in the game, offering only a spattering of easily avoidable enemies to add colour. With the Wind Waker, a huge part of the charm with the ocean navigation is how vast swathes of it is empty, meaning whenever you see an island coming into vision it feels like you have made a genuine discovery.

What Twilight Princess‘ overworld creates is a powerful sense of loneliness; you are on your own in this dark, sprawling land. This could be seen as a negative, or as a powerful way of re-enforcing the overall tone of the game, making the player feel more immersed in the world. This is no more apparent than when travelling between areas, as night descends and that haunting music starts playing, reminding you of the horrors of the twilight.

***

With Zelda the bar is set extremely high. Comparing any game to Ocarina Of Time, Majora’s Mask, A Link To The Past, etc. is kind of unfair. These are some of the best games ever made. Even a bad Zelda is still better than 99% of other games, and Twilight Princess is a great game. Through my two playthroughs of the 40 hour-long game I was rarely bored, as it’s world completely absorbed me. While it may not the most original or ground-breaking title in this wonderful series, it is unfair to dismiss the game off-hand. I encourage you to re-visit its dark interpretation of Hyrule and judge the game for what it is, instead of what it’s not.

For more Zelda, check out our month-long Spotlight celebrating the 30th Anniversary of the franchise

Based in Huddersfield in the United Kingdom. Lover of anything Nintendo flavoured as well as the Souls series and much more. Also a British comedy and Radiohead geek.

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‘KartRider: Drift’ is Gorgeous But in Need of Fine-Tuning

KartRider: Drift is Microsoft’s new exclusive racer coming in 2020. Here are hands-on beta impressions from behind the wheel.

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KartRider: Drift had the odds stacked against it from the outset. Though the KartRider series has been immensely popular in China and Korea for more than a decade, its brand recognition in the West has been largely nonexistent. Thus, when it was showcased at Microsoft’s XO19 event in November, many dismissed the game as a generic Mario Kart clone. In reality, not only is KartRider is one of the longest-running competitive racing games in the world, but its closed beta weekend proved that Nexon is taking the impending Western release very seriously.

Push to Start

Beta players were given access to three modes: online matchmaking, solo time trials, and the garage for character and kart customization. The online interface is simple and intuitive; with a press of the “X” button players can toggle between Solo, Duo, and Squad (four-player) races across Item Mode (featuring traditional kart racer items) and Speed Mode (no items). Switching between different configurations is a snap and, thanks to KartRacer already being such a massive game in the East, I rarely had to wait more than 20 seconds to get thrown into a match. Creating private parties and inviting friends to race is also an option.

Although maps took a while to load, performance was consistently smooth once races actually began. It’s here where Nexon’s investment in Unreal Engine 4 really shines; the tracks are simply a joy to look at. Each manage to pop with personality despite not being based on recognizable IP like Mario Kart or Crash Team Racing. Of the nine tracks available during the beta only two stuck out as being a bit samey. Each of the drivers also benefit from colorful, distinct designs and fully customizable win/loss animations. The only portion of the presentation that didn’t impress was the music, which was quite catchy at first, but looped endlessly irrespective of the track.

Unfortunately, the same can’t be said of the actual course design, which is largely serviceable but also initially frustrating. For instance, a forest-themed track features logs that stick up from the ground and stop racers in their tracks. This wouldn’t be too egregious, but the logs are so large that only tiny spaces on either side remain. Nearly half of my races on this map were marred by traffic jams caused by a couple of these choke points. Another map features a jump that must be hit at just the right time to not collide with a building and cost players the entire race.

Even maps that don’t demand unreasonable precision from new players suffer from jarringly sharp edges that make it easy to get stuck on corners. This is only exacerbated by a finicky drift mechanic that takes hours of experimentation and countless losses to nail down. While growing more competent at cornering eventually felt rewarding and worthwhile, the high skill threshold here feels like it’s at odds with KartRider: Drift’s framing as an accessible, beginner-friendly experience. These aren’t necessarily design flaws, but they seem like missteps in a game that’s trying to appeal to as many newcomers as possible.

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Tantalizing Customization

While KartRider: Drift’s core mechanics might aggravate the casual players it’s trying to reach, its customization options are some of the most appealing I’ve seen in any kart racer. Players can choose from a range of skins, emotes, kart types, and wheels to fully deck out their characters. Be it the aggressively adorable Bunny Buggy or skins that turn characters into little baseball and football players, it’s tough not to fall in love with the clean, cutesy charm on display here.

One potential worry is that since the game will be completely free-to-play, it’ll follow the route of relying on premium skins and emotes to generate revenue. There was no store or lootbox-esque system implemented in the beta build, but it’s clear from the “Epic” and “Rare” tags on items that premium customization will surely be a major focus. Considering players gain experience and level up the more races they compete in, there’s hope that at least some items might be unlockables to encourage higher attachment rates.

KartRacer: Drift is an unusual Microsoft exclusive, and yet it’s clear that Nexon has poured a tremendous amount of care and resources into it over the years. Having crossplay with PC this early on was crucial and ensures a built-in online community of millions from the get-go. It remains to be seen if the team makes any track design tweaks or alters the hyper-touchy drift, but what’s already here is at least worth giving a whirl when it releases for free sometime in 2020.

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The Best Reveals of Indie World December 2019

From long-awaited sequels to unexpected crossovers to some surprising shadow drops, there was something for everyone in the latest Indie World showcase.

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Indie World

It’s been a banner year for independent games, and Nintendo has closed it out with a new Indie World presentation. From long awaited sequels to unexpected crossovers to some surprising shadow drops, there was something for everyone in this showcase. We’ve rounded up a few of the very best reveals below.

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The show started off strong with the reveal of Sports Story, a sequel to 2017’s much loved, golf-obsessed RPG Golf Story. Whereas the first game focused solely on the noble sport of golf, the sequel has a much broader scope, integrating a variety of new sports like tennis, baseball, and soccer, to name only a few. On top of that, the gameplay is expanding with plenty of new elements, including dungeons to explore, espionage missions to sneak through, and numerous memorable characters to interact with. Just like its predecessor, Sports Story will be a Switch exclusive when it launches in mid-2020.

Some of the best indies can be immensely stylish experiences, and such games were well represented throughout this showcase. The first one shown was Gleamlight, a 2D action game created by developers who worked on the recent Bloodstained: Ritual of the Night. It puts players in control of a sentient sword, tasked with exploring a mysterious world made of stained glass. It leaves players to their own devices, with no UI or dialogue to tell its somber story. Like so many other games in this presentation, it will release in early 2020.

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Another eye-catching title was Liberated, which describes itself as “a playable graphic novel.” Literally taking place across the panels and pages of a cyberpunk comic book, Liberated features a mixture of stealth-based gunplay and action platforming, along with a dystopian story told from numerous perspectives. It will be a timed Switch console exclusive when it launches next year.

Indie World

Not all games were so serious or artistic – some were decidedly sillier. One such game was SkateBIRD, which, as the title implies, is all about controlling cute little birds on skateboards. This intrepid athletes will spend their time “grinding on bendy straws, kickflipping over staplers or carving lines through a park held together by sticky tape,” and if that doesn’t sound like a good time, I don’t know what does. These little birdies won’t take flight until late 2020.

Indie World

To get even sillier, imagine the bizarre bird-based dating simulator Hatoful Boyfriend set to an Ace Attorney soundtrack. As bizarre as that sounds, that’s exactly what Murder by the Numbers is. This murder mystery visual novel blends detective work with pixelated puzzling, featuring characters designed by Hatoful Boyfriend creator Hato Moa and music by Ace Attorney composer Masakazu Sugimori. Releasing early next year, this unusual mashup will be a timed Switch exclusive at launch.

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Procedural generation can feel like a tired trope in indie games. However, SuperMash, which describes itself as “the game that makes games,” looks like it should be a unique take on that style with its inventive genre-mashing style. Players will be able to mash distinct genres together – such as JRPG and platformer – to randomly created entirely new gameplay styles. It has plenty of unique mashing potential, releasing in May next year on Switch.

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It’s seemingly impossible for Nintendo to hold a presentation without a shadow drop or two, and that holds true with this Indie World showcase. The free-to-play multiplayer hit Dauntless was revealed to include exclusive weapons and armor in the Switch version, which also features full cross-play support. Likewise, the deluxe version of the philosophical puzzler The Talos Principle was announced for Nintendo’s hybrid wonder, featuring all the immersive mind teasers and world design that made the game such a hit when it launched years ago. Unlike most other titles in this showcase, you won’t need to wait until next year to play these – instead, they’re both available for download now.

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The presentation opened with a sequel to a fan-favorite indie, and fittingly enough, that’s also how it closed, with the announcement of Axiom Verge 2. Details are currently scarce, but this new title will return to the sci-fi universe of the original 2015 Metroidvania hit, including “completely new characters, abilities, and gameplay.” We’re sure to learn more about this mysterious new sequel ahead of its release in Fall 2020.

These are only a few of the most exciting reveals from Indie World. For everything announced, you can see the full presentation below.

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Most Important Games of the Decade: ‘The Walking Dead’

A look back at one of the most critically acclaimed narrative based point and click story games of the decade: Telltale’s The Walking Dead.

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The story-based video game has been around for a long time but there has been a spike in popularity in them in the last decade. One of the most influential and critically acclaimed narrative games is the 2012 game Telltale’s The Walking Dead, which initiated a tidal wave of choice-based games that still continues today.

Lee Everett, the protagonist of the first season of The Walking Dead Game.

Telltale Games was created in 2004 and had a significant library of games established — including games based on Back to the Future and Jurassic Park — before the release of The Walking Dead. It was the zombie point and click adventure that shot them to triple A game studio status though. The game took on similar mechanics to their other games but introduced a more cinematic style. Player choice is a key element in regard to dialogue choices and important decisions within the story. These shape the player character, Lee Everett, and change his personality to suit the play style. This was one of the most endearing features of the game, allowing players to experience scenarios slightly differently depending on your choice.

The Walking Dead

Lee and his ward Clementine had a strong connection that led to a lot of the emotional moments in the story.

The depth of the characters and dark nature of the narrative are the best aspects of the game. The player takes on the role of Lee as he is on his way to jail at the dawn of the zombie apocalypse. After a car accident leaves him stranded, he stumbles upon a little girl named Clementine. Lee becomes her protector as they and a group of survivors try to survive in the walker-infested world. This simple story of a man with a troubled past attempting to protect a little girl at the end of the world is incredibly engaging and it is difficult not to get emotionally attached to both Lee and Clementine. The system wherein certain characters will remember Lee’s words or actions is also a nice feature that can guilt trip you over your choices, particularly if you see the words “Clementine Will Remember That”. Lee is an interesting and complex character whose attitude and personality can change depending on player choice and Clementine is a loveable child who doesn’t fall into the “annoying kid” stereotype in most games. Both became beloved video game characters who set a precedent for likeable protagonists in gaming.

The Walking Dead

The cast of characters in The Walking Dead’s first season all had their complexities.

The legacy of Telltale Games and The Walking Dead still continues within the gaming community. Telltales unfortunate downfall in September 2018 was a great loss to story-based gaming but many have been influenced by Telltale’s work since. Dontnod adapted the episodic formula for their Life is Strange games, another fantastic narrative series. Others who had previously worked for Telltale helped bring other great story games to life. The co-writers of the first season of The Walking Dead game set up the company that created the 2016 game Firewatch, for example. More writers of the series launched Night School Studios, responsible for Oxenfree (2016) and Afterparty (2019). The Walking Dead catapulted Telltale Games to stardom, leading them to take on a slew of projects — possibly leading to their downfall. Despite this, the game has carved out a place for itself in history as one of the best point and click narrative adventure games that established a trend of games that encourage strong storytelling and complex characters.

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