http://www.gamerankings.com/itemrankings/launchreview.asp?reviewid=743120

If someone were to ask you to name the single greatest game series
ever, you could do worse than The Legend of Zelda. The heralded
action/adventure series has championed adventure gaming into new
territory with nearly every installment, harvesting endless praises
from critics along the way. If a Zelda game were proclaimed among the
best ever, it wouldn't be the first time-nor would it be much of a
surprise to its ever-zealous fanbase.

So when I tell you that The Legend of Zelda: Twilight Princess is an
instant classic, you may not find it even the least bit shocking. But
I'd like to begin this review in a rather unorthodox fashion; I'd
like to explain the challenges I've faced while trying to score this
game.

You see, nearly everything about this game is downright perfect. It is
undoubtedly the greatest Zelda game to date... in fact, it completely
eclipses most other Zelda games. However, visually-at least in terms
of textures-it is indeed a GameCube game. An extremely pretty
GameCube game, yes, but it still seems less next-gen and more like the
epitome of GameCube achievements. The problem is that the rest of the
game is so superbly executed-so masterfully designed-that it
totally overshadows nearly any slight concern regarding visual prowess.
Couple this with the fact that I have never once in my position as a
game reviewer awarded a videogame a ten out of ten (which never
indicates a perfect game, but rather one that is very, very close), and
you can see how it might be difficult to assign Zelda a proper score.

So, the question becomes this: When is a game so good that its other
achievements outshine even noticeable technical flaws to the point that
they are nearly insignificant? The answer is simple: When it reaches
Twilight Princess' level. I don't believe I have ever played a game
that has so seriously amazed me on a regular basis. I find myself
regularly dumbstruck by the outright precision with which every facet
of Twilight Princess is designed, and yet every time I think I have
seen the most amazing thing, the game turns right around and floors me
again. The world is vast and expansive, the characters are colorful and
emotive, and dungeon designs are a sinister work of art. Some of the
boss battles are among the most creative that I have seen in a game.
The entire experience is just thoroughly Zelda from start to finish,
and it's the best Zelda you'll have ever played to date.

Whew! With that confession out of the way, let's dive right into
specifics.

NOTE: This review has been spoiler-coded. If you haven't played the
game and you find yourself particularly adverse to spoilers, you'll
be safe reading my review if you stick to the traditional white
text-that will just give you the (in-depth) gist of the quality of
the game. On the other hand, if you're curious to know specifics, or
you'd like examples of what I'm talking about and you don't mind
the spoilers, read through the slight spoilers in the yellow lettering
or highlight the red text to reveal the more significant spoiler text.
And don't worry; I won't spoil too much for you regardless. Games
like this one are just so much better when you experience them for
yourself.
Oh, and I apologize in advance if this is the longest review you've
ever read; there's a lot to discuss. I just hope that it's the best
and most informative you'll ever read.

[b]Gameplay[/b]

One of the first things you're probably wondering about is whether or
not it's worth getting the Wii version of Twilight Princess instead
of the GameCube version (after all, you may already have a GameCube).
Well, although I haven't yet played the GameCube version myself, if I
were to compare the Wii version controls with anything possible on a
conventional analog stick + buttons controller (such as that of the
GameCube), I'd easily choose the Wii remote. Not for swordplay
specifically-slashing your Wii-mote around really isn't that much
more engrossing-but rather, for the aiming controls alone. Once
you've aimed a bow and arrow by pointing the Wii remote at the
television screen, you'll never want to turn back. It takes a mere
ten minutes to master the art, and then it's hard to imagine how a
simple control stick ever sufficed to begin with.

Apart from the obvious advantage with respect to aiming, however, the
Wii controller also just feels more comfortable in your hands. Even
after playing for ten to twelve hours straight, I hardly experienced
any fatigue (apart from the mental variety) and I never knew a hint of
the carpal tunnel or soreness that is common when playing for such
extended sessions with a normal controller. The entire control scheme
just works, and it feels more natural than you probably expect.

Menu selection is also performed with the Wii-mote, and it's much
more convenient this way. You even get an in-game pointer of sorts (a
fairy) that can be used to point at objects and people with whom Link
can interact. While I honestly don't use this very often, I
appreciate the option. Skeptics will also rejoice at the inclusion of a
sensitivity adjustment of sorts that asks you to match the size of a
box on the TV screen with that of your sensor bar. Properly calibrated,
the pointer controls work very well, even if the approach to
swordfighting control by swiping the Wii remote to and fro really
isn't anything special.

So what about the rest of the control scheme? Twilight Princess puts
every button on the Wii remote and nunchuk to good use-and you'll
be glad to hear that the arrangement works very well. Briefly, in case
you're curious: The A button is context-sensitive, as usual, and is
used to talk with people, open doors, and just generally interact with
things. The item screen and status menu are activated by two separate
buttons (+ and -) for easy access. The 1 button reveals your map, and
the 2 button toggles the on-screen map display. Items can be assigned
to the Left, Right, and Down buttons on the D-pad and B button (the
latter of which is a trigger found on the bottom of the remote). The
D-pad Up button, on the other hand, is always reserved for talking with
Midna (and later in the game for transforming between wolf and human
forms and for warping around the overworld). Finally, the analog stick
on the nunchuk controls Link's movement, the Z trigger Z-targets, and
the C button (just above the Z trigger) lets you survey your
surroundings in first-person.
If this all sounds confusing, don't worry; it's not. After just a
few minutes of play, the controls become all but second-nature. It's
bound to be easier than using a traditional controller with the game,
and it's notably more comfortable, to boot.

But what good is an adventure game with great control if it doesn't
have a riveting storyline supplementing the action? Thankfully,
Twilight Princess also has the most involving (and unpredictable) Zelda
storyline to date. Part of this can be attributed to the fact that so
many more major gameplay sequences take place outside of the game's
dungeons this time around (we'll get to that in a bit).

Briefly, the story goes something like this: Link is a farmhand,
helping out around his small town of Ordon. One day, the town is raided
by beasts riding on the backs of boars, who kidnap the children and
leave Link for dead lying in a forested spring. When Link comes to, he
begins his search and is suddenly pulled into the Twilight Realm, where
he finds that things are quite different-namely, he's been
transformed into a wolf! Link awakens in the depths of a dungeon-like
environment, confined to a cage. With the help of Midna, a mysterious
imp-like creature of the twilight, he escapes the dungeon and reaches
the top of the structure, where a bit of the storyline is revealed and
the game truly begins.

It quickly becomes evident that a sizable portion of the game will be
spent in wolf form. Likewise, most of your time as a wolf, at least in
the early parts of the game, takes place in the Twilight Realm. This
place is eerily depicted as a veritable wasteland that is slowly
enveloping the world, ever-growing, with the common folk entirely
unaware. Upon their transference to the Twilight Realm, the people
become souls, ignorant of their fate. The only person who can drive
back the spreading of the twilight is-you guessed it-Link, who has
been endowed by the Gods with an ancient power-that of the
Triforce-that grants him his wolf alter-ego and allows him to change
back into human form at the right time.

As a wolf, Link loses all access to his items. Instead, however, he
gains certain skills that are unique to his canine form. Specifically,
he's now got two new abilities: Dig and Sense. Dig works precisely
the way it sounds. Sense, on the other hand, is presented similarly to
the Lens of Truth; you toggle it on, and suddenly you're able to see
things that were previously invisible. Among those things are spots
that can be dug, people who have passed into the Twilight Realm, and
even the scents of people and monsters that you are searching for. The
way this works is intuitive; you must first "learn" the scent by
sniffing, say, some of the target's clothing, and then the trail is
depicted by a cloud of colored smoke. You can only learn one scent at a
time, so you'll have to forget your previous scent if you wish to
follow something else. However, the scent discoveries are normally
hard-wired to the plot, so you'll never wander aimlessly in search of
something to sniff. Finally, one last skill that is separate from the
two mentioned above is the ability to speak with animals in search of
clues.
You may be wondering how much time is actually spent playing as a wolf.
The answer, refreshingly, is that most of the game is spent in human
form. It isn't that playing as a wolf is somehow unsatisfying-in
fact, the wolf portions are, in some ways, a stimulating break from
normal action-but being human and putting your accumulated items to
use is just a lot more fun overall. After all, that's what makes
Zelda Zelda. Before the third dungeon, a lot of time is spent in wolf
form-probably around 40-50%. But after that, it slopes off
considerably, and later on in the game you're able to transform at
will.

Speaking of what defines Zelda, sprawling dungeons have always been a
focal point of the series. Ocarina of Time had nine of them (well,
major ones anyway), but following that, Majora's Mask had only four
and The Wind Waker just six. Fans will be pleased to hear that Twilight
Princess is a fantastic return to form in this regard: it has more
major dungeons than both Majora's Mask and Wind Waker, and if you
include "minor" dungeons or activities that take place in between,
it's no contest at all. All told, Twilight sports some nine different
dungeons, matching Ocarina's count and one-upping it both in terms of
dungeon design and intermediary activities. It has the most dungeons of
any 3-D Zelda game, as well as more action outside of dungeons than
Majora's Mask. And none of it seems forced or padded at all.

The dungeons aren't just plentiful; they are also huge. In fact,
they're the largest of any game in the series to date. Even the first
dungeon is larger than most of those in Ocarina... and by the time you
reach the later ones, don't be surprised if you end up spending a few
hours on each. Sure, the expert player may be able to blow through them
more quickly, but for most of us, the later dungeons are frequently
two-hour-plus expeditions.

The dungeons are also overflowing with elements of prodigious design. I
can confidently say that, all else held constant, Twilight's dungeons
are my favorite of the series. The level of design expertise and the
sheer sense of creativity that pervades their environments is simply
unparalleled in all of gaming. Massive, multistoried rooms mingle with
cramped, interconnected passageways in such a way as to both bewilder
and astonish the player. In true Zelda fashion, the solutions to the
game's many, progressively baffling puzzles are always clever but
never unreasonably complex. The particularly nasty multi-room puzzles
are plentiful and tactfully implemented. Unlike previous Zelda games,
you won't likely find any help from your companion, Midna,
either-it seems as though the designers have intentionally left you
to figure things out on your own this time. Your map will become a
priceless tool everywhere, but nothing will substitute for your wits.
If you think you've seen Zelda, this game will redefine your
expectations.
You'll even come to some dungeons that don't seem anything like
dungeons at all-Twilight Princess' creativity is all the more
evident the further you progress. One of the dungeons is actually a
poorly-kept mansion that is still in use by its residents! The
balancing is excellent, and the experience is among the most
imaginative in all of modern videogames.

And then there are the bosses. Twilight Princess includes some of the
most intense and inventive boss fights in franchise-and occasionally,
gaming-history. Some of the battles are so uniquely climactic that
they are actually reminiscent of something out of Shadow of the
Colossus. (Big boss spoilers ahead): One particularly creative boss
battle sees Link riding along the wall of a circular room, jumping
frequently to and from a cylinder in the middle to avoid the flying
boss' attacks. It's easily one of the coolest battles I've ever
played in a videogame; and although it isn't all that tough, it sure
as heck feels epic.

In terms of difficulty, Twilight Princess is harder than Ocarina of
Time and quite a bit more challenging than The Wind Waker. More than
anything, however, the battles are simply more interesting because they
are more unique and unpredictable. Bosses frequently put up
multiple-stage battles, and while most of them are still pretty easy
for the seasoned videogame player, I can promise you that you won't
feel even the slightest bit shortchanged.

Unlike in most previous Zelda games, even reaching the dungeons is
often quite a chore (in a good way). As previously mentioned, the
intermediary action in Twilight Princess plays a much larger part in
the grand scheme of things. Early on, prior to each of the first three
dungeons, you will experience the closest thing to a so-called "fetch
quest" in the entire game when you are required to hunt down Tears of
Light (obtained by searching for and defeating insects of darkness) to
help repel the Twilight and restore normalcy to the associated realm.
This part of the game actually began to wear on me a bit (in fact, it
was my least favorite part of everything I've played). Nevertheless,
this isn't anything close to as tedious as The Wind Waker's
preposterous Triforce Map/Shard scavenger hunt. It does feel a bit like
a chore, but it's hardly a blemish on the surface of such a flawless
experience.
As for the rest of the between-dungeons content, it's mostly very
captivating. None of the rest of it feels like padding or filler at
all, and that's amazing considering how much of it there is. If I had
to pin a number on it, I'd say that probably somewhere between 25-30%
of the main game takes place in dungeons. If you take into account the
fact that most dungeons probably average around 2 hours worth of
gameplay, you can get a pretty good idea of the actual length of the
game. This, of course, doesn't take into account any side quests, of
which there is a pretty respectable number.

Speaking of side-quests, the standard breed of optional content is
still in effect here, multiplied and scaled, of course, to match the
increased size of the game. Dozens of secret grottos and occasionally
mini-dungeon-like caves are sprinkled throughout the colossal
overworld, which is probably somewhere close to three to four times the
physical size of Ocarina of Time (luckily, you have your horse, Epona,
and various other methods of transportation to help you get around).
Other quests play out more like scavenger hunts, and since they're
optional (and not preposterous in size), that's a good thing. Among
the things you will be collecting for such quests are Poe Souls
(remember these?) and Golden Insects (for some freaky spoiled girl
named Agitha). And, naturally, what would a Zelda game be without
Pieces of Heart? In this game, you must collect five to complete a
heart-yet another indicator of the significantly larger size of this
game.

Twilight Princess shuffles in a healthy array of new gameplay elements
as well. Apart from the occasional horseback battles which you've no
doubt seen by now, Link's got a number of new tools. I'd be remiss
to spoil them all for you here since one of the coolest parts of any
Zelda game is becoming perplexed by a particular puzzle, only to later
discover that an item you receive nearby is the solution. But I'll
name just a couple as an example: 1) The Gale Boomerang, which you have
seen in various videos and screenshots across the internet, allows you
to target multiple switches or enemies at once to bombard with its
wind-based attack. And, 2) The Spinner, an ancient device that gives
you the ability to ride along grooves in the wall and harmlessly cross
quicksand, is possibly the most unique item in a Zelda game to date.
Link can also learn new "hidden" sword techniques. By locating
whistling stones and interacting with them in wolf form, he can awaken
a ghost that waits for him in a certain spot on the map (marked by a
symbol for convenience). Once Link approaches the ghost, he engages in
a training session with an undead knight (depicted below) who plans to
teach him a special technique. There are several of these techniques
throughout the game, and while some of them are found in previous Zelda
games (like the downward stab Ending Blow), a good number of them are
new to the series (like the Shield Attack and Mortal Draw).

While we're on the subject of new gameplay elements, let's talk
about mini-games. Previous Zelda games had their fair share of
mini-games, but those were nothing compared to what you'll find in
Twilight Princess. Why not take a canoe down the river toward Lake
Hylia, shooting arrows at floating balloons along the way? Or how about
snowboarding on a slab of ice down the side of a mountain? Of course,
fishing also makes a return in a big way; there's a huge pond area
where you can travel out on boat and fish to your heart's content
(you can also fish elsewhere, but it isn't quite as in-depth). The
fishing mini-game controls are a great showcase of the Wii interface:
By holding A and flicking your Wii remote forward, you cast your line.
Once a fish bites, you lift your remote to hook it, after which you
take your other hand and begin reeling it in with the nunchuk. It
really works well, and it's a whole heck of a lot more fun than
pressing buttons.
The selection of mini-games and different forms of gameplay isn't the
only thing that keeps the gameplay feeling fresh, however. In a game
this big, it's extremely important to have delicate balancing so that
the player does not become bored with the adventure. As I've
mentioned already, it's evident that Twilight Princess' designers
paid plenty of attention to this aspect of the game. Each dungeon feels
completely different from the last, and every one of them is built with
a certain "theme" (fire, ice, forest, etc.) or overarching
objective (find the monkeys, hunt the Poes) of sorts that permeates the
situation.

Every area in the game is themed as well. During your adventure,
you'll trek through all sorts of vast environments, from deserts, to
forests, to snowy mountain peaks. The various environments all play
host to a wide variety of their own unique creatures-and combined,
they make up the largest and most diverse assortment of enemies in any
Zelda game. Among them are newcomers such as icy monsters that slide
and ricochet when attacked and invisible rats that assault Link by
slowing down his movements, along with classic foes like the Stalfos
Knight and Peahat.

By now, it should be obvious that Nintendo hasn't skimped on content
here. This is undoubtedly the most robust and dynamic Zelda to date,
and yet remarkably it never seems as though you're playing through
"filler" content. Everywhere you go, creativity abounds, new
characters come into play, and new secrets and forms of gameplay await.
It's a world filled with imagination and wonder, and it always feels
like Zelda.

[b]Presentation[/b]

The Wind Waker was initially criticized for its cartoony graphical
style, but even most critics agreed upon one point: the characters in
the game were much more expressive than those in Ocarina. Of course,
this is merely a result of better technology, but some people were
worried that Twilight Princess' return to a darker, more realistic
style would hamper emotional expression and parasocial connection with
the game's NPCs.

Fortunately, this is not at all the case; in fact, Twilight Princess'
characters are more colorful than even those in The Wind Waker. Link is
highly emotive in his facial expressions, and the non-player characters
even share their feelings through regular gestures. All told, the
characters in Twilight Princess are more human and believable than any
thus far in the series. In this way, Twilight is head and shoulders
above Ocarina.

It isn't just the characters, though, that give this game its
emotional strength... Twilight Princess is hands-down the most dramatic
and cinematic Zelda game to date. Of course, there's still no voice
acting, and Link is still never seen uttering a word, but the cut
scenes and situational material convey a much darker, more profound
Zelda than we're used to. If you're an ardent follower of the
series, you'll find yourself shocked and impressed by the intensity
and creativity of the story and how it is portrayed.
The game is also loaded with polish. The sound effects and audio are
accurate right down to the slish-slosh or clink-clank of footsteps in
the snow or on metal grating. Skipping lengthy cut scenes is possible
with the simple press of the minus button. Events and opportunities
transpire in locations you've long since departed, giving the world a
sense of liveliness and continually adding to your repertoire of
optional activities. It's even possible to take a break from the
game's dungeons-that is, if you manage to locate a frightful little
character in each of them named Ooccoo-and restock, then return
directly to the spot where you left off. It's obvious that this game
has been in development for a very long time by some extremely talented
people.

That having been said, there are two main points of contention with
regard to Twilight Princess' presentation that have had the fanbase
up in arms. One of these is the game's music; many fans, such as
myself, have long campaigned for a "true," live orchestra Zelda
soundtrack. Remember that teaser trailer? That's the only live
orchestra you'll hear throughout the game; the rest of the music is
sequenced MIDI.

But here's the beautiful thing: it doesn't really matter. Upon
playing the game, even a music nut like myself will not find much to
complain about. Yes, the music is detectably MIDI, but it's generally
of very high quality, and besides, MIDI comes with its own unique set
of strengths and weaknesses. For one thing, it isn't technically
possible with live orchestra to have fully dynamic music, and that's
something that has been a staple of the Zelda franchise since the N64
days. What I mean by "dynamic music" is music that changes with the
context of the action. For instance, you might be riding around Hyrule
field and run into a pack of enemies. As this happens, the normally
heroic and optimistic Hyrule Field music transitions seamlessly into a
more uncertain, worrisome tune that is meant to reflect conflict.
Likewise, as the sun begins to set, the music slowly calms until it
eventually stops. The dynamic music really adds to the game, too. Most
everywhere you go, the music changes contextually. It's a truly
beautiful effect and it helps to keep the game's various themes fresh
even after countless hours of play. And remember, none of this can be
done (in a reasonable fashion, anyway) if live orchestra is implemented
instead.
Music fanatics will also appreciate the compositional quality of
Twilight Princess' soundtrack-it's easily the best of the series
(I know you're beginning to hear that phrase repeated a lot, and
there's a reason for that). The various tunes are memorable and
appropriate to their context; the music really helps to make the game.
There are plenty of returning themes, as well-probably more than you
expect, in fact-and most of them have been cleverly incorporated into
newer tunes that are generally even better than their originals on
every level.

The other, and probably more prominent, point of contention is the
graphical presentation. Let's get this straight: there is no denying
that Twilight Princess looks like a GameCube game at heart. While the
environments are indeed huge and pop-in is entirely non-existent,
they're still decorated by frequently blurry textures and absolutely
zero pixel shading effects or anything else that can be used to
disguise lacking detail. There's also no denying that if you've got
a nice television, even with the considerably more attractive
progressive scan picture quality, you will notice these glaring
imperfections. In other words, technologically, Twilight Princess'
visuals aren't even on the same level as its Xbox 360 adventure game
in-law, The Elder Scrolls: Oblivion.

But there's good news to all of this. Sure, Twilight Princess looks
dated on the textural front. But thankfully, it's at the top of the
list when it comes to art style. Few games approach the sheer beauty of
some of Twilight Princess' more elaborate environments. The Ordon
Spring, the Faron Woods (and its secret grove), Lake Hylia and Zora's
Domain, the fishing lake, the desert from high atop Gerudo Mesa...;
Vines twist and turn along walls and up trees, waterfalls sparkle with
reflective splendor, and through the heat distortion, you can see birds
circling structures far in the distance in the hot, desert sun.
The animation is great, as well. The various characters and enemies
(and Link, too, of course) move with a fluidity and naturalness that
gives them a true sense of life. Hyrule Castle Town is literally
bustling with activity (even though you can't interact with most of
the passersby), quite unlike any town scene we have witnessed so far in
the Zelda universe. There are even some very pretty graphical effects:
light from the flames in your lantern flickers throughout the corridors
around you, ice bears the reflection of objects above it, and the water
effects are gorgeous. In spite of its technical deficiencies, it's
undeniable that Twilight Princess is a game built with meticulous
attention to detail and excellent artistic direction.

[b]Value[/b]

The Legend of Zelda: Twilight Princess is among the longest traditional
adventure games ever created. The game will easily last most players 60
to 70 hours for the main quest alone; count in side quests and the
collection of all Heart Pieces, Poe Souls, and Golden Insects, and
you've got a game that could conceivably approach 100 hours in
length. Keep in mind that, in contrast to the typical approach to game
lengths, these numbers are all very accurate. Unless you're a Zelda
master or you skip all optional content, there's just no way you'll
be completing this game in anything under 60 hours your first time
through.

[b]Fun Factor[/b]

I haven't been this addicted to a game in a long time. True, I've
had to dedicate nearly every waking hour (and even some that wouldn't
normally be considered "waking") over the past six days to playing
this game in preparation for this review, but I probably would have
been similarly glued to the Nintendo Wii even if I didn't have a
career obligation to meet. Twilight Princess' gameplay is so
scrupulously tweaked, the experience so carefully balanced, that nearly
everything about the game is a joy to behold. While it does start off a
bit slow, once you get into the thick of things (around a few hours
in), you won't want to put the controller down. I wish you luck if
you purchase this game and you have a job, a family, and some form of
responsibility over the next week or so following your purchase. Do the
responsible thing: quit your job, put your family on hold, and throw
out all your responsibilities so that you can experience the next
magnificent chapter in The Legend of Zelda universe (that was meant to
be a joke... sort of).

[b]Overall Comment[/b]

The Legend of Zelda: Twilight Princess is a very rare experience.
It's a game where all of the pieces seem to fall into place in just
the way necessary to create so seamless, so addictive, so unique an
experience that it just feels right from start to finish. Apart from
the classic Zelda action, of which there is plenty-more than ever
before-in the game, Twilight Princess introduces some truly
innovative gameplay elements and improves upon existing ones with an
uncommon level of polish and attention. The game is simply overflowing
with creativity; with its brilliantly-designed dungeons, legendary boss
battles, engaging storyline, and rich cast of characters, it easily
surpasses nearly every other game in its genre.

That said, some people are concerned primarily about its contentious
graphical presentation; the sometimes-blurry textures. Do they hurt the
overall appearance of the game? Yes. Perhaps the most important
question, however, is whether they hurt the game enough to place it
below the status of other "ten out of ten" legendary games. Here,
the answer is a resounding "no." The Legend of Zelda: Twilight
Princess is one of the greatest videogames ever created. It isn't
perfect-no game can make that claim-however, Twilight Princess is
head and shoulders above nearly every other game I have ever played.
It's indubitably better than Ocarina of Time. It blows away The Wind
Waker. And it has a sense of personality and careful balance that
instill the player with a serious drive to complete it-something that
many other very long adventure games, such as Oblivion, lack.
This is the first game that I have ever awarded a 10 in my six years as
a reviewer, and for good reason. The Legend of Zelda: Twilight Princess
is one of the defining videogames of our time. It is unquestionably one
of the finest games ever released, and it is one that any gamer should
experience regardless of the circumstances.