Mirroring the perspective a game was designed in makes for a good challenge ala Master Quest, but it’s at the expense of deliberate overworld and cinematic details.Ī common criticism lobbed at Twilight Princess’ graphics is that it’s too realistic, Nintendo seemingly unlearning the lesson The Wind Wakertaught them – realism isn’t always realistic. The Wii’s world looks and feels off because it is off. Simply flipping gameplay so Link is right-handed and east becomes west reshapes Hyrule in a disconnected manner, both from Zelda’s geography and reality. The Wii offers crisper resolution and a wider field of view, but at the expense of mirroring the entire game (hurting the cinematography as a result) and replacing swordplay’s most sophisticated control scheme yet with relatively surface level motion controls. Twilight Princess is a swan song by definition and it’s best to see Nintendo’s 13th mainline Zelda for what it really is: the very last GameCube game.ĭespite a legacy intimately tied to the Wii, Twilight Princess was always a better experience on the GameCube. The Wii port isn’t reflective of TP in earnest.
The Legend of Zelda: Twilight Princess is best known as a Nintendo Wii launch title, but director Eiji Aonuma intended for the game to help “the GameCube go out in style.” In retrospect, thinking of Twilight Princess as a Wii game doesn’t exactly do it many favors – especially when Skyward Sword outdoes its motion controls on every meaningful level. While there’s no actual truth in the legend (and has been disputed as early as AD 77,) “swan song” has become a catch-all term to signify one last great work of art.
Legend tells that the swan sings a beautiful song right before its death, ending a life of silence on a powerful note.
– Satoru Iwata on The Legend of Zelda: Twilight Princess “The whole world is expecting the greatest Zelda game ever, isn’t it?”
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