The Legend of Zelda: Skyward Sword doesn't have a formula problem.
Despite a complex new swordplay system, the new Zelda feels a lot like the last few. The most recent game in the fabled franchise, The Legend of Zelda: Skyward Sword, will undoubtedly face a similar fate, but will it finally surpass the legacy left behind by its predecessor? The dungeons themselves are quite large, filled with some challenging puzzles, and have some of the best boss battles ever conceived. Audio is even better. Can Skyward Sword - likely to be a swansong for Nintendo's core development teams on Wii - do anything to make this formula feel fresh? The last home console Zelda title, Twilight Princess was brilliant in its own way, but remained an echo of Ocarina of Time, a game whose seemingly unassailable genius has loomed over its own series for 13 years. One of the largest changes is the fact that Zelda has ditched the title of 'Princess,' and is instead just a childhood friend of the game's main protagonist. An end, as it draws the curtain on Nintendo's Wii, a culmination of the best uses its unique technological palette has produced. Those simple situations gave Link different shades of boyish heroism in a world of evil. Years later I got to play this and LOVED IT! But it doesn't do so by rewriting the order of service. In both cases, the game is pushing the series to interesting places. Let's not get carried away or panicked with a great departure, Skyward Sword is still very much a Zelda game. The new Zelda was fun, I thought, but it was also something else. The Legend of Zelda: Skyward Sword is available now exclusively on the Nintendo Wii.
My sword twists slightly in my character’s hand, closely mimicking the motion of my wrist. This year's Link may be the rangy teenager model rather than the cute moppet, but the world around him is very much the breezy, bustling cartoon of Wind Waker and the DS games. In the long term of the nearly 50-hour game this is more of a difference than a fault but it is also one of the reasons that the start of this game is so hard to be energized about. You can contact him on Twitter at @grmartin or at Garrett [at] Pastemagazine [dot] com. For the first time in the series, Link and Zelda's relationship is overtly romantic, teasing and canoodling, soaring through the clouds on their giant mystical birds-- Skyloft's primary mode of transport. This one, too, is light, setting Link up as a student in an academy for bird-riding knights and the eventual rescuer of the daughter of the head of academy. In its first 10 hours, it is a slow starter, establishing its version of Zelda standards; in its next 20 or so, it repeatedly shows off how its version of those standard might, mostly, be better; and in its final 10 it finally defies expectations, remixing the series' hallmark dungeon-exploration progression into something almost unrecognizable as Zelda formula.
While the main quest is breathless, you can take a time out by retreating above the clouds to Skyloft, helping out its denizens by cleaning house, locating lost children, getting stuck in the middle of a love triangle of classmates. Good game, more could have been much better. Nothing too strenuous, thankfully, and Nintendo massage your attacks to avoid uncoordinated flailing. Almost every place in the game has that Zelda dungeon quality, and by the time you hit the game's final act, you've already experienced more hours of Zelda's version of Indiana Jones-style exploration than you ever have in this series. For all their epic sweep, they are more rituals than stories. Sensitivity and response are perfect; reliability is almost there, but you will occasionally need to centre a cursor with a quick tap of the d-pad.
They withstand even Nintendo's revealing promotional campaign for this game and still sequester many secrets from those who have watched trailers, studied screenshots but not yet played the adventure. Yes, that's a sidequest. Unlike Okami, however, you can always take a break by returning to the sky, a hub and overworld in the vein of Wind Waker's sea or Spirit Tracks' rail network. It's most obvious in your sword, which tracks your movement of the remote perfectly and without requiring energetic gestures (although you'll get carried away often enough). It's not quite a perfect experience because of a few gimmicky motion-controlled features and unpolished design choices but it's still a work of art that will make players sad the Wii's full potential wasn't realized until this late in its life span. Fans will also be happy to know that some of the statements Link can make border on hilarious — such as an insult he can direct at the completely idiotic hair style of a bully in his hometown. Predictably, Link needs to leave his town to explore several regions on the mysterious surface of the world below. They are gorgeous, even to eyes dazzled by the HD graphics on competing consoles that the Wii can't generate. If you click on one and make a purchase we may receive a small commission. Then I played the game for 27 more hours. The Legend of Zelda: Skyward Sword review Skyward Sword is the freshest and most contemporary entry into the Legend of Zelda series for years, … One new gadget also stands out at this early stage: the Beetle, a remote-controlled drone that can be used to scout inaccessible areas. Skyward Sword is the freshest and most contemporary entry into the Legend of Zelda series for years, combining brilliant design and ingenious motion control. The flying beetle, for instance, is used as a handy scouting tool, able to explore areas, bash switches and snip pesky spiders from their spindly webs. There’s something to be said for comfort and familiarity, and tweaks like Skyward Sword’s excellent swordplay and Wind Waker’s gorgeous art style prove Zelda isn’t entirely hidebound. Does it surpass 'Ocarina of Time' as the best game in the franchise's history? Nintendo know this, and use the sword as a starting point for story, puzzles and enemies. It’s a trick of the light in many ways, as dungeon items are usually uncovered early, while Link’s other equipment is kept in regular use to give the feeling of constant forward momentum. No longer. Skyward Sword is both beginning and end. It's been a long time coming, but 'The Legend of Zelda: Skyward Sword' is finally here. boat? It is hard to explain why it is wonderful. Along the way to its bravura final act, Skyward Sword presents two major new ideas and gingerly explores the consequences. Covering the hottest movie and TV topics that fans want. pan flute? The Legend of Zelda: Skyward Sword is not a radical game. While the game does empower the player, the respect it shows its gamer is curiously inconsistent. Skyward Sword feels like the Legend of Zelda game producer Eiji Aonuma always wanted to make. Skyward Sword is more explicitly a love story than any Zelda before it - more than most video games dare to be, in fact. Enemies and puzzles usually reserved for dungeons spill outwards, peppering your journey with constant distraction. In combat, Nintendo find a balance between 1:1 showmanship and controlled, disciplined strikes, translating your remote swing with surgical precision: horizontal, vertical and diagonal. Nintendo supposedly keeps a timeline that ties these clockwork fairy tales together into some sort of coherent whole, but I don't buy it. The art direction is noticeably different, compared to other instalments, because the whole game is styled like an oil painting. He's still playing Diablo 3. If it is strictly that Link is in a maze of some sort, and that you have to think carefully about how to get through and, oh yeah, you might gain a new gadget in the process, well then almost every part of Skyward Sword that isn't in the clouds is a dungeon. Anyway, I e... Read Full Review, Pros:+ Distinct impressionist art style that exudes personality+ Motion controls are immersive and make the combat more investing+ Dungeons filled with imaginative puzzles and memorable boss fights+ Cinematic cutscenes ... Read Full Review.
The dungeons are similarly naturalistic. There’s little of the annoying repetition of the recent DS Zelda games or the frustration of Ocarina’s Water Temple. Zelda games don't have it as easy as everyone thinks they do.
Skyward Sword, like all Zeldas, stars a hero named Link. No developer in the world does controls as well as Nintendo when it sets its mind to it, with such pleasurable feedback that simply manipulating the game is rewarding - and no developer designs games around controls so well. Was it good? I both enjoyed the game immensely and felt the anxiety that no one else makes single-player games like this, long hand-crafted adventures that show you beauty, match wits between you and the level designer and, well, have the polish of a game made by a company that can afford to take the half-decade that might be needed to make a great video game. The range of things you do and the beautiful, varied sights you see in Skyward Sword are stunning. In the first 15 years of Zelda gaming, innovation had meant changing from a game seen overheard, to one seen sideways, to one played from behind the character's back in a three-dimensional world. You can also mix and match different shield types, potions, perk-bestowing medals and extra ammo capacity in the limited slots of your adventure pouch, creating a custom character build for different types of adventuring. It begins, as it so often does, with a slumbering Link rudely awoken by a call of fate. This is motion control made essential.
You either solve it or you don't. Zelda wasn't always Nintendo's James Bond series, not for all of its 25 years. In this tale, Link is a trainee knight of Skyloft, an island town floating high above the clouds. Stuff like an absolutely perfect dynamic 3D camera which you don't need to control yourself, or rock-solid game performance even on hardware that's approaching archaic, or the fact that you can trust the design of the battles, puzzles and game systems to never, ever cheat you or let you down. Essential and deliciously satisfying. No surprises there. ); a new batch of dungeons spread through the land, one of which should reward the player with bombs, another with the bow and arrow; a new playable musical instrument in each game (ocarina? It was the fourth formulaic Zelda I had played in five years, the fourth to establish that it's no longer a fluke or a brief trend but instead a realfity that Nintendo's Zelda series is no longer a head-turner of repeated radical change. "Oral history - the most unreliable method of transferring information," remarks Fi, your familiar and guide in The Legend of Zelda: Skyward Sword. But it's also an ode to the lost potential of the console. It’s easy to nip back to Skyloft to top up your health potions or repair your shield and end up losing an entire afternoon above the clouds.
Format: WiiDeveloper: NintendoPublisher: NintendoAge rating: PEGI 12+Released: 18 November 2011. I'm not saying my apprehension was unfounded.
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