That's that. It took me about 48 hours to complete to main game for The Legend of Zelda: Skyward Sword, and I must say, it was all worth it and beyond.
Ever since I finished The Legend of Zelda: Ocarina of Time, I never would have thought another Zelda game would ever, ever be nearly as good. About 12 years later, I found the game.
Skyward Sword is just as good as Ocarina of Time. There. I said it. OOT might hold a lot more memories for older gamers, but SS is new, it is fresh, and it is excellent.
I will now do a review for this game. Out of 10, I will have to score Skyward Sword a 9.5, following this rubric:
30 percent gameplay.
30 percent storyline/plot.
20 percent graphics.
10 percent music/sound.
10 percent style (atmosphere, ingenuity, etc.).
Each aspect of the game is scored from 0 to 10, which is then multiplied by the percentage, generating the result. The following will be my opinions and judgments for the game... and for those who do not wish to see spoilers, skip the rest of this post.
Gameplay: 9.6
Originally, when I first started playing SS, I would have scored the gameplay much lower than a 9 or 8. However, as I continued through, the occasional minor controller unresponsiveness became almost completely negligible. And that was it. Rare faulty WiiMotion Plus responses were the only cons to SS's gameplay. Items such as the Slingshot, Arrows, Beetle and Grappler that relied heavily on on-screen aiming were plagued by the occasional unresponsiveness. However, everything was easily remedied with a single click on the D-Pad's down button. With that, in addition to pointing the WiiMote at the center of the television screen, aiming is no longer an issue.
Many people who started playing SS like I did early on criticized the faulty controls. But as the game moved along and Link acquires a horde of different weapons and gadgets, you instinctively hit down on the D-Pad whenever you use an item anyway. We learn to center our screen before firing off the Beetle, preventing headaches that come along when the Beetle helplessly crashes into a fiery pit of doom because we lost control of the WiiMote.
All that said, the reason why I can call SS's gameplay nearly perfect is because of all the designs involved with motion sensing and classic Zelda items. For instance, old-school Bombs involved running and smacking the A button to throw, whereas pressing A while standing still will place the Bomb down. Now with motion sensing, you literally make a throwing or bowling motion with the WiiMote to chuck or roll, respectively, a Bomb. The Arrows weapon uses motion sensing to aim, with a simple held down A button to charge and fire off an arrow. However, with the inclusion of the Nunchuk, you can "quickfire" an arrow by holding the C button and yanking back on the Nunchuk while aiming with the WiiMote. This is very similar to using a real bow and arrow.
But perhaps the most addicting aspect of gameplay is the bread and butter sword hacking and slashing, shield countering, incessant spin attacking and WiiMote/Nunchuk flailing. In older Zelda games, it was fairly easy to go through the majority of the game without ever using the shield (barring various puzzles and boss battles that require shield use). In SS, many ordinary enemies—down to the lowly Bokoblin—sometimes involve heavy use of the shield because their A.I. allows movement tracking. This means that whenever you slightly raise the WiiMote in preparation for a top-down vertical strike, the enemy sees this coming and prepares to block. Of course, you can simply flail and go vertical, horizontal, vertical, spin attack, vertical attack in quick, successive blows to overwhelm an enemy, but this rarely works. Requiring the balanced use of timed attacks, shield guarding, parries and counterattacking, SS pretty much hit the nail on the head when it comes to motion gameplay.
And all of this talk about motion sensing cannot ignore the fact that SS has some of the best puzzles and dungeons since OOT. One of my most loved and hated missions in SS are the "trials." Dear God, they are as frustrating as they were exhilarating. Collecting 15 scattered tear drops over a particular region is hard enough, but to do it without any gear? Tough. All you can do is run and climb walls—and with limited stamina, remember. Each tear job grants you 90 seconds tops to grab another tear drop before the area's guardians awaken and basically clobber you with one hit and force you to start over. The intense moment of terror before a guardian catches up with you and deals you instant death is incomparable. And that's why it's fun. When you do complete the trial, there's the automatic sigh of relief. Little did I know after my third completed trial (Farore's, Nayru's and Din's) that there was a fourth trial. God. I didn't know if my Nunchuk could handle all the squeezing from my left hand.
Storyline/Plot: 10
Skyward Sword has got to be one of the most engaging Zelda stories ever. And I mean ever. When I first pointed out how intrigued I was with the early hours of this game in my last post about SS, I had no idea what I was in for 20 hours later. I believe it was Nintendo's intention to get the player to support Link and Zelda's relationship. Thus, when the two of them become separated in the beginning of the game, we could do nothing else but to try and find Zelda as soon as possible. And it just so happens that Link, as a character in the game, wishes to do the same. That said, whenever we do find Zelda, Nintendo punishes us by sweeping Zelda away after a merely 45 seconds on screen, forcing us to tackle the next challenges in order to find Zelda... again. Personally, not that I minded, I actually wanted to find Zelda. Games like OOT didn't have searching for Zelda as one of the main points. Zelda was there because... well, she was a plot device. In SS, not only is Zelda a plot device, but she is the driving factor for most of what Link does in the game. In Twilight Princess, Zelda was again... well, there. Just there. Not the case in Skyward Sword.
Though SS uses the same old "evil taking over the world and we must stop it" archetype, it's what's in between that truly matters. For me, all the characters in SS are fantastic—from some of the minor no-name bazaar customers to the wandering Gorons to the villainous Ghirahim. They all have something to offer. Speaking of Ghirahim, the villain is so repulsing and amusing at the same time that I have to give Nintendo some credit for throwing in such a character. Yes, there is no Ganon(dorf) in SS. We have Ghirahim and his demon "master" Demise, who pretty much gets about a minute of screentime, excluding the final boss battle. But who needs Ganon when you have this:
Ah, Ghirahim. So evil. So annoying. So well designed. Because of that, it makes beating him at the end of the game so much more enjoyable. I bet Link feels the same.
Since SS serves as the 25th anniversary offering from The Legend of Zelda franchise, there's no ignoring all the references and side stories in SS that uncovers the mysteries of all the future Zelda games. The goddess Hylia, for example, is the origin of Hyrule and the setting for virtually all the Zelda games. In SS, there is no Hyrule, but a "surface world." There is no Hylian Shield for Link (except in a special optional side quest later on in the game). There is no "princess" Zelda, no Ganon as mentioned before, no Master Sword until hours and hours and hours and hours and hours into the game. We learn about the Sheikah and who they are. We learn about the origins of the Triforce. We learn that Demise, the big baddie that shows up at the very end of the game, is the predecessor of Ganondorf. We learn by the very end of the ending cinematic, after the credits and all, that Link and Zelda ultimately chose to live on the surface world, starting the chain of incarnations and resurrections that would continue in Hyrule for centuries (and game titles) and millenia.
The game's ending has got to be one of the best. It definitely gets the job done after chasing Zelda for 40 plus hours. Just to say, as I went through the game with Link knowing that Zelda went through the same paths just earlier put a huge question mark atop my head. How did she make it to the surface without breaking her back? How did she make it through the temples? How did she meet Impa? Those questions were all answered in the closing credits for the game. In the credits, we get to see Zelda awaken on the surface world and begin her half of her fated journey. Genius. I think back on my early hours of SS and getting accustomed to Link's quest and loved it.
Graphics: 8.6
Well, there isn't much to say about the graphics. It isn't technically advanced in comparison to games on Playstation 3 or XBox 360, but it does get the job done. The good thing is that the cinematic sequences do not visually appear any different from the in-game camera. Transitions are virtually seamless.
I normally don't nitpick at graphics unless the game is supposed to be known for its graphics. SS, like most Zelda games, is based upon its gameplay and puzzle designs. Thus, when I see Link jump into a pool of water with nary a ripple, I simply tilt my head and do my best to disregard what I just saw. The same applies to some recycled scenes, such as when Link acquires the three sacred flames to enhance the Goddess Sword. The scenes are pretty much the same, except for an alternation of colors (green to blue to red, depending on the quest).
Overall, the graphics are great, but not excellent.
Music/Sound: 9.8
When a Zelda game comes along, I know Koji Kondo must be behind the conductor's stand. And when Koji Kondo is in charge, I know the music will be great. Koji Kondo to Zelda is Nobuo Uematsu to Final Fantasy.
Excerpt from "Ballad of the Goddess," The Legend of Zelda: Skyward Sword
Phenomenal stuff. While the above sample isn't exactly the same as what shows up throughout the game, it's representative of what Kondo can do for the game.
The harp for Skyward Sword is clearly a nod to the ocarina used in Ocarina of Time. Both instruments are instrumental (cough) in the progression of their respective plots. While the gameplay elements for playing the instruments are drastically different, the introduction of orchestral tracks in SS allows a greater enjoyment for the created music. While Link fiddles with simple harp tunes, background vocals or orchestra gradually enters and transitions into a full-blown composition.
Of course, when we talk about Zelda music, we cannot forget the classic main theme and Zelda's lullaby. Both are present, albeit very discretely. Zelda's lullaby is only played during the most delicate of moments when Link and Zelda temporarily reunite, before getting separated by various circumstances. As for the main theme, it sneaks into the Song of the Hero, one of the melodies required for advancing the storyline. It takes an ear to pick it up, but it's there all right. Other than that, the only time the main theme plays again is during the credits, which is a must. But because it's so rare to hear the classic tunes, whenever they do come up in their new orchestral renditions, we can appreciate them so much more.
The only downside to the music is the rate that some of them are played. While the majority of times the background and ambient music blend superbly well with the game, other times they blatantly stand out, especially when they get played continuously over the course of the game. Sure, I can forget it within a minute of entering a new dungeon, but whenever Link descends into the aforementioned new dungeon, an eerie tune is played for five seconds. Every time. As I've said, it's forgettable, but it blatantly stands out and I personally don't think it belongs there. That's one example. Another example? Well, I can't think of any, really. Similar instances occur here and there, but that's pretty much it. Occasional blips of overused and misplaced music are its only downside.
Regarding sound, there is not much to say except that everything is relatively standard for a Zelda game. We have Link's trademark yells, grunts and howls of pain. We have the traditional Zelda treasure chest opening sound effect, the low-in-health warning beeps, and the familiar tune that sounds after successfully unlocking a door or gate. They are staples that fans and players continue to enjoy even 25 years after the original Zelda game.
The harp for Skyward Sword is clearly a nod to the ocarina used in Ocarina of Time. Both instruments are instrumental (cough) in the progression of their respective plots. While the gameplay elements for playing the instruments are drastically different, the introduction of orchestral tracks in SS allows a greater enjoyment for the created music. While Link fiddles with simple harp tunes, background vocals or orchestra gradually enters and transitions into a full-blown composition.
Of course, when we talk about Zelda music, we cannot forget the classic main theme and Zelda's lullaby. Both are present, albeit very discretely. Zelda's lullaby is only played during the most delicate of moments when Link and Zelda temporarily reunite, before getting separated by various circumstances. As for the main theme, it sneaks into the Song of the Hero, one of the melodies required for advancing the storyline. It takes an ear to pick it up, but it's there all right. Other than that, the only time the main theme plays again is during the credits, which is a must. But because it's so rare to hear the classic tunes, whenever they do come up in their new orchestral renditions, we can appreciate them so much more.
The only downside to the music is the rate that some of them are played. While the majority of times the background and ambient music blend superbly well with the game, other times they blatantly stand out, especially when they get played continuously over the course of the game. Sure, I can forget it within a minute of entering a new dungeon, but whenever Link descends into the aforementioned new dungeon, an eerie tune is played for five seconds. Every time. As I've said, it's forgettable, but it blatantly stands out and I personally don't think it belongs there. That's one example. Another example? Well, I can't think of any, really. Similar instances occur here and there, but that's pretty much it. Occasional blips of overused and misplaced music are its only downside.
Regarding sound, there is not much to say except that everything is relatively standard for a Zelda game. We have Link's trademark yells, grunts and howls of pain. We have the traditional Zelda treasure chest opening sound effect, the low-in-health warning beeps, and the familiar tune that sounds after successfully unlocking a door or gate. They are staples that fans and players continue to enjoy even 25 years after the original Zelda game.
Style: 9.5
The replayability of SS? Completely replayable. There's the so-called "hero" mode that you unlock after completing the main game, something that I have yet to tackle. There are the standard side-quests that come with every Zelda game. But the most interesting thing about SS—to me anyway—is the references to other games.Since Skyward Sword serves as the prequel to all Zelda games, many things nod to its chronological successors. The vast desert-turned-sea and pirate ships of Lanayru serve as homage to Wind Waker. The side quest involving Batreaux and the Gratitude Crystals is a nod to Ocarina of Time's Skulltula House side quest.
Plus, we have all the lore and history that SS offers in preparation for all the Zelda games to follow. I can't get enough of it.
There's one thing in particular that I was not fond of at the beginning of the game and even at the end are the birds of Skyloft: the Loftwing. No. Just no. I understand that for people to live in the sky, they have to ride something. It just so happens that they're birds. But not just any birds. They're ugly birds that look like a unfortunate cross-breed between an ugly duckling that grew up to be an ugly duck and a vulture-eagle hybrid. Had they changed the head design to resemble something cooler like a falcon, then that would work. But no, they opted for an ugly duck. But that's just my opinion. I would not lower a game's score just on one small aspect like a character's mount...
But perhaps I will. When the traditional horse was substituted with the Loftwing, I expected air travel to be much smoother and easier than traversing the land on a horse. Instead, I found air travel to be a hassle, a concept much more difficult to master than ordering a horse to gallop at full speed. Flying on the Loftwing seems graceful only in cinematic sequences—particularly when Zelda is riding one. Other than that, air travel is bumpy and rarely quick or efficient.
Overall, though, I applaud the atmosphere of SS. I enjoy the nuances of Easter eggs, the pathetic yet adorable Kwikwis of Faron Woods, the time-shifting robots of Lanayu Desert, and the ghetto Mogmas of Eldin Volcano. Having themes certainly help, as seen in the success of OOT. Combine everything, including the Loftwing tragedy, the style of SS is just a tad short of perfect.
Final Score: 9.5 - Superb
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