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  • I suppose itís my job to do so, but I canít even tell you how good that felt. Welcome

  • to the second half of our look at Nintendoís latest Zelda masterpiece, Skyward Sword.

  • Even the most stubborn Nintendo defender would admit the Wiiís grandiose mission statementóthat

  • motion-controlled revolutionóended up being more of a rough storm than total sea change,

  • so to speak...emphasis on the rough. For every Wii game with fantastic motion controls, there

  • are three or four with broken ones.

  • But this? This is the revolution weíve been waiting for.

  • Itís rare to play a game in which the controls actually immerse you into the gameís world,

  • but thatís what MotionPlus does for Zelda. Sword fights are no longer routine exercises

  • in obligatory button mashing. Each one is an event that requires attention, even strategy.

  • Enemies will protect themselves, and youíll have slash them where theyíre exposed. The

  • game never lets combat feel arbitrary. Thereís always an interesting hook that makes Linkís

  • battles more rewarding than ever before.

  • The motion is also built into your environment. Ropes have to be cut at an angle. Objects

  • obscured by stone might have to be stabbed through a thin space. Motion controlóspecifically,

  • accurate motion controlóis simply built into Linkís world. The application eventually

  • feels as natural as trimming a candle wick or cutting a loose string. It starts to feel

  • real, and as a result, so do your objectives.

  • Calibration is still annoying, but when itís working, itís fantastic.

  • But as well as it plays, I think what makes Skyward Sword so tremendous is the

  • way it looks. Itís not often I get to reference centuries-old art movements in a video game

  • review, but how beautiful it is when the opportunity arises. And more than its controls, more than

  • its structure...what defines Skyward Sword is its spectacular appearance.

  • Skyward Sword is based on impressionism, an art style that blossomed in the 19th century.

  • The whole idea is youíre not necessarily painting an object as much as youíre capturing

  • light. Impressionists focused more on the way light makes the object appear than the

  • object itself. Detailís not important. Pure colors, short brush strokes and the reflections

  • of light are.

  • This is exactly what Nintendo has accomplished with Skyward Sword, and whatís perhaps even

  • more spectacular than its sheer beauty is the way the medium of video games brings it

  • to life. Objects looming in the distance are beautifully rendered in the impressionist

  • style, but as you approach them, they slowly come into focus. Details emerge. The painting

  • begins to move.

  • Itís just a stunning effect, but itís also admirably bold. Nintendoís decision to forego

  • conventional graphics for this impressionist style not only makes Skyward Sword one of

  • the most gorgeous gamesve ever seen, but one of the most artistically significant...a

  • game that would certainly earn Monet and Renoirís smudges of approval.

  • Now, I donít use the term ìmasterpieceî loosely. Thatís a word I reserve for games

  • in only the uppermost echelon of their industry, but itís a perfect fit for what Nintendo

  • has accomplished with Skyward Sword. The Zelda games have almost unreasonably high standards,

  • but for many reasons, this one sets them even higher.

I suppose itís my job to do so, but I canít even tell you how good that felt. Welcome

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CGRundertow THE LEGEND OF ZELDA: SKYWARD SWORD for Nintendo Wii Video Game Review Part Two

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    阿多賓 posted on 2013/04/11
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