This last episode of The Legend of Zelda is the biggest and most expensive game in Nintendo history: it was developed for five years (2012 to 2016) and required at the height of the work the engagement of some 300 people, some of them Which among other things - as you may know - from Monolith Soft (Xenoblade X Chronicles). To find an equally ambitious project by the Kyoto company, it is necessary to go back in the time of nearly two decades; Some of you might mention Super Mario Galaxy but, apart from being sculpted at Tokyo's office (but this does not really matter to us), the plumbing interplanetary adventure, though experimental and extraordinary, has been a fine excellence To itself.
On the contrary, Breath of the Wild has not only been charged with its own destiny but with the EPD as well: the enormous time it takes for the development of a new engine, including an advanced physical engine, will be rewarded by sharing these elements with Other internally developed securities. To give you an example, the last major update in this direction was even in the days of Super Mario Sunshine and Wind Waker, which, however, taken individually, were certainly not as ambitious as Breath of the Wild. The last game to combine high "personal" and corporate goals was Ocarina of Time - or, if you like, Super Mario 64. That's not enough to make the context interesting enough, let's remember that the series of The Legend of Zelda Even though it has never received negative evaluations, comes to this crucial juncture after a series of chapters that have debated: for the setting, for the realization, as far as they were far from the essence of the series, from that exploration, from That difficulty and the sense of progress that had enchanted millions of players. In a nutshell, to use a poker term, Nintendo with this title went all-in: the only move possible to preserve the sacredness of the saga, which has been progressively scratched over the last decade.
As soon as the adventure began, there are two elements that immediately capture the attention: first of all the absence of the exhilarating and logical start-up that has afflicted the last two episodes of the series. In Breath of the Wild, after a very short introductory movie, you immediately take control of Link (by the way, because of the dubbing this time you will not be able to rename it at will). The second aspect to be struck is the interaction, essentially composed of the various and precise control system, the enormous freedom granted and the valid physical engine, three excellent qualities taken individually which, in sum, give a really striking feeling.
Link is one with this world, and the latter can be experienced in all its parts: there is no summit or height that can not be reached, there is no difference or rock that does not alter the character's movement. In this area, and only in this, Breath of the Wild is the true spiritual follow-up of Super Mario 64: the freedom it gives is extraordinary. Each wall is scalable, and it's up to when Link does not run out of its fatigue bar, which of course can be enhanced during the adventure. The attention to detail is manic, but we want to be clear: it's not a Skyward Sword style and claustrophobic compilation, but a precious treasure of individual elements that, rather than limiting them, widen the variables. We make a practical example, first introducing another element, namely changing weather and weather conditions: 60 seconds in reality correspond to 60 minutes in Breath of the Wild, so an entire day lasts twenty-four minutes, and weather conditions, excluding particular areas, They are always changeable and casual. We know that imagining all these added qualities is not easy, so we tell you an episode to let you know how, combined, they can produce something unique. A few days ago we were exploring a clearly rocky mountain area during a thunderstorm. The water flowed sharply, so Link was not able to climb fast as usual: being the slippery surface, it often tended to lose its appendage and go back down. In this way, to continue the journey we had to look for small winding paths that would allow us to continue our climb despite the rain. After some progress, we have reached a part of the land rich in trees, and at that point, lightning has come to light: the woods, famously, do not represent the safest place during a thunderstorm. We did not make time to put it to shelter: a sack struck a shrub in front of us, the tree with the impact broke, and its trunk rolled down following the slope of the ground. Having been blown up, he caught fire, and then caused a flaming collision by colliding with the turf; however, however, for our good fortune, he was soon seduced by the incessant fallen water from the sky. Here, this is just an episode. Breath of the Wild guarantees a variety of experience, and a quality in variety, just exceptional: none of us will play the same adventure or face the same dangers at the same time.
The biggest surprise of Breath of the Wild is certainly the difficulty level: the demo prior to the release had prepared us for the kind of experience it would have offered but could not imagine it would be so difficult. Yes, you have read it well: after years we have again a chapter of the challenging saga, so difficult to make it easy to find not only Skyward Sword, but even Ocarina of Time. The only predecessor as equally difficult is the parent who is clearly inspired, the first The Legend of Zelda.
The cruelty of fighting is mainly determined by two factors, namely the characterization of the character, which often is unsuitable for the situation, and the strength (and number) of the enemies. The latter vary greatly in approaches and behaviors, they tend to collaborate on the basis of different degrees of intelligence, and above all - interesting news just for fans of the saga - finally attack all together, not alternating in the duel. The situation of instability and precariousness that arises creates ancient feelings for a long time in The Legend of Zelda: some enemies can kill you with just one shot, others hunt you and are faster than you, others still hunt into groups (beautiful in this Meaning the rebuilding of wolf flocks). In general, the balance between the two elements that we have listed above is fundamental: with appropriate equipment, you can approach fights otherwise improvised, while with a poor inventory you may also succumb to a group of poor enemies. There is a lot of death, and sometimes the situation can overcome frustration: it has bothered the exaggeration by punishing the deaths, because Link always resumes from nearby areas, and we assure you that you will be grateful for this choice. Automatic rescue is common in this regard, and it is possible - except for rare exceptions - to manually implement them. Returning to the equipment for a while, it is good to point out how dreadful destructive weapons are needed in terms of game design: they are pushing you to fight enemies - and risk your life - rather than avoiding them, so you can rout them Give them dynamism to action and generate that constant sense of danger and need for survival.
Not only the original weapons but also the most powerful ones are broken. There are so many tools to attack: swords, spears, hammers and more. Each one is useful from the first approach, each one needs a learning period to be fully understood, each one has different pros and cons (the strongest instruments tend not to contemplate using the shield at the same time). Fights require a lot of attention and readiness for reflexes: the same clashes with the most significant enemies are no longer focused on finding the weak point (not only at least) but above all, and finally about the action. By knocking down the shots at the right time Link has the ability to counteract the slowdown, a lucky but rare occurrence. The use of bow as an instrument of offense is more important than in the past, and it is extremely enjoyable and dynamic to use (it activates with ZR). Here too, the various strings imply different approaches to the clashes: some give greater power, others improve the goal (enlarging the goal). Link's equipment is made up of weapons, bows and shields, as well as other items that, unlike the top three, are not deteriorating: jerseys, cloaks and caps, pants and boots. It is vital never to be left with a few tools: besides killing enemies, weapons and clothes can be obtained in stores that can be bought with canonical rupees, but this time they are not obtained by cutting grass, but by selling the materials earned by killing monsters.
We have not deliberately talked about history to avoid unnecessary anticipations, only know that cinemas are finely realized, and that the characterization of secondary characters (more numerous than usual) is equally valuable. According to personal sensibilities, a single branch of history may seem too adolescent - we do not refer to something about Princess Zelda, was this your fear - but it is still well-approached. Remaining on this subject, even in Italian, dubbing is surprisingly valid: it will be limited to certain moments (not just the cutscene, however), but ultimately it is successful, and most importantly not unlike one of the rare and appreciative aesthetic choices of the series , Or the textual dialogues that are still predominant in The Legend of Zelda.
Exercising in a topic dear to many, namely the graphic design, we immediately point out the second, undeniable defect of Breath of the Wild: the slowdowns. Nevertheless, they are never heavy or unbearable, but they are light, however, quite common: they are manifested mainly in dynamic weather conditions (wind, heavy rain, thunderstorms) or in the presence of many contemporary events (enemies, explosions, various horses running) , And it is something Nintendo did not get used to. The amazing thing is that they only hit Breath of the Wild if they are plugged into the Dock, so at 900p, while in portable mode, at 720p, all the adventure runs smoothly: we recommend that you enjoy the work on the TV, if you can. From a stylistic point of view, The Legend of Zelda has been most successful since The Wind Waker's time: Hayao Miyazaki's inspiration is obvious, the less successful achievement of the reference model, but still valid enough to make Breath of the Wild, as a mere appearance, on many other open worlds with such funding. The quality drops do not concern both the characters as well as some details of the setting not up to the situation: waterfalls and rocks in the first place. The soundtrack, in order to close the review, is worthy but extremely courageous: this game boasts of extraordinary pieces that, however, are constantly hanging on the sound effects. Musical accompaniment during the exploration is minimal, yet dynamic and capable of supporting events, especially in the vicinity of enemies or particularly dangerous areas.
There has never been such a dynamic adventure in such a big world, and there has never been such a big world so full of adventure. Breath of the Wild, examined in its individual aspects, achieves absolute excellence in the control system, in environmental and physical variables, in game design and in the quality of interaction, but is the result of the sum of these components as well as their Internal declination, to make it a unique experience. The experiential approach to the gaming world, the necessary knowledge of the territory, and the weighted design of the journey, postulate an unavoidable complexity to the open worlds dedicated to the achievement of the objective indicated by the radars. In addition to being a work capable of marking a whole decade, Breath of the Wild, through sound accompaniment and fauna, exalts a virtue from video games that are often overlooked: grace.
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