Best sword game for wii

Most of the Zelda games have a companion that accompanies Link on his quest, and fans love some while hating others. TP's resident companion is the aforementioned Midna, the playful and impish deposed princess of Twilight, working with Link to oust her usurper and reclaim her throne.

Fans widely consider Midna to be the best companion in series history , with her sassy attitude and story worth caring about. Fi, from SS, on the other hand, is widely hated. She's considered unhelpful and clingy, frequently holding the player's hand and never seeming to leave Link alone.

While the hatred for Fi is loud, it's probably true that more people don't really mind her. The fact that she's the personified Master Sword is a really fascinating idea, and her final scene with Link in the game is truly a tearjerker. But, Midna takes this one, both for how she is as a companion throughout the game, and her role in the story. Sure, Midna might be a much better companion than Fi, but TP's side characters and main hub can't hold a candle to Skyloft.

This floating island in the sky is home base for Link and Fi in SS, and they'll return here after most major dungeons in the game. Skyloft is incredible. It's lively, colorful, friendly, and has so much to see and do. It's an absolute paradise in the sky and acts as the gateway to so much of the game. The central market is a great gathering place, the Knight's Academy feels like a real home, and the characters are memorable. It also feels like there are things to find in every nook and cranny.

TP's version of Castle Town is one of the best in the series, but Skyloft is just so much better. Every time you return, it feels familiar, and like you're returning home after work. Fans of the dark, gloomy, and mysterious will love TP. This game is known for having a much more grim tone than its predecessor, the colorful and fun Wind Waker. TP operates entirely in a world where everything is blanketed in shadows, dark, evil characters lurk in the night , and even the bright, happy parts are plagued with spirits and an ethereal glow.

If you prefer this type of atmosphere, TP is definitely the game for you. It gives a bit of edge to a series that isn't typically known for it with every entry Ocarina of Time's Shadow Temple aside. On the complete opposite end of the spectrum is SS. This game is filled with bright, happy colors and positive attitudes. The characters and enemies are goofy, Link's reactions to things are funny, and there are many more opportunities for fun, light-hearted gameplay. This game seems much brighter and sunnier than TP, offering a much different experience.

Even the biggest Pirates fan will quickly grow tired and toss in their "Dead Man's Chest" DVD to watch while they place an ice pack on their shoulder. User Reviews. Write a Review. Positive: 5 out of Mixed: 4 out of Negative: 1 out of For anyone who is a fan of the movies, this game has everything you could want. Action packed battles, clever stunts, witty remarks from a For anyone who is a fan of the movies, this game has everything you could want.

Action packed battles, clever stunts, witty remarks from a highly convincing Captain Jack Sparrow, and furiously fun controls. The missions stay true to the films, as well as revealing many unseen parts of the plot, maintaining the feel of an adventure and suprise. The game features plenty of humour even during the sword fights! A must have! Nice controls. I don't rember if there was first person view. This game is not bad but its very easy and completes quickly but overall its fun and follow the film.

A game that is simple and a lot of fun. I like it that you have to swing your arm to slay the opponents. The only downfall is that it gets A game that is simple and a lot of fun. The only downfall is that it gets old quickly. A good game to buy if you're a fan of the movie. An okay game, the controls get repetitive after a while of course, but the game is fun the first playthrough.

By comparison, the romance of Skyward Sword feels all-encompassing precisely because — at a certain point — Zelda is a little unknowable. But her presence is everywhere. She is never far from your thoughts.

Now, this might all sound mawkish — and it kind of is. The stakes should be higher than ever: Link is literally saving the world! Thematically speaking, Skyward Sword is the story of a boy and a girl who are friends. The girl is called away on a great mission, and from the start is more aware of the boy — recall that girls go through puberty earlier than boys do. The rest of the game, then, is about the boy playing catch-up.

Skyward Sword is about nothing less than the journey to manhood. Now, everything I was saying earlier about Faron Woods was true.

The graphics are not particularly interesting. The dialogue is mostly functional. If the characters have a problem, Link can always solve it.

And yet…and yet…the world of Skyward Sword gradually begins to feel unexpectedly vibrant, and lush, and alive, and even emotionally complicated. For me, the real A-Ha moment came in Lanayru desert: The third major location of the game.

The desert is an empty wasteland, filled with ruins and quicksand and oddly-shaped skulls and curious rotting statues that almost seem to talk.

It is patrolled by giant sand crabs who live inside of electrified shells — they are kind of funny and yet utterly terrifying. The music is haunting, ancient, with a mournful woodwind. But as you wander through the desert, you find glowing diamonds called Timeshift stones.

And when you activate those stones, the area immediately around them is transformed. The ruins become colorful, spotless works of high-tech architecture; the sand becomes a lush green; the oddly-shaped skulls become enemy attackers; the curious rotting statues become chirpy little robots. You are standing in the distant past. Aside: The fact that the distant past is apparently more high-tech than the present is strange, and terrifying.

Both of those works, masterpieces of their form, are indebted to Zelda. End of Aside. The sense of worlds lurking within the apparently simple world permeates the game.

In Skyward Sword , you will constantly revisit old areas and discover new things. There is the Initial Exploration: Walk around, meet the locals, find the temple. And then there are the Spirit Trials: A series of mini-games that send you into a dark-world version of each of the maps. Twist: Inside of the dark world, there are horrifying invincible monsters that will attack you…and if they hit you even a little bit, you have to start the trial all over. These time trials occupy a relatively small part of the game.

Okay, I got the last Spirit Trial on my fifth attempt. But they are probably the most thrilling and most terrifying portions of Skyward Sword. Well, maybe you should go play a flashy cool PlayStation game that autosaves. You pansy. Nowhere is this more evident than in the tiny town where you begin the game.

Now, Skyloft does not initially seem like much of a village. There are perhaps two dozen characters who inhabit the place. Compare that to the massive city environments that have become de rigueur in other games: The hundreds of non-playables who inhabit open-world games, with thousands of pages of unique dialogue voiced by a battalion of actors.

I love open-world games. I love exploring them. I love how the best ones steadily guide you, so that you simultaneously have the feeling of a post-modern sense of discovery and a classical sense of narrative.

And yet, with every open-world game, there is a point — usually around the 30th hour — when it all starts to feel a bit exhausting. But there is something about open-world games that feel a little bit like an intense relationship: You love them, and then things begin to go south, and there comes a point when it just starts to feel enervating. I remember the feeling of driving around Vice City after I ran out of story, and feeling drained.

There were no more surprises. The same errant street dialogue kept repeating. Vice City was huge, but it felt empty. Skyloft is very small. But by the end of the game, you feel like you know every corner of Skyloft: Every person, every tree, every distinctive musical note. Let me explain.

At a certain point of the game, you hear some disturbing news: Kukiel, a local annoying child, has gone missing. No one knows where he is. You ask around. You hear that the kid was playing by the graveyard.

At the local pub, an old drunk tells you that he once saw a monster by that graveyard. You do some digging around. You find a secret entrance that takes you down to a curious house at the bottom of Skyloft. Except that the creature is actually not a monster at all. He just wants to be normal.

He asks you to help him. He tells you that the only thing that can transform him is a collection of Gratitude Crystals, which will only appear if you help out the people of Skyloft.

This is ridiculously silly. It also becomes one of the best parts of the game. Over the course of the game, you keep on returning to Skyloft to talk to people. Every person in the village has a problem to solve.

A local swordsman wants you to find out who is daughter is in love with…which is problematic, because the daughter is in love with you. A few of these mini-quests actually feature genuine decision trees.

I especially enjoyed the one about the lovesick classmate: It turns out that the object of his affection actually loves another guy. Decisions, decisions! I recommend saving frequently on Skyloft. But even the more binary quests — find this, do that, rescue her — are surprisingly resonant.

When I earlier accused Skyward Sword of cuteness, I was only judging the very early part of the game. Every character in Skyloft experiences a state of chaos at some point, and your job as Link is to bring order to their lives.

That might sound simple. We look upon it as: If you make the peripheral stuff — the characterization, the dialogue — interesting, you can make seemingly the most boring mechanic fun. If, by some chance, you happen to point your gust bellows at the mom, she makes an orgasmic sound. It is undeniably the weirdest moment in a videogame this year. Late in the game, I happened to talk to those cute little forest creatures, the Kikwi. One of them told me, anxiously, that he was scared of the monsters in the forest…that he was scared of everything, really.

So okay, you stupid Kikwi. There are so many other wonders in Skyward Sword. The music is a boundless pleasure. I recently got into an argument with fellow gamer Keith Staskiewicz about what constitutes great game music: He prefers the more instrumental tunes of the post era, while I love the steady syncopated repetition of classic game music.

I have. I am right now. Skyward Sword splits the difference: Philip Glassian rhythms like the Lanayru Mining Facility mix with big instrumentals like the Sky Theme , which is as energetic as anything in Shadow of the Colossus. There are also audio references to other iconic Zelda tracks. You will get emotional. And the dialogue, which initially seems so simple, seems to become more wry as the game progresses. And there are in-jokes for the Zelda crowd.

No, no, I kid. But seriously, turn six. He asks you to help him find his ship. So you set off into the wasteland. But because the boat has a timeshift stone, the area immediately around the ship is always water. As you approach a dead rock, it suddenly becomes a lush little island, with flowers and butterflies.

As you ride away, it becomes a dead rock again. So we return to the question: Can a Zelda game be better than Ocarina of Time? And is Skyward Sword that game? I have two major gripes with Skyward Sword , both of which are informed by Ocarina. Now, the Ocarina tunes from Ocarina of Time are maybe the most fondly-remembered music tracks in videogame history. Now, someone desperately needs to make an awesome motion-control game out of music, if only to rescue us from the horrors of Wii Music.

Unfortunately, playing your Harp basically comes down to waving your Wii controller in the air back and forth, trying to keep time with an undulating circle onscreen. You would have imagined that the nunchuck would have come into play, or that part of playing the Harp would have involved pointing at notes onscreen, or Jesus, that playing the harp would have been interesting in any way. Aside: That being said, there is one great moment with the Harp in the game. As your last bit of work, he asks you to play the Harp while his daughter sings.

The twist: He basically tells you to just improvise, go with the flow, play to the audience, like they do in Treme. So, while his lovely daughter sings a lovely song, you stare at the two bar patrons, and as they sway back and forth, you follow them with the Wii remote.

My other gripe with Skyward Sword is the final boss. Ocarina ended with one of the great boss fights. You began fighting the human-sized-but-incredibly-powerful Ganondorf in his castle; once you defeated him, Ganondorf transformed into the massive dinosaur-sized Ganon. The final boss in Skyward Sword is, by comparison, a bit of a letdown. Instead, the final fight basically comes down to shaking your shield-nunchuck at just the right moments. And yet, the fight is hard.

I died several times and had to reload my last save several times, and I finally only defeated the guy with a couple hearts left.