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I know because I tested this by teleporting to various locales to check it out. This iteration of Hyrule is so vast, one part of the map can be experiencing torrential lightning storms while another basks under clear skies at the same time. Gamers who have loyally dined on a steady diet of Legend of Zelda games through the years will immediately notice the switch to open-world and sandbox mechanics. Like a spicy dish with a delayed kick, this is when my taste buds started to appreciate the game’s true flavor. Once I got the paraglider and was able to leave the beginning area, however, Breath of the Wild’s whole world literally opened up to me. There was one point when I actually found myself wondering what all the fuss over the game was about as I wandered around a space that felt more bare than what I expected. Granted, the first few hours of the game felt a bit too slow. GAME CHANGER: Nintendo Switch adds own unique flavor to console race GLORIOUS: Nier Automata is just so crazy it actually works MOJO RALLY: Are Japanese video games making a comeback? How Breath of the Wild uses those familiar ingredients, however, kept me coming back for seconds and asking for more. This, of course, is nothing new in gaming.
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Storytelling, combat, exploration and creation all play into the game’s formula. Breathe of the Wild does this by weaving multiple gameplay threads into one engaging tapestry. The result is something akin to the holy grail of game design, which is to keep players engaged all the time.
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It’s a perfect example of efficiency, where nary a moment feels wasted as you walk, run, gallop or glide across Hyrule. I’d daresay one of the game’s biggest accomplishments is how it makes the little things seem so much bigger. Breath of the Wild, however, is different. Many triple-A titles tend to emulate roller coasters, using several big moments as strategically placed peaks designed to generate buzz or excitement. Then again, Breath of the Wild is the kind of game that gradually and methodically reels you in before changing your mind. There were times, for example, when I find myself leaning toward giving games like “Mass Effect 2” and “Batman: Arkham City” a 10, for example, only to find something to nitpick on and ultimately change my mind.Īs I found myself playing “The Legend of Zelda: Breath of the Wild,” however, I found myself reassessing this particular sticking point that I have over what a perfect gaming score truly means. After all, I'm a firm believer that it's impossible to make a perfect game. Admittedly, though, one other reason is that I feel a bit of trepidation about it. Part of it is because I feel that a perfect 10 is something you just don’t throw around. That’s in the course of reviewing hundreds of games. He also helped develop Link's Crossbow Training, which is the first game to use the Wii Zapper.Since I started reviewing games for the Reno Gazette-Journal six or so years ago, I’ve never handed out a perfect score. He then completed work on a sequel to The Wind Waker for the Nintendo DS, The Legend of Zelda: Phantom Hourglass. He was voted Designer of the Year for his work on Twilight Princess in Electronic Gaming Monthly's 2006 1Up Network Awards. He later finished work on The Legend of Zelda: Twilight Princess, the second major Zelda game to be released for the GameCube and a launch game for the Wii. He was also the director of the following games in the Legend of Zelda series, The Legend of Zelda: Majora's Mask, the Nintendo 64 sequel to Ocarina of Time, and The Legend of Zelda: The Wind Waker, the first Zelda game for the Nintendo GameCube.Īfter The Wind Waker, Aonuma considered moving onto other projects, but was convinced by Shigeru Miyamoto to continue with the Legend of Zelda series. His first direction on a Zelda game was with The Legend of Zelda: Ocarina of Time, which was developed for the Nintendo 64. He graduated in 1988 and then acquired his job at Nintendo, with whom he has remained since.Īonuma began work on the Super Famicom game Marvelous: Mōhitotsu no Takarajima, which was only released in Japan and was influenced by The Legend of Zelda: A Link to the Past.
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#LEGEND OF ZELDA BREATH OF THE WILD CHARACTERS SERIES#
He currently works for Nintendo, and has overseen several installments in the Legend of Zelda series of video games.Īonuma attended the Tokyo National University of Fine Arts and Music where he majored in design, working on moving mechanical figures (whose members were articulated), which were essentially marionettes. Eiji Aonuma |青沼 英二|Aonuma Eiji|extra=born 1963}} is a Japanese video game designer and video game director.