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日版25周年那个黄金手柄限定版有屁股没？没有还得去买一个屁股……擦- -b
fami下周出分吧……40目指

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原帖由 @Fiorella  于 2011-11-12 00:23 发表
日版25周年那个黄金手柄限定版有屁股没？没有还得去买一个屁股……擦 b
fami下周出分吧……40目指

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Eurogamer：塞尔达天空剑满分，10/10

The Legend of Zelda: Skyward Sword Review
By Oli Welsh Published 11 November, 2011
Lofty.
http://www.eurogamer.net/article ... kyward-sword-review

本文有大量的剧透
如不想被剧透请直接看最后一段。
文章太长，实在太困，质量只能说见谅了，有空我会修正的，明天睡醒再说


And so it was foretold. A great evil that once terrorised the land shall threaten to rise again. The gods that vanquished the evil in ancient times sealed the power needed to thwart it in a great sword and a mysterious symbol. A hero chosen by those gods shall undergo many trials to claim that power for himself and save the future of the land, and the future of a girl with whom his fate is intertwined. This is the story that has been handed down for generations.
之前就说过了。一个巨大的曾经威胁过这块大陆的邪恶力量再次出现。在古代曾经击败过恶魔的女神把能阻止邪恶的力量封印在一把伟大的剑和一个神秘的符文中。女神所选中的英雄将会为了拯救这块大陆历经磨难并获得这个力量并且遇到一个与他的命运交织的女孩。这是一直流传世代的故事。

"Oral history - the most unreliable method of transferring information," remarks Fi, your familiar and guide in The Legend of Zelda: Skyward Sword. (She's an ethereal automaton who lives in your sword, part Navi, part Cortana, and though she's impassive and exact in all things, she's not above the odd tart line.) But it's proven a reliable enough tale in the 25-year history of Nintendo's classic fantasy adventures.
“口述历史是 最不可靠的信息传输方法” Fi，你在天空剑中熟悉的向导，这么说。 （她是一个寄居在你剑上的天空的精灵，有部分智能和导航功能，尽管她冷漠而精确于所有事，她并不在奇塔线之上。）但是它的证明了在任天堂25年传奇冒险故事历史上的一个足够值得信赖的传奇。

Nintendo supposedly keeps a timeline that ties these clockwork fairy tales together into some sort of coherent whole, but I don't buy it. Sure, there is the rare exception of Majora's Mask: an actual sequel to Ocarina of Time, and not coincidentally the least formulaic and most experimental game in the series. But for the most part, Zelda games are echoes of each other, handed down from one (console) generation to the next, changing the context but not the form.
任天堂可能想要保持一个时间线，把这些发条童话(指zelda系列)糅合成一个协调的整体，但我不相信。当然，也有罕见的例外，比如假面：时间笛实际上的续集，在整个游戏系列中至少音乐是不那么一致并且是最具实验性质的。但是对于大部分塞尔达游戏来说是彼此呼应，从一代主机到下一代主机，不断变化的内容，但不改变形式。


For all their epic sweep, they are more rituals than stories. If the Super Mario games are all about breaking the rules, Nintendo's other great series is about observing them: players and game designers alike following intricate pathways of logic to their roundly satisfying conclusions. Zelda games are never without mystery or surprise, but they are always the same, and for those who've lived with them for even half their quarter century, they're getting pretty familiar.
Can Skyward Sword - likely to be a swansong for Nintendo's core development teams on Wii - do anything to make this formula feel fresh? The short answer: yes it can.

翻过所有的史诗般的游戏系列作品，他们是那么的循规蹈矩。如果超级玛丽是打破规则的话，任天堂所有其他伟大的系列都只是遵循规则，玩家和游戏设计师都喜欢按部就班的在已定的令人满意的道路上前行。塞尔达系列从来没有过神秘感和惊喜，对于陪伴他们度过好多年的玩家来说是那么的相似。
天空剑可以像任天堂核心开发团队在wii上宣布的那样—做任何事—来让这个系列变得更有新意么？答案是YES I CAN！

But it doesn't do so by rewriting the order of service. (It hardly constitutes a spoiler to say that your first stop is a forest temple, your first tool a slingshot.) Instead, Skyward Sword joins motion control innovation and subtle restructuring together to make this the most effortless, breathless, free-flowing Zelda game since 1991's A Link to the Past on Super Nintendo. It doesn't just sustain this pace, but builds it, over the course of a quest that could easily take you over 50 hours to complete.
It's also an unabashedly youthful and romantic game that bursts with colour, comedy, sentiment and flippant joy. This year's Link may be the rangy teenager model rather than the cute moppet, but the world around him is very much the breezy, bustling cartoon of Wind Waker and the DS games. The sombre tone of Twilight Princess is swept aside and the ghost of Ocarina is, at long last, laid to rest. This one's quite rightly for the kids - in all of us.

但是这次塞尔达没有重写道具系统（我真的不想剧透告诉你第一个森林迷宫，你需要用到的第一个工具是弹弓）。相反的，天空剑加入了体感操作才取代和重建整个动作系统。这创造了自1991年 ALTTP之后最省力，最让人窒息，最流畅的塞尔达。并且很轻松就能让你在这种状态下花费超过50个小时来完成这个游戏。
这是是一个毫不掩饰的年轻和浪漫的游戏，充满色彩，喜剧，感谢和轻松的享受。这次的林克是成年林克而不是孩子林克，但是整个世界确实像风杖和沙漏那样的卡通渲染的世界。黄昏公主和时之笛那样灰色的基调一扫而光，这是非常适合孩子，适合我们所有人。
ame stays in the sky for a while for a story-led introduction

In this telling of the old tale, a Goddess saved her people from war with demons by making a home for them on an island in the sky. That's where we join Link, riding his great Loftwing bird and training to become a knight of Skyloft. Zelda isn't a princess, but is his childhood friend and his headmaster's daughter.
that is long but delightfully unforced. It piles on the romance between the young sweethearts before Zelda is inevitably snatched away and Link discovers that the mythical land beneath the clouds is real; he dons his green uniform and goes down there to find her.

前面提过的传说里，女神从恶魔手中拯救了她的人民并为他们在天空中建造了一个天空岛作为生活的家园。这里我们能控制林克，骑上飞鸟然后训练比赛成为天空骑士。塞尔达在此作不是公主，是林克青梅竹马的朋友
这段很长但是并不是强制的，主要表现两个年轻人的浪漫生活，而后塞尔达被抓，林克发现了云层下面神秘的大陆，他得到了绿帽子衣服然后去地上世界寻找塞尔达。

For the first part of the game you're not trying to recue her from some distant threat, you're just desperately trying to be reunited with Zelda, tracking her across the weird and impenetrable world below (you follow her signal with the new 'dowsing' ability which allows you to track certain things in a first-person view with the point of your sword). Skyward Sword is more explicitly a love story than any Zelda before it - more than most video games dare to be, in fact. The leads share great chemistry, if much less screen time than the innocent pals of last entry Spirit Tracks.


游戏的最初部分并不是让你从一个遥远的迷宫中拯救塞尔达，你要做的仅仅是和塞尔达取得联系，穿过神奇的地上世界，追寻她的踪迹。
天空剑比之前任何一个塞尔达游戏都要更像一个爱情故事。在游戏过程中两个主角间产生了巨大的化学反应，而不是像小火车那样还是两个天真的小朋友。

In fairly strict adherence to Zelda form, your search takes you from enchanted woodland to fiery volcano to ancient desert, and ultimately to a dungeon and boss fight in each. It's business as usual, predictable in its brilliance, although the same can't be said of a memorable duel at the end of the first dungeon with Link's nemesis, Demon Lord Ghirahim: a wonderfully distasteful villain, an effete creep with The Human League's fashion sense and a lascivious lizard tongue. One new gadget also stands out at this early stage: the Beetle, a remote-controlled drone that can be used to scout inaccessible areas.
Things pick up considerably in the third zone, Lanayru Province. Here, Timeshift Stones allow you to move from the desert's barren present to its lush past (although with its quizzical robot inhabitants and the vast, high-tech mining facility that constitutes the third dungeon, it seems more like a future). These have a very localised effect, so instead of switching between worlds as in A Link to the Past or Ocarina of Time, both eras mingle, and you can even eventually carry a pool of the past around with you. Although less integral to the game than time travel was in Ocarina, say, it's a dazzling effect and leads to many ingenious riddles.

塞尔达还是坚持了一贯的形式，你要一路从神秘的森林到暴热的火山然后到远古的沙漠探索过去，并进入迷宫和打败boss，整个流程是可以预见的，甚至可以知道最终要面对林克的死敌，可恶的加农大叔。早期我们还能获得一个新的工具，飞行甲虫，blabla（原谅我，我好困，我想尽快翻译完睡觉去）

变化发生在第三个区域，Lanayru省，这里的时光石可以让荒凉的沙漠变成郁郁葱葱的过去。这是一个在原地发生改变的效果，而不是像ALTTP和OOT里面在两个世界中转换，这带来了很多有趣的谜题。

Then, around halfway through, Skyward Sword changes gears. Instead of repeating the well-worn flow of field exploration to dungeon to boss in new areas, it remixes and expands the three zones you already know - and becomes more fluid and unpredictable.

然后到一半的时候，天空剑又出现了变化，不再是重复的换个新地图让你跑过去，而是把已知的三个区域结合起来变成一个更大更流畅更不可预知的区域。

The blurring of the boundary between the traditionally tricksy dungeons and the unusually dense, involved design of the adventure fields - already noticeable early in the game - becomes even more pronounced. There's some thrifty re-use of earlier segments, for sure, but also several new play styles and some spectacular coups de grace. Your second trip to Lanayru is the highlight of the game, a thrilling mini-adventure culminating in a terrific dungeon that isn't really a dungeon at all.

传统的迷宫和不寻当密集的复杂的冒险场景设计的界限越来越模糊，和游戏的早期相比越发的明显。其中有些早期场景要素的重复再利用，也有一些新的游戏风格和耳目一新的壮丽演出。你第二次来个Lanayru是游戏的亮点，一个惊心动魄的冒险，真的是一个非常棒的不是迷宫的迷宫。

Although you're going back to places you've already been, few Zelda games have moved forwards with such purpose, such up-tempo pace. Skyward Sword is reminiscent of Okami (by far the best attempt outside of Nintendo to develop the Zelda template) in its giddy, onrushing momentum, its seemingly never-ending fountain of novelty and adventure. Even when you think it's built to a crescendo, it turns out there's more to come.
Unlike Okami, however, you can always take a break by returning to the sky, a hub and overworld in the vein of Wind Waker's sea or Spirit Tracks' rail network. Despite its apparent grandeur, it's quite compact, and outside of Skyloft town there's not much to do but gloriously swoop your aerial steed around and skydive onto floating islands for a mini-game or a spot of treasure hunting. It's very refreshing all the same.
As well as sticking your nose into the townsfolk's sweet and characterful side-stories, in Skyloft you can sell the bugs and treasure you collect, or use them to upgrade your potions and - a series first - your gear. Having a better bow, faster beetle or more handsome and durable shield is a far more compelling draw than the modular ship and train customisation of the DS games. You can also mix and match different shield types, potions, perk-bestowing medals and extra ammo capacity in the limited slots of your adventure pouch, creating a custom character build for different types of adventuring.

尽管你可以回到之前去过的地方，但是从未有过塞尔达像天空剑这样有目的性的快节奏的向前推进，感觉就像想起了大神（任天堂之外最棒的zelda游戏模板）。它永远没有结束冒险性和创造性的源泉，当你认为他已经达到了一个高潮，他会让你知道这仅仅是个开始。

你还是要经常的回到天空岛，但是整个游戏还是很紧凑，在天空岛上面并没有太多事情可做，但是光是骑着飞鸟俯冲和飞往漂流岛进行小游戏或者寻宝都是非常新奇的。在天空岛你还能升级你的装备，调制你的药水，升级你的箭袋和钱包。


These are hardly deep role-playing systems, but they're great fun to tinker with. They also make the trajectory of your inventory - always the core of a Zelda game - feel both more focused and more flexible than the straightforward expansion of your abilities in previous entries. A stamina gauge, used for sprinting, climbing and certain attacks, is another exciting addition the design, giving Link's normally very 'flat' control scheme a touch of Mario's inertia and rhythm.
Of course, that's not the only way Skyward Sword gives you a more direct link to Link. Motion Plus, the improved motion control available as an add-on or in the newer Wii Remote Plus controllers, is as integral to this game as the analogue stick was to Mario 64.
It's most obvious in your sword, which tracks your movement of the remote perfectly and without requiring energetic gestures (although you'll get carried away often enough). There's scarcely a single enemy design in the game that doesn't make clever use of your ability to direct attacks with this much intuition and precision, and of course it feels very swashbuckling to use.
Steering your crimson Loftwing through the air with tilts of the remote is another thrill. So is guiding Link's plummeting sky-dives, and so is lashing his whip, and so is delivering a pin-point shot with what must be the most satisfying bow in video games history. Nothing requires you to point at the screen, making for longer, more relaxed play sessions. Sensitivity and response are perfect; reliability is almost there, but you will occasionally need to centre a cursor with a quick tap of the d-pad.
这些都是很深入的角色扮演系统，但是都非常有趣。他们也让道具选择可以通过画轨迹来完成—这经常是塞尔达游戏的核心—变得更加集中和灵活。衡量体力，使用冲刺，攀爬和特殊攻击，是另外一个令人兴奋的设计。这让林克有了马里奥惯性和节奏那样的平台游戏控制感。
当然，这不是唯一的天空剑让你能产生林克代入感的方式。Motion plus，改进后的精确的体感操作带来了就像马64的类比摇杆一样棒的游戏体验。
它很明显就如同你手上的剑，完美的跟随你的动作，但是不需要很大的幅度变化，几乎没有一个在游戏中设计的单一的敌人不需要你使用那么多的直觉和精度。
倾斜remote来驾驶你的飞鸟在空中穿梭，俯冲和冲刺是飞行的窍门。
弓箭很好用，这是游戏史上最让人满意的。

Most importantly, every second is fun. No developer in the world does controls as well as Nintendo when it sets its mind to it, with such pleasurable feedback that simply manipulating the game is rewarding - and no developer designs games around controls so well. Skyward Sword is a world away from the tacked-on waggle of Twilight Princess or Super Mario Galaxy, and by far the best synthesis of motion controls with traditional gaming to date.
Alongside this revelation is all the stuff you take for granted in a top-drawer Nintendo release. Stuff like an absolutely perfect dynamic 3D camera which you don't need to control yourself, or rock-solid game performance even on hardware that's approaching archaic, or the fact that you can trust the design of the battles, puzzles and game systems to never, ever cheat you or let you down.

最重要的是，整个游戏的每一秒钟都是快乐的，世界上没有一个游戏开发商能够像任天堂那样把他的游戏理念这样愉快的反馈给玩家。没有游戏开发商像任天堂这样围绕控制器设计游戏。天空剑已经远离了黄昏公主和马银的轨迹，而到了更高更好的把传统游戏和体感融入在一起的境界。
除此之外，你理所当然的认为这就些就出自最好的画家任天堂之手。就像一个你不需要控制自己的完美的动态三维相机，或者是在性能有些陈旧的主机上依然会带来完美的游戏体验，或者是从来没有让你失望过的战斗设计，谜题和游戏系统。


And then there are the production values. Despite the Wii's modest power, Skyward Sword is a very beautiful game, saturated with great artwork in dreamy pastels, rough edges smoothed away by impressionistic, painterly textures and atmospheric haze. Audio is even better. Evocative and richly informative effects are backed by a dynamic musical score that's outstanding even by Zelda's lofty standards, and has immense range: soaring orchestral themes, delicate ballads, insistent martial drums and looping abstractions.
Skyward Sword feels like the Legend of Zelda game producer Eiji Aonuma always wanted to make. As director of Wind Waker and Twilight Princess, he first pushed against then tried to imitate the towering Ocarina of Time; now he is simply and confidently stepping away from its decade-long shadow. It is the most formally inventive Zelda in a long time (admittedly, that's not saying a great deal). But it's the game's carefree attitude, quick tempo and warm heart that do the most to make it feel new.
Maybe you've played enough Zelda games by now that even that won't be enough to cleanse your palate. That would be a fair response, but if it's so, this game wasn't made for you. Like a tale told from one generation to the next, the point is to keep the tradition alive for others - and for them, Skyward Sword will surely be the greatest adventure money can buy.


天空剑是一个非常漂亮的游戏，充满了梦幻般色彩的伟大艺术作品。印象派般绘画的纹理和雾化平滑了粗糙的边缘。音乐是非常棒的，激昂而富有感情，甚至是塞尔达的最高标准，并且类型涵盖巨大的范围，从管弦乐主题，细腻的民谣，引人注意的战鼓。
天空剑就像是塞尔达制作人青沼英二一直想要做的塞尔达一样。作为风杖和黄昏公主的制作人，他推翻了继续试图模仿时之笛的做法，他简单而充满自信的走出了时之笛十多年来的阴影。这在很长一段时间里是一个最正式的创造性的塞尔达，他无忧无虑的态度，快速的节奏和那么温暖人心都让你感觉到新意。
也许你至今玩了足够多的塞尔达甚至不想改变你的口味。这是一个正常的反应，但是这个游戏并不仅仅是为了老玩家而制作的。就像一个传说，口口相传，从上一代传给下一代，关键是为其他人保持传统的传承。对于他们，天空剑无疑是最棒的冒险，绝对值得花钱购买。

10/10

[ 本帖最后由 飞侠 于 2011-11-12 10:12 编辑 ]