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The Legend of Zelda: Skyward Sword
SS Logo.png
SS NA Box Art.png
Hidemaro Fujibayashi (director)
Eiji Aonuma (producer)
Koji Kondo (sound composer)
Takeshi Hama (sound composer)
Shiho Fujii (sound composer)
Mahito Yokota (sound composer)
Hajime Wakai (sound composer)
Release date(s)
North America November 20, 2011[1]
Japan November 23, 2011[1]
European Union November 18, 2011
Commonwealth of Australia November 24, 2011
Republic of Korea November 24, 2011

Wii U Download
North America September 1, 2016
Japan September 1, 2016
European Union September 1, 2016
Content ratings
  • ESRB: E10+
  • PEGI: 12
  • CERO: A
  • CB: M
  • USK: 12
  • DEJUS: 10
  • GRB: A
StrategyWiki Favicon.png PhantomCaleb/Sandbox guide
at StrategyWiki
ZU-logo.png Skyward Sword Guide at Zelda Universe

The Legend of Zelda: Skyward Sword is the sixteenth main installment of The Legend of Zelda series. It is the first The Legend of Zelda game created specifically with the Wii in mind, and requires Wii Motion Plus. Upon its North American release, a special edition Skyward Sword bundle became available at the price of $69.99. The bundle includes a copy of Skyward Sword, as well as a gold Wii Remote Plus. Additionally, a limited edition CD, featuring music from The Legend of Zelda 25th Anniversary Symphony concerts, is also packaged alongside all early purchases of the standard and special edition copies of Skyward Sword.



Hylia along with the other races of the Surface
Main article: Ancient Battle

Long before the events of Skyward Sword, the earth cracked and evil forces rushed out of the fissure. These forces attacked the people of the earth, slaughtering them and destroying their land. They did this in search of the Triforce, the ultimate power capable of granting any wishes of its holder. This power, passed down by the Golden Goddesses, was guarded by Hylia, the goddess of the land. Hylia gathered the Triforce and the remaining survivors onto a piece of earth and sent it skyward beyond the clouds. This piece of land came to be known as Skyloft. With the Humans safe, Hylia joined the land dwellers and fought the evil forces in a war of unmatched scale and ferocity. Hylia eventually sealed the evil forces away, restoring peace to the Surface. However, the Humans remained in Skyloft, as Hylia knew that the seal on the evil would not hold forever. Hylia knew that she would be powerless to stop the forces for a second time, so she required the use of the Triforce to defeat them again. However, a goddess cannot use the Triforce, so Hylia gave up her immortality and was reincarnated as a mortal Hylian.

The Wing Ceremony

In present-day Skyloft, a small civilization has been formed where most memories and records of the Surface have been forgotten and lost. The people of Skyloft know next to nothing about the land beneath the Cloud Barrier. A young man named Link is having a strange dream depicting a gigantic dark beast and a mysterious person. He is awoken by a Loftwing owned by his childhood friend, Zelda. The Loftwing gives him a letter from Zelda asking him to meet with her at the Statue of the Goddess in preparation for the annual Wing Ceremony scheduled to take place that day. Link arrives at the Statue of the Goddess to find that his Crimson Loftwing has gone missing and begins to search for it. After overhearing Groose, Cawlin, and Strich, Link discovers that they're responsible for his Loftwing's disappearance, and that they hid his bird deep in the Waterfall Cave. Link takes a Practice Sword from the Sparring Hall and enters the Waterfall Cave. On the other end of it, he meets up with Zelda, who came to assist him in finding his Loftwing. They start to continue down the path, but Zelda hears a strange voice calling out to her, but quickly assures Link that nothing is wrong. The two find the Loftwing and free him. Zelda then asks Link if he heard the voice she had heard earlier, and says that she feels as if someone is calling out to her. She proceeds to tell him about the possibility of land beneath the clouds called the Surface, said to be far more vast than Skyloft. She quickly brushes it off, and the two fly to the Wing Ceremony together.

With all of the participants ready, the Wing Ceremony begins. Despite Groose and his lackeys' efforts to prevent him from winning, Link succeeds in grabbing the Bird Statuette from the talons of another Loftwing, making him the victor. Link and Zelda proceed to the Statue of the Goddess to complete the ceremony, where Zelda bestows the blessings of the goddess upon Link and gives him the Sailcloth. To conclude the ceremony, Link must jump off the Statue of the Goddess and land safely using the Sailcloth. Zelda pushes him off instead, and he manages to land in the center. Zelda praises him and proposes that the two fly around the clouds together in celebration. However, as they are flying, a mysterious black tornado suddenly appears and rips Zelda from her Loftwing, causing her to fall beneath the Cloud Barrier. Link tries to rescue her but is knocked unconscious by the tornado in the process.

The spirit, Fi, who leads link to the Goddess Sword

Link's Loftwing takes him back to Skyloft. That night, Link has a dream depicting Zelda falling into the jaws of the same beast from his earlier dream. After waking up back in the Knight Academy, he explains the events that transpired to Zelda's father, Gaepora. Although Gaepora tells him to rest, Link soon hears the voice of the mysterious spirit once more and leaves his room, following the spirit to the Statue of the Goddess. A doorway opens, revealing the Chamber of the Sword. Inside, Link finds a Sword in a pedestal. The figure appears from the sword and introduces herself as Fi. Fi tells him that he must take the Goddess Sword from the pedestal and embark on his journey as the chosen hero of Hylia. Although he is apprehensive at first, Fi tells him that Zelda is still alive, and Link draws the blade. The two are joined moments after by Gaepora, who explains his hidden knowledge of a prophecy that foretold what is taking place before him. Gaepora tells Link that to reach the Surface and rescue Zelda, he must pierce the Cloud Barrier, something nobody has ever done before. Fi remedies the situation by given them the Emerald Tablet, which opens a passage through the Cloud Barrier to the Surface.

Searching for Zelda

The evil Ghirahim who fights with Link

The next day, after receiving his green Knight's Uniform as the only graduating member of his class, Link makes preparations and heads to the Surface to find Zelda. As he descends, he arrives at the Sealed Grounds. Link notices a dark aura emanating from the center of a large pit. Upon witnessing this, Link has yet another vision of the large beast. He descends into the pit and approaches the stone, and hears a voice telling him to strike it with a Skyward Strike. Link does so, and the sinister aura disappears. Afterward, Link heads to the Sealed Temple at the top of the large crater. Inside, a mysterious old woman gives him a hint about Zelda's whereabouts, urging him to venture into the nearby Faron Woods to find her. Link ventures into Faron Woods to search for Zelda and shortly thereafter meets Gorko the Goron after saving him from a group of Red Bokoblins, showing him a Bird Statue in return. Continuing his search, Link discovers Machi the Kikwi and rescues them from even more Red Bokoblins. Machi tells him that they ran into Zelda, and that she hid with Bucha, the elder. After rescuing the other Kikwi, Bucha directs Link towards the Deep Woods in the direction that Zelda went. Bucha also gives him the Slingshot to aid him later. He meets up with Gorko who tells him about the Goddess Cubes scattered across the Surface. Link then enters the Skyview Temple after Fi senses Zelda's aura inside. Link ventures through the Skyview Temple and obtains the Beetle along the way, eventually arriving at the doorway to the Skyview Spring where Zelda is said to be. Before he can enter, a strange man appears in front of him. He explains to Link that he is responsible for the tornado that brought Zelda to the Surface. He tells Link that Zelda is just beyond the door to the Skyview Spring He then introduces himself as Ghirahim Ghirahim tells Link that he and his forces nearly captured Zelda before a Servant of the Goddess helped her escape. Ghirahim prepares to fight Link, threatening to beat him within an inch of his life. Link defeats him, but Ghirahim realizes that Zelda's presence faded from the area and leaves, threatening to kill Link if he interferes with him again. Link enters the Skyview Spring, and Fi translates words that Hylia left for him, indicating that Zelda must purify her body at two different springs. Link then receives the Ruby Tablet from the Statue of the Goddess in the Skyview Spring, giving him passage to the Eldin Volcano.

The woman aiding Zelda

Link returns to Skyloft and places the Ruby Tablet alongside the Emerald Tablet inside the Chamber of the Sword. With a new entrance to the Surface accessible, Link travels to the Eldin Volcano, where he continues his journey to find Zelda. Link meets a pair of Mogma who state they saw someone run past them, so they direct him in the direction they went. After continuing through the Eldin Volcano, he meets Tyto who explains how a group of Red Bokoblins took over his territory. Link defeats the Red Bokoblins and Tyto gives him the Digging Mitts in return. Link is eventually confronted by a mysterious person, who states that Zelda is close ahead. Link eventually reaches the Earth Temple at the top of the Eldin Volcano and finds it locked. Cobal the Mogma mentions a girl similar to Zelda got taken into the Earth Temple. Link searches and finds the five Pieces of the Key and enters the Earth Temple after Zelda. Link makes his way through the Earth Temple, obtaining the Bomb Bag along the way. He enters the room just before the Earth Spring and discovers a chain on the ground emanating Zelda's aura. Link rushes ahead searching for Zelda, but Ghirahim appears once again. He tells Link that his troops had captured Zelda so he rushed over to the Earth Temple, but when he got there someone had already rescued Zelda from the chain. In his frustration, Ghirahim turns a boulder into Scaldera and makes it attack Link. Link triumphs against Scaldera and proceeds to the Earth Spring. There, Zelda is seen with the mysterious woman from earlier in front of a golden portal. The woman prevents her and Link from reuniting, and Zelda sadly tells Link that she has to leave and apologizes to him before entering the portal. Link tries to follow her, but the woman stops him. She chastises Link for his failure to arrive in a timely fashion, and follows Zelda through the portal, which disappears in a flash of light. Link is left hurt and frustrated, and Fi translates another message from Hylia, revealing that Zelda is headed to Lanayru Desert. Link is then given the Amber Tablet which will open an entrance to Lanayru Desert.

Link returns to Skyloft and places the Amber Tablet inside the Chamber of the Sword, creating another entrance to the Surface. Link sets out for Lanayru Desert. Link arrives at the Lanayru Mine near the eastern corner of Lanayru Desert. While traveling through the Lanayru Mine, Link comes across a Timeshift Stone that when hit, reverts the immediate area to its past state. Doing so revives the Ancient Robots which worked in the Lanayru Mine. Link eventually leaves the Lanayru Mine and enters Lanayru Desert. While exploring Lanayru Desert, Link discovers an Ancient Robot trapped in a cage by a pair of Technoblins. Link frees the Ancient Robot and in return, the Ancient Robot upgrades his Beetle to the Hook Beetle. After making his way through Lanayru Desert, Link finds the Temple of Time. However, the entrance is blocked by a large pile of rubble. Gorko nearby explains to Link that Zelda and Impa entered the Temple of Time just before an explosion covered the entrance.[2] A nearby Ancient Robot explains that a second entrance can be found in the Lanayru Mining Facility in the center of Lanayru Desert. Link turns on the Power Generator which brings the Lanayru Mining Facility out of the Sinksand, allowing Link to venture inside. Obtaining the Gust Bellows along the way, Link eventually reaches the inside of the Temple of Time. Zelda and Impa stand at the Gate of Time, but just before Link can join them, Ghirahim breaks through the rubble blocking the entrance to the Temple of Time. Ghirahim casts a barrier in front of Link, preventing him from reaching Zelda. Ghirahim proceeds to engage in battle with Impa. In the midst of the frenetic action, Zelda gives Link the Goddess's Harp. As Ghirahim's magic barrier dissipates, Link intervenes in the battle and saves Impa, allowing her and Zelda to escape through the Gate of Time. On their way through, Impa instructs Link to return to the Sealed Grounds and then destroys the Gate of Time to prevent Ghirahim from following them. After vowing to kill Link the next time they meet, Ghirahim leaves the scene.

The Imprisoned that escaped from its seal

As Link descends to the Sealed Grounds, Groose intercepts him in midair and both fall to the Surface. As Groose is shocked with what he sees around him, Link explains the situation, calming the former. Groose's old attitude quickly returns and he tells Link to head back to Skyloft, hoping to find and rescue Zelda himself. However, the old woman at the Sealed Temple tells Groose that he will not be the one to save Zelda, and he leaves the Sealed Temple in anger. The old woman reveals that Zelda's bodyguard's name is Impa. The old woman then teaches Link the "Ballad of the Goddess". As he plays it on the Goddess's Harp, a large structure appears behind him and is revealed to be a second Gate of Time. Before the old woman can finish explaining, a beast known as The Imprisoned responds to the appearance of the Gate of Time and breaks free of its seal. Outside, Groose becomes scared from the sudden shaking. Although it is too powerful for Link to destroy, he succeeds in sealing The Imprisoned back into its pit with a Skyward Strike. The old woman states that she is impressed that Link was able to confine The Imprisoned again, although The Imprisoned will likely escape its bonds once again soon. The old woman and Link return to the Gate of Time where the old woman explains to Link that he cannot activate the second Gate of Time until the Goddess Sword is more powerful. She tells Link to seek out the three Sacred Flames of the Golden Goddesses for this purpose. The old woman directs Link to Skyloft where someone holds the knowledge of the lyrics to the Ballad of the Goddess, which has clues hidden of where to find the three Sacred Flames. Groose returns with a feeling of uselessness and laments that he is unable to save Zelda. However, the old woman states that he will find his part to play in Hylia's plans.

The Sacred Flames

Link returns to Skyloft to find clues to the whereabouts of the three Sacred Flames. He is eventually brought to Gaepora who knows the lyrics to the "Ballad of the Goddess". Using the Gust Bellows, Link rotates one windmill in Skyloft to make it face the Light Tower like the Ballad of the Goddess suggests, but the second windmill is missing the Propeller used to turn the windmill. Jakamar nearby mentions that Gondo at the Bazaar said that he has a flying robot that can carry objects back from the Surface. Link asks Gondo about the flying robot to see if he can use if to retrieve the Propeller but finds that the robot, named LD-301S Scrapper, has been broken for a long time. Gondo mentions that he can fix LD-301S Scrapper with an Ancient Flower, however, he has no idea what an Ancient Flower is. Link then gives him an Ancient Flower that he found at Lanayru Desert, much to Gondo's surprise. LD-301S Scrapper reawakens and thanks Gondo for fixing him. LD-301S Scrapper is reluctant to help Link at first, but upon seeing Fi, he agrees to help Link. Link eventually finds the Propeller near the Earth Temple on the Eldin Volcano. LD-301S Scrapper then carries the Propeller back to Jakamar. Jakamar then fixes the Propeller back onto the windmill. Link is then finally able to turn the windmill to face the Light Tower, causing the Light Tower to open upwards to reveal a new platform. Link needs to perform the "Ballad of the Goddess" on the Goddess's Harp by the shrine at the top of the structure, as written on a nearby Stone Tablet. In response, the Light Tower fires a beam into the large Thunderhead in the distance, creating an opening. Link is able to fly into the Thunderhead, where he discovers the Isle of Songs. Inside, Link strikes a Goddess Crest with a Skyward Strike which makes a Statue of the Goddess appear, simultaneously awakening a message from Hylia within Fi. The message states that to obtain the Sacred Flames, Link must complete three trials and receive three tools. Fi then teaches Link a Song known as "Farore's Courage".

The Water Dragon, known as Faron

With this new song, Link travels to Faron Woods and uses "Farore's Courage" to reveal the Trial Gate. Link thrusts the Goddess Sword into the Trial Gate and is taken to the Silent Realm, a parallel dimension created by Hylia for the chosen hero to prove himself. Link is tasked with filling his Spirit Vessel with the Tear of Farore while avoiding the Guardians. After Link manages to fill the Spirit Vessel, he receives the Water Dragon's Scale, allowing him to swim deeper in Water and perform a spin maneuver. Back in Faron Woods, he uses the Water Dragon's Scale to get inside the Great Tree through an underwater passage. Link climbs to the top where he meets the Kikwi hermit, Yerbal. Link asks him about the Sacred Flames to which he explains how Hylia left Farore's Flame in the care of the Water Dragon. Yerbal gives Link directions to her lair in Lake Floria, as well as the solution for opening the sealed door to Lake Floria. Link successfully opens the gate and enters Lake Floria. While traveling through the small river in Lake Floria, Link encounters a Parella, who is frightened at the sight of Link. Link trails after the Parella who demands Link to stop following her. To the Parella's surprise, Link persists and breaks through a wooden barrier blocking his path. The Parella notices that Link carries the Water Dragon's Scale and realizes that he is the chosen hero and gets the idea that Link can help the Water Dragon. The Parella explains that someone came in with a gang of monsters and attacked the Water Dragon. The attacker managed to wound the Water Dragon and that the Parella don't have what they need for the Water Dragon to heal completely, so she asks Link to talk with the Water Dragon. Link eventually reaches the Water Dragon's lair, and he finds Faron, the Water Dragon presiding over Faron Woods. Faron notices that Link carries the Water Dragon's Scale and realizes that Link must be Hylia's chosen hero, however, Faron isn't convinced. Link learns that the mysterious attacker was Ghirahim and now is healing in a Water Basin full of Sacred Water. Faron tells Link to bring her Sacred Water to heal her wounds, promising to reveal the path to Farore's Flame in return. Link returns to the Skyview Spring and bottles some Sacred Water. Link pours it into the Water Basin and Faron is revived. In return, Faron reveals that Farore's Flame lies within the Ancient Cistern, and tells Link that they will meet again. Link ventures through the Ancient Cistern obtaining the Whip along the way. Link eventually reaches the room before the Sacred Flame but is stopped by Ghirahim. He explains to Link that he is busy trying to revive the Demon King and he doesn't want Link to get in his way. Ghirahim animates the robotic monster Koloktos and leaves the room, leaving Link to battle Koloktos. Link takes down Koloktos and enters the next room where he finds Farore's Flame. Fi tempers the Goddess Sword with the Sacred Flame, transforming it into the Goddess Longsword. Fi tells Link that he can now learn a new song and that they should return to the Isle of Songs.

The Sandship coming to a stop after Link reveals it

Link returns to the Isle of Songs and receives a new message from Hylia. Link is then taught a new song, "Nayru's Wisdom". Link then heads for Lanayru Desert to search for another Trial Gate. Link locates the Trial Gate and enters a new Sacred Realm, known as Nayru's Silent Realm. Link collects all of the Tear of Nayru and completes the trial, earning him the Clawshots. He uses the Clawshots to access the Lanayru Caves, where he meets Golo the Goron who says he is researching the ancient three Dragons of the Surface. Link mentions that he is looking for a Sacred Flame and Golo gives him a key to access the Lanayru Sand Sea. Fi states that the next Sacred Flame is somewhere in the region and Link begins his search. At the edge of the harbor, Link strikes a Timeshift Stone in an old Boat, which revives the Ancient Robot, LD-301N Skipper. LD-301N Skipper explains that he once captained the Sandship tasked with protecting Nayru's Flame. LD-301N Skipper explains that he and his crew were attacked by monsters that were after Nayru's Flame. The monsters then used the Sandship's ability to turn invisible to hide away from LD-301N Skipper. Link tells LD-301N Skipper that he was searching for Nayru's Flame and LD-301N Skipper offers for Link to help him search for the Sandship. Link agrees, and LD-301N Skipper mentions that before they can search for the Sandship, they need a proper Ancient Sea Chart, which they can find at Skipper's Retreat. Link climbs to the top of Skipper's Retreat and locates the Sea Chart within. With the Ancient Sea Chart in hand, Link and LD-301N Skipper set out for the Shipyard to search for clues relating to the Sandship's location. After traversing the Rickety Coaster and reaching the Construction Bay, Fi suggests that they dig through the built-up sand to find any clues. Link begins to blow away the sand but is attacked by a Moldarach who had built a nest in the unused Construction Bay. Fi explains that since the nest has been made by the Moldarach, it had probably destroyed any clues relating to the Sandship. Link returns to LD-301N Skipper and explains the situation, to which LD-301N Skipper states that the only other place that they can search for clues would be the Pirate Stronghold. Link enters the Pirate Stronghold and brings a Timeshift Orb to a pedestal that raises the outside of the Pirate Stronghold. Outside, Fi is able to gather enough information to allow Link to douse for the Sandship. Link tracks down the Sandship and reveals it from its invisibility, and he quickly climbs on board. Link ventures through the Sandship and defeats the pirate captain, LD-002G Scervo, and obtains the Bow. Link hits a Timeshift Stone which reverts the entire Sandship to a past state, allowing LD-301N Skipper to climb aboard. Link frees the crew and in return, they give him a Small Key so he can get to the Captain's Cabin as well as instructions on how to find Nayru's Flame. Link finds the Squid Carving and uses it to unlock the door to the Control Room where he can find Nayru's Flame. Link enters the room, but before he can find Nayru's Flame, large tentacles tear holes in the ship. Link hurries outside and battles the gargantuan monster Tentalus to stop it from tearing apart the Sandship. Link defeats Tentalus and finds Nayru's Flame, purifying and reforging the Goddess Longsword into the Goddess White Sword. With his Goddess White Sword now enhanced, Fi advises Link to return to the Isle of Songs and learn a new melody. LD-301N Skipper thanks Link for helping him get his Sandship back and explains that he and his crew were able to fix all the damage caused by Tentalus.

The fully tempered Master Sword, blessed by Zelda

With only one Sacred Flame left, Link returns to the Isle of Songs and receives a message from Hylia and learns the song known as "Din's Power". Link returns to Eldin Volcano and enters the third Silent Realm, Din's Silent Realm. Link successfully collects all 15 Tear of Din and is given the Fireshield Earrings. Using the protective jewelry, Link heads to the Volcano Summit and Fi states that the final Sacred Flame is most likely in this region. Link eventually reaches a gate of Fire where he finds Gorko trying to get past the flames. Link pours Water on a nearby Frog statue which extinguishes the Fires, but then finds a larger statue that requires more Water than an Empty Bottle would be able to hold. Link returns to Faron and asks if he can borrow her Water Basin to carry enough Water, which she allows. Fi calls LD-301S Scrapper to carry the Water Basin and they return to the Eldin Volcano. LD-301S Scrapper descends to the entrance of Eldin Volcano instead of the Volcano Summit, and he refuses when Link asks him to return to the Sky so they can get to the Volcano Summit. Link is then forced to escort LD-301S Scrapper up to the Volcano Summit on foot. LD-301S Scrapper pours the Water and the Frog statue and the Fires are extinguished. Link then ventures through the Fire Sanctuary and meets Guld the Mogma, who gives him a clue to find a huge treasure. Link continues through the Fire Sanctuary and frees the Mogma, Silva, who gives him the Mogma Mitts in return. Link frees another Mogma, Bronzi, who in thanks gives Link the Dungeon Map. Link meets another Mogma, Plats who gives him a Piece of Heart in apology for thinking that Link was a monster. Link finally reaches Din's Flame, however, before he can access the Sacred Flame, he finds Ghirahim looking around the room. Ghirahim shows Link some ancient drawings and explains that he has found out about the existence of the second Gate of Time. Ghirahim asks Link to reveal its location and in return, he will spare his life, but he refuses. Although Ghirahim partially transforms his body to become more powerful, Link succeeds in besting him, incurring his wrath. Ghirahim leaves the Fire Sanctuary and Link obtains the final Din's Flame, improving the Goddess White Sword into the Master Sword.

With the evil-repelling sacred blade in hand, Link returns to the Sealed Grounds to open the Gate of Time. However, before Link can activate the Gate of Time, The Imprisoned breaks from its seal once again, reacting to the power of the Master Sword. Link manages to seal The Imprisoned away for a second time with help from Groose, who came out of his depression and built a Bomb-flinging catapult to deal with the monster. Finally, Link is able to activate the second Gate of Time. Link goes through the Gate of Time, arriving shortly after Hylia had sealed away the Demon King, Demise, and sent Skyloft heavenward with the surviving Humans and the Triforce. Link meets with Zelda, who explains the events of the war between Demise and Hylia. After she sealed away Demise, Hylia knew that her power would not bind him forever. With this in mind, she devised a plan to destroy Demise once and for all. Hylia first created Fi in order to aid her chosen hero. Second, Hylia knew that the Triforce could only be used by a mortal to destroy Demise, so she gave up her immortality and transferred her soul to the body of a mortal. The chosen hero became Link, and the reborn goddess became Zelda. She also reveals that The Imprisoned is Demise's weakened form, and thanks Link for repeatedly confining it in the Sealed Grounds. She blesses the Master Sword with the power of Hylia, causing it to take on its true form, the True Master Sword. Hylia knew that Link would charge headfirst into peril without hesitation if it meant saving Zelda, and Zelda apologizes to Link for using him (as Hylia) to bring about the ultimate destruction of Demise. Zelda then tells Link that as the reincarnation of Hylia, she must remain in a deep sleep for thousands of years to keep Demise imprisoned within his seal. She seals herself into a crystal and tells Link that he must find and use the Triforce to destroy Demise so that she will be able to wake up in their own time. After an emotional goodbye, Link returns to the present and sets out to find clues to the location of the Triforce. Groose decides to stay behind at the Sealed Grounds to help the old woman.

The Golden Power

Levias possesed by Bilocyte
Levias freed from Bilocyte

Link returns to Skyloft where the Triforce is supposedly hidden, and asks Gaepora what he knows about it. However, Gaepora has little knowledge of the Triforce, and instead directs Link to Levias, the great Sky Spirit, who would most likely know the location of the Triforce. Gaepora instructs Link to talk to Instructor Owlan about the location of Levias, as he recently did reasearch on the subject. However, Instructor Owlan informs Link that Levias has been acting strange lately and suggests that he is possessed. Link insists that he must talk with Levias, so Owlan teaches him and his Loftwing the Spiral Charge manuever to try and free Levias. Owlan suggests that Link speaks to Pumm, the owner of the Lumpy Pumpkin, as he makes an offering of his Pumpkin Soup to Levias on a yearly basis. Link offers to take the Pumpkin Soup to Levias in his stead, and brings it inside the Thunderhead. The Pumpkin Soup succeeds in luring in Levias, however, Levias is indeed possessed by a creature known as Bilocyte. Link battles and destroys Bilocyte, rescuing Levias and returning him to his senses. Levias correctly gusses that Link is the chosen hero and that he is seeking the Triforce. Levias explains that even he does not know where the Triforce lies, but he did have a clue given to him by Hylia. Levias intructs Link to seek out the three Dragons on the Surface who know of three separate parts to a song known as the "Song of the Hero", which will supposedly lead the way to the Triforce.

When Link descends to Faron Woods, a mysterious anomaly prevents him from going anywhere but the Sealed Grounds. Upon arrival, The Imprisoned breaks from its seal for a third time. Link teams up with Groose to seal The Imprisoned for a third time. Back in the Sealed Temple, Link explains that he must learn the full Song of the Hero to retrieve the Triforce, and the old woman explains that Link cannot enter Faron Woods because it is currently flooded with Water. To keep the Sealed Grounds safe from this flood, the old woman placed a seal on the gate to Faron Woods that will only hold as long as the gate is not opened. Groose decides to use his Groosenator to fling Link into the woods. Link lands in the flooded woods and investigates the inside of the Great Tree, where the Water supposedly emerged from. Inside, Faron appears to Link from the Water, where she informs him that she flooded Faron Woods in order to get rid of the monsters in the area. She offers him the challenge of collecting the notes to her part of the "Song of the Hero" in the form of Tadtones. Link completes the challenge and is taught Faron's part of the Song of the Hero before she decides to cause the flooding to recede, returning Faron Woods to its original state.

When Link descends to Eldin Volcano to visit the Eldin the Fire Dragon, a volcanic eruption throws him out of the sky, knocking him unconscious. As he comes to, he finds that the Red Bokoblins had set up a new base in the area and took the opportunity to badly injure Link and steal his Items. Link finds himself in a cell with no way out, until Plats the Mogma, whom he had met in the Fire Sanctuary, burrows in and reveals that he had stolen Link's Mogma Mitts back from the Red Bokoblins, allowing Link to burrow out of the cell and begin recovering his Items. However, without the Master Sword, Link is unable to fight the Red Bokoblins directly and must use stealth to evade them and find his Items. Link manages to recover his Master Sword in the Volcano Summit, where Fi explains that she noticed Eldin's aura emanating nearby. After some time, Link manages to recover all of his Items and finds Eldin, who is suprised to see a Human that can withstand the heat of the Volcano Summit. Unlike Faron, Eldin recognizes Link as Hylia's chosen hero and teaches him his part of the "Song of the Hero".

Lanayru cured from his illness

When Link descends to visit the Thunder Dragon, Lanayru, he finds Golo the Goron who asks him about his search for Sacred Flames. Golo tells Link that he discovered a narrow passageway that leads to a hidden area in Lanayru Desert. Link crawls through the small tunnel and ends up in Lanayru Gorge, where Lanayru supposedly lives. However, he finds nothing but a large skeleton, suggesting that Lanayru had somehow died. Link recovers a Small Key and finds a room with a Timeshift Stone in a Mine Cart, which, before it broke down, was about to be sent to Lanayru. Activating the Timeshift Stone, Link is able to proceed around and through the caves to reach Lanayru's skeleton, shifting time backwards to a point when he was still alive. Lanayru is shown to be very ill and on the verge of death. Lanayru realizes that Link is Hylia's chosen hero, and explains that he cannot teach Link his part of the Song of the Hero in this condition. The only way Lanayru could be cured would be to eat the fruit from the Life Tree. A Life Tree Seedling was planted in Lanayru Desert, but it is unable to flourish in the desert's harsh climate, so Link takes it to the Sealed Grounds. Link brings the Life Tree Seedling back through the Gate of Time to the Sealed Temple, where he plants it, allowing it to grow and sprout a Life Tree Fruit in present day's Sealed Temple. Taking the fruit, Link brings it to Lanayru and saves his life, allowing him to teach Link his part of the "Song of the Hero".

With the three parts of the "Song of the Hero", Link returns to Levias in the Thunderhead. Levias combines the three Dragons' parts with his own to teach Link the entirity of the "Song of the Hero". With the full song in hand, Link returns to Skyloft and uses the song to open the Trial Gate to the final Silent Realm, the Goddess's Silent Realm. Link collects all of the Sacred Tears and receives the Stone of Trials. Fi explains that a second Stone of Trials exists somewhere in Skyloft, and bringing the two together will reveal the path to the Triforce. Link identifies the Stone of Trials as the missing eye of a statue of a Bird and replaces the missing eye, revealing the Sky Keep. Link enters the mysterious Dungeon and eventually reaches a mark on the ground, where Fi instructs Link to offer his True Master Sword to it to reveal a piece of the Triforce. Link conquers the many trials in the Sky Keep, and finally he obtains the completed Triforce.

The Triforce assembled atop the Statue of the Goddess

With the Triforce in hand, Link is transported to the top of the Statue of the Goddess and he makes his wish: the destruction of Demise. In response to his wish, the Triforce breaks the entire Isle of the Goddess breaks free from Skyloft and it plummets down to the Surface, returning to its original location at the Sealed Grounds, crushing and destroying The Imprisoned as it attempts to escape its confines once more. Fi concludes that since Demise has been destroyed, Zelda will awaken from her sleep. Descending from the Statue of the Goddess, Link rushes into the Sealed Temple to witness Zelda's awakening, along with Groose and the old woman. The group bears witness to Zelda's return from her long sleep, and she and Link are finally reunited.

The Final Showdown

The group has a heartfelt reunion, but out of nowhere, Ghirahim ambushes them. He abducts Princess Zelda and enters the Gate of Time, intending to use her to resurrect Demise in the distant past. Groose tries to stop him, but Ghirahim just insults him and swats him away with ease. Ghirahim escapes through the Gate of Time, taking Zelda with him. Regaining his strength from the ambush, Link pursues him to the past, finding Impa on the ground as he emerges from the Gate of Time. Impa explains that Ghirahim ambushed her and passed through the large doors at the front of the Sealed Temple with Zelda. Link heads out to the Sealed Grounds where Ghirahim is beginning the ritual to revive Demise, who is still sealed in the past. To prevent Link from stopping the ritual, Ghirahim has his troops assail Link in absurd numbers. Link in his anger destroys the horde quickly and reaches Ghirahim at the bottom of the spiral pit.

Ghirahim in his true form

Ghirahim expresses his rage at Link for being too quick and throws Zelda into the air, preparing to fight Link. He raises Link and himself on a high platform and reveals his true form as Demise's Sword, a spirit comparable to Fi. Ghirahim states that he will kill Link in an ironic way: by driving him off a high cliff. However, Link does exactly that, driving Ghirahim to the edge of the platform and knocking him off before plunging his True Master Sword into his chest, hurting him greatly. Ghirahim's rage peaks as he summons different blades with which to battle. Link continues to strike the gemstone in the center of Ghirahim's chest, besting him much to Ghirahim's humiliation. However, Ghirahim reveals that the ritual he started continued while they battled. The Imprisoned rises from the pit in the Sealed Grounds, swallowing Zelda's soul and returning to his original form: Demise.

Demise in his true form

Ghirahim welcomes back his master before the latter silently raises his hand, using his power to draw his blade out from within Ghirahim. Ghirahim is then drawn into the blade, and Demise expresses his fascination with Link's courage. He remarks in disgust at Zelda and how Hylia was magnificent while immoratal, and he causes Zelda to fall from the air, but before she can hit the ground, Groose arrives from nowhere and catches her. Demise expresses his fasination of how Groose and Link would stand up to him, while Humans from the past would have ran at the sight of him. Groose tells Link that it will take some time for Demise to fully absorb Zelda's soul, giving Link a chance to save her by destroying him. Seeing Link defy his expectation of humankind by standing against him, Demise decides to give Link the chance to duel him in another realm for the fate of the world, creating a dark portal that he enters. Fi warns Link that he will not be able to go back if he enters the portal, unless he defeats Demise, and gives wishes him good luck. Link follows him through the portal and finds Demise against a backdrop of the sky. Demise speaks with Link before their battle begins, telling him of his intention to destroy him and take the Triforce to rule the world for eternity. Demise is bested by Link at swordplay, so Demise summons a thunderstorm to power his blade with Lightning. However, Link uses this to his advantage and does the same with the True Master Sword and uses electrified Skyward Strikes to match Demise's power. Finally, Demise is knocked down on his back, and Link leaps into the air, performing the Fatal Blow with the electified True Master Sword, plunging it through the Demon King's chest. Demise stumbles to his feet and watches as his sword, Ghirahim, as it disintegrates from his hand. Demise commends Link for his fight, but warns him that he is not finished. Demise casts a curse that his will renew his hatred time and time again. Demise's curse binds those who share the blood of the goddess and those with the spirit of the hero to his reincarnated hatred, making them all be reborn to fight again in a cycle without end. Demise slowly fades away until he is just a black cloud, when the True Master Sword glows a bright light. Link raises his blade and absorbs the remains of the Demon King into the True Master Sword.

Link opens his eyes to find that he is in the Sealed Temple, where Impa congratulates him. He turns around to find Zelda and Groose, where Zelda confirms that the battle has been won, and the three prepare to return to their own time. Before they leave, Fi appears and brings Link to a pedestal in the Sealed Temple. Fi explains that since Link has defeated Demise, he has fulfilled his role as the hero, and that Fi had also fulfulled her role as the hero's guide. Fi instructs Link to plunge the True Master Sword into the pedestal, where he will leave it and Fi to rest for eternity. Link does so, but just before she enters her endless sleep, Fi tells Link that while she is unable to feel true emotion, she feels something best equated to happiness due to her time spent with Link. Fi and Link part, and Link turns around to see Zelda and Impa having a similar conversation. Impa is unable to return with the group to the future, as she is a being of that past. Impa states that as a member of the Sheikah, she must watch over the True Master Sword to ensure that Demise does not reawaken, as well as the Gate of Time. She declares that she will also watch over theTriforce, and that it will eventually be secreted away from the knowledge of humankind to preserve the peace. Zelda gives Impa one of her bracelets and Impa promises Zelda that even though she will destroy the Gate of Time, they will meet again. Link, Zelda, and Groose all return to their own time, and the Gate of Time disappears, revealing that Impa destroyed it in the past. The old woman meets with them and she shows Zelda the bracelet that she had given to Impa in the past, revealing that the old woman was an elderly Impa all along. As the group realizes this, Impa vanishes in particles of light, her duty to Hylia finally fulfilled. As the group laments Impa's death, the large gate in the back of the Sealed Temple opens to reveal the True Master Sword, remaining in the pedestal where Link had left it in the past.


After the credits, it is shown that Gaepora, Cawlin, and Strich fly down through the Cloud Barrier to meet with Zelda, Link, and Groose. Groose returns to Skyloft with the others, bidding farewell to Link and Zelda, who are seen on the Statue of the Goddess. Zelda tells Link that she had always dreamt about the Surface and that she wants to remain there, and asks what Link's intentions are for the future. Link smiles at her, and both his and Zelda's Loftwings fly back into the sky, implying that Link chose to stay with Zelda.

Main article: Interloper War

After the events of Skyward Sword, the Humans begin repopulating the Kingdom of Hyrule, and the descendants of Zelda became known as Hylians.[note 1] A long era of peace reamined on the land, and the Kingdom of Hyrule was later renamed to Kingdom of Hyrule.[3] However, despite Zelda and Link's efforts to keep the Triforce a secret, it was discovered and word spread across Kingdom of Hyrule. Many people began to seek out the Triforce, causing an all-out war known as the Interloper War in the Era of Chaos. A powerful group of sorcerers known as the Dark Interlopers found where the Triforce was hidden in the Sacred Realm, and in order to keep the Triforce safe, the Golden Goddesses sent the Spirits of Light to banish them to the Twilight Realm.[4] This will later cause the events of Twilight Princess.[4]

Main article: The Legend of Zelda: The Minish Cap

The Interloper War was calmed and the Triforce was sealed away in the Sacred Realm. Rauru the Sage built a new Temple of Time around the Master Sword, making the Master Sword the key to the only entrance to the Sacred Realm. Kingdom of Hyrule prosepered in the new Era of Prosperity and Hyrule Castle was built, leading into the events of The Minish Cap.


Skyward Sword began development in 2007, when Nintendo's Hidemaro Fujibayashi presented the development team with a planning document for a new Zelda game on the Wii. Fujibayashi had previously directed The Legend of Zelda games developed by Capcom, then served as sub-director on Phantom Hourglass. Series producer Eiji Aonuma appointed Fujibayashi to direct the new Wii Zelda and discussions began around the idea of the game using the Wii MotionPlus, a peripheral that could enhance the Wii console's motion-sensing capabilities to make them more accurate.[5]

The team initially spent half a year experimenting with the Wii MotionPlus, hoping to learn the intricacies of the device and how it could be used to enhance sword combat in a Zelda game. Twilight Princess had allowed for motion-controlled swordfighting, but due to the limitations of the original Wii Remote the player didn't have full control over the swing and direction of their sword. This time, the developers wanted to use the MotionPlus accessory to allow for more subtle control over Link's sword. As a variety of challenges arose, the staff found itself struggling to tame the MotionPlus, and experiments continued for another year-and-a-half.[6]

The primary challenge was that the MotionPlus was extremely sensitive, and designing sword combat to look convincing was proving difficult. One of the challenges the team faced was how to make Link look both realistic and charismatic while swinging his sword around, and studied the human skeletal structure for reference.[7] After an extensive period of trial-and-error using Wii Sports Resort—which used the MotionPlus for a rudimentary swordfighting minigame—the development team eventually managed to design a swordfighting system it felt could serve as the foundation for its new game.[8]

Assigning sword swings to motion controls freed the A button on the Wii Remote up for other functions, and the team assigned a new "dash" feature to the button.[9] In addition to allowing Link to run, the dash would serve as a context-sensitive action capable of letting him vault over enemies or run up walls, rather than bumping into them.[10] This led to the creation of a stamina meter that would prevent Link from being able to dash infinitely.

Twilight Princess's radial item menu
Skyward Sword's gesture-based radial menu

Once the team was comfortable with how the MotionPlus accessory worked, Fujibayashi brainstormed ways to use its motion-sensing capabilities for other actions, such as item selection. Fujibayashi wanted players to be able to select items by making gestures without having to look at the screen. To accommodate this, a radial menu similar to the one in Twilight Princess was designed and key items like the bow and bombs placed at angles that would be easy to remember.[11] While intuitive, this mechanism for selecting items would lead to an unattractive user-interface—a trait that would extend across the entirety of Skyward Sword's UI, owing to the fact that its motion controls were new and required visual cues explaining how they worked.[12]

By 2007, the year Skyward Sword began development, the Japanese videogame market's decline was speeding up. Twilight Princess sold well worldwide, breaking the series' global sales record, but sales in Japan were weak. At the time, Nintendo's Shigeru Miyamoto had stated: "I think a lot of people who bought the Wii are not necessarily the types of people who are interested in playing that kind of game. And a lot of the people who would want to play it [due to chronic shortages of the console] can’t find a Wii! But mostly, I think it’s that there are fewer and fewer people who are interested in playing a big role-playing game like Zelda [in Japan]."[13]

While the Wii had popularized simpler games like Wii Sports and Wii Play in Japan, Nintendo felt that the current Japanese market was intimidated by more complex games, especially those involving exploration and sophisticated 3D environments. The company felt that this was most evident in the sales of its Mario games. While 2D Mario titles such as Super Mario World would often sell well in Japan, 3D Mario games such as Super Mario 64 and Super Mario Sunshine wouldn't perform nearly as well.[14] This, Nintendo believed, was because the 2D Marios were simpler and more straightforward, whereas the 3D Marios turned casual gamers off because they found the idea of getting lost in a 3D environment intimidating.[15][16] In response, the company developed Super Mario Galaxy and later Super Mario Galaxy 2, both designed to prevent players from getting lost and appeal to Nintendo's new audience of casual gamers on the Wii.[17]

The idea of games growing too complicated was something the Zelda team had been wary of as well. Nintendo had felt for years that creating big-budget and increasingly complex games was unsustainable, and Shigeru Miyamoto would routinely encourage producer Eiji Aonuma and his team to create more compact, experimental games such as Majora's Mask and the portable Zelda titles instead.[18][19] Miyamoto was skeptical of developing more games like Ocarina of Time and Twilight Princess owing to the vast scope of those projects, and after Twilight Princess's exacting development cycle, Nintendo would go to great lengths to make Skyward Sword a more compact and less exploratory game.[20][21] The development team would design Skyward Sword to contain fewer and smaller environments than Twilight Princess, hoping to entice players with a breadth of activities instead of a vast, connected world to explore.[22] This would ultimately result in the team opting not to create an overworld for the game at all, inspired by the simple manner in which Mario games let users choose levels from a menu.[23]

In an Iwata Asks interview, the following exchange between producer Eiji Aonuma and late Nintendo president Satoru Iwata would explain the team's decision:[24]

Diving onto the Surface
Aonuma: Usually, when we make a The Legend of Zelda game with a continuous body of land, we need an overlapping part to join one game field to the next. This time, we made all kinds of gameplay for the forest, volcano and desert areas, and needed to create roads for going back and forth among those places. Every time, it was quite a struggle to figure out how to handle those roads.
Iwata: Roads are particularly essential to a game like The Legend of Zelda.
Aonuma: That’s right. But the first thing we thought of this time was that perhaps we didn’t need those roads.
Iwata: What do you mean?
Aonuma: Well, [director] Fujibayashi-san and I talked for a long time about how, if we could make the gameplay in each area dense, then we wouldn’t need to physically join them. Then the question was “How do we design it?"
Iwata: And what did you think of?
Aonuma: Course selection in Super Mario games.
Iwata: Course selection?
Aonuma: Yes. In Super Mario games, there’s a course selection screen, and you waltz on over to it and hop in.

Given that course selection in Mario games was a straightforward process, Nintendo felt that the same design could be applied to Zelda and would achieve similar results, neglecting to consider that the appeal of Zelda had always been exploring an expansive world. The end result was a skydiving system by which Link would drop down into each area from the sky, rather than traversing an explorable overworld.[25] Aonuma and his team had already experimented with blurring the line between dungeons and the overworld in Twilight Princess, and decided to take that idea even further in Skyward Sword. They designed each area so that it felt like a dungeon in itself, doing away with the idea of an overworld entirely to prevent players from getting lost, and to save on development time.[26] In order to further prevent the player from losing their way in these areas, the team conceptualized the Dowsing feature. Fujibayashi would later reveal that Dowsing was created so that the team wouldn't need to create landmarks or other environmental cues to guide the player along. Nintendo would promote this aspect of the game in an Iwata Asks chapter titled "Making the 'Not' Lost Woods".[27]

Aonuma would reveal: "I think we were able to keep such a big project together because the game world this time is structurally simple. We talk about all these 'dense' places, but structure-wise there are only four—forest, volcano, desert and sky."[28]

Zelda designed to be more expressive
Technology makes a return

Among the other concessions made for Japanese players, Skyward Sword was also modeled after Japanese tastes in how its hub town was designed. Link's time at Skyloft, his home town, would see him and his peers attending high school together, a popular setting for Japanese games. The plot would start out akin to a high school drama, with Zelda and Link being childhood friends—a decision that was meant to endear players to Zelda.[29][30] To make it easier to design events, the development team used a special tool that allowed designers to implement character dialogue and events themselves, rather than the programming team having to do it for them.[31] Owing to the fact that the rest of the team was busy with its responsibilities, Aonuma used this tool and personally tweaked the game's opening sections and dialogue in Skyloft himself. Daiki Iwamoto, the director of Phantom Hourglass and Spirit Tracks was in charge of the sky area surrounding Skyloft, and Aonuma would volunteer to design the game's opening to help ease his workload.[32] Meanwhile, Xenoblade Chronicles developer Monolith Soft would contribute to the game's field layout designs, conceptualize sub-events, and even write pieces of in-game text, with Disaster: Day of Crisis director Keiichi Ono leading the Monolith Soft team.[33]

As development progressed, Aonuma, Fujibayashi and their team designed Skyward Sword such that each of the three main areas in the game would involve a gimmick of some sort. For the Lanayru Desert, the team considered the notion of time-traveling in realtime, inspired by the contrast between the past and present in Ocarina of Time, and the normal realm and Twilight Realm in Twilight Princess. This resulted in the development of the game's Timeshift Stone item, which would allow Link to turn the present into the past, impacting the environment and enemies around him.[34] The Timeshift Stone, along with the Hook Beetle item, resulted in the creation of the game's ancient civilization, consisting of clay robots powered by electricity.[35] Like in Twilight Princess, the team would once again experiment with introducing technological themes to The Legend of Zelda's world.

Fi, Link's new partner

The idea to make Skyward Sword the first chronological story in the Zelda series came from the MotionPlus accessory and focus on swordplay. In an Iwata Asks roundtable, Aonuma would reveal: "This time, the theme is the sword which makes use of the Wii MotionPlus accessory. When you think of a sword in The Legend of Zelda, you think of the Master Sword. Rather early on, we decided to address the origin of the Master Sword. About that time, we began talking about how that would make this the first story in the series, and we wondered about involving the birth of Hyrule Kingdom. On the other hand, there was the setting of the floating island in the sky, and we thought, 'How did that get there?' We settled on having the sky and surface world, and on top of that, it was going to tell the story of the creation of Hyrule, with the untold story of the origin of the Master Sword.[36]

The story setup would lead to the creation of Fi, Skyward Sword's partner character. The design for Fi and who would serve as lead concept artist on Skyward Sword were both decided through an internal competition within the development team. Takumi Wada was chosen to be the game's artist, while Yusuke Nakano—who was now mentoring younger artists at the company—provided the designs for Fi.[37][38] Similar to Navi and Midna, Fi was meant to provide the player with hints wherever the team felt they might get stuck. Concerned about their casual audience, the development team would inadvertently make Fi overbearing and intrusive, with the character routinely interrupting the player with hints and tutorial text. This would be one of the most common criticisms of Skyward Sword upon its release.

At one point, the development team considered making Zelda a playable character in the game. The idea was to allow the player to play through a "Second Quest" from Zelda's perspective after she had landed on the Surface world. This idea was ultimately discarded, but the setting of that story was used in Skyward Sword's ending cinematic.[39]

When it was released, Skyward Sword was backed by one of the largest promotional campaigns Nintendo had ever conducted. The game was used to celebrate The Legend of Zelda's 25th anniversary, with the "Symphony of the Goddesses" concert series leading up to—and following—its release. In conjunction with the game, Nintendo and publishers Shogakukan and Dark Horse released Hyrule Historia, an encyclopedia that would solidify the series' long-debated timeline and provide development insights into each game. Commercials starring Robin Williams and his daughter—who he had named after the series—were broadcast around the world to promote Skyward Sword as well.[40]

Skyward Sword received positive reviews from critics upon release in 2011, but the game has since gone on to be less fondly remembered. Despite its many concessions for less experienced gamers in Japan, Skyward Sword would sell just 352,000 units in the country and a total of just 3.67 million units globally, making it one of the lowest-selling Zelda games on a home console.[41] This was partly because the Wii was nearing the end of its tenure by the time Skyward Sword was ready for release, but also because the game stirred controversy among The Legend of Zelda's audience in the west through its linearity, excessive tutorials, and lack of an overworld.[42] Skyward Sword was a game that didn't cater to any single audience particularly well—veteran gamers in the west or more casual gamers in Japan. Negative feedback for the game would make the development team re-examine the Zelda series' identity once more, as they had done following the release of The Wind Waker. Producer Eiji Aonuma would later confirm that criticism of Skyward Sword's linear structure and lack of exploration had directly resulted in the development of Breath of the Wild.[43]



At E3 2010, The Legend of Zelda: Skyward Sword was revealed during the Nintendo Press Conference, introduced by Reggie Fils-Aime and Shigeru Miyamoto. Miyamoto discussed that the use of the Sword and Shield would incorporate the motion capabilities of the Wii MotionPlus and use of the Nunchuk accessory. The Sword could also be charged up by holding the Wii Remote straight up in the air, and, once it's charged up, the Wii Remote must be swung downwards to release the Skyward Strike as a projectile attack.

Since the Wii Remote serves as the Sword, the Nunchuk becomes the Shield: quickly shaking the Nunchuk will cause Link to raise his Shield. The Nunchuk should be held up in front as if it were a real Shield. Miyamoto demonstrated this by blocking attacks from an Octoroks and even using the Shield to send the projectile back at his attacker. Blocking attacks from Enemies will damage the Shield, slowly wearing away at it until it eventually breaks.

The Inventory is accessed by pressing and holding the B button and the Adventure Pouch is opened by holding the Minus button, which both bring up a "radial menu" on the screen (similar to the one in Twilight Princess). To choose the Item that Link will equip, the Wii Remote must simply be either pointed or tilted in the direction of the desired Item to select said Item. The HUD can also be easily turned off if players find that it takes up too much space. Items such as Bombs, the Slingshot, and the Bow, the return of Skyward Strikes, and new Items such as the Beetle and Whip were all showcased, all using the natural aiming and directional applications of the Wii MotionPlus. One of the major differences of Skyward Sword from other The Legend of Zelda series titles is that while choosing Items from the Inventory or while drinking Potions there is no pause in the action, so Items are chosen in real time.

Previous rumors of a flying element were pushed further in an interview with Eiji Aonuma and Shigeru Miyamoto preceding the Nintendo E3 press conference on the Nintendo E3 Network with Aonuma saying that the Sky would play a key element. In Skyward Sword, Link can fly through the Sky on his Loftwing and visit different Islands. The player can control the Loftwing by tilting the Wii Remote in the direction they want to go. Quicly swinging the controller upwards will cause the Loftwing to climb higher. Pressing the A button will have the Loftwing Charge forwards, using up a feather at the bottom of the screen. If all of these feathers are gone, the Loftwing will not be able to use the dash until the feathers recharge, similar to riding Epona in Ocarina of Time and Twilight Princess. After Link learns the Spiral Charge, pressing the A button will use the Spiral Charge ability and can use it to deal more damage to Enemies. Pressing the B button will slow the Loftwing down.

Aonuma also mentioned that Wii MotionPlus was not originally intended for use with Skyward Sword because the controls weren't working well, but when Wii Sports Resort came out, it worked perfectly for that game, so they re-implemented it. Miyamoto furthermore stated that the Wii MotionPlus would not be used for every Item in the game, saying that Item controls were going to be refined to make an "optimal control scheme".

Overworld and Dungeons

Faron Woods shown during the press conference

Skyward Sword features a new Map that is "a lot easier to follow than previous attempts." According to Eiji Aonuma and Shigeru Miyamoto, this should "cut down on the amount of time you spend lost." Moreover, since some previous games had been focusing on things like story and Dungeons, this title focuses more on "fun." They also mentioned that Skyward Sword wouldn't be as big as Twilight Princess as far as physical places go, but would rather have a more dense and in-depth story.

In the September 2010 issue of Nintendo Power, Aonuma once again spoke of trying to alter the "traditional flow" of The Legend of Zelda series. He mentioned that the development team tried to take some elements of a Dungeon and move them out of the traditional rooms into an area that is usually considered a field, with there not always being a boss at the end of that area.

Game Information

Early Development

Link as he appears in the Skyward Sword trailer shown at E3 2010.

When Eiji Aonuma was asked in a 2007 interview if Twilight Princess would be the Wii's only Zelda title, he replied, "I can't say, but I guess for now, maybe, yeah [laughs]. Not to say that it's going to be the final game. There's still a lot of potential with the Wii so there's still a possibility that there could be another Zelda for it. We do have some ideas in the works, but I can't say for sure because none of them have been approved and we're still very much in the planning process, so I hope you look forward to whatever comes out."

In a private meeting at E3 2007, Eiji Aonuma began to give details about the then-soon-to-be-released Zelda title, Phantom Hourglass. He then began speaking about Skyward Sword. In his excitement, he began to reveal more details about the game, but was withheld from divulging too much information by Shigeru Miyamoto. He indicated that he would like to have a whole new control system for the game, and that it was possible that one-to-one swordplay could be implemented. He also said that he would like to make the game to appeal both to the casual and the hardcore gamer, a sentiment echoed by Miyamoto in a later interview.[44]

It was stated by Shigeru Miyamoto that Twilight Princess is "without a doubt, the last Zelda game as you know it in its present form." However, the meaning of this quote leaves quite a bit to interpretation. In that same vein, Eiji Aonuma more recently revealed that he is looking to alter the "traditional flow" of Zelda games, which usually consists of exploring a field, entering a dungeon, conquering the dungeon, and then returning to the field.

At E3 2008, Miyamoto confirmed that Skyward Sword was not the only new Zelda game in development at the time, and that separate teams had gotten together to create both DS and Wii Zelda games. Spirit Tracks was produced alongside Skyward Sword by a separate team and released before the end of the following year.

At a round-table at the E3 2009 Convention, Shigeru Miyamoto disclosed that Skyward Sword would be announced at E3 in 2010. Artwork shown at the roundtable was leaked shortly after, depicting a swordless, adult, right-handed Link, as well as a mysterious female figure, bearing resemblance to both the Fairy Queen and the Master Sword. Miyamoto admitted that Skyward Sword's version of Link is older than those of past titles, and placed an emphasis on Link's lack of a sword in the leaked artwork, particularly when questioned about the girl.[44] The actual title of Skyward Sword was not revealed until E3 2010, before which it was known only as "Zelda Wii".

Game Developers Conference 2011 Preview

During the Game Developers Conference in March 2011, a new demo was exhibited, showing several new actions Link can perform during the adventure, not to mention new locales and environments. Link faces a redesigned Skulltula and two Lizalfos, manipulates a puzzle-like key in order to open a door, and comes face-to-face with Koloktos. The first significant NPC was revealed to be a mysterious, white-haired man, who can vanish into thin air similar to the way Midna and Zant teleport in Twilight Princess.


The graphics portray a cross between The Wind Waker and Twilight Princess.

Graphically, the title incorporates a mixture between The Wind Waker and Twilight Princess: cel-shading and realistic elements, the former in relation to the overworld, and the latter in respect to Link's appearance and weaponry. However, in the September 2010 issue of Nintendo Power, Aonuma mentioned that neither style contributed to the choice of art styles, and that they simply chose it since the developers are focusing on "swordplay", meaning that they wanted to make the swordplay accessible and clear to the user.

Cel-shaded versions of enemies such as Octoroks, Deku Babas, and Bokoblins were apparent during the gameplay at the Conference in order to further explain the motion capabilities of the sword with Wii Motion Plus and the weapons during combat. In terms of the overworld, an open forest-like area was shown, that housed a large, central tree and a multitude of colorful attributes such as mushrooms, foliage, and even temple-like entrances along the area's walls.

Skyward Sword's unique visual style was inspired by Miyamoto's love of impressionism, and the skies in the game are a tribute to Cézanne. Plenty of visual cues to identify enemy attacks and weaknesses will be given, and since "full realism" wouldn't work for these kinds of cues, the game developers decided that the best way to do so was to overexaggerate the character designs.


Skyward Sword has been confirmed to be fully orchestrated, with Miyamoto saying that "Nintendo couldn't do what it did with Galaxy 2 and not do the same with the next Zelda." However, an IGN interview with Aonuma states that the question whether to use orchestrated music had still not been answered by the time E3 came up. Moreover, Aonuma said that he was actually surprised at Miyamoto's response during the roundtable, saying that he hasn't had a chance to talk to Miyamoto for his approval and that he might tell Aonuma that "he was just joking around."

In an Iwata Asks interview with Super Mario Galaxy composer Mahito Yokota, it was confirmed again that the game's music would be orchestrated. According to Yokota, Shigeru Miyamoto said that adding orchestrated music for Skyward Sword's E3 2010 showing was not necessary at the time, but at the end of the summer, they decided to add in orchestral music and Mahito Yokota joined the development team.

Timeline Placement

Skyward Sword's in-game story establishes itself as the first game in the known The Legend of Zelda series timeline, exploring the beginning of the battle between good and evil within the legend, and establishing its key players: Princess Zelda, as the incarnation of the goddess, Hylia, Link, the hero chosen by the Golden Goddesses, and Ganondorf, as the manifestation of the Demon King Demise's hatred.

Eiji Aonuma had already confirmed during the game's development that in terms of the Zelda Timeline, Skyward Sword comes before Ocarina of Time, which was later confirmed in the timeline published in Hyrule Historia, when it was placed before The Minish Cap and Four Swords. Aonuma did however state that Skyward Sword will not necessarily always be the first entry in the chronology, giving the possibility for future games to occur earlier.


The game received universal acclaim, gaining a Metacritic rating of 93 out of 100 from 81 critic reviewers. It was also awarded the best Wii game of 2011 on Metacritic and is ranked #6 is the top Wii games. It obtained a perfect score from IGN (10/10) and was said to be the Wii game that everyone was waiting for. The UK Official Nintendo Magazine gave Skyward Sword a 98 out of 100; it is tied with Ocarina of Time 3D for the magazine's highest-ever review score.[citation needed] However, Gamespot rated it lower than previous games in the series, giving it a score of 7.5 out of 10.

The controls of the game have been widely debated, with fans many saying that the motion controls were perfectly implemented, while others claim that they became annoyed at the unresponsiveness and the difficulty of using the motion controls. For many fans, the motion controls were the deciding factor in their rating of Skyward Sword, while for others it was only a minor part.[45] For some fans, the story made up for the controls.[45] Other fans disliked Bosses like The Imprisoned and Ghirahim because they would have to fight them three times with only minor changes each time.

Skyward Sword sold over 2 million copies worldwide in a month after release.[citation needed] As of July 2020, the game had sold 3.67 million copies worldwide.

Completion Records

Main article: Speedrun Records
Time Player Date Category
1:21:49[46] sva February 9, 2021 Any%
5:45:36[47] Jasnix08 February 14, 2021 Any% - No Back in Time
3:37:03[48] 64bit_link April 3, 2021 Any% - Normal Mode Only
2:59:37[49] gymnast86 December 20, 2020 All Dungeons
6:46:52[50] gymnast86 January 13, 2021 100%
59:04[51] Ronano December 23, 2020 Goddess Harp
55:08[52] Kitcot January 19, 2021 Talk to Yerbal
21:53[53] keitsu23 February 1, 2018 Boss Rush












  • Skyward Sword is said to have taken the longest development period in the history of the franchise.
  • Skyward Sword is the second game in the series that requires an external accessory (the Wii MotionPlus) to be played, the first being Majora's Mask in the Nintendo 64 version (which required the Expansion Pak).
  • The main theme of Skyward Sword, known as the "Ballad of the Goddess", is an orchestration of "Zelda's Lullaby" played in reverse.
  • Skyward Sword is the second game in the franchise that shares its Japanese subtitle with the rest of the world, being a direct romanization of the English title (スカイウォードソード); the first is Twilight Princess (トワイライトプリンセス). The Legend of Zelda, The Adventure of Link, Four Swords, Ocarina of Time, and Majora's Mask all use the same title in English and Japanese, but they are not directly Romanized.
  • Despite being a game for the Wii, Skyward Sword only runs in 16:9 widescreen, even with the full-screen setting for the Wii on. In the event that the Wii's default full-screen mode is on while playing the game, the image is displayed in a letterbox format so as not to inconvenience those without widescreen televisions.
  • The American box art contains Hylian from Twilight Princess even though Skyward Sword introduces a new Hylian. In the box art, the two words read translated "DIN" and "NAHRU" as a reference to Din and Nayru. The Hylian from Twilight Princess is also scarcely featured within the game.
  • Skyward Sword is the first game to feature the names "Din, Farore, and Nayru" at the same time as "Faron, Eldin, and Lanayru."
  • A game-ending glitch occurs if the quest for the "Song of the Hero" is done in a certain way. This prompted the release of the Skyward Sword Save Data Update Channel.
  • Skyward Sword is the first 3D The Legend of Zelda game on a home console where day and night do not alternate on their own. The only way for time to progress in the game is by having Link sleep on a Bed in Skyloft.
  • Skyward Sword is the first The Legend of Zelda game to have a run feature without the need for an Item. This was also the first The Legend of Zelda game in the series to feature a Stamina Gauge.


TMC Forest Minish Artwork.png Names in Other Regions TMC Jabber Nut Sprite.png
FranceFrenchEUBottes du Dieu démonBootes of the demon God
This table was generated using translation pages.
To request an addition, please contact a staff member with a reference.


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External Links


  1. According to Hyrule Historia, the Hylians are the descendants of Hylia.[3] However, Encyclopedia states that Hylia lived among the Humans. In Skyward Sword, the people of Skyloft are only ever referred to as humans.


  1. 1.0 1.1 Encyclopedia (Dark Horse Books) pg. 7
  2. "This is a sacred place known as the Temple of Time. I could not believe my eyes when I saw a human who lives on the legendary Isle of the Goddess! It wore clothes just like the ones written about in the ancient manuscripts! And it looked just like you, bud! It came with another person...and they entered the temple! I wanted to chase after them... But then there was an explosion all of a sudden! And the entrance... Well, you can see for yourself, bud." — Gorko (Skyward Sword)
  3. 3.0 3.1 Hyrule Historia (Dark Horse Books) pg. 77
  4. 4.0 4.1 Encyclopedia (Dark Horse Books) pg. 11}
  5. "After we finished The Legend of Zelda: Twilight Princess, we began work on the new game in the series. After awhile Fujibayashi-san had finished making The Legend of Zelda: Phantom Hourglass, and he showed us a planning document saying he wanted to make it. We had him be director and discussed something that would use Wii MotionPlus, which was developed right around that time, so players could freely operate the game. For about half a year after that, I have to say the mood was very nasty! (laughs)" —Eiji Aonuma (Starting with a Detour)
  6. "When you have a development period of five years, it's often the case that around two of those years wind up being completely wasted effort. With this game, though, I think all the work that everyone put into this project gets fully seen in the final product. I did say it was five years, but the first two of those were spent with assorted experimentation, so essentially it was three years. We went through kind of a long experimentation period, I suppose." —Shigeru Miyamoto (Miyamoto On the Twists and Turns of Skyward Sword)
  7. "We really studied the skeletal structure of a person's skeletal structure." —Hidemaro Fujibayashi ("Have it Stop.")
  8. "That's right. And Swordplay in Wii Sports Resort uses sticks, so whichever way you swing, as long as the trajectory is right, no problem. But Link is holding a sword. You can't have him flap an enemy with the flat of his blade." —Ryuji Kobayashi ("Have it Stop.")
  9. "In The Legend of Zelda: A Link to the Past, you can pick up grass. So adding a new action was a theme whenever we made a new Zelda game. This time, we wanted to put in something before Miyamoto-san said anything and put in the dash action." —Hidemaro Fujibayashi ("Have it Stop.")
  10. "Yes, and that interrupts the flow of the game. For that reason, I had a strong desire to put in some kind of action so that whatever you hit, it reacts and won't kill your speed. Thus, we made an Link able to dash up." —Hidemaro Fujibayashi ("Have it Stop.")
  11. "That way, even if you don't look at the screen, the items are at certain angles and you can select them by tilting the Wii Remote Plus. As you play, you remember that, for example, the bow is at the top and your bombs are on the right." —Hidemaro Fujibayashi (Selecting Items Without Looking at the Screen)
  12. "There's a string attached to the icon, so even if you make a big movement with the Wii Remote Plus, it moves in a circle, but no further. The first time I saw that, I thought, 'What's with this unsightly string!' (laughs) But when I actually tried it out, it felt comfortable. When first seeing screenshots of that string, many people may feel like something is off, but once they play it, I hope they'll realize how comfortable it feels." —Eiji Aonuma (Selecting Items Without Looking at the Screen)
  13. "" — (The man who made Mario super)
  14. "Super Mario 64 DS sold about four times as much in America as in Japan, so a lot of peple who play games in America are used to playing 3D Super Mario. Against that background, it isn't exactly wrong to say, "Super Mario in 3D is difficult, so we made an introduction that is like 2D Super Mario," but that isn't quite true—it's just that not everyone is used to it yet." —Shigeru Miyamoto (A Future Without Borders Between 2D and 3D)
  15. "Actually, there was a time when I thought it might be impossible to make a 3D action game that would be so accessible, anybody could easily pick it up and enjoy the experience. When you’re playing on a 3D plain, it’s so easy to lose track of where you are in the field. And if the camera moves automatically, there are people that would get 3D sickness. So during the development of Super Mario Sunshine, we prepared several different camera modes that the players can choose from. However, this burdened the players with an additional task; they had to decide on the camera angle before they could go into gameplay." —Yoshiaki Koizumi (Listening to Many Voices)
  16. "It seems a lot of people are saying things like 'Unlike 2D Mario, I get lost in 3D Mario' and '3D Mario is more difficult than 2D Mario, so I can't do it,' and I had a feeling that you were determined to do something about that sometime." —Satoru Iwata (Playing a 3D Game Like It's 2D)
  17. "As we see it, one reason why a number of people who love 2D Mario do not want to play 3D Mario appears to be because they are afraid to be lost in the 3D world by not knowing the exact directions, while they feel that they can play with 2D Mario with no such issues. One of the development themes of the original Super Mario Galaxy was to create a 3D world where people may not be easily lost, and the spherical shape was adopted as the game play theme for this reason. However, when we look at the Japanese sales, I do not think that we were able to effectively tackle this challenge with the original." —Satoru Iwata (Why Do Japanese Gamers Not Take To 3D Mario?)
  18. "We are going to make games that no one has ever seen. I feel there is a bad atmosphere that you can't do something new at Nintendo these days. I never thought things like this before. So now we are changing ourselves to an organization that allows people to do new things and energize ourselves. I'm saying to my people that from now on let's go for the game that can be developed within six months and sell a million copies." —Shigeru Miyamoto (Interview:64 Dream June 1st 1998)
  19. "Games have come to a dead end. Creating complicated games with advanced graphics used to be the golden principle that led to success, but it is no longer working. The biggest problem is that [developers] need to satisfy the core gamers, who want games with more volume and complexity, while they also need to satisfy average users, who don't have as much knowledge about games. The situation right now is that even if the developers work a hundred times harder, they can forget about selling a hundred times more units, since it's difficult for them to even reach the status quo. It's obvious that there's no future to gaming if we continue to run on this principle that wastes time and energy [in development]. Nintendo is called 'conservative' and 'quiet' nowadays, so we hope to show our existence as an innovator to new styles of entertainment." —Satoru Iwata (Various Satoru Iwata comments regarding the Nintendo DS)
  20. "I think the real thought behind trying to do more in terms of the puzzle solving in the overworld really came from Twilight Princess. In that game we had this massive overworld, but you would get into the dungeons and the dungeons themselves were also quite large. Looking at that I was like well why do we have this great massive overworld and these great big dungeons? What's the purpose and the difference between the two of those?" (1/2) "We kept the dungeons with sort of that gameplay idea of get the key, unlock the door, move onto the next room, but kept those a little bit more compact I think than they've been in maybe Twilight Princess. At the same time we sort of blurred the line between what was a dungeon and what was overworld. The idea being that the whole game would feel like this world that you need to explore, one where you can still see the results of your actions having an impact on the world around you." —Eiji Aonuma (Behind the Scenes of Zelda: Skyward Sword)
  21. "You say that there were twists and turns, but I heard there were few detours this time compared to the last game The Legend of Zelda: Twilight Princess." —Satoru Iwata (Starting With a Detour)
  22. "Fujibayashi: All right. First of all, the producer, Aonuma-san, said, "Let's make this Legend of Zelda game compact." Iwata: Miyamoto-san has always said that to Aonuma-san—and this time Aonuma-san said it to you! (laughs) If you make a bunch of new fields, and just stretch it out, it just gets big and can be a bit of a drag. Fujibasyashi: That's right. I thought we could discover a new pleasure if, instead of just stretching it out, we made fields with height and depth, so that every time you went to one, you would experience a fresh surprise and discover new enjoyment." — Nintendo, Making the First Field, Iwata Asks, retrieved April 16, 2020.
  23. "Usually, when we make a Legend of Zelda game with a continuous body of land, we need an overlapping part to join one game field to the next. This time, we made all kinds of gameplay for the forest, volcano and desert areas, and needed to create roads for going back and forth among those places. Every time, it was quite a struggle to figure out how to handle those roads. But the first thing we thought of this time was that perhaps we didn’t need those roads." —Eiji Aonuma (Why Zelda: Skyward Sword Has No Overworld)
  24. "In Super Mario games, there’s a course selection screen, and you waltz on over to it and hop in." — Ishaan Sahdev, Why Zelda: Skyward Sword Has No Overworld, Game Design Gazette, published October 12, 2017, retrieved April 17, 2020.
  25. "For Skyward Sword, that kind of narrowed, focused world helped us with that, but at the same time it meant you didn’t have that wide-open world to explore. We’ve heard the complaint about lack of openness from a lot of fans. As we’re deciding what the core gameplay mechanic was, we have that open-world desire at the forefront of our minds, and we’re trying to figure out how to incorporate that as well." —Eiji Aonuma ('Zelda' Producer Talks Fans, Legacy and New Games)
  26. "I think the real thought behind trying to do more in terms of the puzzle solving in the overworld really came from Twilight Princess. In that game we had this massive overworld, but you would get into the dungeons and the dungeons themselves were also quite large. Looking at that I was like well why do we have this great massive overworld and these great big dungeons? What's the purpose and the difference between the two of those? We kept the dungeons with sort of that gameplay idea of get the key, unlock the door, move onto the next room, but kept those a little bit more compact I think than they've been in maybe Twilight Princess. At the same time we sort of blurred the line between what was a dungeon and what was overworld. The idea being that the whole game would feel like this world that you need to explore, one where you can still see the results of your actions having an impact on the world around you." —Eiji Aonuma (Behind the Scenes of Zelda: Skyward Sword)
  27. "Until now, we've prepared landmarks that you could see from afar or we devised something or other to lead the players to avoid anyone getting lost, but with Dowsing, we don't have to do that. And another method to avoid people getting lost is the Beacon that works like Smoking Signals." —Hidemaro Fujibayashi (Making the "Not" Lost Woods)
  28. "I think we were able to keep such a big project together because the game world this time is structurally simple. We talk about all these "dense" places, but structure-wise there are only four—forest, volcano, desert and sky. Those four worlds were independent, and the goal with regard to each one's volume came into view, so I think we could do it because each staff member had in mind a prediction like 'If we work hard in this direction, this Legend of Zelda game will turn out great!'" —Eiji Aonuma (The Secret to Extreme Density)
  29. "This game’s plot is something like a school drama, you could say. The flying sequence at the E3 demo is Link competing against his classmates. One of them looks kind of a like a bad guy, as you saw, and he shows up in other ways in the game too, since he has a major thing for Zelda. Like with Majora, there are a lot of game events involving the townspeople that get intertwined with the main story. Link, Zelda and their other friends all go to the same boarding school, and you’ve got teachers and a principal as well. It’s a bit of a different setting from previous Zeldas." —Eiji Aonuma (The Legend of Zelda: Skyward Sword’s Plot Has Elements Of A School Drama)
  30. "Something that always gives me trouble when I'm working on Zelda is the fact that, although the point of his adventure is always to save Princess Zelda, that seems more and more contrived the further away Zelda is from Link in terms of relationship. It's like you see this girl for just a moment and you're supposed to want to rescue her because she's probably a princess or something. One of the themes here was to figure out how to really make the player think 'I want to save her!' instead of just making him do so as part of the story progression. The game's story would start to drag if we spent a long time framing this at the start, though, so having them be childhood friends is what we thought was the quickest and easiest way to establish their relationship and portray them in this new world." —Hidemaro Fujibayashi (Interview:Famitsu November 22nd 2011)
  31. "We used a special tool for development this time so planners could do all sorts of things. Before, planners would ask the various people in charge to work on character dialogue and the timing of events, but this time the planners could, to a certain extent, take care of such things themselves. In other words, what we would usually ask the programmers to do, we could do ourselves. But that way, since you can do anything yourself, you're alone up till the very, very end, taking pains over it." —Eiji Aonuma (The Producer Trap)
  32. "Usually, at the beginning, just by talking to the other characters, you imagine the drama that will unfold and get really excited, but that wasn't true at all. And it wasn't clear whether the people who appeared were Link's classmates or what. I pressed him, saying, 'Come on, you got to get this part right!' and he said, 'Well, I'm busy with some other stuff right now.'" —Eiji Aonuma (The Producer Trap)
  33. "Ono worked on many projects while at Monolith Soft, including Disaster: Day of Crisis and The Legend of Zelda: Skyward Sword. During Skyward Sword's development, Monolith Soft worked on field layout designs, conceptualizing sub-events, and writing some of the text. Exactly how much of the aforementioned tasks the team completed is not known." — Patrick Barnett, Monolith Soft's Involvement in Skyward Sword Detailed, Nintendo World Report, published May 22, 2012, retrieved April 16, 2020.
  34. "Like an experiment shooting an arrow in an empty desert, and when it hits something, that suddenly changes in real time to a verdant land. We wondered if we could turn back time before your very eyes, and when we did it that made quite an impact. And, using the forest game field, we explored gameplay very representative of The Legend of Zelda that involved trees growing up one after the other and things disappearing or multiplying. The transformation system was the result of that experiment we did for gameplay with contrast in the desert. You cut through space and that becomes the past. If you use your sword to strike a stone in the desert called a Timeshift Stone, the present turns into the past in a widening circle. Placing Timeshift Stones here and there around the game field expanded into various types of gameplay, and it began to look as if we could include some challenging ones. The present time that Link is in is a desert region, but underneath all the quicksand lies an ancient civilization. If you strike a Timeshift Stone with your sword, your surroundings transforms back in time to reveal that ancient civilization." —Hidemaro Fujibayashi (The Transformation System)
  35. "But thanks to this mechanical item, we decided to expand on that theme, which gave birth to the ancient civilization that is part of the backdrop this time. At first, we weren't thinking about having an advanced ancient civilization be part of the milieu. As you can tell from a rocket fist. (laughs)" —Eiji Aonuma (Rocket Fists Give Birth to an Ancient Civilization)
  36. "This time, the theme is the sword which makes use of the Wii MotionPlus accessory. When you think of a sword in The Legend of Zelda, you think of the Master Sword. Rather early on, we decided to address the origin of the Master Sword. About that time, we began talking about how that would make this the first story in the series, and we wondered about involving the birth of Hyrule Kingdom. On the other hand, there was the setting of the floating island in the sky, and we thought, 'How did that get there?'" —Eiji Aonuma (A Battle Against Contradictions)
  37. "Wada: The decision of who would be in charge of the artwork for Skyward Sword was decided by a competition among the group. At that time I had only been at the company for two years, so it was an honor to be chosen."  (Art & Artifacts (Dark Horse Books) pg. 422)
  38. "Nakano: The design for Fi was also a competition. I participated in that, and my design ended up being picked."  (Art & Artifacts (Dark Horse Books) pg. 422)
  39. "During development, the team considered turning Zelda's adventure after she landed on the Surface into a fully playable "Second Quest". It never became reality, but the setting of that story was used in the cinematic shown after the game's ending."  (Encyclopedia (Dark Horse Books) pg. 297)
  40. "Nintendo Greece has just aired a new Skyward Sword ad featuring the Williams pair (ignore the unfortunately squashed screen)." — Tony Ponce, Zelda and Robin Williams return in this Skyward Sword ad, Destructoid, retrieved April 17, 2020.
  41. "Wii / Skyward Sword / 3,670,000" — Ishaan Sahdev, The Legend of Zelda - Global Sales, Game Design Gazette, published January 31, 2018, retrieved April 26, 2020.
  42. "For Skyward Sword, that kind of narrowed, focused world helped us with that, but at the same time it meant you didn’t have that wide-open world to explore. We’ve heard the complaint about lack of openness from a lot of fans. As we’re deciding what the core gameplay mechanic was, we have that open-world desire at the forefront of our minds, and we’re trying to figure out how to incorporate that as well." —Eiji Aonuma ('Zelda' Producer Talks Fans, Legacy and New Games)
  43. "A lot of the fans that played Skyward Sword said that they were really bummed out that they couldn’t find the hidden element of the game. A lot of the users, when they looked at the map, they said, ‘OK, there’s these places I can go, but how come I can’t go over here?’ I’ve always thought that when creating a 3D game where it’s easy for users to get lost, it’s really important to tell the users what they need to do. But then, after creating this larger world, I realized that getting lost isn’t that bad. Having the option to do whatever you want and get lost is actually kind of fun. I think fans that enjoy a more linear type of gameplay will also enjoy this type of gameplay." —Eiji Aonuma (How The Legend of Zelda: Breath of the Wild is learning from Skyward Sword's haters)
  44. 44.0 44.1 E3 2009: What Happened to Link's Sword? - IGN
  45. 45.0 45.1 "But I still don’t think it’s entirely fair to completely write off a game just because you don’t like the control scheme. I don’t like console first person shooters because I prefer playing them on PC, but that doesn’t mean they are bad games, or even that they control badly. But let’s get into the main reason I like Skyward Sword: the story." — Danny Duff, I Like 'Skyward Sword', Vocal, published 2018, retrieved November 17, 2020.
  46. The Legend of Zelda: Skyward Sword - Any%, Speedrun.
  49. The Legend of Zelda: Skyward Sword - All Dungeons, Speedrun.
  50. The Legend of Zelda: Skyward Sword - 100%, Speedrun.