![]() ![]() ![]() Each character has a skill tree with a handful of skills already unlocked, which can be upgraded and added to. Previous skills return too, such as Zoya’s rope swing, Pontius’ charge, and Amadeus ability to conjure magical boxes and platforms, or move items around with telekinesis. Pontius, for example, can now throw his sword, creating hook points for Zoya and platforms that he can springboard off. They do have a few extra skills this time around though, which help them traverse the colourful, whimsical kingdom they’ve defended for years. ![]() Once they get together they do so with the same exact dynamic: Amadeus is anxious about everything, Pontius is noble but simple, Zoya is sassy and sarcastic. These characters have never evolved an inch since the first game, and are always found engaging in their stock activity of stealing, questing, and worrying. Primary characters Zoya the Thief, Pontius the Knight, and Amadeus the Wizard are just as likably two-dimensional as ever. It’s a pretty nonsensical plot, and yet Trine 5 tells its story with the same easy, quintessentially British charm that the series is known for. It’s only after they’re lured to her estate and she tries to imprison them that the Heroes of Trine get involved at all. It’s a classic example of the villain antagonising the only people who could stop them when leaving the heroes alone would make everything much, much easier. See, primary villain Lady Sunny has recruited the evil Lord Godric to make an army of Clockwork Knights to take over a kingdom that she already rules. But in Trine 5 it goes a step further, not just adding loose justification for its avatar switching, but adding a pretty flimsy reason to get them together again. It has never been a series known for its narrative, which has always kind of existed as a framework to explain why you can switch instantly between the three characters. The story of Trine 5: A Clockwork Conspiracy is a bit of an odd duck. ![]()
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