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The world design gently nudges you towards specific early dungeons – which is wise, as they happen to contain extremely helpful pieces of gear – but the fact remains that you have a choice, and it feels liberating.
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The items are still tied to dungeons, but now you’re free to tackle those dungeons in any order you please. You can later purchase items for a much larger fee (renting means that they return to the store whenever you die), but by then it’s a formality – the real pleasure is in the illicit feeling of stuffing your pockets early, of marching through the land with your few hearts and your massive arsenal. Your wallet has no limit from the get-go and almost everything’s there right from the start – theoretically you can be marching around the game with the majority of the major items within a few hours. Early in the game, an entrepreneurial creature moves himself into your house and starts renting out the majority of the game’s essential items for small fees.
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This approach is partnered with an immense design shake-up, a series of changes that fundamentally alter the Zelda experience while still maintaining the series’ most familiar charms. It resembles the original NES Zelda in this regard, although it’s far less obtuse than that game was – finding your way forward isn’t necessarily hard, but there’s a real sense of accomplishment in mastering the landscape. The directions you’re given are always quite vague, and it’s up to you to head in the direction indicated and work out what to do from there. You explore the twin worlds of this game (one light, one dark, just like its SNES predecessor) from an isometric perspective, and the game actually expects you to do some proper exploring. The feedback Nintendo received from Skyward Sword suggested that players didn’t appreciate the game’s hand-holding, so that’s been done away with. The plot is much lighter than we’re used to – it’s a simple case of Zelda being kidnapped and the world being in peril – but the real story here is the one you create along your journey. This time, Link can turn into a painting and sidle along walls, which allows him to slip through rifts between the world of Hyrule and its dark mirror, Lorule. but it’s also absolutely brilliant.Īs a direct sequel, A Link Between Worlds takes place over the same map as the SNES classic, and features a similar world-swapping mechanic. It’s a 12 to 15 hour Zelda game, set across a relatively small map, totally at odds with the capacious epics the series is most beloved for. This is, however, by design rather than an issue of quality – it’s a much punchier game, forsaking Zelda’s usual languid pace in favour of a campaign that feels like it should be sped through. Perhaps I came to it too late (I didn’t play it until the GBA version), but the game never made much of an impression on me, and I abandoned it after a few hours.Ī Link Between Worlds is a sequel to ‘Past, but it’s not going to inspire the same fervour that game did.
and because of that, I can’t help but kick myself over never getting into A Link To The Past, the Super Nintendo entry that continues to inspire such fevered nostalgia. For me it’s Wind Waker and (oddly enough) Oracle of Ages that have taken on a special significance, but the importance of the series as a whole resonates. Zelda games are very much about a child maturing, a theme that hit a lot of young players right in the heart when they originally discovered the series, and their lengthy, sprawling quests have helped the memories stick. This is a series that genuinely means something to people: they became closer with a childhood friend while solving the NES original together, or they never forgot the Christmas when Ocarina of Time was under the tree. It’s traditional, at this point, to open Zelda write-ups with anecdotes.
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