User:K2L3798@legacy41960118/WikiExclusive Project

{{hide|header=WikiExclusive Project:Influence of the Gameplay Devices|content= In the following page, we will discuss a popular topic among fans of the Zelda series. This topic is the Influence of the Gameplay Devices in the franchise; that is, how the implementation of a game's particular mechanics can improve, worsen or simply modify the gaming experience in that title.

In the Legend of Zelda series, several gameplay-based experiments have been put in practice, which shows Nintendo's intention to add an extra layer to the games' uniqueness. Some of these mechanics were well-received, whereas others weren't. The order in which the games will be mentioned will be chronological, but not all of them will be mentioned, since not all of them were played by the article's proposer.

Mechanics or "Gimmicks"?
It is first necessary to clarify some terms, so that any possible doubts can be solved beforehand. Most of the gameplay devices are vulgarly known as "gimmicks", and often referred to in a comtemptuous way; seemingly, when it comes to video game terminology, a "gimmick" is a gameplay mechanic that is deemed unnecessary, artificial and/or, worst case scenario, detrimental for the gaming experience. Problem is, this term (already with a misinterpreted meaning) is used in a wider-than-usual sense, often when a player refers to a game as a ripoff of another "but in space", "with a waterpack" or "including a train". What actually separates a straight gameplay device from a "gimmick" is how much it impacts on the game's storyline, the fundamental core mechanics, and even the level design and characters. Just because a mechanic is an one-game feature dopesn't mean it's a gimmick (this is a second way to misinterpret its meaning).

For example, Super Mario Galaxy is often described as "Super Mario 64 in space", which is obviously a very severe disservice to it. Here we see an example of how a single device, travel through planets and solar systems, can provide a deep impact on the gaming experience. In the aforementioned Super Mario 64 and the sequel Super Mario Sunshine, worlds are explored within physical bounds, inside which the pertinent objectives are executed. In Galaxy, there are no boundaries except on rare occasions where a non-round planet is visited; and even then, Mario eventually quits that planet to go another. It's as if multiple mini-levels composed the current level where the red-dressed plumber is, which provides the player a very different way to play the game. An actual, expendable (and, at the scope of the entire game, insignificant) gimmick is the addition of the Bubble Blast, Manta Ray and Rolling Ball stages. These stages are special in that they're fully controlled by the Wii Remote motion, and indeed provide a creative and unique experience; but their presence is limited nonetheless, and were they removed in favor of traditional levels, the game would change little. If the concept of space travel was removed, however, the game would not be the same by any means, making it a pivotal device for its functionality.

Another confusion is that, sometimes, the control interface of the console is said to be a gimmick for the game launched for it. This too is false. In the event the game was released for multiple systems, the way it's played would change drastically according to the console version. This, granted, also depends on how much a version exploits the resources of the system it's launched for, and sometimes the game is exclusive for said system for this very reason. It's known that Twilight Princess is not too different between its two versioons, but this is only because the GameCube version was developed first and for a longer time than the Wii version.

In contrast, Metroid Prime 3: Corruption is intimately bounded with the Wii's motion capabilities, which renders it playable in a completely different way to its two GameCube predecessors. This is not only true when it comes to aiming and shooting, but also when there is use of the Gapple-based abilities, scenning, welding, and making use of context-sensitive phases to press switches or buttons. If this was a GameCube game, the game would have to be totally overhauled to fit the more traditional interface of the button-based controls. Corruption is also an example of how in-game mechanics can influence the game overall, despite being referred to as gimmicks as well. Hypermode, the usage of Phazon to fight enemies and bosses, provides a new means of combat, while the concept of travelling through entire planets (a somewhat more realistic variation of Super Mario Galaxy's concept) delivers an easier method of transportation, making backtracking more lenient and smoother, not to mention the fact the the gunship itself gains abilities like her owner does, allowing the solution to puzzles that can't be concluded otherwise.

Overall, a gameplay device can only be called a gimmick if it's not essential to the overall experience of the game, and whose removal would impact little the gaming experience. Storyline-wise, gimmicks shouldn't be too valuable either. As for whether or not the game's specific mechanics are desired or not, that's up to each player's opinion, here we'll only describe how far a device can reach to make the game as different to the others as possible.

The Legend of Zelda
It is told that the first The Legend of Zelda has no gimmicks, based on the fact that it's the first in the series; the only reason why it indeed has almost no gimmicks (it has a minor one, more on that later) is because each and every mechanic introduced is vital for the game's functionality, and for no other reason. The tropes and conventions featured here are what have defined the franchise ever since, and we'll call then primary or first-generation devices. These include:


 * Top-view perspective. This is the very first thing to take into consideration, as deeming it too obvious is the sole reason why the changes in The Adventure of Link has taken by surprise to nearly all fans of the series.
 * The distinction between the overworld and the dungeon. The former is the field, where Link explores freely the land of Hyrule, and where (from The Adventure of Link onwards) he finds towns to talk with characters, make sidequests, shop and more. The Latter, the dungeons, are dark and lonely places with far less degrees of freedom than the overworld, usually divided into rooms that serve as constraints that limit our capacity to freely wander around. Keys are required to proceed further.
 * The use of a sword as the primary means of defense, and the shield as the primary means of defense. This is one of the elements that further separate the franchise from Mario and most of the acton-adventure games. Adhered to this is the usage of items and tools that allow Link to solve puzzles, attack enemies at a distance, and gain access to locked roads.
 * The collection of Quest-based items. Back in the 80's decade, most games revolved around simply beating the levels to proceed further. Because The Legend of Zelda has no levels in the traditional sense of the world, but rather dungeons accessible through the overworld, there must be an alternate reason to beat said dungeons. In this case, there's the Triforce fragments, but there are also Heart Containers, which are optional and increase Link's life energy.
 * The ability to save anytime. Though it's a primitive (and not exempt from glitches) feature in both this game and in The Adventure of Link, it has become a necessity for an adventure where the dungeons cannot be overlooked (as in the case of the levels and worlds in Super Mario Bros), and whose quest is more complex and time-consuming.

These five devices define the way the game is played, and the way the others are as well. Without them, the games are no longer what we know today. Next is a mechanic that is also important for the 1987 classic, but more particular, and has appeared in less games, though its influence on the gameplay experience is still very far from that of an unnecessary gimmick. It's the first of the secondary or second-generation devices (later the reader will notice that the majority of the one-time features in the series, such as the three-day cycle in Majora's Mask and the sailing in The Wind Waker, vulgerly known as "just gimmicks", actually belong to this type):


 * The Second Quest. When Link defeats Ganon and rescues Princess Zelda, the game concludes and then restarts, but in a different way. The dungeons, the items and the Heart Containers have completely changed their locations; in fact, the dungeons themselves changed totally in shape, size and difficulty, which gives a new and creative challenge to the players who wish to continue venturing into the land of Hyrule. Although the Second Quest appeared in later games, the first Legend of Zelda game exploits the concept in a way like almost no other video game to date has done. This device is to this game what, for example, the Light/Dark world dichotomy is to A Link to the Past: A mechanic that has a deep and everlasting impact on the game's way to be played, and just because it's not repeated in future games doesn't mean it's "just a gimmick", like some players would suggest.

Finally, there is an actual "gimmick" in the game, one that does appear in subsequent games to much greater degrees, but never imply a trademark gameplay feature in any game. This is a tertiary or third-generation device, the group where the true "artificial" additions belong:


 * Item upgrade. In the game, it is possible to increase the capacity of the bombs, and earn more powerful variations of the Boomerang, the Ring and the Candle. This is hardly a reason to play the game, because it's impact is far from being as groundbreaking as the primary and secondary devices.

Before proceeding to the next game, it is convenient to remember the criteria built upon: A primary or first-generation gameplay device is one that has a major impact on the entire franchise, a secondary or second-generation mechanic is not essential or decisive for the series, but it is for the game(s) where it is employed. Finally, a tertiary or third-generation device is a minor addition that is not significant for the gaming experience, and whose hypothetical removal would impact little the game, being therefore neither groundbreaking for the series, nor even to the individual games where it's shown. Note, however, that certain devices have debuted first as tertiary, thus non-essential, but reappear in later games with more notability, becoming secondary. We'll learn that most of the so-called "artificial" or "gimmicky" mechanics aren't.

The Adventure of Link
Heavily criticized for departing too much from the norm, The Adventure of Link still has a finite number of gameplay changes, the catch is that said changes indeed send an intense echo to the overall gaming experience. Because almost none of these changes managed to define the series, they're second-generation devices.


 * In this game, Hyrule is explored in two formats: The usual top-view perspective, useful to travel through the open field from one spot to anothe; and the side-scrolling perspective, from which Link explores the towns, the caverns, certain parts of the field, enemy perimeters, and the dungeons. But even then, notice that this change follows a similar protocol to that of the top-view-only concept, as Link still advances through his quest by finding and beating the dungeons by walking through the overworld first, as well as collecting items and placing the Quest ones (as they're in Link's hands already); the key difference in this case is the added ability to jump. In this sense, the perspective switch is still faithful to the second, third and fourth core mechanics introduced in the first game. It also brings in advantages: With the aforementioned ability to jump, skills like the Downthrust and the Upthrust are introduced, and make enemy combat much easier. In addition, the platform-based gameplay leaves a basis for the concept of flight in Majora's Mask and The Wind Waker, whereas the perspective switch does for the dichotomy between vehicle-based travel and exploration on foot in Phantom Hourglass and Spirit Tracks (bite your own tongue if you never noticed this important legacy).
 * Magic and experience points. The former might be considered to be a primary mechanic because it appeared in various Zelda games, even though no other entry in the series has used so extensively the concept of magic usage as in this installment (see more below). The latter mechanic is indeed a secondary one, since no other game used again the experience points. However, this rarer feature is what defines the game, whose difficulty makes necessary a higher endurance of the capacity of magic, the sword's damage ratio, and the health meter. To put this in retrospective, the strongest Spell, Thunder, needs 128 magic points if Link's experience in the magic department is at level 1, but only 64 if it clocks at level 8 (maximum). Note that, with all Magic Containers collected, the amount of magic points available is exactly 128 (this is the reason why Thunder won't be taught to Link if he doesn't have all Magic Containers yet in the game).
 * Life system. In the other The Legend of Zelda games, dying means actually little, even less if fairies are used for revival. Not the same case this time. When Link loses his lives, he starts back from the game's starting point, although his progess is still saved. Though this would mean little more than just having to again to the current place of progression, it also happens that the extra lives collected across Hyrule are saved as well, meaning that the game will become even more difficult than usual without these limited reserves. Difficulty-wise, this device is indeed influential, and some players may thank that it hasn't appeared in another game to date.

Because of these mechanics, The Adventure of Link plays differently from the other entries, placing it among the so-called "black sheeps" (along with Majora's Mask, The Wind Waker, and the CD-i games). However, the game does offer two earnestly valuable first-generation device:


 * The presence of towns, thus character interaction. Notice that, in the first The Legend of Zelda game, Link never started a dialogue with any character, they instead had to talk at will to hook Link's attention. Not to mention that there weren't any towns whatsoever. In the Adventure of Link, Link is the one who has the initiative to interact with a non-playable character, so that he can help them. This results in being rewarded with new spells, hence why it's always recommended (and sometimes required too) to explore the towns before venturing into the dungeons.
 * As previously mentioned, the introduction of Magic. During the quest, Link learns various Spells that are important for Link's survival during enemy melees and boss battles, and vital to solve otherwise impossible obstacles. Dungeons like the Three-Eye Rock Palace and the Great Palace are designed so that the young hero have to take advantage of these unique features. Later games from A Link to the Past onwards would implement items that, like the Spells, require magic to work.

Next is an example of a very minor mechanic that would reappear in the future as a more prominent feature:


 * Transformation. One of the spells in the game allow Link to be transformed into a fairy; in this state, he can fly freely across the side-scrolling zones, easily dodging enemies and crossing otherwise impossible obstacles. One disadvantage is that he cannot perform any other actions, and cannot turn back to Hylian form without going to a new area.

A Link to the Past
Most of the features seen in A Link to the Past revolve around improvements over the first two games, particularly the first one. Therefore, it's harder to indicate any first-generation device present in the game (there is one, technically, but more on that later). For example:


 * The dungeons are now multi-leveled. This is a improvement over the second core mechanic of the first The Legend of Zelda game. Big Keys are introduced as well, and they're necessary to open Item chests and Boss gates. Other than adding an extra degree of freedom to the dungeon exploration, these don't imply a radical change.
 * Upgrading the item capabilities is more complex in this game, as it's now more progressive (in the case of the Heart Containers, the bombs and the arrows), and now it's extended to the magic meter, the sword, and the shield.
 * Based on the second improvement, character interaction is now far more diverse, originating the availability of sidequests in the franchise. In addition to helping those in trouble, Link is also invited to play minigames, or receives clues on the location of secret areas.
 * The saving process is more sophisticated.

Therefore, they're not new gameplay devices, but rather an evolution of the already existing ones. There is only one thing that differentiates A Link to the Past from the others:


 * The presence of the Dark World. This is an extremely important second-generation feature that increases the exploration factor, not only because of it being an entire overworld on its own, but because of its close connection to the usual one. For example, there are spots in one World that can only be accessed by reaching to its counterpart from the other World, then warping with tthe Magic Mirror. The game makes sure to exploit this concept so that the player can use his intelligence and discover secret areas that would be unnoticeable (and obviously unreachable) otherwise. Most dungeons can only be accessed this way. In addition, there are items that, once collected in one world, can be used extensively in the other.

The Light/Dark World is a feature that is unique to A Link to the Past, but whose premise of duality has been the basis for several concepts that would appear in future games, such as the time travel in Ocarina of Time and Oracle of Ages, the size change in The Minish Cap, the search for both Servant Spirits and the Pure Metals in Phantom Hourglass, and the removal of twilight in Twilight Princess, among others. In this "spiritual" sense, A Link to the Past has a mechanic that is both secondary and primary. Usually, when the storyline is about to justify the duality, a plot twist will happen.

Ocarina of Time
From A Link to the Past onwards, every subsequent The Legend of Zelda games have tried to improve upon the mechanics that existed already at the time, in addition to showing second-generation devices. Ocarina of Time, for example, showed a mechanic that is analogous to the Light/Dark World dichotomy: The time travel. As Link progresses through the quest, he will have to explore Hyrule in two eras: In the first, the present, the sacred land is in a relative state of peace, where the dangers and situations aren't too menacing, and are more like an annoyance to the differents races and inhabitants; in the second, the future, the threats are major and on a bigger scale, not to mention that most inhabitants are susceptible to death. When it comes to level design, unfortunately, the two eras are nearly identical. It may be attributed to the technical limitations of the Nintendo 64, but it's true that the graphical similarities, save for a few exceptions, are so many that the realism of a darker future pales drastically. Save for the placement of characters in different parts, the time travel doesn't seem to make too much of a influence in the game overall when compared to the others.

The real differences between the two eras are better appreciated with the introduction of a new secondary mechanic: Age difference. Link, in the present and thus a child, is unable to change his equipment, with the only exception of the shield (and even then, the Hylian Shield is too big for him to use properly), since the alternative tunics, boots and swords are adult-sized. Naturally, this means that Adult Link has access to those extra items, allowing him to survive at high temperatures or underwater, to walk heavily or lightly, and even to reflect light. Child Link does have an advantage, though: He is able to enter small holes in the walls, something his grown-up body won't be able to do due to the enlarged size. The item repertoire is also different in both cases, as there are tools and weapons that one form cannot use and suit for the other and viceversa. Lastly, only adult Link can ride on Epona (more on that below). These key changes are what determine where each incarnation of Link can go to, and are what truly exploit the concept of time travel in the game.

Ocarina of Time also reuses the use of music to solve puzzles, a mechanic that debuted in Link's Awakening. The songs are now more in number, and half of them are composed specifically to warp Link through important locations. In fact, one of the songs (the Song of Time) is closely linked to the concept of time travel, as it's the key to gain access to that ability; another song allows him to travel between day and night, and viceversa, which proves useful to perform actions whose effects have limited houras of operation; lastly, the Song of Storms changes time in the climatic sense, performing a rain out of nowhere. The versatility of the Ocarina of Time becomes vital for the game's progression, even to a greater degree than it did in Link's Awakening.

The real reason why Ocarina of Time is critically acclaimed, however, is because of the introduction of two new first-generation gameplay devices, both necessary to take full advantage of the addition of a third dimention:


 * Z-Targeting. Because Ocarina of Time is a tridimensional title, is would be too difficult to play it with a top-view perspective, which means that there must be a way to wander across Hyrule and its landmarks while always focusing to the destined direction. With the help of targeting, it's always possible to adjust the camera so that the screen doesn't lose any detail of what is surrounding the young hero. It's also designed so that it automatically focuses Link from the top when he is close to a wall, and also allows him to directly target characters, enemies and certain objects; most importantly, with targeting, Link can move without losing sight of his target, and the items he uses will always pinpoint said target. The correct implementation of this primary mechanic makes the game very easy to be played, with a nearly-null learning curve; various games outside the franchise have managed to borrow this mechanic so that they could avert the camera problems that earlier titles in video game history used to have. This, needless to say, has become a staple for the console 3D games in the Zelda series, and very few gameplay devices (not only from this franchise, but also from the entire gaming repertoire to date) have been as groundbreaking as this one.
 * The introduction of sidekicks. Ocarina of Time features at least three characters able to greatly help Link: The first character is Navi, who provides useful hints in regards of unsolved puzzles, reminders of the game's current objectives, and warnings; she is also the reason why link can target characters, enemies and objects in the first place, as Link never loses sight of her, and thus always looks at his abjective. Saria is the second sidekick to be introduced, and provides hints on where to go next by playing her signature song; it's also worth mentioning that the same song allows Link to talk with Navi as well. Finally, after being called through a certain melody, the horse Epona allows (adult) Link to travel more quickly between the regions of Hyrule when warping with a song may not be the best option. Later games in the franchise, from Majora's Mask onwards, would show a sidekick (usually female, as in the case of the three seen in Ocarina of Time) accompaining Link to give advice.

Ocarina of Time is also the first game where time actually flows, meaning that there are instances where it's day in Hyrule, and others where it's night. Some shops are open at day only, and most Gold Skulltulas only appear at night, whereas some characters change their positions depending on the current time, and background music is almost always absent during night. Time doesn't flow in all places, however, and remains static as long as Link is whithin, for example, a village or dungeon.

Majora's Mask
Released two years after Ocaina of Time, Majora's Mask makes use of the same primary mechanics that debuted in its predecessor. Therefore, the learning curve for the control scheme is nonexistent for thosw who played first the 1998 title, and still low for those who didn't yet. The game has hooked attention for its unusual secondary gameplay devices, which render the quest very different from the other games in the series (though most of the existing primary mechanics are present). Also, for the second time in the series (the first being link's Awakening), the setting is not Hyrule, but Termina, and therefor the storyline is completely unrelated to that of Ocarina of Time. These mechanics include:


 * The three-day limit. Except during a pause, a conversation or cutcene, and inside the Clock Tower, time flows during every other action performed in the game. All Link does must take place during a period of three days, which are necessarily longer than in Ocarina of Time. This bring various interesting effects to the gameplay experience, making this device the most heavily influential for the game. Because only three days can be played before a major disgrace occurs, the overall period of gameplay is much more compact in the game, which allows a more realistic notion of time than in any other The Legend of Zelda game to date. This is noticeable in Clock Town, where nearly every character has a schedule of activities, and during certain instances there is something that can be done with them. An elaborate example of this is Gorman. From 6am to 9am in the First Day, he stands in the lobby of Stock Pot Inn waiting for an important reunion; from 9am to 10am, he makes his way to the mayor's residence and talks with Madame Aroma about the performance of his group of entertainers, only to realize that those activities were cancelled. At 12pm, he goes to the Milk Bar and stays there, emotionally destroyed, waiting until 10pm to start drinking. Form this moment to 5am, his sequence of activities can branch off: If Link doesn't help him, Gorman simply returns to the inn after the bar closes, and during twelve hours in the Second Day he is asleep. At 6pm, he wakes up and waits until he can to the Milk Bar again to keep drinking. Now, if Link does help him during the night of the First Day, Gorman still falls asleep during half of the next day, but at night he won't move to the bar anymore; instead, he will play poker all night with two of his roommates, and feel very happy.

Outside of Clock Town and Romani Ranch, the flow of time is rarely an influence for the characters, whose activities are available 24/7 in the majority of the cases. However, because time keeps flowing nonetheless, Link must keep an eye for it when he is doing the necessary quests to find a dungeon, and especially when a dungeon is being explored. When a boss or mini-boss is fought, an strategy must be thought of quickly, so that the dungeon can be completed in time. And even after it is completed, there are activities that have to be done yet in the overworld (in fact, they're only available after the dungeon's completion, in no small part due to the fact that the environment changes for the better.

Given the importance of time, and that the game is nearly impossible to be beaten during a single three-day cycle (and definitely impossible without correctly employing glitches), it is necessary to save so that the young hero can return to the First day and continue his adventure. A direct consequence of this variation of the time travel concept is that nearly all events are resettable, including the sidequests, the characters' activities, and even the complation of dungeons and the effects of it. With the activation of Owl Statues to warp, the collection of new weapons and tools, and the preservation of the Boss Remains, previously done events can be either skipped or done more quickly, and places that should be reached first on foot, can now be reached to by warping, or using items that grant access to shortcuts. Not to mention that the fact that most events are resettable in the first place (including the boss and mini-boss battles), the player can replay his or her favorite parts of the game, a feat that can only be done in platform games or through the availability of a New Game Plus mode.

As long as Link has the Ocarina of Time, he can play the Song of Time to manipulate the flow of time at his will; in addition to going back to the First day, he can also make time itself flow slower (which makes all characters perform their activities slower as well), or switch from day to night and viceversa. Though most players criticize the seemingly restrictive nature of saving in this game, it actually works in the same way it did in the two NES games (that is, only to save when the playthough session ends). It is also possible to temporarily save the progress with the help of the aforementioned owl statues, which makes saving work in the same way it does in the post-NES Zelda games; this helps to interrupt a current progress without having to redo it again from the first day. However, due to the process being temporary, the Song of Time must be played whenever the playthrough session ends for good, for the temporary save expires when the quest is resumed; otherwise, the adventure will restart from the last time the Song of Time was played.

During the start of the game, Link does not have the Royal Family's instrument, meaning that (for the first time in the entire series) there is an instance where the player can never save his progress at all; during this phase, Link shapeshifts as well, and must take advantage of the skills (and limitations) that imply his new form. this is where the game's other signature mechanic plays its role:


 * Collection and usage of masks. The first mask Link collects is the result of his initial curse being lifted, and is also a transformation mask, thus employing the concept of transformation that started as an minor extra in The Adventure of Link and A Link to the Past, and was indirectly used in Ocarina of Time through the time travel device (and even then, it was age-based only). Five of the masks are of this variety, and allows the young hero to perform abilities that normally only certain races would be able to exhibit. For example, as Deku Link, he can use Deku Flowers to fly through gaps or cliffs, or simply reach a higher place; he can also hop for a limited number of steps on water, shoot bubbles and attack (or even paralyze) enemies with a more rudimentary version of the Spin Attack. With these abilities, Link can beat obstacles that his Hylian form would not, which becomes important in the case of Woodfall Temple. Analogously, the other transformation masks allow Link to explore areas and beat dungeons that are specifically designed for the abilities of said masks. This is true for most boss battles as well.

As for the regular masks, Link can use them to gain minor abilities that give him advantage in certain situations; some characters also provide valuable information (and even rewards) when the proper masks are worn. Most importantly, masks are one of the signature sources of sidequests in the game, both to earn them, and when they are being used. These is a total of 28 masks: Five for transformation, nineteen for either minor abilities or special character interaction, and the four Boss Remains. They are the quest purpose and the sidequest purpose.

Speaking of sidequests, there is a third signature element that separates Majora's Mask from the other entries in the series, albeit it is not necessarily a gameplay device per se: It shows a notorious focus on all things optional. A direct consequence of this is that the game only has four main dungeons, which makes its main quest much shorter than that of Oarina of Time and the previous entries in the series, and render the overworld more compact. If the pronounced influence of the time limit, the technical elements being too similar to those of Oarina of Time, a setting other than Hyrule, the storyline being totally independent, and the masks weren't already points of criticism and opinion polarization, this might definitely be. Majora's Mask employs every type of sidequest to provide content within an overworld that is as compact as the playable period of time: From complex character interaction, to the increased repertoire of minigames and secret or optional areas (some of which even house optional mini-boss battles). Only in Clock Town, there are at least 15 Pieces of Heart (plus one more if the Keaton quiz minigame is completed there), 10 masks, and even its own Fairy Fountain (which is supposed to be near a dungeon). It would take at least 40 hours to achieve 100% Completion in the game, and without these sidequests done, Link would have too few Heart Containers, adding more difficulty to the main quest than usual. It is only nowadays when a game like this is well-received by fans of the series (critics always praised the game since its original release), who were expecting a more traditional sequel to Ocarina of Time (which only materialized in late 2006 with Twilight Princess).

The game offers two very minor gimmicks that would be the base for major features in The Wind Waker:


 * The ability to control a character other than Link. During the Kafei and Anju reunion, both Link and Kafei must be controlled by the player so that the Sakon's Hideout mini-dungeon can be beaten. Whereas Link battles enemies, Kafei moves blocks to solve puzzles that allow them to retrieve an important mask.
 * Maps have to be purchased from Tingle in order to fill in the Map Subscreen's overworld map.

The Wind Waker
The Wind Waker is a reminder that looks can be deceiving. Other than the cel-shading style of the graphics, which provide an anime-inspired perspective of the adventure, The Wind Waker is a very faithful entry in the franchise not only storyline-wise, but also when it comes to the usage of the first-generation mechanics that so far existed at the time of the game's release. Like Majora's Mask, though, it needed time to gain vindication among the players who were still wainting for a "true" sequel to Ocarina of Time.

The first major change to be seen is the nature of the overwold: The Great Sea is, as the name suggests, a watery land; with this change alone, we can appreciate several additions that adhere to the gaming experience. For example:


 * The locations are now islands, to which Link must reach by sailing. This is at first, the only way Link progresses through the game, and therefore it's recommended to do as much as possible while on an island before going to the next one. This could be considered an early and more primitive version of the galaxy/planet travel seen in Metroid Prime 3 and Super Mario Galaxy, since the game no longer takes place in an uniform overworld, but on a higher-scale scenario than involves multiple bodies of land (this could also be true for a game where multiple countries or full-land setting took place, but so far no game in the Zelda series employed that concept).
 * Much of the present treasure is sunken underwater. Link finds chests by using a crane over light rings that shine above the sea's surface; more prominent rewards can only be retrieved when Treasure Charts are found and opened, in which case the goods are pinpointed by shinier spots of light.
 * It is necessary to manipulate the wind with the help of the Wind Waker, not only to change its direction and favor the sea travels, but also to summon cyclones and warp more quickly from one island to another.
 * The aforementioned islands, being too many in number (49 in total), are usually one-purpose, with the exception of the main locations. As the young hero explores the sea, he finds Fairy Islands to increase his ammunition and money capacities, islands that serve as mini-dungeons housing special rewards or as the hosts for minigames, Eye Reefs to finds Treasure Charts that pinpoint Special Charts drawn to indicate the locations of items like Pieces of Heart, submarione, the aforementioned Fairy Islands, etc.
 * The cartography completion is a bigger necesity than in Majora's Mask, now the young hero has to feed and talk with the fishmen so that he can gradually fill in his Sea Chart, thus the map of the new overworld.

Note that most of the islands are actually optional, as the story only develops within a quarter of the total of islands in the Great sea, and another quarter is required only due to quest collection purposes. This allows a greater sense of freedom for the player, who is encouraged to discover as much as he or she desire before (and after) completing the main quest.

The game also reuses the concept of character command that appeared sporadically in Majora's Mask, and exploits it significantly. With the help of the Command Melody, the young hero can control statues and characters vital for the completion of dungeons. Each character has special abilities and tools as well: Both Medli and Makar can fly, and hold switches that Link cannot press while he is holding another on his own; Medli can also use her harp to reflect light, and Makar can plant seeds that grow up and become trees instantly. It is also possible to summon Tingle with the Tingle Tuner, so that he can assist Link during his quest, not to mention that it allows a second player to join the playthrough; finally, with Hyoi Pears, seagulls can be controlled to pick up hard-to-reach items. This is a type of character interaction seen very few times in the franchise, and for the first time Link is no longer alone in his quest, not to mention that he's accompained even during the final battle.

The Wind Waker is the example of a game that features the omnipresent gameplay elements of the series in a new fashion, and shows how even the oldest ideas can still work and, in addition, be reinvented and revamped. The new versatility of items shows this as well, with the availability of bags that allows a bigger space in the inventory screen, and the items themselves having more than one purpose (as in the case of the Grappling Hook and the deku Leaf.

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