User:K2L3798@legacy41960118/Sandbox

Below is a collection of pilot material for their eventual inclusion in articles; for now, only 4 samples are available, but more may be in the future.

{{hide|header=Experimental version of the Boomerang article (COMPLETE)|content= {{Item }} The Boomerang is a projectile weapon that has appeared in every Zelda game to date.
 * name = Boomerang
 * image = Galeboomerang2.png
 * caption = The Gale Boomerang from Twilight Princess
 * game = Every Legend of Zelda game.
 * cost = 300 Rupees{{Exp|The Minish Cap}}
 * uses = Used to retrieve distant items, stun and often kill enemies, hit switches.
 * comp = Slingshot, Bow

Uses
In general terms, the Boomerang can be used for both combat and puzzle solving. It is useful to stun enemies, but a single hit will kill weaker enemies. However, it is more commonly used to retrieve items that are out of Link's reach or to solve puzzles. The boomerang first appeared in The Legend of Zelda and has gone through several design changes since then. Recently, even the way it is used has been changed. They can also be used to turn Sparks and Anti-Fairies into Fairies.

Typical Boomerangs
These Boomerangs function only to stun and retrieve out-of-reach items. Note that some of these incarnations of the item can be upgraded as well, but that will be covered in another section below.

The Boomerang is one of the first items that can be acquired in The Legend of Zelda. In both the First and Second Quests, it can be obtained by defeating a large number of Goriya in a room of the first dungeon in the game, the Eagle Labyrinth. Interestingly, it's the only dungeon item that isn't guarded in a basement floor.
 * The Legend of Zelda and A Link to the Past

In A link to the Past, the boomerang is again found early in the game, this time in Hyrule Castle. Its exact location is a few rooms before the prison where the Ball and Chain Trooper holds Princess Zelda captive.

Ocarina of Time marks the first time the Boomerang is placed in a tridimensional space. It is found inside Lord Jabu-Jabu's belly, in a room infested by enemies, and becomes Young Link's most powerful ranged weapon. It provides Young Link's counterpart to Adult Link's hookshot, allowing Young Link to finally capture those out-of-reach Gold Skulltula Tokens. Although Jabu-Jabu's Belly is the last dungeon Young Link goes through before entering the Temple of Time, the Boomerang still proves invaluable when Link returns to the past to go through the Bottom of Kakariko Well and the Spirit Temple.
 * Ocarina of Time

The boomerang returns as a useful weapon in Oracle of Ages, and is found in Rolling Ridge. Oracle of Seasons includes a boomerang identical to the one in Oracle of Ages, but this time, it is found in Subrosia.
 * Oracle of Ages

The traditional Boomerang makes another appearance in Four Swords. Because Four Swords is a competitive game, it is most useful for collecting Rupees before opponents but can still be used as a weapon as well. In The Minish Cap, the Boomerang can be bought in the shop at Hyrule Town for 300 Rupees.
 * Four Swords

Boomerangs with Added Characteristics
The Boomerangs listed below have other characteristics besides and along with those of stunning and item retrieval.

In Link's Awakening, the Boomerang is a very useful but optional weapon. It is one of the most powerful weapons in the game. In order to acquire it, Link must first complete a long trading sequence in order to receive the Magnifying Lens. Link must then visit Toronbo Shores and find a hidden cave on the eastern side. Inside, he will meet a tiny creature (who cannot be seen without the magnifying lens) who will offer to trade Link a boomerang for a weapon of his choice.
 * Link's Awakening

The Boomerang can again be used in the traditional way, but it now has a few more uses. Though minor, it can be used to cut bushes. It's simply a faster way to get the job done. Its usefulness as a weapon has also been greatly improved. In this game, few weapons will get the job done faster than the boomerang. It is one of the two weapons able to kill an Anti-Fairy, the other being the Magic Powder and the only weapon able to kill a Spark. It can also defeat certain enemies in one hit that no other weapons can, such as Ghinis. In other cases, it is surpassed slightly by weapons such as the Bow and Magic Rod. The Boomerang is perhaps most useful in defeating the final form of the Final Nightmare, Dethl. It can be a very difficult fight, but if Link has the boomerang, it is much easier. A single hit to the eye with the boomerang will defeat Dethl.

The Wind Waker adds another new feature to the Boomerang. The item, found in the Forbidden Woods and guarded by a winged Mothula, can now lock on to up to five different targets. This feature is often used for solving puzzles involving switches or for collecting multiple items at the same time. It is relatively weak as a weapon.
 * The Wind Waker and Phantom Hourglass

Phantom Hourglass, while showing the Boomerang with a mildly similar look as in The Wind Waker, once again reinvents its use, allowing the player to draw a specific path for it to follow using the stylus; the Boomerang in this game is found in the Temple of Fire. In Spirit Tracks, the Boomerang can be found inside the Snow Temple. It functions in the same way that it did in Phantom Hourglass with one exception: when the boomerang flies through a flame or ice flame, it will become the fire or ice boomerang.

The second cooperative competitive Zelda title, Four Swords Adventures, has the Links searching for Force Gems rather than Rupees, but the boomerang is still very useful for getting to the Force Gems before opponents. Unlike the original multiplayer game, the boomerang can now be held in place before returning to Link. This can be useful for retrieving moving force gems or attacking some enemies and is a great weapon at sea.
 * Four Swords Adventures

Special Variants
The following incarnations of the item have even more extra features, including a change in name.

In The Legend of Zelda, an upgraded version of the Boomerang, the blue Magical Boomerang, could also be obtained later in the game. In the first quest, it could be found in the second dungeon, the Moon Labyrinth. However in the second quest, its location was moved to the third dungeon. The only main difference between the Boomerang and the Magical Boomerang is the distance they can be thrown. The Magical Boomerang will fly twice as far when thrown before returning to Link. A Link to the Past incorporates a Boomerang that can be upgraded to the Magical Boomerang by visiting the Waterfall of Wishing. The Great Fairy there will upgrade it if Link tells her the truth.
 * Magic Boomerang

Oracle of Seasons also has a second Boomerang that is not found in the other Oracle game, the Magic Boomerang. Rather than being simply a distance upgrade, the Magic Boomerang is completely under Link's control. Link can guide its path around obstacles in order to solve more complicated puzzles. When the Boomerang is upgraded to a Level 2 Boomerang in Four Swords Adventures, it will have a longer reach and speed out of Link's hand faster. The Magical Boomerang also appears The Minish Cap and is acquired by fusing Kinstones with Tingle and his brothers to reveal a hidden chest underground. This Boomerang has a longer range, can change direction mid-flight, and will destroy some enemies the regular Boomerang only stuns.

In Majora's Mask, the boomerang does not appear as an item but as an ability of Link in his Zora form. The fins in the forearms of Zora Link become boomerangs when the "B" button is charged. At this point, the actions of Link are the same as if he were holding the boomerang button in Ocarina of Time with the exception of this version being two boomerangs. The attributes of these weapons are basically the same as their previous incarnation. In the Zora Fight Song, Mikau calls these boomerangs his "double cutters".
 * Zora Boomerang

Twilight Princess further reinvents the Boomerang. The Gale Boomerang is a special boomerang inhabited by the Fairy of Winds who allows it to summon small gales in order to attack or retrieve objects. It was originally held by the possessed Ook, the leader of the Faron Woods monkeys. It is found in the Forest Temple after fighting Ook and can be used to transport objects from one area to another, solve puzzles, and put out torches. This is also the first boomerang to house the spirit of a fairy, this case being the Fairy of Winds.
 * Gale Boomerang

The biggest difference is the mini-tornado that is produced when the Boomerang is launched. It works similarly to the boomerang in The Wind Waker, giving Link the option to lock onto up to five targets. It is used for many purposes throughout the game such as spinning fans, turning the direction of bridges, and catching Golden Bugs located across Hyrule. The Gale Boomerang is the key item needed to defeat the Forest Temple's boss, Diababa.

Super Smash Bros. and Super Smash Bros. Melee
The Boomerang from Ocarina of Time appears in Super Smash Bros. and Super Smash Bros. Melee as Link's Standard Special and Side Special Move, respectively, being ousted as the Standard Special move in Melee by Link's new Bow move. Link and Young Link both use this as their Side Special move in Melee, even though Link could not use it as an adult in Ocarina of Time.

Super Smash Bros. Brawl
The Gale Boomerang appears in Super Smash Bros. Brawl, replacing Link's standard Boomerang from Melee. Other than hitting and damaging the opponent, the Gale Boomerang has a "wind" effect that pushes or pulls players who get caught in the whirlwind it creates. The Wind Waker ' s design of the Boomerang is used by Toon Link, and, more or less, functions identically to how it did in previous games.

Trivia

 * The Adventure of Link is one of the few Zelda games where Link does not acquire the boomerang. Even so, it does make an appearance. The Goriya return and still use the boomerang as their weapon of choice.
 * In the Super Smash Bros. fighting series and in Soulcalibur II, one of Link's Special Attacks hurls a boomerang at the opponent.
 * The boomerang of Ocarina of Time appears in Super Smash Bros. and Super Smash Bros. Melee as a trophy.

Required Items

 * Powder Keg

Involved Items

 * Ocarina of Time
 * Bow and Arrows
 * Epona

Rewards

 * Epona's Song
 * Bottle full of Lon Lon Milk
 * Romani's Mask

Places Involved

 * Romani Ranch
 * Milk Road
 * Gorman Track
 * Termina Field

First Day
The first part of the sidequest is required to beat the game. Once Link is able to clear the boulder on the first day with a Powder Keg, he can meet Romani, who calls Link "Grasshopper" because of his clothes. She will tell him that they are coming (never specifically saying who "they" are) to take all their cows, and recruits him as an assistant, for her older sister does not believe her story about Them. Link then accepts to train target shooting with Epona, so that he can get ready when "they" appear. After Romani tests the young hero's skill, she will teach him Epona's Song, which allows Link to ride Epona again. Romani will tell the young hero to be at the barn by 2:30 AM, which is when They will come. From this point onwards, the rest of the events are optional, thus initiating the actual sidequest.

While Link waits for the key time, he talks to Cremia to make her know that he came from Clock Town, meaning with logic that the ranch's road to the exterior is no longer blocked. At 2:30 AM, "they" will appear on the field and attempt to "beam up" the Romani Ranch cows. Link must prevent "them" from getting near the barns until the sun rises at 5:15 AM, at which time they disappear. At this point, Link can use Epona or the Bunny Hood to get around the ranch quickly. He can also use the Inverted Song of Time to slow the aliens down. Another way of doing this is standing a bit away from the crate (after finding a good spot, it is best to destroy the crate). Then, rather than using Epona, Link will have a good shot at all of the ghosts before they reach the barn. This is useful for people who suffer in their accuracy with the bow when riding Epona, but once Link is out of arrows, it can be very hard to get more.

Romani will thank Link by giving him a bottle with Milk, and then head to bed, thanking him for his help and calling Link a "little hero". This fulfills Romani's entry in the Bomber's Notebook.

Second Day
If Link did not save the cows from "Them" during the first day, Romani will be sitting outside the barn, traumatized and catatonic, unable to remember anything. Cremia stands in their empty barn, bemoaning their loss and wishing she had believed her sister so she could have helped her save the cows.

If Link did successfully help Romani, he will find Romani and Cremia in the barn having a discussion about taking milk to town. Even though Romani insists in going to town to deliver milk, Cremia persists that she has to take care of the cows. At 6:00 PM, Link returns to the ranch, where Cremia employs for his help and company. As they ride towards Termina Field and talk about various topics, they find that Milk Road is blocked again, this time by the fences that used to obstruct the Gorman Track. Knowing that he and Cremia will have to take an alternate route, Link gets in the back of the wagon and defends the cart and the milk from bandits as they are riding through the Gorman Track. After this event, Cremia thanks Link and gives him the Romani Mask, acknowledging him as an adult. If Link completes the task again, she will give Link either a Gold Rupee or an affectionate hug. This fulfills Cremia's entry in the Bomber's Notebook.

An easy way to do this mission is to wear the Circus Leader's Mask. If this is worn, the bandits will not attack, and merely follow the caravan. Even if Link attacks, they will not respond; however, all this will only work after having completed this very sidequest before, as the Circus Leader's Mask is only obtained in Milk Bar during the periods of time that require Link wearing Romani's Mask to be in there.

Final Day
If Link did not save the cows from "them" during the first day, Romani will be sitting outside the barn, traumatized and catatonic. Cremia stands in their empty barn, bemoaning their loss.

However, if both events have been completed, Romani will offer Link the opportunity to take part in target practice, and Cremia will be seen to be worrying about the moon.

After nightfall, both Cremia and Romani will be in the barn, milking a cow like on the second day. It is revealed that Cremia now considers Romani an adult in mind, and so is allowing her to drink Chateau Romani, and is likely going to make her a mask. This scene can be difficult to witness if the Kafei-Anju quest is underway, as Sakon will already be making his way to his hideout, and borders on impossible without the Inverted Song of Time or the Song of Soaring. If that sidequest is not being executed, then Link will see Anju crying on the second floor of the ranch sisters' house because she wanted to stay in Clock Town to wait for Kafei.

Trivia

 * When Romani first meets Link, she gives him the nickname "Grasshopper", because he wears green and apparently "patters" when he runs. This is the same name Agitha gives link in Twilight Princess. Grasshopper.png
 * Romani tells Link that Cremia has a crush on Kafei. Due to this, several characters believe that the reason for Kafei's disappearance is that he's run off with Cremia, despite his approaching wedding.
 * Anju's family seeks refuge at Cremia and Romani's ranch on the third day, as does Anju, if Link does not perform the Anju-Kafei quest.
 * Before doing the milk delivery quest on the second night, if Link talks to Romani inside the house first, she will offer that Link stays and lives with them, saying she will lend Link her bed. She will only do this if Link agreed to be her assistant on the first day, however.
 * When Link talks to Romani inside her house for the first time, she will call him "cute", even if Link has already been nicknamed Grasshopper by Romani.
 * There is a typo on the Nintendo 64 version of Majora's Mask, when Cremia gives Link an affectionate hug; "You feel all warm and fuzzy! inside!"

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.

These four 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. 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.

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.

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) 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 thorugh 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.

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