Sometime after the events of a Link to the Past, Link finds himself caught in a bad storm
while sailing back home to Hyrule.
Unfortunately, the storm gets the better of Link and he is washed up on the shores of
Koholint Island.
Something noteworthy about this installment of the Zelda franchise is Link's Awakening
does not open with a story crawl.
Zelda I and II opened with poorly translated text, and A Link to the Past contained an
extensive backstory giving the player a ton of information on the history of Hyrule, the
Triforce, and the antagonist Ganon.
But not Link's Awakening.
There is a noticeable shift in the way story elements are presented and revealed to the
player, and it helps this 1993 release be all the more approachable.
Of course most now know the plot to Link's Awakening, and the title isn't exactly subtle
if you know what I mean, but it is refreshing nonetheless.
Anyway I am getting ahead of myself.
The Legend of Zelda: Link's Awakening is the fourth installment of the the Zelda franchise
originally released on the Game Boy in 1993, with a Game Boy Color update released in 1998.
The game has been well received too.
IGN even gave the DX version a perfect 10/10, declaring it a masterpiece.
Even to this day, a subset of the Zelda community finds Link's Awakening to be a superior
title to it's 16-bit brother.
On the surface, Link's Awakening follows a similar formula laid out by the previous
games.
Link starts the game with an item or two, must travel the overworld looking for dungeons,
and then conquer the dungeons to earn trinkets necessary to finish the game.
It is a tried and true formula that doesn't really need tweaking, but if Link's Awakening
doesn't stray far from the norm, why is it so beloved?
Let's take a look.
After the opening cutscene, Link awakens in the home of Marin and her father Tarin.
It seems Link is suffering from some mild amnesia and doesn't understand where he
is.
Then, the player is given an item and is told where to go next.
A first time player might choose to explore the surrounding buildings, or do as instructed
and follow the path to the beach.
In either case, the player is shown numerous landmarks which will be of importance later
on in the adventure.
In any case, after making it to the beach and acquiring the sword, another plot device
is introduced.
A mysterious Owl.
This guy serves two purposes.
First, he often directs Link where to go next.
Not an exact location mind you, just a general area.
Second, he reveals Link must awaken the Wind Fish to leave Koholint Island.
The player doesn't yet know how to wake the wind fish, or what a wind fish is for
that matter, but that is sort of the point.
Link's Awakening doesn't open with a plot dump and then send the player off.
Instead, a player is forced to keep going to slowly unravel the mystery.
It offers a great incentive to keep moving forward and I appreciate this change quite
a bit.
Link's Awakening also changes up the overworld formula quite a bit.
The player cannot simply enter a dungeon.
Instead, dungeons are usually unlocked with a key.
This changes the overworld from a space the player must travel, into something more akin
to a dungeon itself.
The overworld has a deliberate feel to it.
Paths are laid out in a way to show a player something they'll need to contend with later.
A player is blocked from accessing areas not needed for the task at hand, but is still
given a glimpse of the larger world, giving the a player a taste of what they can explore
once an item is obtained to overcome an obstacle.
Some might find this makes The Legend of Zelda: Link's Awakening too hand-holdy, and long
for the days of vague clues and little guidance, however Link's Awakening is still quite
clever.
The player still has to notice things for example, like a random toadstool in the mysterious
woods.
This can be taken to Tracy the witch who makes some magic powder.
This powder is needed to clear out a raccoon, who created a loop in the overworld preventing
player progress.
Solving this puzzle reveals the Tail Key, and thus the first dungeon.
But this isn't the only way a player might unlock a dungeon.
After clearing the first, the player is greeted by two children in panic who advise something
has happened to Bow Wow.
A player doesn't need to wander about and discover this, but rather a natural choke
point in the overworld map forces the player to confront this fact.
The player's next goal is not to find the next dungeon key, but rather rescue a dog.
Thanks to the Feather received in the first dungeon, the player can jump over pits and
explore a new part of Koholint Island.
With the item, and a new area, the player has the clues necessary to retrieve the dog
who just so happens to be the key needed for the next dungeon.
This doesn't diminish the exploration aspect of the adventure though.
By going off the beaten path and exploring all of the newly accessible areas with each
new item, the player will absolutely run into new NPC's or other locations not currently
needed.
For example, the player will find Mr. Write, who is not initially helpful.
However, Link's Awakening does something previous Zelda's hadn't.
The overworld map is now labeled.
A player can move a cursor over any block of land already accessed, and each will have
text.
This means later on, when another character requests Link make a delivery to Mr. Write,
one doesn't need to wander all over the place trying to figure out where they ran
into that guy.
Instead, they can pull up their map, hover the cursor over each building, and pinpoint
the exact location without wasting a lot of time.
Speaking of the map, the player can clearly see what locations have been unexplored.
This is a critical piece of information, and again offers the players clues as to where
they might want to visit as the mystery of Koholint Island slowly reveals itself.
It is touches like this which make Link's Awakening far less grindy when it comes to
overworld exploration.
Another thing the overworld does is spend quite a bit of real-estate on puzzles.
At one point the player is asked to find 5 Golden Leaves at a castle.
Thankfully, the castle and the area surrounding it are not overly huge, meaning there is a
relatively small area to explore to complete this fetch quest.
That doesn't make it simple though.
For those loving obscure tasks with few hints, this should satisfy.
The player can clearly see a boss character, but determining how to open the door is not
obvious.
One will just have to figure it out.
Grumble, grumble.
Some of these overworld areas are less than satisfactory though.
The signpost maze isn't really a maze at all.
A player just need to read a sign, and follow the arrow, over and over and over.
Same goes for pothole field, tasking the player with slashing down trees to reveal the path
forward.
Neither are thought provoking.
Another underdeveloped moment occurs when Link is suddenly haunted by a ghost.
After an escort mission to his old house, and finally a grave, Link's reward is just
a seashell, an item not actually necessary for progression.
Again, it is a strange moment and I'm not sure it adds anything to the game.
Perhaps it is an apology for Zelda 1, where knowing which grave to visit was a painful
process, who knows.
And of course, there is the infamous trade sequence.
But first, there is a crane game in the village with some goodies along with a Yoshi Doll,
which is NOT on the conveyor belt.
It stands out and is an obvious target.
This kicks off a massive trade sequence which lasts most of the game.
At a few points the player has to keep an eye out for trades in order to not get stuck.
Generally speaking this is intuitive enough.
Each of the NPC's alerts the player to their desires or tendencies right away, meaning
one doesn't have to keep visiting them over and over to see if they say something different.
In fact, sometimes the NPC meets the player at a designated location to kick off a trade,
meaning the player is spending less time wandering and more time getting a move on.
It isn't perfect however.
A player has to dive under a bridge for example, which would only be obvious to a player who
knew about the secret in A Link to the Past.
Or maybe this lone statue offers a clue.
Speaking clues, Koholint Island is filled with phone booths.
This is an upgrade of sorts over the Fortune Teller in A Link to the Past.
Scattered about Koholint Island are phone booths which will offer clues or guidance
to the player.
Now, I never visited the Fortune Teller in A Link to the Past because it cost rupees,
but help in Link's Awakening is free.
On this recorded playthrough I visited the phone booth as often as possible just to see
what the Old Man would say.
Sometimes the advice is vague, repeating the same general instructions the Owl previously
stated, other times more direct, and other times just plain wrong.
For example, at one point the Old Man told me to visit a frog in the signpost maze.
After wasting minutes following the darn thing, I couldn't receive the item the frog offers.
The player actually needs to obtain the Ocarina before the frog will teach Link a song.
So how did I miss the Ocarina?
Well, like the previous game, Link's Awakening expects the player to revisit past areas once
they obtain new abilities.
As I forgot the location of every boulder I could now lift with the power bracelet,
I forgot about this little building in Mabe village, which contains the prize.
It would have been nice if the Old Man told me to find the musical instrument in the Mabe
village at this point, rather than directing me to the Frog in the maze.
Both the Ocarina and the songs learned are required to beat the game.
This of course brings up the great debate, where is the line between good design and
hand-holding?
Too much hand-holding reduces player engagement by reducing the amount of thought and reason
needed to complete a task.
Too little guidance and a player wastes time wandering around not accomplishing anything.
I feel as though Link's Awakening gets it about right.
A player is required to notice things, like those boulders, but is also given clues about
what to do next and where to go.
A player is then challenged to use the clues, such as guidance from the Owl, strange dialog
with NPC's, and new items found and obtained, to solve a puzzle and unlock the way forward.
It is a good system and I rarely felt Link's Awakening was pandering me, nor trolling me.
The other half of any Zelda game is of course the dungeons.
The main goal of Link's Awakening is to obtain the 8 instruments offered as a reward
for defeating the 8 nightmares in the 8 dungeons.
The 8 instruments are needed to wake the Wind Fish sleeping in the giant egg.
Unlike The Legend of Zelda or A Link to the Past, I'm not sure if the player is able
to sequence break the dungeon order at all.
This could certainly be a point of contention for some, creating a more linear player experience
and further venturing away from the non-linear style offered in the original game.
However, it is the dungeons where the designers took the limitations of the Game Boy hardware
and used it to their advantage.
For example, the shield is no longer a passive mechanic, but now an active one.
The player has to use the shield, it is not automatic.
In the first dungeon, this is required to flip over enemies who are initially immune
to the sword.
This is not unlike the hammer item in A Link to the Past, but the designers saved an item
slot.
A major addition to the formula is the function of the compass.
Not only does it show where the boss is on the map, but also treasure chests, a great
way to let a player know what they might of missed, making backtracking far less tedious.
But most importantly, if the player enters a room where a key is located, a chime will
play.
I absolutely love this feature as I immediately know if defeating all of the enemies in a
room is worth my time, or if I can just cruise on past.
It is a subtle touch but a creature comfort I desperately missed when playing prior games.
The next evolution to the formula are the crystal switches.
The biggest change is they can now be walked across, something not possible in the past
game.
This opens up new pathways and further complicates their use.
And this is probably my favorite change in Link's Awakening.
The dungeons actually challenged me to think.
In Cat Fish's Maw, the player encounters a reoccuring skeleton mini boss.
But as the dungeons become less linear, the player might actually stumble upon an empty
room with nothing happening.
Later, when they finally encounter the skeleton in a room with the same floor pattern, they'll
be clued in they'll need to revisit that empty room previously found.
Again Link's Awakening walks a fine line between becoming to grindy with backtracking,
and being genuinely clever with requiring a player to memorize the entire dungeon and
learn how everything interacts.
A perfect example of this is the 7th dungeon, Eagle's Tower.
This is a multi-layered dungeon with multiple stories, and the player is required to manipulate
the crystal switches, drop down holes in the floor, and then travel up a different set
of stairs in order to reach all of the rooms on the second level.
Not only this, the player needs to throw this ball at four different pillars to collapse
a portion of the tower which opens a path to the boss.
There are multiple ways to solve this puzzle and throwing the ball over a pit, and then
venturing back down and then up the tower is required to ultimately knock them all down.
Even on my second playthrough for this video, it still took me a whopping 40 minutes to
ultimately solve this puzzle, it is that freaking good.
The final dungeon, Turtle Rock, is also a brainbuster.
This dungeon really forces the player to fully understand the layout of the dungeon and how
different warps interact with each other.
It is filled with strategically placed one-way areas, where a player can't simply retreat
to a past screen and go a different way.
This means if a player messes up and goes the wrong way, they'll be forced through
a laborious route to get back to the same screen and go a different way.
Again, Link's Awakening dances on the line between being tedious or dishing out a fair
punishment for sloppy exploring.
And again, despite doing this twice in the span of a couple of days, it still took me
over 50 minutes to finally locate the Nightmare Key and take on the boss.
So yeah, Link's Awakening does follow the standard find a key, unlock a door, to find
the next key and unlock the next door formula which has been a staple of the franchise.
But instead of having a big key and a big chest, there is a Nightmare Key which needs
to be found to unlock the room containing the boss.
Even better, the dungeons contain sub-bosses, and defeating them will open up a warp point.
What is awesome about this is the warp point is usually just a few room away from the Nightmare
room.
Meaning if the player dies, they don't have to backtrack through the entire dungeon to
get back to the boss.
Instead, they can walk into the warp and save a ton of time.
I love touches like this which allow the player to regain progress, instead of waste time
retreading old ground.
Finally, I want to talk about the bombs.
A common complaint I hear about A Link to the Past is how bombable walls were always
clearly marked for the player, meaning the only thing preventing a player from opening
the path was bomb management.
This is in stark contrast to the first Zelda game, where walls weren't marked at all.
Generally speaking, neither really bothered me.
In the first game I simply never ran out of bombs thanks to the map system and being frugal.
On the flip side, I rarely felt like bombing a wall was a great puzzle, so I didn't miss
the exploration aspect when I played A Link to the Past.
However, Link's Awakening actually expands on this concept.
Now at first, bombable walls are usually marked.
However as the adventure unfolds, more and more walls are not marked.
There might be an arrow on the floor, or perhaps the player catches a glimpse of one side of
a wall on one screen, but not the other.
But on the last few dungeons, the player is offered almost no visual guidance.
Instead, that "intuition" from the first game, combined with using the sword to find
hollow spots in the wall, is the only guidance the player has to clear later puzzles in the
game.
On my first go around, the 8th dungeon drove me mad as I was out of keys, with no clear
path forward.
It turned out, I had to get over my fear of wasting bombs to finally overcome this final
dungeon.
Catfish's Maw is also funny in that the player will likely struggle to find the nightmare
key, because the room it is found in, is not on the map.
Link's Awakening can be devilishly tricky sometimes, and this is something I really
appreciate when playing a game multiple times.
The final element I want to talk about is the characters.
When playing A Link to the Past for the first time, I was rarely invested in many of the
characters.
Rescuing the princess in the opening moments of the game was pretty cool.
And I liked how I kept revisiting the village elder for guidance.
But outside of them, I was sort of puzzled when the closing credits rolled and I was
given an update on the cast of Hyrule.
I felt no attachment to them and didn't really care about how their lives ended up
once the seal of the wise-men was closed.
Link's Awakening does a much better job introducing characters, giving them a personality,
and forcing the player to interact with them a few times, helping the player to actually
remember they exist.
And of course, Link and Marin share a few moments and it is quite obvious she has a
crush on Link.
They even share a moment on the beach, and Link later saves her life.
There is just a layer of depth, warmth, and wit to the writing that is lacking in A Link
to the Past, and I find it makes Koholint Island a more memorable place than Hyrule.
If I were to make a comparison between A Link to the Past and Link's Awakening, the design
of the overworld, the puzzles found in the dungeons, and character development is where
I would start my analysis and try and reach a conclusion.
Now, being a handheld game on 8-bit hardware, Link's Awakening doesn't look or sound
as good as it's 16-bit brother.
Most will likely prefer to play this with the full color pallette afforded with the
DX version of the game.
But for technical reasons I'm presenting Link's Awakening with just 4 shades of green.
Though I do find the game to be rather attractive even with the limitation.
The artists did an awesome job using distinct patterns to give each area in Koholint Island
a distinct appearance, despite sharing the same colors.
Even with the low resolution and 8-bit hardware, the deserts, mountains, beaches, and prairies
look nothing alike and I never found myself getting bored with the set pieces.
Link's Awakening even manages to have darkened rooms, which get brighter after lighting lantern
pots.
Flickering is even used on shadows to simulate transparencies.
It is very ambitious, and while the 4-color pallette may seem dated to some, I still find
the actual tile and sprite work to be top notch.
I also am quite fond of the soundtrack.
Again, this just might be my nostelgia for 8-bit chiptunes but I do like the sound design.
The classic Zelda track is present in much of the overworld and sounds as awesome as
ever.
But I really dig the remixed tune when in the Tal Tal Mountain Range.
It has this epic fast-paced beginning and feels really exciting, which is fitting as
this is the last place the player unlocks in the overworld.
There is an energy to it, and it is obvious the exciting conclusion is right around the
corner.
The two villages, each have simple tracks, catchy but somehow relaxed, appropriate for
areas completely void of any danger.
The dungeon music deserves a mention as well, as there are multiple tracks, rather than
one.
These generally use some of the harsher sounds available with the sound hardware, making
them feel dangerous.
And I don't even know how to explain the Mysterious Woods, but there is a drum line
throughout that is completely genre-breaking and really helps Link's Awakening feel like
something more than a fantasy dungeon crawler.
Of course, Link's Awakening is not perfect.
I absolutely hate the Guardian Acorn and Piece of Power.
These two items will occasionally be dropped by defeated enemies.
The Guardian Acorn will temporarily reduce the damage Link takes by half.
And the Piece of Power temporarily increases the strength of Link's sword.
The issue isn't the items, but rather, they each have their own jingle which takes over
the background music.
The tracks are short, meaning they quickly loop, and are weak compositionally.
Worse yet, they completely ruin the atmosphere of the dungeons.
I'm sorry, but I don't want to hear some peppy song while I'm dungeon crawling, it's
obnoxious.
So obnoxious in fact I would avoid them when possible, because I didn't want to hear
the music.
However the reason they actually exist is worth exploring further.
The Legend of Zelda: Link's Awakening does not have any healing items.
There are no potions to buy, no healing magic, and no jars to store fairies.
Granted the final three dungeons do contain an item called Secret Medicine.
This is used automatically once a player runs out of health, but is single use, and also
rare.
This lack of healing actually makes Link's Awakening somewhat harder than A Link to the
Past.
On my recorded run, I actually never died, ever.
It was just too easy to buy potions, net some fairies, and be assured a death-free path
through each dungeon.
This luxury is not afforded to players in Link's Awakening, making each enemy encounter,
sub-boss battle, and nightmare battle that much more intense.
There is no crutch to rescue the player after a mistake, until the last couple of dungeons
anyway.
And of course, Link has fewer hearts.
This is probably just a symptom of the reduced Game Boy resolution, but the player taps out
at 14, rather than the 16 found in the original Zelda, or 20 available in A Link to the Past.
Now I'm not saying Link's Awakening is a particularly tough game, it really isn't,
and is certainly a far cry from the brutality found in Zelda II, but I do appreciate when
a game isn't afraid to boost the difficulty in a sequel, rather than ease off the gas.
Along with the fewer hearts, Link's Awakening contains fewer items.
There is of course a sword and a shield, a feather allowing Link to jump again, in both
side scrolling and over head sections, a power bracelet for lifting items, Pegasus boots
for attacking or breaking through designated blocks, the bow which I never used, the hookshot
which is super effective on some enemies and allows for navigation over large pits, the
magic rod which is acquired so late it is only useful in one boss fight, the shovel,
used for digging, the magic powder, and lastly the bombs.
It is a streamlined item set, and outside of the bow, each items feels useful.
I already talked about how the shield must be actively used to flip certain enemies,
but I found myself using bombs as an offensive weapon in this game far more than any other.
Perhaps this is because the player isn't initially limited to so few, but damn if these
things don't make quick work of Wizrobes.
And of course, they are a versatile way to delay tripping a crystal switch.
The magic powder retains utility outside of the raccoon sequence at the beginning of the
game, by being needed on a boss, fully destroying the bubble, lighting lamps, and even paralyzing
many enemies.
The aforementioned pegasus boots offer fast movement, are mandatory for clearing certain
rocks, a form of progress gating, but are also part of a puzzle unlocking the Nightmare
Key in the third dungeon, Key Cavern.
The hookshot is an extremely versatile item, being a ranged offensive weapon, a boomerang
for grabbing goodies, and of course allowing travel over large pits on designated areas.
The power bracelet isn't just a means to lift objects, but is at times necessary for
unlocking doors, and is required on an overworld puzzle needed to unlock the 7th dungeon, Eagle's
Tower.
I really dig how most items feel versatile and serve multiple functions, unlike say the
Hammer, which is needed in only a few specific instances and is rarely desired outside of
these spots.
Another awesome feature is both the A and B buttons are now customizable.
Link does not have to wield the sword if the player would prefer a different weapon.
Most famously, ditching the sword is required to beat the game, with the nifty pegasus boots
feather combo, allowing Link to jump over gaps three tiles long rather than one.
While I do not think there is some sort of floor or ceiling in terms of how many items,
or even power-ups, a game should have, I especially appreciate when the items a game does have
are thoughtful, balanced, and integrated into the game in meaningful ways, rather than one-off
scenarios and never revisited again.
This leads us to the boomerang.
This is actually an incredibly obscure item, and is not available to the player until after
they complete the trade sequence, somewhere around half-way through the adventure, ending
with the magnifying glass.
The boomerang is not just used to stun enemies and grab rupees, but is now an incredible
efficient offensive weapon.
So powerful in fact, it can kill the final form of the final boss in a single throw.
This is the one instance where the items are not particularly balanced at all.
Thankfully, in the non-DX version of Link's Awakening, there is no clue to the items existence,
and by the time the player finds the magnifying glass, they would never have reason to revisit
the the area containing the cave where the boomerang is obtained.
But still…
The magnifying lens also leads to the most cryptic element found in the entirety of the
game.
On my initial playthrough, I did not use a guide.
I made it all the way to the egg, and inside, without any outside guidance.
However, inside is a maze, which is 8 screens long.
If my math is correct, there are over 65k thousand possible combinations, meaning brute
forcing one's way through this isn't really feasible.
Instead, a player needs to find the exact path through here on the island of Koholint
itself.
But at some point, the trade sequence stops becoming mandatory for progression, and it
can be all to easy to forget about the scale in one's inventory, which is used on an
obscure slice of Koholint Island.
In two playthroughs of being diligent on listening to the Owl's clues and visiting the phone
booths, I can honestly say I don't recall an instance of the player being guided to
finish the trade sequence to receive the key to the egg.
In this instance, Link's Awakening is a little too cryptic.
Thankfully, it is the only instance in the game where I find the mystery goes too far.
With the boomerang and magnifying glass out of the way, the last two things to talk about
are completely optional.
Like Hyrule, Koholint Island is filled with heart pieces, with four equaling an entire
heart container.
It is optional and a good quest for completionist types or even those who might find the difficulty
too much and want more heart containers.
There is also a seashell sidequest.
Hidden on Koholint Island are 26 shells, and a mysterious seashell mansion.
These are hidden in some treasure chests and various areas of the island.
Sometimes, these are the only thing on a particular screen, and are usually marked with some sort
of hint.
Again some of that classic Zelda intuition.
Collecting 20 will finally reveal a sword upgrade in the mansion.
Like previous Zelda swords, this upgraded sword will fire a projectile if the player
is at full health, which is pretty cool.
The beefed up sword isn't mandatory by any stretch as few enemies take more than two
hits to go down, but it is a great reward for completing the sidequest.
This leads us to the ultimate end of Link's Awakening.
Spoilers, Link is dreaming.
Yeah it is one of gaming's worst kept secrets.
The entirety of the adventure is nothing but a dream.
And beating the game will allow Link to… awaken.
The game is never subtle about it and is always dropping hints about what the ultimate conclusion
will be.
I often wonder if the developers assumed Game Boy gamers were younger than traditional console
gamers, thus deciding to make the story less obscure, or if this was a deliberate story
telling decision to make the player feel angst as the adventure comes to a close.
Does the player even want Link to wake up?
The inhabitants of Koholint Island are quirky, strange, and wonderful and it would be sad
to see them go.
And then of course there is Marin.
She obviously has a crush on Link, but also doesn't need his help.
She is not a damsel in distress needing to be rescued, but rather a love interest with
more depth than the typical 90's game.
A princess doesn't need to be rescued, Ganon doesn't need to be defeated, the only reason
to collect the 8 instruments and wake the wind fish is to escape the island.
But if one doesn't need to leave the island, what is the point of trying to escape?
It's a conundrum of sorts and I think what will ultimately cement the game's legacy.
It is non-traditional.
The player is forced to beat the game because they want to, not because evil needs to be
banished.
In a way, it is subtly, brilliant.
And this is how I would ultimately describe Link's Awakening.
The game could have easily been a watered down A Link to the Past, there are certainly
enough similarities here to see how this might have been the game's fate at one point.
But it isn't watered down at all.
Link's Awakening instead continued to push gaming forward, to push the Zelda franchise
forward.
The overworld feels thoughtful, deliberate, and interesting.
There are bosses to fight, secrets to uncover, and puzzles.
It isn't a vast space to travel looking for dungeons, but rather an engaging place
to visit in its own right.
Despite originally being a portable game, the dungeons are anything but bite-sized,
but rather are large and complicated, battery-sucking, affairs.
They can be confusing, non-intuitive, difficult, misleading, and ultimately, immensely rewarding
once each is solved and conquered.
And lastly, Koholint Island is filled with memorable characters.
I generally don't really care about stories in video games.
But Link's Awakening is different.
The story unfolds slowly and all the way to the very end, constantly tormenting the player
with the inevitable.
Characters are unique and have personalities, and actually move about the island, making
Koholint Island feel more real, even though it isn't.
While the previous Zelda games have their own merits, none feel as complete, thoughtful,
and polished as this Game Boy adventure.
If one has only grown up on 3D Zelda, Link's Awakening would be my pick for the game to
enter the world of classic 2D Zelda.
It's a terrific title from beginning to end with just a couple of minor flaws to speak
of and I find the gameplay and design to still feels fresh and relevant.
And for these reasons, I ultimately find The Legend of Zelda: Link's Awakening to be
a brilliant game.
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