Master Quest: A Link to the Past and Link's Awakening

Previously on Master Quest:

The Legend of Zelda and Zelda II: The Adventure of Link

A Link to the Past

Released on November 21st, 1991

-May the way of the Hero lead to the Triforce.-

  Before we begin, please rise for the Hylian national anthem:

  Thank you. You may be seated.

  After some...uneven experiences with Zelda's first two entries, with Link to the Past we have entered into what I like to call "the golden age of Zelda". From 1991 to 2002 Nintendo went on one of gaming's greatest hot streaks. They made seven Zelda games during this time period, all of them serious "best game ever" material.

  Now some critics like to say every Zelda game is essentially the same. That has some merit, I suppose. They're all action/adventure games with RPG elements. They all have similar plot structures. But what do you want? Half-Life 2 wasn't a fucking kart racer.

  What I'm trying to say is that what really impresses me about this string of Zelda games is how radically different they are from each other. Nintendo was never content to rest on its laurels, and all seven of these games were bold, innovative, and fresh. Anyone trying to tell me that Majora's Mask and Wind Waker are "essentially the same game" is either a simpleton or horribly misinformed.

  Do you think I'm a Zelda fanboy yet? If you don't then you will. Let's start this epic circle jerk with one of the most beloved games of all time: The Legend of Zelda: A Link to the Past.

  Look, I get it. You've been around. I know that every fat neck beard with a keyboard has tried to tell you that whatever glorified toy commercial they watched as a child is better than Citizen Kane. But you have to trust me on this one: Link to the Past is really, really fucking good. The "Dark World" theme. That weird sound effect that plays when you use the magic mirror. The way Link's hat bobbles around as he walks. Playing this game makes me feel like my mother is singing me a lullaby. This is the gaming equivalent of shoving your face into a bowl of mashed potatoes. It's my personal sanctuary, a place where I can go to forget about the unimaginable horrors of reality.

  Nostalgia is one hell of a drug. My personal bias aside, Link to the Past really is an important, transformative game in the series. Superficially it plays like the original Legend of Zelda. Top down view, go into dungeons, collect shit, beat piss out of bosses, etc. If you really wanted to analyze LttP in the broadest way possible, the statement "Like Legend of Zelda, but better in every conceivable way" would be a fair assessment.

  Before I start this review in earnest, can I show you something? Please watch the first 20 seconds of this video.

  
  How fucking badass is that intro? Can you imagine the effect seeing that intro had on my 4 year old Asperger's brain? That opening made me want to play video games. That intro might as well be a gif of Christina Hendricks pushing her gargantuan tits together. Shit's beautiful...what the fuck was I talking about again? Oh, yeah...

  One thing I want to touch on is that this is Zelda's first real attempt at a narrative. Sure, the first two games had very basic skeletal plots that tried to explain why this green hat wearing dweeb was going around stabbing dragons or whatever, but they can't really be compared to this.

  So how does Zelda's first narrative hold up? Honestly, its pretty pedestrian. The princess gets kidnapped (oh no.) and you have to save her, basically. Or, more specifically you have to get some pendants or... something so you can get the...oh, right. That's something we need to talk about.

  Now, I've tried not to get too "dorky" with these reviews. I don't want to scare off potential new Zelda players with super dense information about Zelda lore or whatever. But I just want to mention that this game establishes a lot of important stuff in the Zelda series. Ganon's original name (Ganondorf) is mentioned in the opening cutscene. Hyrule's standard geography was established here. The seven wise men make their first appearance as obvious precursors to the seven sages established in Ocarina of Time. The Triforce is given more backstory. The iconic spin attack and the hookshot make their first appearances...do you see why I'm trying to avoid doing this? I might as well come over to your house and personally shove sleeping pills down your throat.

  However, there is one thing introduced in Link to the Past that I think deserves special mention:

  That's right. The iconic Master Sword makes its first appearance here. The sword is so iconic that a lot of people don't even realize its not in the first two games. The most powerful sword in the first two games is actually just known as the "Magic Sword". Kind of weird, when I think about it, since the Master Sword is specifically designed to fight Ganon (Demise, technically. But Ganon is Demise reincarnated) so any sword other than the Master Sword shouldn't have any effect on him, as as far as I know the Master Sword hasn't been retconned into the original two games. Perhaps the Magic Sword is some sort of mutation of the Master Sword...fuck, I'm nerding out again. I apologize.

  So, yeah, the plot. Zelda gets kidnapped by Ganon's henchman Agahnim. You save her, then collect three hero's pendants that allow you to obtain the Master Sword. Once you do that, Zelda gets kidnapped again (way to fucking go). So it turns out that Ganon at some point obtained the Triforce (possibly during the events of Ocarina of Time?)which has created a parallel "Dark World" (I refuse to call it Lorule, on account of that being fucking stupid) in which he is now trapped. So Agahnim traps Zelda in the Dark World so Ganon can escape...or something.

  The plot is Zelda 101 kind of shit, really. But what I really like about it is how its sprinkled with surprisingly powerful, well earned emotional moments. Like this:

  You meet this guy in a haunted grove. Turns out he's just an echo of a guy who got stuck in the Dark World. You eventually meet him. His body has been twisted by the evil of the Dark World, and he asks you to go back to the grove and find his flute. Once you do, he asks you to play it for him one last time before he dies.

  Admittedly, its not Spec Ops: The Line shit or anything, but this side quest always draws an emotional response out of me, and its a shit load more nuanced than anything we got in the first two games. There's a couple more moments like this, like when your uncle dies at the beginning of the game, or when you show up just a second too late, and the priest who was supposed to protect Zelda dies in your arms.

  Now, I don't want to "spoil" this 20+ year old game for anyone, but can we talk about this ending? Because I kind of fucking hate it. So Link eventually defeats Ganon (what a twist!) and recovers the Triforce. Link is granted a wish, and he essentially reverses everything that happened in the game, so there were no consequences to this little escapade whatsoever.

  What? Flute Boy plays again? He can't do that because he's fucking dead. I WATCHED HIM DIE, GOD DAMNIT.

  I hate endings like this. Compare this to our next game, Link's Awakening, which uses a similar storytelling cliche to actually *raise* the stakes and make the ending even more heartbreaking.

  Gameplay wise, LttP introduces one of Zelda's favorite mechanics: dual world gameplay. The Light and Dark Worlds have similar geography, and you can use the Magic Mirror item to return to the Light World at will (you'll have to use one of the portals hidden around Hyrule to get back to the Dark World, however). This sets up some fun little puzzles, like doing something in one world to effect the other, or using the Magic Mirror in the Dark World to get to places in the Light World that you normally couldn’t, for example. LttP's Light/Dark World mechanic is the great grandaddy of Ocarina of Time's future timeline, Oracle of Season's Rod of Seasons, Oracle of Age's time travel, Twilight Princess' Twilight Realm, and the 800 other Zelda games that use a mechanic similar to this. The interplay between the two maps is a lot of fun, but I do think that some later games end up using this mechanic a little bit better (the aforementioned Oracle of Ages/Seasons in particular).
  So what's my final verdict on Link to the Past? When I take my personal bias into account, I fucking love it. Its a beautiful, well designed game. I remember playing it with my grandpa during several summers of my childhood, and those memories are hard to extract from the experience. But when I look at the game objectively, I don't see anything done in Link to the Past that isn't done better in subsequent Zelda games. That's not to say that LttP is bad or isn't worth playing, because it is. I think its a testament to the consistently high quality of the Zelda series that this masterpiece isn't (in my opinion) even the best game in the series.

-Like A Boss-

  Finally, some cool boss fights. Shit. After Zelda II's decent boss lineup, Link to the Past brings the pain with an awesome lineup of bosses:

Armos Knights: The Armos Knights are a great first boss fight. Not too hard, not too easy. There are six of them, and they stomp around the room in various patterns. You shoot them with arrows, killing them one by one. Once you're down to just one Armos, he turns red (this means he's pissed) and starts doing ground pounds all around the room. At this point you use your sword, dodging his attacks and hitting him before he ground pounds again. Really cool boss fight.

Lanmola: This is the prequel to Majora's Mask's cool Twinmold fight. In this boss battle you fight three giant worm things that pop out of the ground and shoot what my grandpa liked to call "poop balls" at you. This fight can be rather annoying. I think you're supposed to use the bow here, but the worms move just fast enough to make hitting them with arrows difficult. There's a little visual cue that lets you know where a worm will pop out, so I usually just stand where the worms will be and swing my sword around like a crazy person. This has the effect of turning this fight into a glorified game of whack-a-mole.

Moldorm: Moldorm can suck my balls. This is one of my least favorite boss fights in the series, as its designed to be more annoying than challenging. Moldorm moves around, and you have to hit the end of his tail with your sword. Pretty standard, but the fight takes place on a rather small platform. If Moldorm knocks you off the platform, you fall down back into the dungeon, at which point you have to go back upstairs and start the fight over. It's not like you can chip away at him or anything, everytime you fall down Moldrum recovers all of his health. As I said, not particularly difficult or anything (I was actually able to kill him without falling down once during this playthrough) but this fight still sucks.

Agahnim: You actually fight Agahnim twice during the course of the game, but both fights play out fairly similarly. It's the classic Zelda boss fight: guy shoots crap at you, hit said crap back at guy, guy dies. For his second appearance, Agahnim splits into three versions of himself, all of which shoot lasers at you. This makes things a lot more interesting, particularly since only one of the three Agahnims is real, so the other two can't take damage. Overall a pretty neat boss fight. I look forward to doing it again, since this fight is essentially cloned in every Zelda game made since.

Helmasaur King: Look at that picture. The first boss of a Dark World dungeon obviously means business. This guy is scary as shit. The picture doesn't really do him justice either: this dude is fucking huge. He takes up half of the room you fight him in. I think Link's about the size of his foot. Shit, he's so massive he doesn't even really move. He just sits there on his fat ass, lazily swinging his scorpion tail around and spitting out fireballs. You have to use the hammer to chip off his mask. Once his mask is gone, his true face is revealed: a set of eyes and a massive green jewel in his forehead that might as well be a sign reading "STAB HERE". After seeing Helmasaur King crammed into this really small room, I have a couple of questions:

1) How do Zelda bosses actually get into the rooms you fight them in? In some cases this isn't really a issue, but look at this shit:

  There's only one door leading into the room, and I doubt Helmasaur King could even stick his dick through it. This fight also takes place in the dungeon's basement, by the way, so its not like they ripped the roof off and airlifted his ass in or anything. Did they build the room around him? Why would you do that? Did Helmasaur King agree to this? Is he even sentient?

2) What do Zelda bosses do when they're not fighting you? How long has Helmasaur King been sitting in this room? How does he eat? Do the other, much smaller Helmasaurs bring him snacks? Do they also remove what I assume would be Helmasaur King's massive bowel movements? Why is he even down here to begin with? He's guarding one of the kidnapped maidens you have to save, sure, but he wouldn't have been given that job until recently. What was he doing before then? This shit is making my brain melt.

Arrghus: ARRRRRRRghus. He must be a pirate. I always thought this guy's name was Wort, since there's a mini-boss in Majora's Mask with an identical appearance and mechanics by that name. Guess I was wrong. Anyways, ARRRRRRRRghus here is surrounded by yellow...things that protect him from damage. You have to use the hookshot to pull the yellow things off of him. Once the things are gone, ARRRRRRRRghus goes ape shit and starts flying around the room, at which point you have to fight him with your sword. This is a solid boss fight, not too difficult, but it definitely keeps you on your toes.

Mothula: The fight with ol' Mothra here is just a glorious cluster fuck. Feast your eyes:

  That thing you're standing on is a conveyor belt, by the way. And those spikes lining the walls will randomly fly around the room. And Mothula shoot lasers at you. Overkill, much?

  Maybe once the fight starts a crazed chimp could crawl out of my TV and attempt to rip my balls off. Maybe the SNES controller could somehow spit weaponized pepper spray directly into my eyeballs. Or maybe the disembodied spirit of Shigeru Miyamoto could fly out of the cartridge and start slapping me over the head with a copy of Wii Music. C'mon guys. Put some fucking effort into this shit.

  Really, though, this fight isn't too bad. I usually just tank all the hits and burn Mothula's ass off with the fire rod.

Blind: Like Mothula, this fight can get pretty busy. Remember Gleeock and Helmethead? Same thing. Blind keeps losing heads, which proceed to fly around the room shooting lasers. Its better than those aforementioned fights, though, because Blind *also* moves around shooting lasers. What I'm saying is that this fight involves a shit ton of lasers. This is just a really good, classic fight.

Kholdstare: What is up with Zelda and eyeballs? Everything is either just an eyeball (like this guy or ARRRRRRRGHUS) or has en extremely obvious eyeball weak spot (Gohma). So this guy isn't really anything to write home about. You use the fire rod to melt the ice surrounding him, at which point he splits into three different eyes which fly around the room shooting ice at you. Hit them with your fire rod some more and they die.

  Now is probably a good time to mention that Link to the Past uses the previous game's Magic Meter system (thanks, Zelda II) and its really fucking annoying. A lot of your items drain your meter, and a fair amount of bosses require the use of said items to defeat them. Most of the time, if you run out of magic during a boss fight, you're just straight up screwed. Thankfully, modern Zelda games seem to be phasing this system out. Good riddance, I say.

Vitreous: MOAR EYEBALLZ. This guy gets bonus points for being an eyeball covered in smaller eyeballs. Vitreous is kind of lame. You use your sword to kill all of the smaller eyeballs, at which point the big eyeball starts charging at you. Then you eyeball with the eyeball and the eyeball with the FUCKING EYEBALLS.

Trinexx: This is the boss of the game's final proper dungeon, Turtle Rock, and he's surprisingly easy. Hit the red head with the ice rod (that is not a sexual euphemism, even if I do like to call my dick the ice rod) and hit the blue head with the fire rod. Once both heads are dead, Mr. Rock Turtle sheds his shell and starts snaking around the room. Hit the center of his body a couple of times with your sword and he dies.

Ganon: He's back, mother fucker. Ganon can actually be fairly difficult. He warps around, shooting bats made out of fire at you. He'll also attempt to hit you with his trident. During this phase you just hit him with your sword. At a certain point, Ganon gets tired of your shit and knocks the outer ring of the floor out, creating a small arena for you to finish the fight in. The torches in the room go out, and you have to use the fire rod to light them again. Once you do, Ganon become visible. Hit him with your sword, then shoot him with a silver arrow. Rinse and repeat. Despite a lukewarm first appearance, the series' second fight with Ganon is actually really badass.

-Hey, Listen!-

A Link to the Past easily has one of the greatest video game soundtracks of all time. This makes it rather difficult to pick just one track to highlight, so I won't. Let's call it a tie between "The Dark World" and "Hyrule Castle".

Link's Awakening

Released June 6th, 1993

-The Wind Fish slumbers long, the hero's life...gone.-

  Link's Awakening is an incredibly important game to me. Not because I cherish memories of playing it as a child or whatever. Its the exact opposite, actually.

  Let me paint you a picture: I'm 22 years old. I've just finished Skyward Sword. I can't say I didn't sort of enjoy Skyward Sword, but as with most recent Zelda games, it didn't have a strong impact on me. I didn't finish it and go "Wow, what a great game." I began worrying that the magic of Zelda was gone. Perhaps the things I felt about earlier Zeldas were nostalgia, and nothing more. On a whim, I decided to play one of the earlier Zeldas I had somehow missed: Link's Awakening.

  Let me tell you, Link's Awakening put those fears to rest. Here's a game that I didn't play until I was in my early 20's, no nostalgia goggles whatsoever. And I fucking LOVE this game. It is incredible.

The amazing thing about Link's Awakening is that it didn't have to be this good. What could be expected out of a Zelda game for the original Game Boy, a piece of hardware with processing power roughly equal to an abacus?

  All the designers had to do was create a shitty, watered down version of A Link to the Past and we would've eaten that shit right up. "Zelda on the go. Its decent. 11/10" -Gamespot

Yet not only is Link's Awakening not a watered version of LttP, in some ways it actually *surpasses* it, particularly in the story department.

  Now I want to go ahead and give you a spoiler warning here, even though this game is older than my sister (who is married, by the way). This game has a great story with a big twist coming in at around the 75% complete mark, so if you haven't played it, what the fuck is wrong with you? Do you enjoy things that are good? Then I would highly recommend this game. Go play it. Right now. I'll be waiting...

  Are you finished? Yes? Good. Wasn't that game fucking awesome? Anyways, on with the review.

  I was going to give you a plot summary, but I'll let this crazy ass Japanese commercial do it for me:

  Sweet Jesus. That...didn't really tell you anything, did it? Well, that was pointless.

 Okay, so after the events of A Link to the Past, Link decides to go on a "spiritual journey" and leaves Hyrule. My theory is that the events of Link to the Past have left Link with post traumatic stress disorder, and this "spiritual journey" is really just an excuse to leave behind anything that reminds him of the experience. This sounds crazy, but I think the final boss (which we'll discuss later) actually supports this theory.

  So Link is cruising around the ocean on some shitty ass raft when a massive storm strikes. Link's raft sinks, and he awakens (Get it?) to find that he is now in a place known as Koholint Island. Shortly after you wake up, you meet an owl who tells you that in order to leave the island, you have to collect eight magical instruments and wake the Wind Fish, who appears to be some sort of sleeping god. These instruments are, of course, all found inside perilous dungeons. Nothing is ever fucking easy.

  I can't really put my finger on why, but Koholint Island has this very subtle creepiness to it. Every is just too...pleasant. I really can't explain it any better than that, but I always had this odd feeling like something about Koholint Island was fucked up. And indeed there *is* something wrong with the island: it's all a dream.

Okay, I know your eyes are about to roll out of your skull, but believe me when I say that this may be the only good use of the "It was all a dream!" trope. Turns out that the Wind Fish is so powerful that his dreams actually physically manifest themselves... potentially. See, there's also a heavy implication that Koholint Island is also partially a result of Link's dreams, and that Link and the Wind Fish are somehow mentally tied together in some sort of crazy Inception shit.

  This gives the game's narrative all kinds of fascinating implications. There's this little romance subplot with a girl you meet named Marin. Is Marin some sort of aspect of the Wind Fish's personality? Or does she represent something that Link desires? Does he desire Zelda, the person he actually mistakes Marin for the first time he sees her? Or does Link desire simple companionship? Like another dark, intellectual game in the series, Majora's Mask, there's a ton of interesting subtext that adds a lot of character to Link, who's generally just a blank cypher.

  The villains in this game are also really interesting. They're known as Nightmares, and they want to make sure the Wind Fish never wakes up so they can live on Koholint Island forever. This actually means that the villains are attempting to prevent *you* from doing something, as opposed to the other way around. This is actually really uncommon in games, and I think it should be done more often. Link is actually a proactive part of the story, as opposed to just being some doofus who would prefer it if the world didn't explode.

The final boss of the game (simply known as Nightmare) is supposed to be the leader of the Wind Fish's nightmares, but I think he might actually be *your* nightmare. He constantly shifts his shape in order to fight you, with one of those shapes being this:

  This kind of of plays back into my point about PTSD. Nightmare takes the shape he feels will frighten you the most: Ganon.

  The ending of this game is a massive uppercut to the gonads. You've grown to care about about the island and its inhabitants. Especially Marin, who tells you her greatest dream is to leave the island one day and sing to people all over the world. As Nightmare falls and the Wind Fish wakes, Koholint Island and everyone you've met on your journey just...fades away. Jesus, that's fucking dark, bro. I don't want to talk about this game's story anymore, it hits me right in the feels.

  So let's talk about the gameplay. That makes me happy, on account of it being really good. Now, its fairly obvious that this game and the later Oracle games use the same engine. I can't really describe it in words, but there's just something about the way these three games play the charms the ever living shit out me. The way Link moves, the way he swings his sword, the sound effects, the way the music sounds, it all just rubs me the right way, y'know?

  One thing I like about this game is how free and mobile the combat feels. This can probably mostly be attributed to the new item Roc's Feather, which actually lets you jump on command. So instead of hustling your slow ass around projectiles, you can just jump over them and stab the bad guy in the eyes. Its great. This is particularly fun once you get the boomerang, which in this game can actually kill enemies instead of simply stunning them. At this point in the game, combat usually involves me jumping around like a spider monkey on meth, all the while tossing my boomerang around like I was some sort of badass ninja from the Australian Outback.

  So the gameplay is good, and the story is good. But Link's Awakening doesn't even stop there. It's an incredibly important Zelda game, as it represents a major sea change in the way these games are designed. Link's Awakening has a larger emphasis on environmental puzzles than it predecessors, and its boss fights play out more like puzzles as well.

  Take Moldrum from Link to the Past, for instance. The item you get in Moldrum's dungeon is the Moon Pearl, an item that lets you retain your original form in the Dark World. The boss fight doesn't use the mechanics of the Moon Pearl, you just hit him with your sword. As an example of the new boss philosophy, take Awakening's Slime Eel. You get the hookshot in this dungeon, and you have to use the hookshot to defeat the boss. Now I understand this is a pretty selective example. The Helmasaur King boss fight uses the dungeon item (the hammer) while Moldrum actually returns in Awakening and (still) doesn't use that dungeon's item. But these "puzzle" bosses feel like they have a significantly larger presence here. Even the dungeon's themselves now feel like more of a showcase for whatever item it is you find within.

  So which of these two design philosophies do I prefer? I'm honestly not sure. The newer philosophy keeps the dungeons significantly more focused, but some of the later games in the series develop a bad habit of designing dungeons around items that are literally never used again after that dungeon is completed *cough* Twilight Princess Spinner *end cough*.

  Look, I can prattle on all day, but I want to get back on topic here. That topic being that Link's Awakening is amazing. It's a four course lobster dinner when all I was expected was a bag of chips. Plus, it has fucking Goombas in it. Wat.

-Like A Boss-

Moldrum: He's baaaaaaaaaaaack. See my analysis in the Link to the Past section. I mean it. Go back and read it, its the same fucking fight. Fuck this guy, he sucks.

Genie: So Genie is a... uh... Genie... clown... thing. This guy is really annoying. He pops out of his lamp and throws fireballs at you. When he goes back into his lamp, you have to pick up the bottle and throw it against a wall. Eventually the bottle breaks, at which point Genie starts teleporting around the room shooting fireballs at you. While he's doing this you can finish him off with your sword. This boss is really weird.

Slime Eyes: Slime Eyes is...another eyeball guy. You use your Pegasus Boots to knock him off the ceiling, at which point you can attack him. In a pretty snazzy effect, he starts to split in two the more you attack him. Once he's almost split, you dash through him using the boots to finish the transformation. At this point the fight is pretty standard. Dodge the eyes' attacks and kill them with your sword.

Angler Fish: This fight is so bad. Look at this screen:

  

  Okay, do you see what the problem is? Obviously, Angler Fish's weak spot is the giant glowing ball at the tip of his angler. The entire fight takes place underwater on a 2-D plane. You enter the room from the top, Angler Fish enters the room from the bottom. This means that as soon as the fight starts you're right next to his weak spot and Angler Fish doesn't really move. Spam that sword and he'll die in about 10 seconds. Cool. Even if you don't somehow kill Angler Fish immediately he won't put up much of a fight. He just sits there like a dumb asshole and spawns smaller fish that swim around the screen aimlessly. This fight sucks.

Slime Eel: There are two things you need to know about Slime Eel: A) He totally sounds like he could be a boss in a Mega Man X game, and B) He's a total douche. This fight is fairly tedious. There's a big hole in the middle of the room, and Slime Eel sticks his giant ass tail through it, attempting to swat you with it while he pops his head through various holes in the wall. You have to use your hookshot on his head when he pop out. This pulls him toward you, exposing his weak spot. As I said, tedious.

Facade: Facade confuses me. Is he some sort of disembodied face? Is he actually the floor? Is he a monster hiding under the floor? 

  Who fucking knows. Just throw bombs at face, see if he likes that. This fight is pretty easy, considering all Facade really does is try to drop rocks on your head.

Evil Eagle: So this fight also takes place on a 2-D plane. And it's Moldrum style, so if you fall off the platform you're fighting on the boss battle resets. Did I mention I hate this mechanic? Well I hate this mechanic, and Evil Eagle can take that little skeleton dude on top of him and shove him up its ass.

Hot Head: This fight blows. Hot Head will jump out of a pit of lava, at which point you'll use your magic rod to spam six billion laser beams into his face. He will then die. Cool.

Nightmare: This boss fight is really cool. Nightmare has a bunch of different forms, including Agahnim, Ganon, and Moldorm (FUCK THAT DUDE). Each form has different mechanics, making this fight challenging and dynamic. Also, I think his final form bears a striking resemblance to Vaati.

  Do you know who Vaati is? Eh, we'll talk about him later.

-Hey, Listen!-

  Link's Awakening's soundtrack is admittedly nothing to really write home about. But what do you want? The Game Boy's sound was shit. Anyways, here's my pick, "Final Boss Theme":

Next time: Ocarina of Time and Majora's Mask