A String Between Worlds.
When you start up a top-down Zelda game, you usually know how things will start. You’ll get some scrolling exposition text setting up the events of the game, and you’ll either be plonked in the middle of a room or a field, ready to save the princess, or wake up after a dream or a shipwreck or something. I’m generalising, but there’s something intimately familiar about how an old-school Zelda game often stands out. It’s cosy, it gets you asking questions, and it’s very fantasy.
Pipistrello and the Cursed Yoyo doesn’t do all of that. After your obligatory context dump, protagonist Pippit is sitting in the back of a taxi, yapping away at the driver. He’s talking about his family – whom he’s going to visit – and his yoyo skills. And he really loves his yoyo. He’s confident, chatty, but far away from your typical hero with an attitude and a lack of direction.
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