In terms of gameplay, it could be argued its theme is exploration because the dungeon asks the player to trek through the dungeon multiple times to discover the mini-boss at several locations, but the tedious backtracking and difficulty actually exploring the dungeon would make this dungeon a botched attempt at such a theme. Its shape is supposedly of an eel, and its final boss is an eel, but eels are otherwise unrepresented. Although one might initially assume it to be centered around water, based on its name and location, it features very little aquatic gameplay and takes place right after the game’s actual water dungeon. Unfortunately, Catfish’s Maw also suffers from its theme, which is essentially nonexistent. And its bizarre lack of puzzles, combined with a surplus of rooms that lock the player inside until all its enemies are defeated, makes for a remarkably repetitive experience in several regards. As it stands, Catfish’s Maw drowns a bit in its openness. Streamlining some of this navigation through a more detailed dungeon map (ideally earned before defeating the mini-boss), cutting off access to staircases before they become worthwhile routes, and further indication the mini-boss’ location could have made the dungeon much more enjoyable. This confusion is further exacerbated by a mini-boss who shows up at four different locations throughout the dungeon at specific times, requiring even the most perspicacious player to backtrack repeatedly and often somewhat aimlessly. Indeed, the dungeon’s winding shape and four sets of staircases can make it difficult to determine exactly what path leads where at any given moment.
Instead, the biggest navigational issue comes from the ways in which these rooms tie together and the incessant backtracking this encourages. Because of this low screen-to-room ratio, most players will likely have no trouble discerning the layout of any individual room. LEVEL DESIGNĬatfish’s Maw is a sprawling maze of forty screens divided into thirty-one rooms. But at least the short diversion leads to one of the coolest dungeon entrances in the game, a literal catfish maw (reminiscent of Inside Jabu-Jabu’s Belly in Ocarina of Time). Who is this ghost and why does he follow Link? Why does he block access to Catfish’s Maw? Why wouldn’t bringing him to his gravestone at least earn a key that unlocks the next dungeon? It’s all a bit stilted and disconnected from the game’s plot as well as its pre-dungeon gameplay logic up to this point. But at the same time, it feels a bit haphazardly strung together. After the last lengthy inter-dungeon sequence, this curt interlude is a welcome change of pace. After reaching this gravestone, Link can again head south to Martha’s Bay and enter the next dungeon. After Link brings him to an abandoned house at the southern end of the island, the ghost asks to be brought to his gravestone. Shortly after emerging from Angler’s Tunnel, a ghost starts following Link, asking to return home. The path from Angler’s Tunnel to Catfish’s Maw is mercifully brief and straightforward. In this entry, I will be examining Link’s Awakening’s fifth dungeon, Catfish’s Maw.
Because it adds color and an additional optional dungeon, I will be looking specifically at the 1998 re-release The Legend of Zelda: Link’s Awakening DX. As I have The Legend of Zelda: Ocarina of Time, each entry in this series will focus on a particular dungeon, delving into the intricacies of various aspects of design. In honor of new year’s dreams, the left-field games Nintendo sometimes throws our way, and whispers of a sequel to this legendary game, I will be analyzing The Legend of Zelda: Link’s Awakeningdungeon-by-dungeon. And since Nintendo has offered few specifics about what the year has in store, these rumors are whirling with tornado-like frenzy. The Nintendo rumor wheel is always turning, churning out seemingly credible rumblings of dream games day in and day out.
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