The Legend of Zelda: The Wind Waker From ... - Douglas Wilson

Recommendations

Info

Figure 5 – The Legend of Zelda: A Link to the Past (Nintendo, 1991) magic mirror in the correct places. On more than a few occasions, the game required the player to cleverly use such interdimensional travel in order to overcome certain obstacles. As Gamespot summarizes, “To solve the game's mysteries, you had to visualize both realms simultaneously, understanding their interplay, overlap, and the passages between them.” 18 This interplay of environments forced players not only to move through virtual space, but also to grapple with it. In just a half-decade, Nintendo’s Zelda had grown into a full-fledged cultural force. The franchise had spawned a regular TV cartoon (joined with the Super Mario Bros. show), merchandise, and even a breakfast cereal. Nevertheless, fans would have to wait a full five years for the next Zelda title. Miyamoto has always prioritized originality over sheer productivity and he was concentrating his efforts on the coming Nintendo 64 and the host of technological and gameplay innovations it would bring. 20
IV. Nintendo’s Jump to 3D “Some of these efforts have resulted in exciting new game ‘breeds’ that engage the player in an experience that is all but impossible without 3D technology. Witness Mario's jump to the 3D world in Shigeru Miyamoto's Super Mario 64.” 19 – Richard Rouse III, “Do Computer Games Need to be 3D?” For the Zelda series, that highly anticipated innovation – 3D graphics – would eventually arrive with the historically important 1998 release of The Legend of Zelda: The Ocarina of Time (also known as OOT and Zelda 64). But in order to understand the significance of this major transition, we must first look at Miyamoto’s first fully 3D project, Super Mario 64. Developed in parallel, Ocarina of Time inherited much of its general design from Mario’s landmark 3D debut. Super Mario 64 was released in the summer of 1996 alongside Nintendo’s new cartridge-based console system, the Nintendo 64. The basic premise remained the same: Mario was charged with the task of saving Princess Toadstool from arch-nemesis King Bowser and his minions. As in earlier adventures, Mario traveled through a variety of colorful worlds filled with dangerous obstacles and peculiar enemies, armed with little more than his agility and an arsenal of different jumps. However, the new 3D presentation of Mario and his world altered the very nature of the series’ traditional jump- laden “platformer” action. Technically speaking, 3D graphics use three-dimensional models to give an illusion of spatial depth on a two-dimensional screen display. But more than simply revolutionizing the aesthetic “look” of the game, the third dimension added a definitively new spin to control mechanics, level design, and the basic ebb and flow of gameplay. Mario 64 maintained a strong, distinctly “Mario” flavor, but it seems questionable whether to call the game a true sequel. 21
Page 1 and 2: The Legend of Zelda: The Wind Waker
Page 3 and 4: Contents Acknowledgements 4 I. Intr
Page 5 and 6: shaped the reading list for this th
Page 7 and 8: A storm that needed a mountain met
Page 9 and 10: to heighten my experience of the
Page 11 and 12: II. Terminology: Place, Presence, V
Page 13 and 14: III. Early History of the Zelda Ser
Page 15 and 16: enjoyed worldwide success, and is o
Page 17 and 18: linearly forward. Although Mario co
Page 19: Figure 4 - Zelda II: The Adventure
Page 23 and 24: Figure 7 - To travel between worlds
Page 25 and 26: V. Poetic Experience of Space and O
Page 27 and 28: Ocarina of Time relied on the visce
Page 29 and 30: embodied in the virtual world as in
Page 31 and 32: Figure 10 - Top: Doom (id Software,
Page 33 and 34: our ability to detect sudden moveme
Page 35 and 36: our avatar (e.g. Mario) is so visua
Page 37 and 38: VII. The Controversial Arrival of W
Page 39 and 40: adult, and the entire game was rend
Page 41 and 42: Time. At least in the eyes of the m
Page 43 and 44: narrative plausibility to make cert
Page 45 and 46: Figure 15 - After using the Wind Wa
Page 47 and 48: less formalized microspaces. For ex
Page 49 and 50: Figure 18 - Through the use of a Hy
Page 51 and 52: somewhere. We want the ‘pullulati
Page 53 and 54: Figure 19 - Walking down a corridor
Page 55 and 56: Figure 20 - Hang-gliding over Outse
Page 57 and 58: More recently, hypertext authors St
Page 59 and 60: Figure 21 - Myst (Cyan Worlds, 1993
Page 61 and 62: popular appeal of World of Warcraft
Page 63 and 64: a central part of their appeal); bu
Page 65 and 66: In theory, players could simply cho
Page 67 and 68: side, or pounce forward with an ove
Page 69 and 70: cathartic nature of these reactions
Page 71 and 72:
down a giant flower using the Boome
Page 73 and 74:
XI. Outgrowing the Playground Metap
Page 75 and 76:
The most egregious example of overd
Page 77 and 78:
canvas for us to fill with our own
Page 79 and 80:
The designers themselves seem to ac
Page 81 and 82:
44. Ibid., 120. 45. Atkins, More Th
Page 83 and 84:
Bibliography Print Abrams, M.H. The
Page 85 and 86:
Vestal, Andrew, Cliff O'Neill, Brad
show all

The Legend of Zelda: The Wind Waker From ... - Douglas Wilson

Create successful ePaper yourself

Delete template?

Save as template?