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

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Figure 9 – Top: In A Link to the Past (Nintendo, 1991), we look down and over the space. Bottom: In Ocarina of Time (Nintendo, 1998), we look out and into the space. 28
embodied in the virtual world as inhabitants ourselves. “Escaping the imaginary totalizations produced by the eye, the everyday has a certain strangeness that does not surface...” 30 And it is precisely this unreadable “strangeness” that makes navigating Ocarina of Time, Wind Waker, and other fully 3D games so “poetic.” Because we can never immediately parse the total 3D environment in one glance, surrounding space maintains an air of mystery. To look above, we must actively gaze upwards; to look around a corner, we must physically move to another location. The process of discovery is inextricably woven into the very fabric of three-dimensional existence. That said, it would be overstatement to dismiss the early Zelda games as purely panoptic in their treatment of virtual worlds. De Certeau himself points out that the concept of panoramic space is at best “theoretical,” a mere picture that by its nature “misunderstands” the subtleties of everyday practices. As he eloquently suggests, “The long poem of walking manipulates spatial organization, no matter how panoptic they may be: it is neither foreign to them (it can take place only within them) nor in conformity with them (it does not receive its identity from them).” 31 Thus, even playing the older, 2D versions of Hyrule signifies what de Certeau calls a “speech-act”: a performative act by which we personalize space with our own perceptions and memories. Nevertheless, these speech-acts have greater expressive potential within the “unreadable” complexity of three dimensions. This is not to suggest that 3D is “superior” in any objective sense, but only that 3D spaces can better convey the intangible, experiential quirks of everyday life. 29
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 and 20: Figure 4 - Zelda II: The Adventure
Page 21 and 22: IV. Nintendo’s Jump to 3D “Some
Page 23 and 24: Figure 7 - To travel between worlds
Page 25 and 26: V. Poetic Experience of Space and O
Page 27: Ocarina of Time relied on the visce
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
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The Legend of Zelda: The Wind Waker From ... - Douglas Wilson

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