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

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development, Patrick provided the support I needed to thrive here. I cannot imagine my Stanford experience without him. Lastly, I am deeply indebted to Matt Broach, my “most serious” supporter, critic, collaborator, and friend. Ten years ago, I spent a series of all-nighters with Matt playing Super Mario 64. Somewhere during “Dire Dire Docks,” my eyes were forever opened to the artistic potential of virtual worlds. More recently, Matt’s influence as a studio artist has had a profound impact on my development as a humanities scholar. Indeed, the initial inspiration behind this thesis stems from one of our countless late-night discussions. I recognize now that those sessions provided the foundations for my growth as an analytical thinker. 6
A storm that needed a mountain met it where we were: we woke up in a gale that was reasoning with our tent, and all the persuaded snow streaked along, guessing the ground. We turned from that curtain, down. But sometime we will turn back to the curtain and go by plan through an unplanned storm, disappearing into the cold, meanings in search of a world. – William Stafford, “Found in a Storm” 7
Page 1 and 2: The Legend of Zelda: The Wind Waker
Page 3 and 4: Contents Acknowledgements 4 I. Intr
Page 5: shaped the reading list for this th
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 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
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