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As the landscape unfurls, you leave the forest and travel across Hyrule Field to the castle, Kakariko Village and the Goron lair, and then to Zora's hidden underwater domain and the belly of the beast. While the interim periods are as nuanced and detailed as the main course - an enchanting harmony of puzzles and interconnecting particulars - there are few equals when it comes to the neurological euphoria of a dungeon. It's this unbending desire to serve the game first that makes Ocarina so powerful. On the Famicom, Super Famicom and Game Boy, Zelda captured us with the power of its composition and peerless execution, but Ocarina lives and breathes, and not by accident. And the Water Temple, fabled and feared, a conception of outright devilry that will always belong to its designers, is the vertex of not only the greatest collection of dungeons ever to grace a Zelda title, but one that represents the ambition, success, and peak of Japan's mastery in the medium. Slipping from the jovial to the horrifying with tacit maturity, one torchlit encounter in a tapestry of skeletal remains resembles a macabre Lovecraft fantasy.
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In a genre bogged down with picture book storytelling and Barbie and Ken character building mechanics, an emphasis on thinking appears more innovative than ever. Valve under fire as sexually explicit game glorifying rape is listed on Steam. This dexterous finessing cues the player to determine a solution or prompt a development of their own intuition. Its climax is also fittingly heavyweight, beginning with Ganondorf interrupting the game's soundtrack as he steps up from his cathedral organ, and ending in a violent, yet necessary retribution that doesn't sit so well with Nintendo's family image. An appropriate musical theme is the Ocarina itself, instrumental as a tool to shift space and time, call on friends, warp to remote destinations, and transport Link into a future where the kingdom has suffered a grave misfortune. He's as guilty as anyone for Ocarina's timelessness, cementing each swell of the heart and accompanying skipped beat with an auxiliary power that transforms it into an old curiosity shop of a game. a dark slice of the weird and wonderful, the comic, the occult, the fearsome and the eccentric. It's also unmistakably Japanese, typified by the exotic mystery and chronic lunacy of its inhabitants, the Great Fairy's eminence juxtaposed with her suggestive behaviour, and a ubiquitous threat of adult themes.
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The end sequence may be a gala in acknowledgement of the player, but the deeper sentiment is of a team celebrating their own victory, with justified conclusiveness, as if they knew it was something they would never better. Temple ransacking is wedged between unique tasks and excursions that emphasise secondary characters and preface new destinations. In a genre bogged down with picture book storytelling and Barbie and Ken character building mechanics, an emphasis on thinking appears more innovative than ever. The incomprehension when a temple greets you with multiple doorways, passages, ladders, and booming, cavernous hollows, is oppressive. but deciphering the angles and chipping away at its overall form is a matter of unparalleled design wizardry. Perhaps, and in-spite of his lack of video game acumen, this is what Yamauchi - and Miyamoto, respectively - recognised best. Distinctive amongst role-playing games and action RPGs alike, Zelda's challenge is weighted in mental engagement rather than combat.
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