![]() Kakariko Village bustled with life, full of weird people to chat with and local mysteries to investigate. Galloping around on Epona, Link’s horse, was incomparably freeing. Most players remember the first time they walked out into Hyrule Field, the rousing theme, the sudden opening-up of possibilities and adventure, the exciting realisation that you really could go in whichever direction you fancied. Photograph: NintendoĪnd yet Ocarina of Time is also joyful. Remember the Gibdos, those awful mummies that could freeze you on the spot with a shriek, approaching Link with dreadful slowness before leaping suddenly to wrap their arms around his neck? Or the house of Skulltulas, where a family had merged horrifyingly with skull-faced spiders? Absolute nightmare fuel. Link’s nightmares, his serious little expression in the face of his heavy responsibilities, the shuddersome monsters of the Shadow Temple – all of this was thrillingly eerie to anyone who played Ocarina of Time as a child themselves. Its sort-of sequel Majora’s Mask, released in 2000, leans fully into the surreal, vaguely nightmarish, end-of-the-world vibe of Ocarina of Time’s darkest moments.įor a game often remembered as a childhood classic, Ocarina of Time is pretty damn scary. The N64’s low-poly visuals lent the whole thing a surreal patina, like something half-imagined and half-remembered. ![]() The vivacious land of Hyrule that he knew is gone, replaced by a devastated ruin crawling with monsters under swirling, menacing skies. Given the grave task of stopping a wicked man whose hunger for power will corrupt the entire world, he is imprisoned for seven years in a temple, reawakening in the body of a man to find that the world has nearly ended. Link, a child growing up in the forest, has his identity and his childhood stolen from him as he discovers that he is not the elf he thought he was but an orphaned Hylian boy. It’s a dark story, when you think about it.
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