Review: Ocarina of Time by Hanyou

With the recent release of Ocarina of Time 3DS, the original version of the game is well worth a look. After all, it has appeared at the top of “greatest games of all time” lists for years, and has left its stamp on the Zelda series–and games as a whole–since its release.

Upon release, the verdict was largely that the game delivered on all of the hype, and was one of the greatest 3D experiences available at the time. Since then, prevailing opinion has wavered. Some gamers cite Ocarina’s predecessors as superior examples of the series’ finest material. A Link to the Past, they might argue, is more difficult and more complex, and all Ocarina of Time does is steal its best ideas and apply them to its 3D world. Others might argue that its successors built on what was good about Ocarina of Time. Majora’s Mask is a particularly popular game; on Zelda sites, it’s often neck-and-neck with Ocarina of Time, hailed as an underrated gem that far surpassed its predecessor.

I find myself sharing what seems to be the prevailing opinion among gamers as a whole: Ocarina of Time is really the finest example of the Zelda formula at work, a timeless masterpiece that not only perfected what came before in every way possible, but also added so much to the landscape of 3D gaming that the entire industry would have suffered without it. On top of all this, I think it is every bit as relevant and every bit as entertaining today as it was upon release. Level what criticisms you like against it, but it really offered an unparalleled atmosphere and presentation. It’s no wonder it still resonates with gamers the world over, and it’s actually surprising Nintendo managed to accomplish so much with the series’ first foray into 3D.

I. Aesthetic

 

Visuals

Part of what makes Hyrule such a convincing world is the visual design. Visuals are integral to its success because it is so exploration-based, and Nintendo made certain it was pleasant to look at.

The visual style is successful because it realizes a world completely compatible with the story. Things are whimsical when they need to be; characters are typically anime-styled, and NPC’s exhibit outrageous proportions or overact when the plot calls for it, and it’s fully visible in their expressions. At the same time, however, characters also exhibit a range of expressions and personalities and are capable of being taken seriously–and even being feared–when necessary.

Environments are painted in bold and bright colors, and are large in scale as befits an epic title like Ocarina of Time. Draw distance is impressive in Hyrule Field and in each of the separate locations. Bosses are huge. But there are also more subtle details, like the rich textures of the Water Temple or the moss and dirt on graves in the Kakariko Graveyard.

An epic game requires an engine that can exhibit a wide range of themes and emotions, especially if story is going to take the fore. Ocarina of Time is successful in this regard.

Music

What would Ocarina of Time be without its soundtrack? Music is so integral to this game that it’s named after a musical instrument. Like the visuals, the music ties in nicely with the overall atmosphere of the game, with each different song evoking a different tone. Saria’s Song is playful and mysterious, while Zelda’s Lullaby is melancholy. A full range of music types is exhibited within the first few hours of the game, and after seven years pass in the story, it gets even more interesting. Ocarina melodies get more complex, dungeon themes get richer and even catchier, and even the late game boss battle music is more energized.

Like everything else in this game, the soundtrack is always balanced and appropriate. There is never a moment of discord where something seems out of place.

Very little can actually be said about the soundtrack. It speaks for itself. But it is one of the most iconic elements of an iconic game, and that alone is the highest praise it could possibly receive.

II. Story

There can be no question that Ocarina of Time has a basic, conventional story with a conventional plot structure. At its core, it is a classic Hero’s journey: the warrior leaves home, faces numerous trials, learns lessons, grows up, applies his lessons, and returns home victorious. Most Zelda games sport this story, with some embellishments.

Ocarina stands between an era of Zelda games with remarkably basic stories and the more recent era in which stories have offered more characters, more motives, and more nuance. No Zelda game can boast a convoluted story like Final Fantasy or the Tales series, though each might have one or two twists. A masterfully-told Zelda story simply uses the available resources and characters to great effect.

Ocarina passed this test, and did so with class and quality. It will not get many points for originality when stacked up against twentieth century literature. It does, however, evoke classic tropes effectively. The Odyssey and Beowulf were not particularly complex, either, and their plot structure works for Ocarina of Time because it endeavors to tell a particularly mythological story. The production values and other elements help to flesh it out.

But Ocarina of Time also contributes a good deal to the world of Hyrule. Never before had we seen Gorons, Deku Scrubs, Kokiri, or an intelligent race of Zora. These strange creatures assumed prominent roles in the story and actively participated in Hyrule’s rescue from Ganondorf. The heroes were pure, but not perfect, with many (including Zelda and Link!) making arguably wrong decisions at the wrong times. The villain, while not particularly deep, was intimidating, and his influence grew steadily more prominent as the game progressed. Furthermore, in addition to the races, Ocarina of Time expounded exponentially on Hylian lore, hinting at what was to come and what had come before.

The Zelda series had previously hinted at such depth, particularly with Link’s Awakening, but never before had Hyrule seemed quite as vibrant, or had it quite as convincingly taken on the traits of a living, breathing world. With the advantage of time progression afforded by the game’s plot, we got to see what became of characters seven years later–to help them cope with their tragedies or even solve their problems.

The final result is a probable world with a large-scale story that has a special impact on the player, not only for its overarching implications but for the effect it has on individual characters.

III. Gameplay

The Zelda series is, first and foremost, focused around gameplay, and presentation has always come in second place in terms of priorities.

In this respect Ocarina of Time is no different from its predecessors or its successors. All of the atmosphere, all of the fantastic story elements and the great music would fall apart if they were not held together by a quality game. Fortunately, every aspect of this game is well-designed, from the structure of the overworld to the choice of items made available to Link. There is constant balance. Nothing is too hard or too easy, and the game offers an extensive world that’s always fun to explore.

Worthy of note but not really deserving of its own section is the control scheme. It’s seamless and it was, at the time, revolutionary. Z-targeting is highly recommended for every single battle, as it focuses the action on the attacking enemy and rarely causes any problems. Having three slots for items is just enough, and each of the individual items controls exceptionally well.

Exploration

Exploration is directly affected by the environments that Nintendo has placed in the game. Without good environments, exploration suffers; without good exploration, this game would be missing one of the most basic and essential elements of a Zelda title.

Fortunately, the environments here are perfect. Not only are they beautiful to look at and listen to, but they are also well-constructed. Very little feels extraneous or useless, outside of a couple of locations where empty space is warranted. Most environments are just large enough for you to lose yourself in, but are also tightly-built so that you are never wasting your time.

The more open areas (principally Hyrule Field and Lake Hylia), while largely devoid of enemies and obstacles, are a welcome change from the more claustrophobic locations, and necessary to keep balance throughout the game. While you’ll become accustomed to the field early in the game and probably return to it several times to complete sidequests, extensive travel can, for the most part, be avoided. The field never feels too big or too small.

This is an ingenious bit of game design, because it makes the exploration element customizable, but never annoying. It’s possible to play through the game in a few hours because everything is conveniently located and warp songs will quickly take you to the most important areas. On the other hand, scouring each area is recommended, and you’ll return to locations multiple times to see what you can find with your additional abilities. This makes the transitions between the different types of areas (overworld, town, dungeon) completely smooth and it also makes the game as a whole addictive.

Items

Link’s arsenal is also nearly perfect, and part of what makes every other element of the game work. On the one hand, they function well as incentive–you want to at least get halfway through each dungeon so you can recover a new item and see where you can use it.

Additionally, they really are functional. Several items serve not only to open new areas and solve puzzles, but also work well as weapons. The Boomerang and Hookshot will stun enemies, for example, while Link will be using the Slingshot and Bow frequently in combat. Others items such as the Hover Boots offer at least the illusion of limitless usability.

The Ocarina of Time itself is of course the most useful. You’ll constantly be playing tunes to open doors, influence the flow of time, remove obstacles, and instantly travel to several locations throughout Hyrule. Even better, the Ocarina is entertaining. It feels like a full-fledged instrument, with all sorts of little tricks to make using it an absolute joy.

If there’s one drawback, it’s that a couple of items are only used a few times. It’s also blatantly obvious where you need to use most items. Hookshot targets are marked and bombable walls are almost always cracked. In truth, this was necessary in 3D, and it’s hard to fathom the developers going about it any other way. Most areas are so dense that it would be hard for a great number of gamers to know what to target were things not marked. It is, however, worth considering for those who prefer ambiguity.

Dungeons

Most of the main quest is spent either getting to dungeons or exploring them. Since they take up such a hefty portion of the game, it’s absolutely a requirement that they’re well-made.

As touched on in the “aesthetic” portion of the review, the dungeons really do look magnificent and detailed. They don’t feel so much like levels as they do like real places–temples and caves that could rationally exist in this world. Since the exploration element so effectively ties everything together, dungeons must feel consistent. It’s key to making the items work properly and the puzzles difficult but never overly frustrating.

Fortunately, Nintendo succeeds in this regard. Like the rest of the game, dungeons are focused not on combat, but on exploration. Each dungeon is basically one large puzzle. The Water Temple was so deviously designed that it’s become notorious, but all of the other dungeons have their own creative gimmicks that keep things both challenging and fresh. The (at the time) brand new 3D element was used to make dungeons more organic and more novel than any previous game could have achieved. Dungeons are rarely straight lines, and the number of choices available to the players can make things both frustrating and rewarding.

Combat

Combat has naturally taken a backseat in 3D. To make up for this, however, enemies are more dynamic than ever before, and each battle is meaningful.

Ultimately, battles, even the biggest ones, can be reduced to simple patterns. This isn’t inherently a bad thing, because the patterns still require concentration and skill to overcome, and figuring out the patterns in the first place is half the challenge. Navi is always there to give you advice, but you’re still usually left to figure things out for yourself–and like any other puzzle, doing so can take a considerable amount of time.

Enemies range from ridiculously easy to moderately challenging. Skullwalltulas require a couple hits from a Slingshot and they’re taken care of. On the other hand, Stalfos require at least some knowledge of how to use a sword and shield properly, and Iron Knuckles leave little room for error.

Bosses are sophisticated, but also somewhat predictable. You will always use the dungeon item to defeat the boss, and it’s usually not too hard to figure out exactly what you have to do; fortunately, later bosses do present a decent challenge and put your dexterity to the test.

IV. Conclusion

The Legend of Zelda: Ocarina of Time is inarguably one of the most influential games ever made. It is also arguably the finest example of the Zelda formula at work; it contains all of the core elements while still expanding on them, making for a familiar and original experience for anyone who enjoys adventure gaming.

If this flawless balance of design, player input, puzzles, exploration, and combat is not perfection, then I don’t know what is.

Final Score: 10/10