The Legend of Zelda and Philosophy_ I Link Therefore I Am - Luke Cuddy [66]
If talked to again, Pierre informs Link of a song he can teach him on the Ocarina: “By the way …, I know of a mysterious song that allows you to manipulate the flow of time… . Do you want to learn it?” If the player selects “yes,” Pierre continues, “If you play that strange song backward, you can slow the flow of time. And if you play each note twice in a row, you can move a half day forward through time.” The descriptions of these two songs (referred to as the Inverted Song of Time and the Song of Double Time) invoke the uncanny with the usage of “mysterious” and “strange,” suggesting deviation from the familiar. The structures of the songs also disrupt the familiar, especially the repetition that constitutes the Song of Double Time. Bennett and Royle argue that “the uncanny involves, above all, strange kinds of repetition: repetition of a feeling, situation, event or character” and note the “idea of the double” as being one form this repetition can take. The idea of time being double not only manifests itself in the game in various ways, but can also be considered in the relationship between event time and play time, where cyclical and linear time operate simultaneously.
These two songs are the only songs in the game that are “hidden,” that is, the player does not need to learn them to advance major events in the game narrative. Bennett and Royle discuss the idea that “alternatively, the uncanny is—in the words of the German philosopher F.W.J. Schelling—that which ‘ought to have remained … secret and hidden but has come to light’.” (p. 40). The act of discovering these two songs and enacting these forms of control over temporality is thus an uncanny event. In effect, the “secret” of time has been unlocked, which holds amazing power but also threatens an unthinkable loss, of both self-identity and time itself. If time is lost, Termina is lost.
The Triforce Holds a Prosperous Future
Time is one of the great themes of the Zelda series, and I have only covered a fragment (nay, a shard!) of the possible discussions of temporality here. Introducing the philosophical implications of time might help us arrive at some new conclusions. Once that’s done, we’ll have a whole set of defenses against the petty accusation that we waste too much time playing Zelda and other games. Trust me, the day will come. Soon. Just wait.
11
Constructing NESpace in Zelda
JOAQUÍN SIABRA-FRAILE
Here we are.
We have explored deserts. We have climbed mountains and crossed oceans. Spiders have bitten our bodies, stone statues and laughing skeletons have attacked us. We have discovered secret passages. We have fought and defended ourselves. We have discovered a world. Finally, here, in the deep, the last door. Behind it, the fierce and not so good-looking Ganon awaits. He isn’t going to allow us to rescue Zelda that easily, and we know that. But we have a made a choice. We aren’t afraid of those moldy skulls on the floor from the heroes that came before us. We aren’t worried at all about the shapes the torches make or those echoes coming from the deep. We aren’t. Are we?
We open the door. We open the door and step into … a ministerial office?
“Come in,” says the official to Link without standing up. He is staring at him through his big glasses, while stamping application forms.
“Excuse me … I wish …” stammers Link. An office in the dungeon? Well, this is really astounding. The official is signing documents, papers fly here and there.
“I’m in hurry, you know? What’re you looking for?”
“Well … I want … I want to rescue Princess Zelda from …”
“Wait. Have you already filled the form 48? If she’s from a Royal Family, you must bring the Royal Communication FG3, and the Family Book too.”
“I only have this magical sword …”
“It’s useless. Come back tomorrow with all the forms filled. From nine to two.