Mythical Historicism as Orientation in The Legend of Zelda

Conclusion

We have journeyed through the kingdom of Hyrule, crossed the Great Sea, and traveled through time itself. Similar to our collective experience throughout the course of this report, one of the most profound aspects of The Legend of Zelda series is the parallel between the quests Link undertakes and how they are mirrored by the experiences of each player. In turn, as Link tackles a myriad of challenges that act as a catalyst for spiritual growth, players grow alongside him. In relation to the games discussed throughout this report, Skyward Sword, Ocarina of Time, and The Wind Waker provide an opportunity for an imaginative method of engaging in musical performance practices. As such, the aforementioned games act as a starting point for a multitude of individuals who may not have any previous experience with the performance of a musical instrument.

One of the most interesting facets in this analysis has been the interpretation of the music from a Japanese franchise through western standards. How can one make sense of a Japanese franchise utilizing harps with clear ties to the Greek lyre or nineteenth century ocarinas and conductor’s batons? Perhaps the answer is one that can create a wealth of discomfort yet demands acknowledgement – the hegemony of western musical culture. The historical combination of imperialism and white supremacy has created a precarious environment in the present in which western culture remains on a pedestal that seemingly eclipses all other traditions and practices. While there is no reliable standard against which one may judge different cultures against one another to somehow declare one superior, the impact of our historical preferences often manifests as a permeation into other traditions.

It is then discomfiting to write about The Legend of Zelda as a scholar from the United States who is trained in the western tradition and is conscious that his analysis may perpetuate these hegemonic practices. However, it is my firm belief that in order to avoid this imbalance in the future, we must begin by creating discourse surrounding these subjects in the present, regardless of the discomfort that could derive from our analyses. To be certain, it is unlikely that every individual who has or shall ever play Skyward Sword, Ocarina of Time, or The Wind Waker will notice these western and historicizing influences. It is also quite likely that other aspects not explored may come to light in the future. What does this mean for now?

Often times, the only way out is through. Despite a strong western influence, it is undoubted that the popularity on a global scale of The Legend of Zelda franchise is a testament to the universality of music. Although Link engages in these performance practices without ever uttering a single word, the emotion, meaning, and significance of each motif, melody, and phrase is readily apparent. As William Cheng discusses in Sound Play, “Play is about more than make-believe; it’s about re-making belief, redrawing frontiers of the imagination through performances of actions, identities, and ideologies previously unfulfilled (or assumed to have been outright impossible).”[1] While the Triforce is known as the ultimate source of power in the world of The Legend of Zelda, it is completely inaccessible without musical performance. Music can then be understood as the true ultimate power, necessary to promote personal spiritual growth and capable of transporting anyone to worlds previously unknown, undiscovered, and unimaginable. How wonderful it is to live in a world where this sort of magic is tangible, all-encompassing, and ever present.
 
[1] Cheng, William. Sound Play: Video Games and the Musical Imagination. Oxford, New York: Oxford University Press, 2014.