LEGEND OF ZELDA: OCARINA OF TIME - VIDEO GAME
The video game is a somewhat new frontier for exploring sound on the screen; It offers a new form of music and sound on a screen. The soundscapes in video games present us with new ways of thinking about sound; not only are there diegetic sounds and sweeping musical scores, but now there is also a third sound and that is “game player interface.” When gaming, players interact with a variety of sonic aspects that help to immerse them in the world. In film and television, one observes characters, but in video games, the player is pretending to be someone else and so the role of music and sound in this interactive media helps immerse the player into the world. Interactive game experience provides overlapping auditory experiences that includes sounds made by the player’s pressing a button, creating new sounds. The Legend of Zelda: Ocarina of Time is the focus for this investigation into soundscapes. This example has robust scores, diegetic sound, non diegetic sound and the player uses the controller as a musical instrument (the ocarina) to advance through the game by pressing a certain combination of keys, which create musical notes in order to progress. The gamer is navigating an onslaught of sounds and music competing for attention.
Ocarina of Time is a 3D adventure game that was released in 1998 for the Nintendo 64. It was the fifth in the Legend of Zelda series and was the first in 3D. The game follows the hero named Link through a series of adventures and tasks that lead him to save the land of Hyrule, defeat the evil Ganandorf and ultimately save the titular character, princess Zelda.
The game itself has become well known for its music. Koji Kondo is the celebrated composer of The Legend of Zelda Games. Kondo, an accomplished keyboard player, joined Nintendoin 1984. Among his first projects were Super Mario Brothers and Legend of Zelda. For Mario Brothers, he believed the music was to enhance the interaction between player and avatar. The rhythms between them were synchronized. With Ocarina of Time, however, he wanted to enhance the atmosphere of the environments and he wanted the gamer to actually feel like the character Link, when he or she played (Summers 10).
According to Gunseli Yalcinkaya in an excerpt from her book Ambient Beats, Koji Kondo understood that Nintendo gaming systems’ synthetic sounds could hardly reproduce a “real” world. So he created something entirely from scratch, adding the possibility of rudimentary synthesis with melodies that were inspired by Gregorian chants, Hollywood, folk, classics of the 20th century, and medieval troubadours, the hypnotizing result of which manifested in disorienting melodies that were able to show and capture the vastness of the fantasy world Hyrule and the adventurous expeditions of Link, the game’s protagonist.” (https://www.electronicbeats.net/book-essay-music-in-video-games/). Kondo’s orchestration is not simply background music. It is used deliberately. For example, if a player selects to alter the time of day, he must play Kondo’s The Sun Song; if he wants to alter time, he plays a related tune. Ocarina of Time builds its world through sound. The music and sounds, both non diegetic and diegetic, help gamers understand what to feel and how to play. It creates depth to the game that can’t be understood without the sound. When a certain sound plays there is a response in the brain that creates excitement, tense feelings, or happiness. Music critic Isabella van Elferen refers to this sound as “supradiegetic”(30).
In addition to the diegetic and non-diegetic sounds, there are also several self-produced sounds. According to Karen Collins in Playing with Sound: A Theory of Interacting With Sound and Music in Video Games, she “seeks to understand games not as texts but as sites of participation and practice where players construct meanings” (ix). In her book, she explores game sound focusing on the player’s experiences and interactions with it. She begins her investigation by discussing what it means to interact with sound, and immediately references Michel Chion’s three modes of listening (Causal, Semantic and Reduced) and how these three modes are not mutually exclusive and “a player may be listening in several ways at one time while playing a game” (5). She goes on to say that when it comes to interactive media, Michel Chion’s three modes, may not be enough due to the active participation of the player. Collins references musicologist David Huron, who came up with other listening modes to add to Chion’s three. Among them are “signal listening” “sing-along listening” and “retentive listening”. Signal listening would be anticipatory listening and “retentive listening” would be remembering what is heard so as to be able to repeat it. (5-6).
Synchresis In Video Games: The concept of synchresis is the merging of sound and image. Acousmatic sound according to Michel Chion is what one hears without seeing the originating cause. In many video games the wrong sound is merged with the image. According to Karen Collins, “Interactive sound in games is kinesonically syncretic: sounds are fused not to image, but to action. In other words, interactive sound is event driven, and the sound is controlled by an action or occurrence initiated by the game or by the player” (32). She goes on to explain that “When players produce sounds in a game (in a sense that they are immediately receiving feedback for their own actions), they are experiencing those sounds cognitively as ‘their’ sounds”. Because they receive this feedback, “sound helps players become a character, or perhaps more accurately, their character can become a part of their sense of self” (44).
The soundscape in Ocarina of time can loosely be divided into 5 categories:
!. Musical/Orchestral numbers
2. Location Cues
3. Character leitmotif Themes
4. Ludic Cues
5.Interfaces and Sound effects
MUSICAL:
There are the several musical sequences within the game which include 12 melodies played on a diegetic ocarina. The N64 controller has 4 different notes you can play on the Directional Pad. There are also the A and B buttons that you can press that assist with gameplay. Each song you play has a different effect. The melodies “function as a gameplay command to trigger a particular in-game event” (Lind, 88). There are several purposes for these melodies: One, relates to the Ludic aspect of the game; the melodies unlock doors, reveal hidden treasures or trigger interactions. Some melodies allow the player to travel quickly between locations and these are referred to as warp melodies. Some melodies advance the plot and evoke emotion.
Plot Advancing/Assistance Melodies:
Zeldas Lullaby: This song acts as the main game event trigger. It often reveals new paths and offers access to new realms. It also is heard when Link interacts with Zelda. It is heard therefore both dietetically and non-dietetically. According to Stephanie Lind in Active Interfaces,”Kondo has expressed strong desire for the music to synchronize with gameplay in order to avoid disconnects between the player and the game; sound and music thus are essential components in creating an immersive game experience.” (Lind 93)
The Song of Time: The song of time “uses a moderate tempo evoking a somber mood”. It is used to open the door of time and to also to use the time travel aspect. It is one of the more beautiful melodies used to make the player reminisce. Its also a reminder of the strong bond Link has with Zelda.
Warp melodies: There are six “warp melodies in Ocarina of Time. These melodies provide alternate routes, or short cuts to different locations. Koji Kondo references historical music genres for each of these melodies adding in his own non-traditional methods.These melodies are not used that often in the game. One example is Bolero of Fire which transport’s link to The Death Mountain Crater. It references Ravel’s Bolero. The other warp melodies also reference classical music which you can notice from the first word of each title: Prelude of light, Minuet of Forrest, The Serenade of Water, Nocturne of Shadow and Requiem of Spirit. According to Tim Summers, “The warp songs use a progressive AAB or AAA structure, often finishing with a …harmonic conclusion that balances resolution with inconclusiveness or surprise. Since the moment of transportation is both a departure and arrival, this structural approach is apt: Link’s geographic journey os matched by a harmonic and structural journey” (62). Koji Kondo is deliberate and thoughtful in all his music choices.
Scarecrow Song: The Player As Creator. For the last ocarina melody, when the gamer visits a scarecrow at Lake Hylia, he or she is able to record their own song. According to Stephanie Lind, “The player acts as composer, not just imitator…The player is directly engaged in creating the gameworld” (98).
LOCATION CUES:
Ocarina of Time takes place in a magical Kingdom called Hyrule and music is a key component for defining features of this world, from the Kokiri Forrest to the many dungeons and across Hyrule Field. Different areas are assigned different orchestrations and this serves to help the player understand the world in which he is playing. According to Tim Summers, “Music is part of the construction of the world, an element of the way that Hyrule is made present to our senses…Music is used by games to project beyond what we see on the purely visual plane; the music rounds out our perceptual understanding of the virtual locations, evoking the world beyond the restricted areas and geographical limitations” (79). He continues to explain that “Music is used to articulate the geography of the world by using musical contrast and consistency to demarcate borders and emphasize connectedness. Exploration is encouraged in the game and when discovering new areas, players are rewarded with a new location cue. As the game progresses, and access to new locations becomes possible, the new music is part of the developing experience of the game” (80). The music heightens the players interest in exploration and adventure and fully helps immerse them into the world. These musical cues guide the player through the game while contributing magical feeling for the player as they adventure through this land.
Below are just a few examples of many locations that have their own leitmotif:
Hyrule Field: The player spends a lot of time in Hyrule Kingdom and crossing over its field for much of the game. The way Hyrule field is designed means that players must always cross it as it acts as sort of a hub in which you choose to go to the other locations by going through Hyrule field. Because it is heard so often and regularly, composer Koji Kondo, in an effort to combat boredom and player fatigue, created different passages and variation. These are called “Tags”. They are musical cues made up of separate elements so that certain sections of the music can be triggered as opposed to having a very long stretch of music. An example of the variety within this music is if Link is walking on the field when the sun rises, the ‘sunrise’ introduction plays. This is played on the piccolo and is followed by musical sounds that sound like birds. If he enters the field later in the day, there are different instruments, flourishes and tempos.
Kokiri Forest: Kokiri Forest is Link’s home and where he begins his adventures. The game begins here and according to Tim Summers, because it is the area where the player is learning the rules and skills of the game, the music is charming and represents a happy place and mood. The song has three main parts each with different instruments and tempos. This musical cue is upbeat and positive.
Castle Town Market: This town consists of a market places and a series small streets. The marketplace is bustling and filled with crowds and traders and children. This song is reminiscent of European folk music. A tambourine and drum are used to evoke this folk sound which reflects the lively nature of the town. The song makes you wonder what there is to explore and is Link’s introduction into a big world he hasn't seen before. When Link travels through time and visits this market seven years after the evil Ganondorf has conquered it, the player no longer hears the market cue, but instead howling winds and danger music. The absence of the lively market square music is frightening and brings the player into the journey, and makes them more invested in the quest to defeat Ganondorf. The absence of the lively music, replaced by howling winds is great example of both ambient and causal sound.
Lon Lon Ranch: Lon Lon Ranch is a peaceful location in the middle of Hyrule Filed. It is a location in which we hear Epona’s song; Epona is Link’s horse. This song is woven in with the leitmotif music for the ranch itself which has a mellow, country western, pleasant tune. It uses a synthesizer with string instruments. Little danger can happen to Link here which is why the music is composed to make you feel safe. The music is played on an old violin accompanied by guitars. Because Epona’s song and Lon Lon Ranch cues are tied together, place, character, and mood are linked as one for the gamer.
Goron City: Gordon City is a village high up in the mountains whose inhabitants are friendly round creatures that look like boulders called Gorons. The cue in this location is constant but always has an infectious groove that has mostly percussion. It is simple because the Gorons are a simple happy race with a large and bulky bodies.
The location cues are the atmosphere and the architecture of Legend of Zelda: Ocarina of Time. They help the player understand the world he is navigating a narrative way, but also how to comprehend the game itself, how to play and the rules. The variety of the music assists the player in distinguishing between the different locations. Link’s journey is connected to the geography of the Hyrule Kingdom. There are significantly more location themes than there are character themes in this game.
“Location cues are more than just musical sign posts to indicate ‘you are here’. They bind together the virtual space, the avatar and the player: the triggering, silencing, and interruption of location cues are dependent upon Link’s actions, for which the player is responsible.” ~ Tim Summers 172
CHARACTER THEMES:
Characters, as well as locations also have leitmotifs in the game. Most of these character themes are heard during the game cutscenes. Cutscenes are a sequence in a video game that is not interactive. It is often used to advance the narrative. Zelda’s Theme and Ganondorf’s Theme are among the more interesting and contrasting. Zelda’s theme has two orchestrations that coincide with her different ages in the game, one is heard in the past and one in the present. This helps the player identify what is happening in the timeline. The character of Zelda is portrayed by soft, melodic and lyrical music with strings, flutes and glockenspiel. Ganondorf on the other hand, has a darker, villainous brooding sound that lets us know that he is evil. Zelda and Ganondorf are examples of added value empathetic music.
Surprisingly the protagonist Link does not have a theme. Tim Summers posits that, “This choice is understandable since the player is so completely focalized through Link’s point of view that the music is far more concerned with articulating other characters relationships to Link rather than defining the character himself. Indeed part of Link’s function is to serve as an absent center through which players can insert themselves into the narrative, projecting their actions on to Link…” (191-192).
A game soundtrack draws players into the game space's atmosphere with heroic melodies, exotic drums, or spooky white noise; it enables them to identify characters and situations through leitmotifs and underscorings; with 3-D sound clues, it warns them of imminent danger and helps them navigate through fights. ~ Isabella van Eferen
LUDIC CUES:
Ludology is the study of games and it asserts that games should be understood own their own terms rather than as part of a story or narrative that traditionally belongs to cinema.
Examining the game through a ludic lens, music and sounds are the central element of this gaming experience. The music has a function and the player has a role. Jesper Juul, a ludologist and game theorist, believes games should be understood through the process of play and through the mechanics, rather than the story. Sound in Ocarina of Time is used to affect the gameplay and to give an objective to the player. As you progress in the game, you’ll see how there are certain cues in the gameplay that tell you something. When opening a chest there is a suspenseful song that builds the excitement. As Link opens the chest the melody gets louder and louder until he lifts up the item out of the chest and a loud positive affirming noise plays telling you that you found an important item. This short song allows players to feel good while playing and their discovery is more meaningful when you get to hear a catchy melody. This simple 8 note puzzle-solved sound effect is rewarding and satisfying. Because these sounds come to represent various actions and rewards, they could be identified as examples of syncresis, as one equates the sound of opening a treasure chest or collecting silver rupees with a particular sequence of notes.
“Game over cues have to strike a tricky balance: they must respect and indicate the significance of losing but must not do so to the extent that the experience is unpleasant to the player. Music must provide commiseration, not taunt the player. The cue should also encourage players to continue playing. The game over cue in Ocarina of Time charts this move from failure to invitation to try again. The chromatic descent of the strings is similar to the “wha-wha-wha” muted trumpet that accompanies the misfortune of cartoon characters, but the strings are less evocative of schadenfreude than a trumpet. It still, however, evokes failure. The descent of the strings is countered by the ascending harp arpeggio at the end” ~ Tim Summers 242
INTERFACES AND SOUND EFFECTS:
According to Karen Collins, an expert of game sound and music, “Interacting with sound is fundamentally different in terms of our experience from listening without interacting; there is a distinction between listening to sound, evoking sounds already made (by pressing a button for instance, and creating sound (making new sounds)” (2). One of the most important functions of video game sounds is that it aids the gamer in being immersed in the game and through what Collins refers to as “sonic envelopment” which she defines as “the sensation of being surrounded by sound or the feeling of being inside a physical space” (54). While much of the game has musical melodies that further the story, the sound effects and interfaces in the game also have a musicality.
Among the most notable interface sound effect sounds in Ocarina of Time are the musicality of the menu sounds. When the gamer selects an option in the menu they are presented in a tone that combines harp and a chime.The pleasant harp sound is used so that it doesn’t create annoyance to the player since he must trigger it so often. A harp sound is also played when a player confirms they have read the dialog box and are ready to proceed. During gameplay, another notable sound is a pulsing heartbeat to indicate that Link’s health is weakening. “The sound effect draws players attention to this important ludic information” (Summers 256). Other key effects are when Link locks on a target, when a target is activated, when an action has failed. There are also magical sounds: sounds that accompany special medallions and spiritual stones that the players encounter. When fairies appear and again disappear, there is an ascending or descending glissando. Movement between characters and objects also has distinct sounds. Teleporting is accompanied by musical sound. “Through the learned association of the pitched gestures and movement, not least through the legacy of cartoons, the sound synchronized through the movement, help the impression of motion in the game.Given the limited visual capability, by combining the visual movement with sound, the motion is accentuated and highlighted” (Summers 261). These sounds are also referred to as earcons, a non-verbal sound that conveys information, much like the ping that indicates when someone has a text message.
In an interesting article by Zach Whalen in Game Studies, The International Journal of Computer Game Research, he discusses the effect of Carl Stallings cartoon “mickey-mousing” in video games. First he cites the game Mario Brothers and discusses how similar the sounds are to The Skeleton Dance in terms of matching movement to sound. There is a”boop” sound every time Mario jumps up. It’s perfectly synchronized; however, Ocarina of Time takes this sound to another more sophisticated level. “Like Super Mario Brothers, Ocarina of Time employs music to function with the same patterns of music, but the complexity of the musical score and the real-time blending and fading allowed by the game engine creates a more lush, cinematic feel…Accordingly, the game's mickey mousing effects blend with realistic sound effects. The player-character, Link, does employ a jumping sound effect, but the "boing" sound is replaced by an aggressive grunt. Collecting coins has a similar "ching" which is, at this point, universal in games that involve collecting coins, and success in the game is similarly reinforced by a musical "reward." Ocarina of Time thus employs the same musical structures as Super Mario Brothers but the complexity of the fictional space and the use of music as a literal motivational device involved in gameplay allow the identification of some more interesting musical operations through the eponymous ocarina.” (https://www.gamestudies.org/0401/whalen/).
Video Games provide players with an onslaught of sonic aspects. Players experience a multimodal exposure of sound, image and touch and are not just experiencing passive listening, but active involvement. This leads to enhanced cognition and narrative immersion. Even though Michel Chion did not include the genre of video games in his theories of sound and music, his concepts of sound in cinema can be applied to the game Ocarina of Time in several ways. Chion’s ideas of acousmatic sound, listening without seeing the source are some of the ways. Players hear the melodies the Ocarina without actually seeing the source. They hear other music and sounds as well without the source being visible. Chion discusses the audio-visualcontract, where sound and image work together to create meaning. The music that is played on the controller by the gamer often triggers visual events such as the opening of gates and the changing of the time of day, thereby fulfilling the contract. Chion’s theories provide a framework for understanding the layers sophisticated sound in this ground breaking video game.
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