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In contrast, all of the bad characters, such as the thieving Gerudo and their king, Ganondorf, have brown skin. All of the good characters, such as the Hylians and Kokiri, are white. The racial, ethnic and religious traits of the “good characters” and the “bad characters” within the game also demonstrate a certain xenophobia. And with this moralizing focus comes a belief that society’s economic ills are intractable because of humanity’s flawed nature. “But they say that the entire family was cursed due to their greed! Who knows what might happen to those who are consumed by greed.”īy focusing on the greed of individuals, the game ignores how private property incentivizes and even mandates such behavior. “Folks around here tell of a fabulously rich family that once lived in one of the houses in this village,” an elderly character in Kakariko confides. Some may interpret the fate of the wealthy family, who are transformed into spiderlike creatures, in the House of Skulltulla as a condemnation of an exploitive class system, but that would be a mistake. Even my own son doesn't have a job, and he just wanders around all day! They're all worthless, I tell you!" "Do you know what I mean, kid? My workers are just running aimlessly around the village, and they're not making any progress at all. "Young men these days don't have any ambition," the boss says. "Ocarina" portrays the apprentices or journeymen as lazy and shiftless, and the boss as the only one willing to work. Karl Marx described this relationship as one of “oppressor and oppressed,” comparing it to that of “freeman and slave, patrician and plebeian, (and) lord and serf.” The boss refers to himself as a master craftsman, and says the workers were hired by the royal family to improve the village. The relationship between the self-described “boss” of the carpenters and those he calls “my workers,” appears to be one of a guild member and apprentices or journeymen. The game's perspective on class issues can best be seen in its portrayal of the Kakariko carpenters and the wealthy family in the House of Skulltulla. So criticism here should be interpreted as loyal opposition. There is no game with which I have more fond memories. As Feminist Frequency blogger Anita Sarkeesian says, “Remember that it’s both possible and even necessary to simultaneously enjoy media while also being critical of its more problematic or pernicious aspects.”īecause games’ technological capabilities have increased so rapidly since "Ocarina" was released, I suspect the title's reputation is somewhat inflated due to nostalgia of critics of a certain age. Some readers may take criticism of "Ocarina" as dismissal of the game. And yet the ways it deals with class, race, gender and animal rights are all deeply problematic. Mariahaaaqgasmxvgg4yqftw5j2ayeziiovzpudpk6y7hs2mecbe5rad.This year marks the 15th anniversary of the release of "The Legend of Zelda: Ocarina of Time." Critics frequently laud the Nintendo 64 title as the greatest video game ever.
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