legend of zelda
210702688
Generative Adversarial Network Rooms in Generative Graph Grammar Dungeons for The Legend of Zelda
Generative Adversarial Networks (GANs) have demonstrated their ability to learn patterns in data and produce new exemplars similar to, but different from, their training set in several domains, including video games. However, GANs have a fixed output size, so creating levels of arbitrary size for a dungeon crawling game is difficult. GANs also have trouble encoding semantic requirements that make levels interesting and playable. This paper combines a GAN approach to generating individual rooms with a graph grammar approach to combining rooms into a dungeon. The GAN captures design principles of individual rooms, but the graph grammar organizes rooms into a global layout with a sequence of obstacles determined by a designer. Room data from The Legend of Zelda is used to train the GAN. This approach is validated by a user study, showing that GAN dungeons are as enjoyable to play as a level from the original game, and levels generated with a graph grammar alone. However, GAN dungeons have rooms considered more complex, and plain graph grammar's dungeons are considered least complex and challenging. Only the GAN approach creates an extensive supply of both layouts and rooms, where rooms span across the spectrum of those seen in the training set to new creations merging design principles from multiple rooms.
2020 IEEE Congress on Evolutionary Computation (CEC)
Jake Gutierrez Jacob Schrum
194280112
The Legend of Zelda: Breath of the Wild
Jonathan LaCour
224938869
The Legend of Zelda and the Portrayal of Women in Gaming History
This paper aims to analyze the change in the cultural depictions of female characters in video gaming history through the developments of the character Princess Zelda over the course of ten games from The Legend of Zelda Series, spanning from 1986 to 2017. The ten games were divided into three categories by the developers that managed the series, games by Shigeru Miyamoto (1986 1998),Takashi Tezuka (2002 2009) and Eiji Aonuma. (2008 2019) respectively. Under each developers' tunure, Princess Zelda's portrayal was altered to adapt the cultural view of women during their time. The results of this literary analysis was that Princess Zelda's constantly evolving depiction represents two events in the gaming industry: the transition from an eastern perspective to a western perspective regarding the view of women in the gaming industry, and the changing demographics in the video game market to more female consumers.
Norachase Prom
216277027
Link Is Not Silent: Queer Disability Positivity in Fan Readings of The Legend of Zelda: Breath of the Wild
This chapter uses the video game The Legend of Zelda: Breath of the Wild and the transnational online communities surrounding it as a case study to explore the intersections between configurations of queerness and disability. It discusses how fan artists and writers have created stories of the game's protagonist negotiating trauma and disability through his queer relationships and friendships while envisioning a positive yet nuanced representations of a society in which difference is enthusiastically accepted. Through an analysis of the visual and narrative strategies employed in fancomics, this chapter argues that multilingual fannish conversations on social media are capable of constructing and normalizing progressive frameworks for how difference is portrayed and accommodated within global gaming cultures.
Kathryn Hemmann
224932111
The hero of time: a propagacao de conteudos miticos em The legend of Zelda: ocarina of time The hero of time: the propagation of mythic content in The legend of Zelda: ocarina of time
Analisando os arranjos narrativos das producoes midiaticas atuais, e possivel perceber que os mitos ainda se constituem como parte essencial de sua diegese e do imaginario coletivo. Partindo disso, esse artigo busca compreender como se dao a utilizacao de estruturas miticas na construcao da narrativa e do universo do jogo The Legend of Zelda: Ocarina of Time. Atraves de uma analise exploratoria da estrutura diegetica do jogo, foi possivel concluir que a franquia agrega estruturas miticas referentes a criacao do Universo e a Jornada do Heroi para criar sua propria mitologia, atualizando e perpetuando conceitos culturais e arquetipicos presentes no dominio do simbolico.
Arthur Carlos de Oliveira Hertz Wendel de Camargo
216264278
Literatura para ler. literatura para ver: reverberacoes do discurso literario na estrutura do manga The Legend of Zelda: Ocarina of Time
Este artigo tem o escopo de aviar uma proposicao teorica que consiste na leitura dos mangas como expressoes literarias, preterindo a usual postura de se designar as historias em quadrinhos aos segmentos de subcultura, subliteratura ou como produto cultural de valor social infimo, desqualificando as como produto condigno a receber o rotulo literatura. Em contrapartida, a imputacao desse rotulo precisa ser justificada, e, para tal, demonstra se como as caracteristicas mais comuns de um romance ecoam livremente na estrutura do manga, em outros termos, as reverberacoes do discurso literario na tessitura textual das historias em quadrinhos, constituindo um texto imagem marcado pela hibridez, uma especie de quadrinho romance. Seccionado em duas etapas, o texto, inicialmente, aborda o complexo conceito de literatura, expondo definicoes variadas e consistentes oriundas de alguns estudiosos. Em seguida, apresenta se o enredo do manga selecionado, The legend of Zelda: ocarina of time (2017) para ser nosso corpus ficcional e inicia se a analise literaria em que se aponta as similitudes entre a estrutura do romance e a estrutura do manga. A fim de atingir os objetivos demarcados, recorre se a estudiosos como Aristoteles (2005) Antonio Candido (1970) Roberto Acizelo (2007) Terry Eagleton (2001) Antoine Compagnon (2010) e Sonia Luyten (2011)
Jhonatan Rodrigues Peixoto da Silva
201495702
The Journey of a Hero: Musical Evocations of the Hero's Experience in The Legend of Zelda
Jillian Wyatt: The Journey of a Hero Musical Evocations of the Hero's Experience in The Legend of Zelda Under the supervision of Dr. Graham Hunt The research in this study explores concepts in the music from select games in The Legend of Zelda franchise. The paper utilizes topic theory and Schenkerian analysis to form connections between concepts such as adventure in the overworld, the fight or flight response in an enemy encounter, lament at the loss of a companion, and heroism by overcoming evil. This thesis identifies and discusses how Koji Kondo's compositions evoke these concepts, and briefly questions the reasoning. The musical excerpts consist of (but are not limited to) The Great Sea (Windwaker; adventure) Ganondorf Battle (Ocarina of Time; fight or flight) Midna's Lament (Twilight Princess; lament) and Hyrule Field (Twilight Princess; heroism) The article aims to encourage readers to explore music of different genres and acknowledge that conventional analysis tools prove useful to video game music. Additionally, the results in this study find patterns in Koji Kondo's work such as (to identify a select few) modal mixture, military topic, and lament bass to perpetuate an in game concept. The most significant aspect of this study suggests that the music in The Legend of Zelda reflects in game ideas and pushes a musical concept to correspond with what happens on screen while in gameplay.
Jill Wyatt
219652356
History and Reception in the Music of The Legend of Zelda Peritexts
This article argues that the music of opening peritexts within two The Legend of Zelda games reflects their reception history and continuity within the series mythology. On the one hand, "The Legendary Hero" peritext of The Wind Waker mirrors the game's reception history as one of departure from a Zelda tradition established by Ocarina of Time, which caused controversy initially yet gained acceptance in the long term. The audiovisual components of "The Legendary Hero" all position gamers to consider the events of Ocarina of Time as old, submerged under the Great Sea. Textual references to "legend" and "myth," visual cues of antique art and runes, and musical cues harkening to medieval, Renaissance, and Baroque tropes within Western music all these serve to depart from Zelda tropes. On the other hand, the title screen peritext of Twilight Princess restores the legacy of Ocarina of Time. Reception of the former always includes its nostalgic, intimately connected relationship to the latter. Consequently, Twilight Princess garnered immediate praise but became problematic in the long term. The audiovisual components of the title screen peritext position gamers to reestablish continuity with Zelda tropes. Visual and musical cues reach across several previous games and as far back as the original The Legend of Zelda game, all of which orient players back to traditions from which the franchise had departed for years. Thus the music of the peritext enables players to engage in Zelda's potential for self reference more apparently than its adoption of Western music tropes, as in Wind Waker. The peritexts of Wind Waker and Twilight Princess complement each other and allow us to understand more critically the reception and historiography of each game, how the music can reveal a deeper understanding of narrative themes characteristic of each game, and their placement within the Zelda mythology.
Vincent E Rone
225212605
"Wear People's Faces"
This article discusses fan adaptations of music from The Legend of Zelda: Majora's Mask (2000) arguing that the creators of these adaptations pick up on semiotic meaning in the game's original music and maintain this meaning while changing some structural features of the music to place the original pieces into new stylistic and generic contexts. The musical meaning in the works is sometimes subtle, but it can be determined through a combination of semiotic and hermeneutic methods. In both the original soundtrack and the adaptations, the meaning of the music is also tied to the in game narrative context associated with it, which is often sad or anxious in emotional character. Remaking the music into adaptations helps fans of the game contextualize the meaning in new ways and understand how it relates to their own social and emotional circumstances. The adaptations help fans with "world building" and "organizing social life."1 After an overview of Majora's Mask that situates it within Nintendo's corpus, the Zelda series and its fandom, and composer Koji Kondo's oeuvre, the article discusses and analyzes multiple adaptations of three specific pieces from the game: "Clock Town," "Song of Healing," and "Stone Tower Temple." The adaptations discussed include amateur remixes and mashups, professional studio productions, covers in different genres, and a full length opera by composer M. Bulteau. When making this new content, creators "wear people's faces" (like the protagonist Link does with masks in the game) by taking on the emotional meaning of the works and putting it into new contexts that imitate, but do not replicate, the original music.
Jeremy Smith
216227115
Mythopoeic Narrative in The Legend of Zelda
Anthony G Cirilla Vincent E Rone