{"id":8699,"date":"2021-04-17T13:00:52","date_gmt":"2021-04-17T10:00:52","guid":{"rendered":"http:\/\/playlab.uta.fi\/?p=8699"},"modified":"2021-04-17T13:00:52","modified_gmt":"2021-04-17T10:00:52","slug":"his-apocalypse-is-important-ganondorfs-impact-runs-deep","status":"publish","type":"post","link":"https:\/\/www.tuni.fi\/playlab\/his-apocalypse-is-important-ganondorfs-impact-runs-deep\/","title":{"rendered":"His Apocalypse Is Important \u2013 Ganondorf\u2019s Impact Runs Deep"},"content":{"rendered":"<p>In their article <em>I Coveted That Wind: Ganondorf, Buddhism, and Hyrule\u2019s Apocalyptic Cycle <\/em>(2021), Kathryn Hemmann examines long-running videogame franchise <em>The Legend of Zelda<\/em>\u2019s primary antagonist Ganondorf, his interconnected incarnations, and their relation to cultural literature. They claim that, through Ganondorf\u2019s influence, the overarching narrative of destruction and renewal in <em>The Legend of Zelda \u00ad<\/em>-franchise references Buddhist and Japanese culture. Furthermore, they say that this cycle is a source of delight to players, and thus elevates Ganondorf\u2019s role and importance in the series. Based on their findings they believe that similar, cultural literature has the potential for impact on a global scale, affecting the development and contents of various media around the world.<\/p>\n<p>Hemmann bases their examination mainly on versions of Ganondorf in three games of the <em>Zelda-<\/em>series: Ganondorf in<em> The Wind Waker <\/em>(2002); Calamity Ganon in <em>Breath of the Wild <\/em>(2017); and Demise, the \u201cproto-Ganondorf\u201d occupying his role in <em>The Skyward Sword <\/em>(2011). Their goals seem to align: by destroying the world they seek to, perhaps inadvertently in some cases, enable its rebirth. This cyclical view of the time is found within Buddhist traditions in Japan, predating prevalent Western and Judeo-Christian views. Time being a cycle renders destruction as integral as renewal, for without one, there is no other\u2014even in <em>Zelda<\/em>\u2019s world, Hyrule.<\/p>\n<p>Hemmann continues by linking the apocalyptic narratives and worlds of Japanese media\u2014including <em>Zelda<\/em>\u2014to postwar views and feelings in Japanese culture. Even Japanese working culture is shown to have affected various parts of <em>Zelda<\/em>, more often than not in ways others might have trouble understanding fully. Nevertheless, Hemmann posits that digital media originating in Japanese cultural context has shepherded media creation globally.<\/p>\n<p>Drawing connections between Japanese cultural texts and the original Japanese-language texts of <em>Zelda <\/em>games and lore, Hemmann goes on to make an argument for the consistency of Ganondorf\u2019s different variations. Ganondorf is, both in human and more monster-like forms, vitally important; moreover, the destruction they seek to cause is at the <em>Zelda<\/em>-series\u2019 core. The world of the games must fall to ruin to be built again. Hemmann derives similarities to Medieval Japanese drama to strengthen their point here.<\/p>\n<p>Comparisons between English-language and Japanese-language scripts regarding Ganondorf shine light on the character\u2019s depth and actions. Concepts such as <em>karma <\/em>from Buddhism are shown to be integral. Hemmann argues that, while on the surface Ganondorf may appear to be invariably stuck in an endless cycle, in actuality he chooses his fate. The inevitable duality of Ganondorf\u2019s being\u2014man and monster intertwined\u2014springs forth from this refusal to change, and choose differently.<\/p>\n<p>Ganondorf\u2019s complex permutations range from hulking beasts to poetic wisemen, but the overarching objective is shared: to destroy the world in order to bring about change. His apocalypse is impending, and it is important. Much of the adventure in <em>Zelda<\/em> derives from the imagery and environments perpetuated by the end of the world. With these closing remarks, Hemmann\u2019s analysis seeks to prove that culturally informed reading is essential for better understanding the impact of stories that influence the world and global digital media.<\/p>\n<p>&nbsp;<\/p>\n<p>Source:<\/p>\n<p>Hemmann, K. (2021). I Coveted That Wind: Ganondorf, Buddhism, and Hyrule\u2019s Apocalyptic Cycle. Games and Culture, 16(<em>1<\/em>), 3\u201321. <a href=\"https:\/\/doi.org\/10.1177\/1555412019865847\">https:\/\/doi.org\/10.1177\/1555412019865847<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Header picture: screenshot taken by the author<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Through culturally informed textual examination, the Zelda-series primary antagonist, Ganondorf, is revealed to be more than just a brutish force of destruction. 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