Because, as Shintoism has grown to advocate an increasingly environmentalist message, that countryside has disappeared. It isn’t a coincidence that Miyamoto felt inspired by his childhood outside Kyoto and drew Shintoist elements into to create Legend of Zelda. Both of these games-and many like them, though with less tenable Shintoist origins, like the Silent HIll and Harvest Moon franchises-are tied to the teachings of Shintoism. The Japanese sun god Amaterasu is undisguisedly in the game as the sun-and even the game’s name, ?kami, means “great god” in Japanese. Its story, myths and characters are taken from Japanese mythology. The PS2 game ?kami is basically a lesson in it. This isn’t the only game to adapt or use outright Shintoist elements. The “Legend” of the Legend of Zelda is set up to look like a medieval folklore, but in truth it is a Japanese folktale composed of Shintoist elements, which has been respun by Miyamoto. They are children of the forest, of water, mountain, etc., and their behaviour is likewise linked to their homeland stubborn like rocks, for instance, or beautiful and gentle like water. ![]() No one’s quite human, everyone is bound elementally to something. More than that, the atmosphere of Miyamoto’s world is Shintoist-inspired. The cyclical birth and rebirth of our hero is a more Buddhist concept, but still: Buddhism was introduced into Japan between the 3rd and 6th century, and much of it was integrated into the then-nascent Shinto. Aspects of the game’s story-particularly the fouling of pure areas, such as lakes or trees, which the hero must then purify-are actually Shintoist ethics at work. The mythologies of the Legend of Zelda-that three goddesses created the world as well as a sacred, holy realm-is almost directly taken from Shintoist mythologies of the origin of Japan. So perhaps the kami of a river became evil when polluted in, or the fire kami burns or warms you. They aren’t good or evil like Western deities: more like “dirty” or “clean,” and these states of cleanliness modulate over the course of time. You may not know them by name, but “Kami,” for example, are the ghostly Japanese monsters attributed to worldly phenomenon-like fire, water, wind, or love- which make up the cast of characters in many Japanese anime. Very few people in the west are familiar with Shintoism, but we’re all familiar with its artifacts. The way he chose to express these memories in Ocarina of Time, however, was more than mere nostalgia it was in the guise of Japan’s homegrown religion Shintoism. ![]() ![]() There he explored the caves, collected insects, and soaked in the quietude of nature. ![]() Shigeru Miyamoto attributes much of his game’s atmosphere and mythology as being inspired from growing up near, Kyoto, Japan’s old capital. And the names, too, could tangle tongues unfamiliar with them: Deku, Dodongo, Gerudo. Vicious shrubs pounce from the ground to pester you, spirits of the mountain, taking the form of iron-clad lizards, whip you with their tails. Your character’s mentor is a gigantic tree, your enemies not arbitrary “baddies”-ghouls, demons and the like-but sprung from the world around you. The game’s world, conjured by its developer Shigeru Miyamoto, was weird. I was in my best friend’s bedroom with his sister, the two of them in a heated argument over who had figured out how to get out of the very first room, such was the novelty of 3D games at the time. The first time I saw The Legend of Zelda: Ocarina of Time, I was nine.
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