The only sense of industrialism comes from Lanayru Province and the Timeshift Stones that reveal an intricate technological region; this is made up for by the frequent returns to Skyloft, the pleasant idyll that serves as an analogue for reality, as it creates a stronger distinction between reality and the world below, preserving the sense of escapism that helps define the genre. Rather than a grand adventure, gothic fantasy tends to be somewhat more focused on horror or calamity befalling the protagonist, and their efforts to overcome it.
Gothic fantasy is much less common, but the best representation of it in modern pop culture is in the work of Tim Burton, whose unique visual style falls neatly in line with typical gothic fantasy conventions. Most commonly, gothic fantasy stories tend to place a premium on exploiting or deconstructing societal norms and taboos.
For instance, most modern retellings of Alice in Wonderland place Alice at the center of a social conflict prior to her trip down the rabbit hole. She flees the wedding, to the shock of the attendees, and falls down the rabbit hole. This is the core of many gothic fantasy stories: a challenge of societal norms and values.
Gothic fantasy also serves for many as a form of horror. The uncanny is a strong force of terror, one of the dominant forms of fear, and the visual style of gothic fantasy tends to provide a multitude of uncanny sights and sounds.
Similarly, gothic fantasy tends to come from established authors of horror. For example, Stephen King, the noted horror author, wrote a gothic fantasy series known as The Dark Tower. Thus a source of terror and a challenge to societal norms tend to be at the core of most works of gothic fantasy. But the game manages to do several things within the confines of the series itself that secure its place as gothic fantasy.
It subverts the social norms not of our society, but of Hyrulian society. Terminian society is very, very different, and is different in ironic ways. For instance, the Deku, previously seen as little more than a nuisance when enemies and as shifty businessmen when neutral, are a regal society with a clear hierarchy and racial pride, as evidenced by their strict sense of security at the palace for non-Dekus.
Similarly, the Gorons, previously inhabitants of a volcanic region, are seen here in the freezing environs of a snowy mountain range.
These twists on the social norms established in Ocarina of Time work to deliver the social disruption common in gothic fantasy. Similarly, the game has a significant sense of terror through the uncanny. See, as mentioned previously, the transformation masks, and the ways they are acquired: Through healing the sorrows of dead or dying creatures. See the Moon Children and their probing questions into morality and self-worth, and the strange calm of the moon itself.
This genre is fairly self-explanatory. The focus on exploring what remains of the world and the rebuilding of society points to a few clear motivations for seeking out this genre. There is likely a bit of desire for assurance that, in the wake of such catastrophe, society will rebuild itself over time.
Apocalyptic worlds play to the innate desire of humans to explore the world, given that our world has been, for the most part, fully explored. By shattering a familiar world with an apocalyptic event, apocalyptic fantasies provide new things to explore in worlds that have been mostly explored. Washington D. Now, these may seem like very unconventional examples of this genre, but with a bit of examination, it becomes clear that they fit rather well.
The Wind Waker opens with a story of Hyrule being flooded by the gods in order to stop Ganon, since the Hero of Time had not returned to vanquish him a second time. This is our apocalypse. Many, many years after that flood, life on the surface has rebuilt itself in the form of a Great Sea with humans inhabiting islands.
This gives us a brand new world to explore, despite technically being a world we are familiar with. This speaks to a great deal of hope being conveyed through the typical desires of assurance and exploration, and given that the King of Hyrule wishes for hope for the children at the end of the game when he touches the Triforce, that seems to be the goal of the game on all fronts.
As a dark mirror of the standard overworld, it gives us a new area to explore while showing us that evil has caused the collapse of society.
It heightens the sense of exploration by comparing the two worlds more directly. The Dark World is not a nascent society in the process of rebuilding, and shows no evidence of having ever been a real society. Ultimately, this discussion of genres in the Zelda series has been an exercise in breaking down typical genre definitions. While there are a host of other genres, this was a much simpler introduction to the wider understanding of genre. I hope it has been an enlightening discussion, and one that will inspire more critical thought when it comes to genre conventions.
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