This emphasis on swordplay and combat with RPG elements started to resemble more typical sword and sorcery RPGs of the time. Character animations and specific character detail on both Link and his foes matter because you’re going to be mashing that sword button standing or ducking and it’s essential to read your opponent. What’s most important here is because the game is fully on a lateral 2D plane rather than top down, swordplay becomes the core game. It’s a lot of standard NES colour theory. The Legend of Zelda II: The Adventure of Link carries this design philosophy in a similar way. The Legend of Zelda II: The Adventure of Link The core experience of a vulnerable player overcoming the harsh environment to find strength became the true unifying experience of the franchise. Then, they escalate into harsher colours that still enable clear vision. On the ambient glow of a CRT, the moving colours of Link’s tunics or octoroks stand out against the soft tans of the early overworld. The first Zelda’s sprite-work is certainly bare, but colour is cleverly used for a sense of progression. What’s also complex are the memorable creature designs, which are instantly recognizable in both art and sprite. The art features simple characters, but also typically includes complex environments that convey the immediate appeal of the escapism and fantasy involved here. Official promotional art for the original title varies wildly, but largely consists of contemporary anime designs amidst highly detailed environments. But how radical are these transformations? Let’s travel back in time and revisit the aesthetics for the series as a whole. Both visually and graphically, the entire series has evolved considerably, and while there are still remnants of the original design in features like the Tears of the Kingdom dungeons, the game is a different beast entirely – at least at first glance. The Legend of Zelda has come on leaps and bounds from its 8-bit origins. The Legend of Zelda: Tears of the Kingdom
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