A speedrunner manages to beat Ocarina of Time within the 5-minute time limit of the Super Smash Bros. Masterpiece demo. Brawl.

The Legend of Zelda: Ocarina of Time is a game that is a historic piece of Nintendo’s game library. Several decades after the game’s original release, it remains one of the most beloved and acclaimed titles in video games. This transition from 2D to 3D has made it one of the most legendary of Zelda franchise, which ultimately led to Ocarina of time get several different reissues over the years. One reissue that most fans may have forgotten was when it was included in Super Smash Bros. Brawl under its function Masterpieces.

Super Smash Bros. Brawl was the third game in its franchise, released for Wii in the mid-2000s. One feature included in this game was “Masterpieces,” which were limited-time free playable demos of various Nintendo games. These demos were a great way to introduce players to the origin of the characters, by promoting Virtual Console games that were on Wii digital stores. One of those demos was Ocarina of time, where it came with two preloaded save files from Young Link and Adult Link, with five minutes to play the demo. Under these conditions, this speedrunner was able to beat the entirety of this game within this time frame.

RELATED: Super Smash Bros. Ultimate Modder gives Ganondorf a fresh and chic new look

Under normal circumstances, a speedrun of Ocarina of time could last less than 17 minutes, as players go from the start of the match to the end credits. However, the speedrunner, known as Savestate, was able to complete the game in 5 minutes. They noted that all the items that are given to the Adult Link save file in the Japanese version of Super Smash Bros. BrawlMasterpiece’s demo could be used to perform a distortion issue in the credits.

The race is a sight to behold, as Link exits the Temple of Time, using his bombs and other tools to trigger the right problem. Savestate noted that they had several different stranded routes that were planned for this demo’s run, with help from their partner. They even uploaded a video detailing the itinerary ideas designed to achieve this. This sets a new world speedrunning record Ocarina of time.

The final time for this speedrun was 4 minutes and 52 seconds, which is just under the demo’s time limit, with a notification appearing after part of the credits have elapsed. The fact that all of Ocarina of time is capable of being played and beaten in a five minute demo is nothing short of exceptional. Savestate expressed his joy that the race was even possible and that the hard work was worth it.

The Legend of Zelda: Ocarina of Time is available now for Nintendo 64.

MORE: 7 Fun Ocarina Of Time Challenge Runs Every Gamer Should Try

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Remember the reverse engineering efforts Super Mario 64 some time ago that resulted in unofficial ports to systems like the Dreamcast and the PS2? Well a similar project is underway to decompile The Legend of Zelda: Ocarina of Time’s game code, and it’s almost done.

The Zelda Reverse Engineering Team (ZRET) has been working on the project for over 18 months, and the team now claims the business is 91% complete.

While Nintendo has taken legal action against those who used the decompiled code from Super Mario 64 to create mods and publish them online, this type of reverse-engineered project is perfectly legal because the project recreates the original code to starting from scratch in modern coding languages ​​(in this case, C) without using any of the original copyrighted material.

Why is such a project so important? Well, in the case of Super Mario 64, a slew of ports have been made available, including one for PC that has increased the screen resolution and opened up all kinds of modding opportunities, such as widescreen mode. and ray tracing.

Such work also preserves the game in such a way that it can easily be made accessible in the future on modern formats, apart from the original Nintendo source code and the different versions of the game (N64, GameCube, 3DS). Decompiling a game this way can also lead to the discovery of new bugs, which can have ramifications within the popular speedrunning community.

You can follow the evolution of ZRET here.

THE Legend of Zelda fans don’t need to remember ReDeads or Zant’s Hand from Twilight Princess, because these enemies are probably already steeped in their nightmares. Thanks to new horror-themed fan art, more Zelda enemies can be added to your troubled psyche.

Older video games are often home to antagonists that get more and more spooky over time, but some are terrifying from start to finish. There will never be anything heartwarming about Skulltulas or Dead Hand – the mini boss of Ocarina of time‘s Shadow Temple – and thanks to this artist, horror has just reached a whole new level.

• More from Zelda: The fan creates stunning Breath of the wild Following

Stalfos

This realistic take on the classic skeletal warriors of Ocarina of time features deadly details in the metal frame and shield. The blood at the tip of the sword is a nice touch as well.

Poé

These hooded specters are rated higher PG in the game, but this fan art piece depicts one of the scariest grim reaper-style creatures imaginable. The bright eyes, the texture of the materials, and the woodland setting add to the atmosphere, and it wouldn’t be complete without the lantern.

Dead hand

This memorable antagonist looks like something you would find in a music video by the Tool group, made ten times more gruesome by its realistic coloring and blood-dripping mouth. The lady with the bent neck of The Haunting of Hill House better be careful.

Skulltule

This classic Ocarina of time the enemy is designed to be terrifying in the game and can fall on you in an instant, much like real life bugs. This fan artwork, however, harnesses the disturbing qualities of the creature that will certainly make arachnophobes crawl the skin.

Other characters of the artist Zelda series include ReDeads and Cyclopean Shadow Spirit Bongo Bongo.

Meet the artist

• Andres Rios is a freelance concept artist, digital sculptor, and character-creature designer from Guadalajara, Mexico.

The artist creates impressive character concepts that could easily be found in any Dark souls Game. From Demon Goats to gothic and cybernetic Batman, Rios’ portfolio of works is beautifully gothic and painfully realistic when recreating iconic horror characters.

As a pop culture writer and a proud geek of all trades, Jo enjoys dissecting fandoms and marveling at their innards. The entirety of Lord of the Rings, superhero origins, Ghost of Tsushima score, Wings of Freedom, and the endless search for a sleeping Tyranitar are just a few of Jo’s passions, along with a bent to contribute to the geek culture community.

Iam only too aware that by publicly declaring The Legend of Zelda: Ocarina of Time To be my favorite video game, I also introduce myself as a basic bitch.

You’d be hard-pressed to think of a much more obvious choice of favorite game, but don’t mind.

The Zelda The series’ first foray into the third dimension was a landmark game when it launched on the N64 in 1998, and with Super Mario 64 and it golden 007 remains emblematic of Nintendo’s first revolutionary successes with the biggest technological leap ever made in the field of gaming.

Iconic (or at least infamous, in the case of the Water Temple) dungeon designs, clever controls, and intricate puzzle-solving Ocarina a rapid success with critics (it remains the most popular all-time game on Metacritic, with 99/100) and a longtime fan favorite.

The game was such a success that its influence weighed heavily on the franchise for nearly two decades, with four 3D Zelda following titles – of Majora’s Mask to the recently remastered Skyward sword – who have borrowed basic systems, characters and game mechanics roughly from Ocarina.

It took until 2017 Breath of the wild for Nintendo to finally break free and try something new, resulting in a game that feels poised to enjoy the same extended influence – although it could still learn a thing or two from Ocarina labyrinthine levels.

I could go on about Ocarina influence – how his locking system shaped hand-to-hand combat, the more subtle impacts of his contextual controls, even the arguably less positive role he played in driving open world games to be bigger, more grandiose and ever larger.

But I never fell in love with Ocarina because he was influential. My eight-year-old self didn’t know – and wouldn’t have cared. I fell in love with Ocarina because it was like the first game that opened up a sprawling world filled with life, charm, humor and, yes, with more than a little tragedy to go through it all.

He’s there from the start of the game, the camera pans across the expanse of Hyrule Fields in the game’s dreamlike title sequence – though you’ll have to play for an hour or two to get out of the idyllic confines of Kokiri Forest and go- there yourself.

As striking as this sight is, she pales in comparison to the characters calling her home. SNES A link to the past featured only one small village (two, if you count its otherworldly counterpart), but Ocarina packs in abundance. Goron City Percussion Caverns; the serene pools of Zora’s estate; the subtly spooky Kakariko village, in which many of the game’s darkest corners lurk.

None impressed as much in 1998 as Hyrule Castle Town, a surprisingly small settlement that masks its size with a few disorienting shifts in perspective that always leave the feeling that there is more to the city, just outside of the screen.

Ocarina direct suite Majora’s Mask would continue to refine what the old game had started, moving its communities to the center of the game rather than its peripheries, and building complex, intertwined, and interpersonal narratives that crisscross the structure of the time loop.

But while both games derive their emotional adhesion from the impending destinies of their cities, it is only in Ocarina do you have to bear the brunt of its after-effects.

Like so much Zelda games, it explores two worlds – in this case two timelines, seven years apart, before and after the cataclysmic takeover by the big bad Ganondorf.

Towards the halfway point of the game, when Link is first frozen in the Temple of Time and emerges from it, now a teenager, I remember being struck for the first time by the ravaged world: the darkened sky, the buildings. in ruins of the city, the hordes of ReDead zombies crawling around its ruins.

But as I settled into this new Hyrule, it was the people there who started to sit with me the heaviest. It’s no mistake that most of the game’s key cities are empty in a darker timeline, with their populations enslaved, killed, or forced to flee. This Hyrule is rendered lifeless by removing most of the characters that brought it to life fairly directly.

Those that remain are seldom unchanged. Take Malon, the carefree young farmer who teaches Link to play Epona’s song as a child. Years later, however, she is imprisoned on her own ranch by a despotic uncle who is at least abusive of the horses on the ranch, if not more.

Of course, since this is a Zelda game, such crises are easy to resolve – in which case winning a few horse races is enough to make things right and restore some normalcy to the world. Link catches an adorable horse as well, but it seems almost as important that at least one life in Hyrule be put back on track.

For all the thrills of righting the wrongs in the darkest variant of Hyrule, I have to admit that when I think back to Ocarina now, a few decades and a few playthroughs later, it’s usually the first half of the game that makes me nostalgic – the happy few hours walking around a world teeming with life, playing like a boy getting to know it along with the player.

One of the few Zelda titles to firmly establish Link as a child – the two timelines have separated sequels, some opting for innocence and others for adolescence – there is a particular playfulness to the early stages of Ocarina.

Much like the supporting characters define the world of Hyrule, it’s smart touches in Link’s character that go a long way to set the tone. There’s the fact that your primary ranged weapon is a slingshot, a toy-like alternative to the bow that you’ll adopt later. There are Link’s growls and shrill screams as he navigates a world that is half too big for him. Most endearing of all, the fact that the iconic Hylian Shield from the series here is way too big for a young Link, crushing his back and forcing him to crouch like a turtle in order to even use it.

There is no doubt that you are playing like a child. Maybe it hits me harder because I was a kid when I first played, but even in my 30s, I see the same charm and playfulness in it that I find in Majora’s Mask, Wind waker, and a lot of 2D Zelda titles, an endearing mark of counter-current heroism that is worlds (or timelines) apart from the gruff sword-clenching that dominates the old Link’s time onscreen.

Seeing Hyrule through the eyes of a child, above all, instills a desire to explore that takes you through fields and dungeons, to dig into every nook and cranny of this vibrant world.

And then, after letting you fall in love, the game snatches that Hyrule off with one hand, while also giving you the power to save it with the other.

Countless games ask us to save the world, but too few give us a reason. Ocarina lets you love his world – from fairies and fishmen to ghosts and gravediggers – so he never needs to ask you to save the world.

You already know you need it.

Dominic Preston is associate editor of the tech site Tech Advisor and occasional contributor to NME. You can read the rest of the Remastered column here

Iam only too aware that by publicly declaring The Legend of Zelda: Ocarina of Time To be my favorite video game, I also introduce myself as a basic bitch.

You’d be hard-pressed to think of a much more obvious choice of favorite game, but don’t mind.

The Zelda The series’ first foray into the third dimension was a landmark game when it launched on the N64 in 1998, and with Super Mario 64 and it golden 007 remains emblematic of Nintendo’s first revolutionary successes with the biggest technological leap ever made in the field of gaming.

Iconic (or at least infamous, in the case of the Water Temple) dungeon designs, clever controls, and intricate puzzle-solving Ocarina a rapid success with critics (it remains the most popular all-time game on Metacritic, with 99/100) and a longtime fan favorite.

The game was such a success that its influence weighed heavily on the franchise for nearly two decades, with four 3D Zelda following titles – of Majora’s Mask to the recently remastered Skyward sword – who have borrowed basic systems, characters and game mechanics roughly from Ocarina.

It took until 2017 Breath of the wild for Nintendo to finally break free and try something new, resulting in a game that feels poised to enjoy the same extended influence – although it could still learn a thing or two from Ocarina labyrinthine levels.

I could go on about Ocarina influence – how his locking system shaped hand-to-hand combat, the more subtle impacts of his contextual controls, even the arguably less positive role he played in driving open world games to be bigger, more grandiose and ever larger.

But I never fell in love with Ocarina because he was influential. My eight-year-old self didn’t know – and wouldn’t have cared. I fell in love with Ocarina because it was like the first game that opened up a sprawling world filled with life, charm, humor and, yes, with more than a little tragedy to go through it all.

He’s there from the start of the game, the camera pans across the expanse of Hyrule Fields in the game’s dreamlike title sequence – though you’ll have to play for an hour or two to get out of the idyllic confines of Kokiri Forest and go- there yourself.

As striking as this sight is, she pales in comparison to the characters calling her home. SNES A link to the past featured only one small village (two, if you count its otherworldly counterpart), but Ocarina packs in abundance. Goron City Percussion Caverns; the serene pools of Zora’s estate; the subtly spooky Kakariko village, in which many of the game’s darkest corners lurk.

None impressed as much in 1998 as Hyrule Castle Town, a surprisingly small settlement that masks its size with a few disorienting shifts in perspective that always leave the feeling that there is more to the city, just outside of the screen.

Ocarina direct suite Majora’s Mask would continue to refine what the old game had started, moving its communities to the center of the game rather than its peripheries, and building complex, intertwined, and interpersonal narratives that crisscross the structure of the time loop.

But while both games derive their emotional adhesion from the impending destinies of their cities, it is only in Ocarina do you have to bear the brunt of its after-effects.

Like so much Zelda games, it explores two worlds – in this case two timelines, seven years apart, before and after the cataclysmic takeover by the big bad Ganondorf.

Towards the halfway point of the game, when Link is first frozen in the Temple of Time and emerges from it, now a teenager, I remember being struck for the first time by the ravaged world: the darkened sky, the buildings. in ruins of the city, the hordes of ReDead zombies crawling around its ruins.

But as I settled into this new Hyrule, it was the people there who started to sit with me the heaviest. It’s no mistake that most of the game’s key cities are empty in a darker timeline, with their populations enslaved, killed, or forced to flee. This Hyrule is rendered lifeless by removing most of the characters that brought it to life fairly directly.

Those that remain are seldom unchanged. Take Malon, the carefree young farmer who teaches Link to play Epona’s song as a child. Years later, however, she is imprisoned on her own ranch by a despotic uncle who is at least abusive of the horses on the ranch, if not more.

Of course, since this is a Zelda game, such crises are easy to resolve – in which case winning a few horse races is enough to make things right and restore some normalcy to the world. Link catches an adorable horse as well, but it seems almost as important that at least one life in Hyrule be put back on track.

For all the thrills of righting the wrongs in the darkest variant of Hyrule, I have to admit that when I think back to Ocarina now, a few decades and a few playthroughs later, it’s usually the first half of the game that makes me nostalgic – the happy few hours walking around a world teeming with life, playing like a boy getting to know it along with the player.

One of the few Zelda titles to firmly establish Link as a child – the two timelines have separated sequels, some opting for innocence and others for adolescence – there is a particular playfulness to the early stages of Ocarina.

Much like the supporting characters define the world of Hyrule, it’s smart touches in Link’s character that go a long way to set the tone. There’s the fact that your primary ranged weapon is a slingshot, a toy-like alternative to the bow that you’ll adopt later. There are Link’s growls and shrill screams as he navigates a world that is half too big for him. Most endearing of all, the fact that the iconic Hylian Shield from the series here is way too big for a young Link, crushing his back and forcing him to crouch like a turtle in order to even use it.

There is no doubt that you are playing like a child. Maybe it hits me harder because I was a kid when I first played, but even in my 30s, I see the same charm and playfulness in it that I find in Majora’s Mask, Wind waker, and a lot of 2D Zelda titles, an endearing mark of counter-current heroism that is worlds (or timelines) apart from the gruff sword-clenching that dominates the old Link’s time onscreen.

Seeing Hyrule through the eyes of a child, above all, instills a desire to explore that takes you through fields and dungeons, to dig into every nook and cranny of this vibrant world.

And then, after letting you fall in love, the game snatches that Hyrule off with one hand, while also giving you the power to save it with the other.

Countless games ask us to save the world, but too few give us a reason. Ocarina lets you love his world – from fairies and fishmen to ghosts and gravediggers – so he never needs to ask you to save the world.

You already know you need it.

Dominic Preston is associate editor of the tech site Tech Advisor and occasional contributor to NME. You can read the rest of the Remastered column here

Popular horror artist Andres Rios recreates several of The Legend of Zelda: Ocarina of Time’s weird enemies with terrifying results.

A popular horror concept artist recently set out to recreate some of the spookiest foes in The Legend of Zelda: Ocarina of Time with very detailed renderings that seem to come straight out of Dark souls. Ocarina of time is known as one of the best games of the The Legend of Zelda franchise, initially released on Nintendo 64 with massive critical success and spawning a sequel in the form of Majora’s Mask. While these games were created for people of all ages to enjoy, some of the enemies hide some very disturbing appearances behind the low-poly limitations of the time.

The players of Ocarina of time You may remember encountering horrors such as Dead Hand, Skulltula, and Bongo Bongo. While the game has been rated E10 + by the ESRB, the idea of ​​a cyclops with disembodied hands or a smiling zombie pushing its arms out of the ground doesn’t seem like the most kid-friendly concept, especially for a company like Nintendo. Recently, a horror enthusiast has sought to breathe life into the low-res monsters of the past, and the results are gruesome.

Related: Breath Of The Wild 2 Far From The Mask Of Majora By Nintendo

Andres Rios, a concept artist and character creator famous for his horror artwork, took these unsettling creature designs to the next level, bringing out every horrific detail imaginable in the original enemies. The artist’s terrifying collection includes the Skulltula, Dead Hand, Bongo Bongo, Stalfos, ReDead and Big Poe, all carefully and skillfully set in high definition for the horror and enjoyment of fans of the game. The enemies of this collection seem better match the tastes of Dark souls than a Nintendo game suitable for children.

These spooky images speak for themselves, taking what were already spooky designs and composing them up to 11. All of the creatures were digitally modeled in 3D and painted in ZBrush and rendered in Keyshot. Andres said plans are underway for more monsters to Ocarina of time as good as Majora’s Mask and eventually Wind waker, which means the list of nightmarish fan art will grow even further.

The level of care and attention to detail in these recreations of childhood horrors is astounding with the rest of this artist’s portfolio. Since the artist works for Bandai Namco, the publisher of Dark souls, and looking at their previous work, it’s no wonder the concepts take on a Souls-like appearance. It seems like every day the large fan base for THE Legend of Zelda creates awe-inspiring works of fan art, solidifying the series’ permanent mark on the gaming industry and in the hearts of the dedicated fanbase who were charmed so many years ago by the green-clad adventurer.

Next: Skyward Sword HD Director Has Weird Ocarina Of Time Connection

Sources: Andres Rios / Twitter

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