I felt out of my depth juggling weapons and items, and completely overwhelmed by the size of the world. Not only that but, at 13, its time-hopping coming-of-age storyline had a profound impact with its key themes: leaving home, embarking into the unknown, the ravages of time, amazing music ("Song of Storms" is a banger), friends, strangers, swindlers, romance. The reviews at launch were certainly enthusiastic, with my N64 magazine of choice giving it 98%, a score rivalled only by Super Mario 64 and GoldenEye. Turns out, Ocarina of Time is really good. I went home, played it all night, then proceeded to think about it for the next 20 years. After dragging my grandparents around Wellingborough one cloudy Saturday afternoon, I eventually found a battered display box in Woolworths - the last copy - which, sensing my enthusiasm, they generously picked up. I was 13 years old when The Legend of Zelda: Ocarina of Time was released in the UK. This entry was contributed by Jon Davies, narrative designer of Coatsink, which is launching Jurassic World Aftermath: Part 2 on the Oculus Quest today. Why I Love is a series of guest editorials on intended to showcase the ways in which game developers appreciate each other's work.
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