The Water Temple
“Time passes, people move . . . Like a river’s flow, it never ends. A childish mind will turn to noble ambition . . . Young love will become deep affection . . . The clear water’s surface reflects growth . . . Now listen to the Serenade of Water to reflect upon yourself . . . .”
— Sheik, Ocarina of Time
— Sheik, Ocarina of Time
Picture Credit: http://qlockwork.deviantart.com/
Among the many aspects of water, two stand out preeminent. The ability to change, to adapt, is very much its fundamental essence. The ability to reflect mirrors the human condition, in that we seek to define our past, examine our present, and strive for a future of our making; this facet of water is that which allows introspection and self-exploration. It is the natural manifestation of one of humanity’s most basic needs. Perhaps due to this, these two themes are tied heavily to the appearance of the Water Temple from The Legend of Zelda: Ocarina of Time.
The Water Temple is a submerged structure found at the bottom of Lake Hylia. It is known that the temple was a house of worship for the Zora, wherein they would pay homage to the water spirits. It is therefore, by its very nature, a spiritual place. The entrance is aligned with the underwater passageway that comes directly from Zora’s Domain; this is an axial plan of approach, and is further corroborated by the fire arrow platform being at a direct right angle with the approach. The six standing pillars that outline the entrance to the passage to Zora’s Domain are simple in decoration, consisting of an angular-patterned shaft, and topped with the symbol of the Zora tribe: a crest of three abstract scales, showing their ties to the water. [1] The actual portal to the temple is rather plain, its only noticeable characteristic being the gem upon the lintel. Two half-buried obelisks stand on either side of the gate, bearing the same mark of the Zora as found upon the other pillars. And though the initial entrance rests at the bed of the lake, the true entrance requires us to once again return to the water's surface.
The music accompanying this temple is highly redolent of falling water. It is music of a constantly-descending, yet cyclic, nature, which heightens this sense of small rivulets of water heading ever downward. The use of various chimes and metallic percussion are evocative of a dim light upon the water, shimmering lambently. Some form of flute is used throughout the theme, and adds a lilting and mysterious tone to the atmosphere. A deep, sonorous string instrument is occasionally sounded, which is reminiscent of certain temples found in various religions of the East.
The lighting is also of note, as there is no sunlight within the temple, nor are there windows. There are few torches, yet the entire complex is lit with a pale light, reflecting off the water. This is inexplicable, and adds to the ambiance. Overall, the environment of the temple is furtive, unsettling, and mystifying.
The Water Temple is a submerged structure found at the bottom of Lake Hylia. It is known that the temple was a house of worship for the Zora, wherein they would pay homage to the water spirits. It is therefore, by its very nature, a spiritual place. The entrance is aligned with the underwater passageway that comes directly from Zora’s Domain; this is an axial plan of approach, and is further corroborated by the fire arrow platform being at a direct right angle with the approach. The six standing pillars that outline the entrance to the passage to Zora’s Domain are simple in decoration, consisting of an angular-patterned shaft, and topped with the symbol of the Zora tribe: a crest of three abstract scales, showing their ties to the water. [1] The actual portal to the temple is rather plain, its only noticeable characteristic being the gem upon the lintel. Two half-buried obelisks stand on either side of the gate, bearing the same mark of the Zora as found upon the other pillars. And though the initial entrance rests at the bed of the lake, the true entrance requires us to once again return to the water's surface.
The music accompanying this temple is highly redolent of falling water. It is music of a constantly-descending, yet cyclic, nature, which heightens this sense of small rivulets of water heading ever downward. The use of various chimes and metallic percussion are evocative of a dim light upon the water, shimmering lambently. Some form of flute is used throughout the theme, and adds a lilting and mysterious tone to the atmosphere. A deep, sonorous string instrument is occasionally sounded, which is reminiscent of certain temples found in various religions of the East.
The lighting is also of note, as there is no sunlight within the temple, nor are there windows. There are few torches, yet the entire complex is lit with a pale light, reflecting off the water. This is inexplicable, and adds to the ambiance. Overall, the environment of the temple is furtive, unsettling, and mystifying.
As the music portrays the descent of water, so too this concept is found in the layout of the dungeon. This holy place, located under a great hill in the middle of a sacred lake, was designed with premeditated verticality; descent and ascent are common, repetitive themes at play here seen, above all, in the necessary altering of the water level. Without this change, certain areas of the temple are inaccessible, while others are impassable. The structure is arranged around a central pillar, from which many corridors spring, plunging into various parts of the earth. The walls of the central hall are of natural stone, and the floor is of sand, which suggests that the builders of this temple wished to enshrine in their place of worship some part of, or at least build in harmony with, the natural world. There is little to say of the architectural layout of this structure, as there is little symmetry, and no evident fundamental basis for its design. To me, this suggests that it was constructed using pre-existing channels of flowing water, which were subsequently turned into hallways and separate rooms. Evidence for this theory is derived from the existence of several elongated rooms of natural stone and moving water found around the temple, one of which is a natural tunnel, while the other contains a waterfall cascading into a deep chasm. It may have been that certain halls were excavated, while others remained in their original states. While this is not conclusive, it potentially explains the rougher, unfinished elements of the temple, as well as its uneven, inconsistent floor plan.
The motifs found within this temple are rather simple, and do not seem to be representations of anything known to us. The main material used in the construction of the temple is a blue stone, which is found in a plain brick pattern in nearly every room; the larger tiles found upon the floor are of this same blue color, but are decorated with graceful, curved, and symmetrical lines, echoing small streams, or gentle waves. A direct reference to water can be found in the droplets upon the many interior string courses in the temple, generally where the player must exit the water, or upon the courses that frame certain doorways. These droplets are arranged in groups of four, facing opposite directions. Elsewhere in the temple, located where the wall and ceiling meet, are long bands, which are red, yellow, and green in color, and they seem to bear resemblance to some form of water plant. Pilasters within these rooms echo this motif and coloration, as do most doors, and some wall decorations (resembling tombstones in shape) which are surrounded by the familiar blue stone.
The main column in the central chamber is of a tan stone adorned with many signs, of which none seem to be representational, once again. The designs are all rolling and undulating, yet symmetrical. The panels are arranged evenly for the most part, although there are several floors decorated with three larger panels, bearing amorphous, darker designs. Some other things of note are what appear to be drainage ducts, or some form of vent, which likely facilitate the changing water levels.
The motifs found within this temple are rather simple, and do not seem to be representations of anything known to us. The main material used in the construction of the temple is a blue stone, which is found in a plain brick pattern in nearly every room; the larger tiles found upon the floor are of this same blue color, but are decorated with graceful, curved, and symmetrical lines, echoing small streams, or gentle waves. A direct reference to water can be found in the droplets upon the many interior string courses in the temple, generally where the player must exit the water, or upon the courses that frame certain doorways. These droplets are arranged in groups of four, facing opposite directions. Elsewhere in the temple, located where the wall and ceiling meet, are long bands, which are red, yellow, and green in color, and they seem to bear resemblance to some form of water plant. Pilasters within these rooms echo this motif and coloration, as do most doors, and some wall decorations (resembling tombstones in shape) which are surrounded by the familiar blue stone.
The main column in the central chamber is of a tan stone adorned with many signs, of which none seem to be representational, once again. The designs are all rolling and undulating, yet symmetrical. The panels are arranged evenly for the most part, although there are several floors decorated with three larger panels, bearing amorphous, darker designs. Some other things of note are what appear to be drainage ducts, or some form of vent, which likely facilitate the changing water levels.
In terms of embellishment, the room wherein Morpha dwells carries a weightier design. The ascent to the room is an incline, stairless, marked by four engaged columns. The door to the sanctum sanctorum is, as can be guessed, larger than all others, although it bears the same markings, with a large effigy of graceful, plant-like appearance. The room itself is capacious, with a walkway about the room, and a pool of water in the middle that contains four islands of blue stone. The wall designs are paneled ovular devices, tan in color, containing an almost cruciform shape, delineated by painted blue pillars; the three other center panels, on the three sides without the door, echo the pattern found above the door in the hall outside. Morpha itself is an inchoate being, and has full control over all water, making it a more-than-fitting boss for such a dungeon. It itself is the cause of the recession of water in Lake Hylia, as well as the frozen state of Zora’s Domain.
The engaged pillars in most rooms are of the same design and coloration of many other aspects of the temple, as has been said; however, the bases and capitals of the pillars are of note. Upon each resides a black insignia in the relative shape of a water dragon, coiled in the shape of a drop of rain. There are many other dragons to be found within this temple; several serve as hookshot targets, and the most prominent of them is found in the whirlpool room.
The engaged pillars in most rooms are of the same design and coloration of many other aspects of the temple, as has been said; however, the bases and capitals of the pillars are of note. Upon each resides a black insignia in the relative shape of a water dragon, coiled in the shape of a drop of rain. There are many other dragons to be found within this temple; several serve as hookshot targets, and the most prominent of them is found in the whirlpool room.
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These protector spirits are stern in visage, redolent of the nāgás of Hinduism and Buddhism, as found before the entrances to many temples in Southeast Asia, where they serve as door guardians. [2] These dragons of the Water Temple have eyes that are wide and round, and each dragon's forehead is decorated with small, watery designs, as are the areas around each eye. It should be noted that dragons of the Eastern parts of our world were traditionally creatures of air and water, revered for their ability to affect rain and tides. [3] Water is generally seen as the element of wisdom and compassion, and so these are perhaps some of the protector spirits worshipped by the Zora.
Another potentiality for the existence of these architectural dragons is one of in-game history. They could be a reference to Faron, the Water Dragon of Skyward Sword. Faron is unequivocally reminiscent of water, and of the Zora: the long, serpentine body, the constantly shimmering skin upon her belly, and the fish-like characteristics of her face. She is possibly the progenitor of the Zora, based solely upon concept designs, and so her worship, or of a being bearing semblance to her, is not a ridiculous idea. Left: A statuary group of nāgás at the entrance to a Buddhist temple in Chiang Rai Province, Thailand — Photo taken by the author. |
Above all, though, there is one room of particular interest within this dungeon.
Whatever he may embody, Dark Link is certainly an echo of some base or pernicious part of Link. This confrontation, while obvious in meaning, is also subtly given life in the room which bears witness to it. There are two large and solitary gates, a small island, a dead tree, and a still, reflective pool. There are no walls, only imperceptible mist stretching in all directions. When Navi is used to scan Link’s foe, she simply states, “Conquer yourself!” The room is a microcosm of pensiveness, and inner struggle. The water is a perfect mirror, detailing everything in eerie semblance. The island and tree are not given significance in-game, but the tree itself is near in appearance to the one growing upon the main island in Lake Hylia. The movement and direction from one gate to the other is, as with all rooms, symbolic of a necessary journey. These two monoliths are heavily ornate, bearing motifs found nearly everywhere within the Water Temple, and they stand alone, giving the area its only defining borders. Perhaps architecturally this room is not highly significant, but it stands out utterly alone in its strangeness. However, I do not believe that architectural beauty is its function. This passage seeks to portray and accentuate the journey of Link — his inner self, and the doubt and inadequacy he likely feels — brought to life in this dreamlike and unsubstantial room. Whether it is real or imagined (and I’m not sure which it is), the encounter contained within is highly memorable, and the expanse of otherworldly haze upon a brilliantly clear pool embodies this struggle magnificently.
Tragically, for its beauty, the Water Temple is more known for its purported difficulty. Happily, this does not diminish it in actuality in any way. To the appreciative sojourner, it remains a deeply incorporeal, enigmatic, and alluring location, beneath the pure, still waters of Lake Hylia.
Addendum (Changes in the 3DS Version):
Tragically, for its beauty, the Water Temple is more known for its purported difficulty. Happily, this does not diminish it in actuality in any way. To the appreciative sojourner, it remains a deeply incorporeal, enigmatic, and alluring location, beneath the pure, still waters of Lake Hylia.
Addendum (Changes in the 3DS Version):
This redone temple is ineffably beautiful. The changes made to it, creating a coherent, resplendent whole, are laudable to a prodigious degree. It takes on the full splendor of a mysterious far-flung temple, whose depths remain undiscovered, and whose air is full with the scent of ancient burnt offerings. The additional details, however minute, have created an entity so holistically beautiful that a journey here make its purported travails trivial.
Outside, the pillars and obelisks keep the focus upon the symbol of the Zora tribe, but they themselves bear far more embellishment than before. The floor tiles feature shell motifs in each corner, and the confluence of four vortexes in the center. The lintel above the main door is now decorated with three panels — two inward-facing fish on either side of a vertically-placed conch shell. In addition to the new and fitting Eastern temple themes throughout, there is also a reborn focus upon water and subaqueous creatures.
Hanging from the corners of the multilevel central structure, there are now lanterns; the floor panels, which rise and fall with the water, are adorned with cruciform water lilies, green upon red. The wall panels are symmetrical, beautified with pictures of shells, while many panels, lintels, and doors found elsewhere are decorated with water plants, shells, bubbles, and other aquatic symbols. The string courses that run the walls of the edifice are now tidal waves, heading in a single direction. Below several string courses, the bricks have become silver fish scales, such as those used to dive prior to receiving the Zora Tunic. (In certain other rooms, along the ceiling, or the tops of platforms, these scales are gold, reflecting the other scale used for diving.)
The spirits of the Zora, ostensibly portrayed in the dragon statues in the temple, have also changed. Their backs are now scaled, and their brows furled, with hollow, golden eyes and gilded horns. Other statues have become black and gold, retaining the same shape, but with this new coloration. These dragons also have golden noses, and a unique insignia upon their foreheads. The design of the neck upon these statues is also distinct, setting them well apart from the more prosaic ones discussed above.
The illusory room of Dark Link affords a few new sights. While the door itself has remained the same, above it rests a tombstone-shaped design of dark grey, bearing something floral in appearance. The entire entrance is flanked by two enormous silver ovals with dark yellow trim, further ensconced in dark blue latticework. The large devices could potentially be jewelry made more grand; they especially resemble an earring.
The boss room is the most awe-inspiring by far. The walls outside the chamber are of austere black stone, imprinted with four stamps (at seemingly-random intervals) of the confluence as seen outside the entrance to the compound. Above the door is a huge crest of the Water Medallion, done in orange with red trim on a grey background. Most curious though, of all these new decorations, are certain panels containing long, watery shapes in which smaller circles are to be found; these are highly reminiscent of Morpha, with its arms and nucleus moving freely within. If this is true, then the existence of Morpha has long been known to the Zora. However, this is but speculation.
Going through the boss door, covered in surging water and upwardly-entwining tendrils, reaching toward six spheres at the top, we again reach the sanctum. The huge silver ovals are repeated upon the walls, but it is the ceiling that truly captures the eye and imagination. Its interlocking, latticed beams form large squares of navy, with corners of gold. Smaller beams form even smaller squares, crossing the larger ones, creating an incredible design. Under these beams, on the true ceiling, are tiles, some cruciform in shape, while others are adorned with what are unequivocally coiled dragons, gold upon green upon blue. Their bodies are writhing, armored, with open mouths and staring eyes, just like the statues of dragons already discussed. These dragon panels are potentially derived from the architectural motifs of temples constructed in Imperial China, as seen below.
Outside, the pillars and obelisks keep the focus upon the symbol of the Zora tribe, but they themselves bear far more embellishment than before. The floor tiles feature shell motifs in each corner, and the confluence of four vortexes in the center. The lintel above the main door is now decorated with three panels — two inward-facing fish on either side of a vertically-placed conch shell. In addition to the new and fitting Eastern temple themes throughout, there is also a reborn focus upon water and subaqueous creatures.
Hanging from the corners of the multilevel central structure, there are now lanterns; the floor panels, which rise and fall with the water, are adorned with cruciform water lilies, green upon red. The wall panels are symmetrical, beautified with pictures of shells, while many panels, lintels, and doors found elsewhere are decorated with water plants, shells, bubbles, and other aquatic symbols. The string courses that run the walls of the edifice are now tidal waves, heading in a single direction. Below several string courses, the bricks have become silver fish scales, such as those used to dive prior to receiving the Zora Tunic. (In certain other rooms, along the ceiling, or the tops of platforms, these scales are gold, reflecting the other scale used for diving.)
The spirits of the Zora, ostensibly portrayed in the dragon statues in the temple, have also changed. Their backs are now scaled, and their brows furled, with hollow, golden eyes and gilded horns. Other statues have become black and gold, retaining the same shape, but with this new coloration. These dragons also have golden noses, and a unique insignia upon their foreheads. The design of the neck upon these statues is also distinct, setting them well apart from the more prosaic ones discussed above.
The illusory room of Dark Link affords a few new sights. While the door itself has remained the same, above it rests a tombstone-shaped design of dark grey, bearing something floral in appearance. The entire entrance is flanked by two enormous silver ovals with dark yellow trim, further ensconced in dark blue latticework. The large devices could potentially be jewelry made more grand; they especially resemble an earring.
The boss room is the most awe-inspiring by far. The walls outside the chamber are of austere black stone, imprinted with four stamps (at seemingly-random intervals) of the confluence as seen outside the entrance to the compound. Above the door is a huge crest of the Water Medallion, done in orange with red trim on a grey background. Most curious though, of all these new decorations, are certain panels containing long, watery shapes in which smaller circles are to be found; these are highly reminiscent of Morpha, with its arms and nucleus moving freely within. If this is true, then the existence of Morpha has long been known to the Zora. However, this is but speculation.
Going through the boss door, covered in surging water and upwardly-entwining tendrils, reaching toward six spheres at the top, we again reach the sanctum. The huge silver ovals are repeated upon the walls, but it is the ceiling that truly captures the eye and imagination. Its interlocking, latticed beams form large squares of navy, with corners of gold. Smaller beams form even smaller squares, crossing the larger ones, creating an incredible design. Under these beams, on the true ceiling, are tiles, some cruciform in shape, while others are adorned with what are unequivocally coiled dragons, gold upon green upon blue. Their bodies are writhing, armored, with open mouths and staring eyes, just like the statues of dragons already discussed. These dragon panels are potentially derived from the architectural motifs of temples constructed in Imperial China, as seen below.
Above: woodwork similar in appearance to the ceiling in Morpha’s chamber — Chengde, China — Photo taken by the author.
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Above: the coiled dragon motif found on the ceiling of a Chinese temple — Chengde, China — Photo taken by the author.
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As first said, this temple is now unutterably splendid, coherent, and portrays the majestic existence of real-world architecture, as well as something delightfully particular to the universe of The Legend of Zelda.
A Second Addendum: Zora’s Fountain & Zora’s Domain
In stark contrast to the awe-inspiring Water Temple, the dwelling place of the Zora Tribe, Zora’s Domain, and the area directly behind it, Zora’s Fountain, are rather plain, simple locations. The Zora rarely stray far from water, and so they seem aloof and reserved, maintaining limited interactions with other races, being most connected to messengers of the Royal Family. [4]
A Second Addendum: Zora’s Fountain & Zora’s Domain
In stark contrast to the awe-inspiring Water Temple, the dwelling place of the Zora Tribe, Zora’s Domain, and the area directly behind it, Zora’s Fountain, are rather plain, simple locations. The Zora rarely stray far from water, and so they seem aloof and reserved, maintaining limited interactions with other races, being most connected to messengers of the Royal Family. [4]
The route that weaves along Zora’s River is a lengthy, circuitous one, which culminates in the doorway before Zora’s Domain. This portal is made inaccessible by means of an invisible magic inherent within the waterfall which disconnects the door from the Triforce symbol and platform immediately before it. To the right of the entrance, tucked into an alcove, is an underwater passage leading to the Lost Woods.
Zora’s Domain is a sparsely-decorated cave with a high ceiling, a staircase, a tall waterfall, and a large, limpid pool of water. A branching path leads either to a shop, or to the throne room of King Zora, head of the Zora Tribe. The throne room is really the only chamber that can be called embellished; a fence of wrought metal, with undulating curves, rests behind the monarch, over which hangs a crest and symbol. The ledge upon which the king sits holds three banners or rugs, which are geometrically patterned. Before this ledge, a raised platform was constructed, and this is where those petitioning the sovereign must stand.
The small tunnel behind the ornate fence in the throne room leads to Zora’s Fountain, which is actually a very beautiful area. Much larger than the cave preceding it, this mountainous lake is home to Lord Jabu Jabu, patron deity of the Zora. It is also the origin of the mighty river which cuts through Hyrule Field, flowing down through the canyon near Gerudo Valley in an awesome cataract, and which finally empties sleepily into Lake Hylia. Before Jabu Jabu a large altar stands, and this is likely a platform used for offerings to the god. Apart from this feature, this area is most notable for the very large, and very deep, body of water behind the altar; as this is the beginning point of the river, an aquifer likely is to be found deep underwater, continually gushing forth the liquid nourishment of the land. On the ridge of this pool are lifeless, partially-submerged trees, and a gargantuan, gnarled root. In the corner of the fountain is a small beach, which, with the right tools, gives way to an underground chamber, and what appears to be some form of watchtower. Although the function of this perch is unknown, it provides a scenic view of the entirety of this crystalline, mountaintop mere.
The architecture found in the Water Temple, and at the altar of Jabu Jabu, is clearly reserved for places of religious function; the entrance to the temple, and the exterior of the passageway leading from Zora’s River to Lake Hylia, are also much more ornate than anything found within the city of the Zora. It is evident that these holy places are the sole manifestations of this type of Zoran architecture, and that it is not even afforded to royalty. This is not uncommon, however. In fact, it is a usual occurrence in many places of the real world; people dwell in makeshift, highly-transient, unstable wooden hovels while magnificent palaces to the gods are erected within eyesight. It is a sacrifice built upon the notion that spirits must be placated, and that transcendent beings highly value monuments constructed for their pleasure and reverence. For this reason, the Zora reside in an uninspired natural cave when, not far away, the water spirits dwell in consummate opulence.
Zora’s Domain is a sparsely-decorated cave with a high ceiling, a staircase, a tall waterfall, and a large, limpid pool of water. A branching path leads either to a shop, or to the throne room of King Zora, head of the Zora Tribe. The throne room is really the only chamber that can be called embellished; a fence of wrought metal, with undulating curves, rests behind the monarch, over which hangs a crest and symbol. The ledge upon which the king sits holds three banners or rugs, which are geometrically patterned. Before this ledge, a raised platform was constructed, and this is where those petitioning the sovereign must stand.
The small tunnel behind the ornate fence in the throne room leads to Zora’s Fountain, which is actually a very beautiful area. Much larger than the cave preceding it, this mountainous lake is home to Lord Jabu Jabu, patron deity of the Zora. It is also the origin of the mighty river which cuts through Hyrule Field, flowing down through the canyon near Gerudo Valley in an awesome cataract, and which finally empties sleepily into Lake Hylia. Before Jabu Jabu a large altar stands, and this is likely a platform used for offerings to the god. Apart from this feature, this area is most notable for the very large, and very deep, body of water behind the altar; as this is the beginning point of the river, an aquifer likely is to be found deep underwater, continually gushing forth the liquid nourishment of the land. On the ridge of this pool are lifeless, partially-submerged trees, and a gargantuan, gnarled root. In the corner of the fountain is a small beach, which, with the right tools, gives way to an underground chamber, and what appears to be some form of watchtower. Although the function of this perch is unknown, it provides a scenic view of the entirety of this crystalline, mountaintop mere.
The architecture found in the Water Temple, and at the altar of Jabu Jabu, is clearly reserved for places of religious function; the entrance to the temple, and the exterior of the passageway leading from Zora’s River to Lake Hylia, are also much more ornate than anything found within the city of the Zora. It is evident that these holy places are the sole manifestations of this type of Zoran architecture, and that it is not even afforded to royalty. This is not uncommon, however. In fact, it is a usual occurrence in many places of the real world; people dwell in makeshift, highly-transient, unstable wooden hovels while magnificent palaces to the gods are erected within eyesight. It is a sacrifice built upon the notion that spirits must be placated, and that transcendent beings highly value monuments constructed for their pleasure and reverence. For this reason, the Zora reside in an uninspired natural cave when, not far away, the water spirits dwell in consummate opulence.
Works Cited:
[1] “Historical Records: The Difference Races.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 48.
[2] “Naga.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/topic/naga-Hindu-mythology.
[3] “Asian Dragons.” AMNH, American Museum of Natural History, www.amnh.org/exhibitions/mythic-creatures/dragons-creatures-of-power/asian-dragons.
[4] “Historical Records: The Different Races.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 48.
[1] “Historical Records: The Difference Races.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 48.
[2] “Naga.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/topic/naga-Hindu-mythology.
[3] “Asian Dragons.” AMNH, American Museum of Natural History, www.amnh.org/exhibitions/mythic-creatures/dragons-creatures-of-power/asian-dragons.
[4] “Historical Records: The Different Races.” The Legend of Zelda — Encyclopedia, by Keaton C. White and Tanaka Shinʼichirō, Dark Horse Comics, 2018, p. 48.