I thought I was going to hate the Ocarina of Time remake. Perhaps I wanted to hate it.

I was certainly one those people who decried the new art style. Monsters, puzzles, combat; I wanted to hate it all because it was different.

Much of it different, and yet, I realise now that it doesn't matter, because for everything that's different, the DNA of one of the greatest games ever made courses through its makeup.

This is not going to be a review of Ocarina of Time; I am resolutely sure that nobody cares about my opinions on one of gaming's most heavily analysed titles 30 years on, nor should they.

Instead, I'll mostly be talking about what's different – and where better to start than with the graphics.

Like many, my initial reaction to the graphics was rather negative. Indeed, my immediate thought upon seeing the full trailer in September was something along the lines of: "Oh no, it looks like AI."

Thankfully, it appears that there was just something in the way this trailer was edited, because the game itself looks spectacular.

Hyrule is bursting with colour, and while certain visual updates to puzzles can detract from a cohesive aesthetic – elaborate stone mechanisms added to the Great Deku Tree are the earliest example – it's clear to see that on a macro level, this is the vision the original developers had for the game, finally brought to life by 30 years of technological advancement.

The vast majority of character models look fantastic. I still think that Sheik's new design makes his eventual unveiling rather more obvious, and that Young Link is, frankly, ugly as hell, but these are outliers in a sea of designs that modernise without ever losing their original designs.

In fact, the best designs are those of the more distinct and already stylised characters. The likes of the Great Fairies, who look more like Chappell Roan than ever before, and the Bowling Alley girl, who maintain their iconic status.

Perhaps the only real downfall of these updated visuals is that, counterintuitively, they do a worse job of expressing the negative.

The low poly, somewhat featureless models of ReDeads and Dead Hands served to accentuate what made them so creepy.

Similarly, Inside Jabu Jabu's Belly loses a lot of its gross-out factor. You can obviously still tell that you're meant to be inside his gut, but it's nowhere near as off-putting; an interesting lesson in 'less is more,' perhaps.

Gameplay is largely the same, with a few notable changes.

The addition of a jump button is a nice touch, and while my first five minutes saw me repeatedly falling into water as muscle memory dictated that walking off any ledge would see me jump automatically, it made for much more enjoyable platforming.

The camera work is also significantly better, making navigation and combat a breeze, especially when it comes to swimming and diving.

Equipping different items, be it your bow and longshot or your various boots and masks, is much more streamlined. No more pausing every five seconds.

These changes combined turn the once formidable Water Temple, so hated not for its difficulty but its tedium, into somewhat of a breeze. I can already see plenty of new players dispatching Morpha before thinking, " is what everyone's been complaining about?"

In fact, I would say that while these gameplay changes make for a much smoother gameplay experience, at times it feels like perhaps it's a bit easy.

I hesitate to state this as an outright fact. I have played through Ocarina of Time plenty of times before, so perhaps this is just what happens with such a person, but particularly in combat, I found myself on autopilot far more often than I have in previous playthroughs of the game.

Quality of life is welcome, of course, but it is often an imperfect friction that encourages that forward-leaning real engagement of a game, and I wonder if in becoming more approachable, this remake risks losing those moments.

A great new addition that actually accentuates this is being able to hum your songs on the ocarina. It's silly, but it's a fun and engaging way to interact with the world, and is emblematic of the out of the box thinking that Nintendo does so well.

Imperfection breeds frustration, sure, but done right, it also gives way to accomplishment and fun, something so key to the original game's experience.

And while the story is the same, the way it's told has changed drastically with the addition of cutscenes and voice acting.

With a few exceptions – Darunia and Ganondorf both receive standout performances – much of the voice acting is delivered with the overly saccharine tone of a Disney film or anime dub.

It is a matter of taste, of course. This style of voice acting has never been for me, but I recognise that it has its place, and is no doubt will be popular with many, although if this is the direction of travel, I fear for what could become of my beloved Twilight Princess if a remake ever surfaces.

The Ocarina of Time remake very much takes the approach of style over substance, but it's only able to do that because the substance was already put in place 30 years ago.

If all you care about is reliving the story of Ocarina of Time, then this remake is probably your best option – it's certainly the easiest option.

The same is true if you just want those updated graphics, or a smoother, more player-friendly gameplay experience.

But I don't think this remake replaces the original, much as many have already taken to declaring it the definitive way to play OoT.

There is value in modernisation, but there is just as much value in the kind of exegetic experience of what gaming was 30 years ago, the challenges of development, and the genius of overcoming them.

Indulge me this bizarre segue, but I am reminded of watching Beetlejuice Beetlejuice two years ago.

I was naturally delighted that the sequel opted for the same kitschy set design and practical effects as the original, but in its modernisation, in having more money to play with, everything was now a bit too perfect.

The rough edges of the original had been sanded away, and while the outward appearance was improved, the sense of charm delivered by what seems almost amateurish by today's standards is lost along the way.

The Ocarina of Time remake elicits a similar feeling. While an objective technical improvement in almost every regard, it loses some of that edge.

The debate regarding the value of remakes did not start with Ocarina, and it certainly will not end with it.

As someone who would love to see more 3D Zelda titles in the same vein as Ocarina, Twilight Princess and more, I hope that the lesson Nintendo takes from this is that 3D Zelda does not need to be an open world behemoth to be a success, and that these more linear experiences still have their place in the series.

I fear, however, that this will only serve to encourage more remakes, releasing periodically as filler while we wait for the next Tears of the Kingdom.

When it comes to Ocarina of Time's original versus its remake, neither is better than the other.

Which is better for you is entirely down to personal preference, but even as someone who spent his time with this remake nitpicking the minutiae, I can't help but be overwhelmed by the childlike joy of reliving this title in a new era.

It does crush me, to an extent, to know that for scores of players, this remake will supersede the original game. Most, likely, will never see fit to return to it.

And yet, equally, as much as I will always prefer the original, who am I to begrudge a new generation the opportunity to experience one of gaming's greatest achievements on their own terms?

The Ocarina of Time remake is a tremendous game, and I hope that in the years to come, everyone for whom this is their first taste of Ocarina will look back on it with the same fondness and awe that its predecessor inspires in me.

The Legend of Zelda: Ocarina of Time remake releases on Thursday 5 November, exclusively on Nintendo Switch 2. You can order your copy now.

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