#it fits so many disparate pieces together so neatly | Explore Tumblr Posts and Blogs

sheepprophet · 2 years

Text

The Forced Family Theory™

Credit to Jelly, Oracle, and Moss for coming up with this theory with me! <3 (And then nominating me to be the one to post it,, :| /nm)

So, I was discussing the reveal that the Disc Confrontation was staged on Discord with Oracle and Moss. We were specifically having a back and forth on why Dream would’ve allowed—much less wanted—himself to be locked away in Pandora’s Vault. I had previously suggested that maybe he planned to be locked in the prison all along which is another post for another time. But even then, it didn’t really make sense why he would put himself through that, when he knew what the conditions of the prison were like.

Moss mentioned that maybe it was to convince Sam that he never intended to be locked inside (which is a pretty good shout) and I offered that maybe he wanted sympathy from the other server members when he eventually escaped.

To the latter, Oracle rebutted, “But he royally screwed up any sympathy points he may have gotten by immediately going back after Tommy.” She went on to add, “Like, he knows Tommy has a large base of friends that defend him no matter what, that's why he exiled him in the first place, to cut off ties Tommy had [in order] to use him. He’s gotta know that the “convince everyone Tommy's crazy” plan is shit. Especially since he’s done nothing to drive that point home. I think the “everyone’s gonna think I’ve changed’ line is just to torment Tommy.”

This prompted Jelly—genius that they are—to pop in and suggest, “I really don't like this theory, but I'm pretty sure Dream tormented Tommy so much to make him as sympathetic as possible. Not enough people cared about Dream to become a tight, close-knit family, so Dream made someone that everyone would have to care about, if out of nothing else but pity.”

Cue me, Moss, and Oracle all collectively losing our absolute minds because that makes so much fucking sense? (Explanation under the cut!)

As Jelly said, Dream on his own wasn’t enough to bring everyone together. But maybe he could manufacture someone who could be. So he manipulated, abused, and tortured Tommy for the sake of making him sympathetic to everyone else on the server. All to further his own goal of getting them to be the big family he’s claimed he’s always wanted them to be.

It’s difficult to tell when exactly this may have become Dream’s motivation, but I’d wager that it was somewhere around the end of season 1/beginning of season 2. Because that’s when Dream’s actions clearly became much more tunnel-visioned on Tommy.

If that’s the case, then that’s why Dream forced Tubbo to exile his best friend. It was a sort of test—to see if Tubbo was already attached to Tommy enough to choose Tommy over his responsibility to L’manberg. And when it turned out he wasn’t, it came packaged with it’s own punishment for choosing L’manberg over Tommy. Tubbo was made to feel unbearably guilty over it and he desperately missed Tommy the entire time he was gone. It made him value his friendship with Tommy all that much more and it taught Tubbo to never choose anything over Tommy again or he'd risk feeling that way all over again.

Exile, of course, also worked to make Tommy experience an adequate amount of pain and suffering to, in theory, make anyone sympathize with him and want to protect him. (Though, unfortunately, that didn’t exactly happen, so Dream began constructing Pandora’s Vault three days later with a new plan in mind.)

And that’s why he staged the Disc Confrontation—why he was so willing to be whittled down to (presumably) his last canon life, lose all of his stuff, and then be locked in his own prison. Because at least most of the server was coming together for once to defend Tommy and Tubbo.

That’s why he beat Tommy to death in the cell they’d been trapped in together for a week and then waited days to bring him back. He wanted enough time to pass for everyone outside to learn of Tommy’s death and to feel his loss. Afterall, you don’t know what you have until it’s gone.

That’s why his first action when getting out of prison (after meeting with Punz) was to go straight to Logsted. To torment Tommy further while corralling him to Phil—one of the few people who didn’t show up for the Disc Confrontation. As another test, to see if Phil was sufficiently attached to Tommy. If Phil would defend Tommy against Dream. And Phil passed.

On top of that, tormenting Tommy—triggering him and forcing him to relive his trauma—reopened the wound Tommy had tried so desperately to heal while Dream was in prison. And because of his worsened mental state, what is Tommy doing now? Rallying people to fight Dream with him—exactly what Dream wants.

Paraphrasing what Oracle said: “All this time, the Tommy obsession made no sense. Dream’s sadism benefits him in no way. He’s pragmatic. Why would he keep it up with everything to lose? Because he needs the entire server to rally [against] a singular villain to come together again. The only way he can do that is by being that villain. That’s why Punz sees helping Dream as “saving” Tommy. That’s why he’s so fixated on Tommy. Because Tommy, in the past, has been the biggest divider on the server. So if he can get the entire server behind him…?”

Moss also eloquently pointed out, “[Dream] wasn’t lying in the Attachment Hall—Tommy really is the key to attachment. He needs everyone attached to Tommy to bring them together.”

And, finally, just in case you’re convinced by the level of ~drama~ something offers, imagine:

A final showdown with Dream. Everyone on the server banded together behind Tommy, with Dream backed into a corner.

“You've lost, Dream," someone says from the crowd.

“No,” Dream replies in a pleased tone, “I haven’t. Because look at you... You’re all together now, aren’t you? One big, happy family.”

TL;DR Dream is purposefully setting Tommy up to be the protagonist of the server. Thus bringing the whole server together as the big, happy family he wants them to be, against him.

98 notes · View notes

legionofpotatoes · 3 years

Text

we decided to watch all story cutscenes from the new resident evil village videogame on a whim, since it’s not really our cup of tea gameplay-wise but seems to be this massive zeitgeist moment that made us morbidly curious. And I know how much everyone cares about my thoughts on things I know very little about, so. let’s get into it huh gamers. and yeah spoilers?

for context, I’ve only played resident evil 4 and a small portion of 5. I also read the wikipedia entry for 7’s plot recently. all this to say I was only vaguely aware of how tonally wacky the series was going in

I also completely gave up following the plot of the mutagens’ soap opera, so that paid off in spades here as you might imagine

anyway so that baby in the intro. that baby’s head is just massive. humongous toddlerdome. when ethan finds the baby’s head in a jar later on. there is no way that head would fit into that jar. bad game design. no not even game design. basic stuff. one hundred years in prison for jar modeler

if I see a single functional hetero marriage in video games I will cry tears of joy. I understand their misery is kind of The Point irt them badly working through the hillbilly romp trauma but like. sheesh. at least set that up as an emotional story goal the plot will help resolve. but nope they start off miserable and it goes nowhere

I know I know the mia thing has a huge wrinkle in it but like. not really in terms of dramatic function?? set up a happy end to the re7 nightmare (miranda can keep up appearances for all she cares) and then take that all away from angry griffin mcelroy for manpain. it will still absolutely work to set up the dramatic forward momentum. why throw in this cliche Hollywood Tension in their marriage if you’re not going to address it oh maybe because it’s normalized as automatically interesting because nuclear families are a self-propagating pit of a very narrow chance at emotional happiness relying on social stigma to preserve their empty function oops my baggage slipped in yikes abort mission

I called him griffin mcelroy because I saw his face on twitter and. yeah. I will continue to do this occasionally. my house my rules

... fuck the reason I’m hung up on this is specifically because the rest of the game is so tonally dexterous (which is a shining point to me! more on that later!), and yet they felt weirdly compelled to create the aesthetic trapping of a family-at-odds trope without following it through too well. a sign of both the good and the bad stuff to come

but listen the real reason why I wanted to talk about any of this is to nitpick the fascinating backwards-engineered nucleus of the entire thing; in that this game essentially creates a melting pot of just SO many disparate horror tropes and then makes a no-holds-barred unhinged effort at weaving thick lore to piece them all together. it is truly a sight to behold. like straight up you got your backwoods fright night situation, your gothic castle vampires, your rural-industrial werewolves, and don’t forget your bloated swamp monsters over there, with then a hard left turn into robotic body horror, and the entire ass subgenre of Creepy Doll writ large, and the bloodborne tentacle monsters, and a hellboy angel bossfight, which rides on the coattails of a mech-on-mech pacific rim bonanza, and just jesus henry christ slow down

almost all of these are textural hijack jobs that don’t really get into the metaphor plain of any of those settings but the game sort-of makes an argument that the texture IS the point and revels in it. It is kind of admirable almost. The same reason why the intro felt boxed in and unmotivated is also why the rest of the game just blasts off of its hinges to the point of complete and self-indulgent tonal abandon. I kinda loved that about it. lady dimitrescu made sure to hold her hat down as she bent forward in mahogany doorways and then suddenly she’s a giant gore dragon and you settle in your temp role as dark souls man with Gun to take her ass down. Excellent??

this rhino rampage impulse to gobble up every horror aesthetic known to man comes to head when the game wrestles with its FPS trappings in what is the most hilarious solution in creating visceral player damage moments. Since most cinematics and the entire game is in first person, that leaves precious little real estate for the devs to work with if they really want to sell griffin’s physical crucible. To wit. This dude’s forearms. Specifically just the forearms. They are MASSACRED throughout the story. The poor man lives out the silent hill dimension of a hand model. by the end cutscene he looks like a neatly dressed desk clerk who had decided to stick both his grabbers into garbage disposal grinders just a few hours prior. like in addition to everything else it manages to rope in that tinge of slapstick violence into its general grievous genre collection except this time it IS for a lack of trying! truly incredible

but wait his miracle clawbacks from everything his poor paws go through are retroactively explained away, yes, but far too vaguely and far too late to console me as I sat and watched everyone’s favorite baby brother reattach an entirely severed hand to his wrist stump by just. placing it on there. and giving it a lil twist ‘n pop terminator-style. and then willing his fingers back into motion right in front of my bulging eyes. this game just does not care. it does not give a shit. and boy howdy will it work to make that into one of its strongest suits

cause generally speaking resident evil was THE premiere vanilla zombie content destinaysh for like a decade, right? and as the rest of the world and mainstream media started encroaching and bloodying its blue ocean it went and just exploded in every single conceivable horror trope direction like a smilodon on catnip. truly, genuinely fascinating franchise moves

yeah the big vampire milf is hot. other news; grass... green. although I do love the implication that her closet is just identical white dresses on a rack. cartoon network-level queen shit

apropos of nothing I’ve said there’s also this hobo dante-devimaycry-magneto man, and I can’t believe this sentence makes sense. anyway he made that “boulder-punching asshole” joke referring to chris redfield and it was probably the only easter egg that really landed for me and boy did it land hard. I have not seen him punch the boulder in re5, mind. I had only heard about how funny it is from friends. and here this dude was, probably in the same exact mindset as me, trying to grapple with that insane mental image. with you on that ian mckellen, loud and clear

I advocate vehemently against the shallow pursuit of hyper photorealism in art direction but I gotta admit it works really in favor of immersive horror like this. the european village shacks especially gave me super unchill flashbacks to my rural countryside retreat in western georgia. I could smell the linoleum dude. not cool

faces are weird in this game. can’t place it. nice textures, good animation, but the modeling template is... uuh strange? and the hair. it has that clustered-flat-clumpy look that harkens to something very specific and unpleasant but I just don’t know what. sue me

griffin’s mental aptitude to take all this shit in stride and end every seemingly traumatizing bossfight involving some fucking eldritch being yet unseen through mortal eyes by essentially throwing out an MCU quip is just. What the fuck dude? I mean that was funny how you casually yelled the f-word at a god damn werewolf that you considered a fairy tale an hour ago but are you like, all right?? it was swinging a sledgehammer the size of a bus at you, ethan

oh oh the vampires are afraid of cold and your last name is winters. I get it haha

Pro Gamer Nitpick: boss fights seemed a bit unnecessarily long?? idk why the youtuber we picked decided the ENTIRE propeller man fight counted towards the vital story scenes he was stitching together, but man mr big daddy lite there really had some get up and go huh??

why are they saying dimitrescu.. like that. is it really how you say that word or is the english language relapsing into its fetish for ending every single word with a consonant at all costs

I’m not saying it’s a dramatic miss of a twist in context of all that’s going on, but the “you died in the last game actually and have been DC’s clayface ever since” revelation is low-key. it’s. it’s just funny to me, I dont know what to say. century-old god-witch fails her evil plan after she mistakenly removes heart from what was definitely NOT just some white guy with eight fingers after all

chris realizing he’s about to become the player character and immediately swapping out his tsundere trenchcoat for the muscletight sex haver sweater

the little bluetooth speaker-sized pipe bomb he taped to his knife was nuclear?? really??? I must have missed something because that is just too good. I buy it though I totally buy it. chris just got them fun-sized nukes in his car trunk for, you guessed it, Situations

anyway this is all for now just wanted to briefly touch on how unexpectedly funny and tonally irreverent this seemingly serious game turned out to be. did not articulate any cathartic story beats whatsoever but my god it had fun connecting those plot points. he just fucking put his severed hand back on his stump and it Just Worked todd howard get in here

#text #another one in my bulleted review series with no rhyme or reason #sorry resident evil fans this could be a painful read pls turn away #i know almost nothing about it but i am gonna be super fake familiar and critical of this one hey ho

23 notes · View notes

ganymedesclock · 5 years

Text

I’m aware that a lot of my headcanons for Ganon, Link, and Zelda is rooted in the fact that I love personality powers and there’s something interesting about what all three’s aptitudes say about them in contrast to the roles they’re given by the narrative and what we’re ostensibly told about them.

Buckle in, because this got... very long.

Zelda

In both OoT and BotW Zelda is tied closely to the Sheikah; in the former, she has been raised by one (Impa) and assimilates fully into their culture when it becomes too dangerous to exist as the princess of Hyrule. In BotW, she is fascinated by their culture and technology and wants to study it in detail. The Sheikah clan is established as the motif of a weeping eye- this connection is also implied in Twilight Princess with Impaz and the conspicuous Sheikah eye embroidered on Zelda’s cloak.

There’s a strong implication here of seeing. And Zelda’s powers tend to take two forms: one, perceiving herself or allowing others to perceive- and the other is penetrating the darkness by cutting it down.

A friend of mine aired the idea that the implication of the Sheikah weeping eye may suggest the Sheikah originated as exorcists- because any veteran Zelda player knows that the way to deal with virtually all of the game’s enemies is go for the eye. The implication of the crest would then be that the Sheikah are those who blind Demise’s eyes, preventing the original demon god from continuing to influence the world.

But an eye also sees. The gossip stones are traditionally hailed as a Sheikah invention. Sheik’s specific role in OoT is to guide Link by illuminating, revealing things to them.

Zelda as a character is correlated heavily with light; if we take BotW thematically tying Ganon to the moon as an enduring quality of his character (especially since in Wind Waker, he’s able to halt the movement of the heavens temporarily, over his home fortress and for a period of time over the entire sea, causing perpetual night) then the golden light conflated with Zelda would seem to be the rays of the sun. In Twilight Princess she is able to command the light spirits, and is the only non-twili truly unaffected by the cloud of twilight- a feat that the twili themselves weren’t capable of without seemingly turning their magic heavily unto their own bodies and losing the ability to walk in daylight as a result.

In Wind Waker, she takes possession of the Hero’s Bow and its Light Arrows, which, for anything less powerful than Ganon caught in its crosshairs, they’re pierced and immolated in a beam of light.

Light handily reflects the duality of Zelda’s powers as implied by the Sheikah: light can be blinding, destroying- and light can also be revealing, transmitting, clarifying.

However, taken together, this does not invoke a gracious and gentle maiden. If anything, it would almost suggest that the reason many Zeldas come across passively is because of active effort on her caretakers’ part to clip her wings and prevent her from actualizing. The nature of Zelda as implied by her powers is someone who pierces situations, who challenges and dismantles falsehood; an oracle and an executioner. Of the chosen three, she’s the destroyer- because while Link often wields the light arrows, they’re conflated much more with Zelda than they ever are with him.

Zelda is not presented as the gracious sun that presides over a warm field of wheat. She is not depicted as cruel, but there is an intensity, a veiled frustration, implied by her powers- it suggests that Zelda is someone who yearns to cut through obstructions in her path.

It implies Zelda, the detective, and most certainly, the exorcist. Her powers are for picking a target precisely, evaluating its nature and weaknesses, and, if need be, obliterating it with grace and precision.

Ganon

On the flipside, Ganon, who we’re continuously told is an element of wrath and destruction... has powers geared heavily towards restoration. The most powerful abilities he’s ever shown in terms of scale and effect are his darkening the skies in Wind Waker and, in Breath of the Wild, the rising of the blood moon.

Everything Ganon accomplishes in BotW is a testament not to supernatural resilience but his ability to reconstruct himself and spread that same power to his allies. No wonder in Twilight Princess Zant calls him a god; his command of flesh, blood, and bone is certainly impressive enough that he could be described as someone with power over life and death itself. He’s able to heal the mortal injuries of a huge number of people and creatures with disparate physiology, at range, while his body is overwhelmingly splattered across the countryside.

Hell, that power is so interesting and so strong that if you have Ganon as anything but final boss, you pretty much have to nerf it. It also could afford an interesting context to how in many of the earlier games and stories based on them, a point is made that Ganon can only be injured by certain weapons- holy silver, sacred light, or the Master Sword (which implicitly has a silvered blade; it’d explain that gleaming white blade it has).

It could be not that Ganon’s flesh has some power to repel harm as much as anything else turned against him merely has him regenerate, possibly, depending on how well he’s able to generate Malice in incarnations where his regeneration didn’t get disrupted repeatedly and smashed up in a blender, even colonizing the offending weapon, digesting it, and reconstituting it as part of himself.

Now, Ganon doesn’t have quite so clear and predictable a thesis to his powers; his ability to turn into various creatures and move undetected place to place tend to have different explanations but you can pretty easily rope them under the capabilities of a shapeshifting regenerative blob monster. And given the time he’s had to work with, it makes sense that he would have a much more versatile skill set than Link and Zelda, and enthusiastically dabble in any new form of power he gets his hands on.

The electricity he wields in ALttP and Thunderblight being the most formidable of the Blights would seem to suggest that’s a favorite of him- not only is electricity the element conflated with the Gerudo in BotW, but Ganon’s teachers and mother figures were Twinrova, who are fire and ice witches. Assuming Ganon’s a lightning user would neatly bracket the pupil in with his mentors and further indicate the land Ganon originally hailed from.

Where Zelda’s abilities are heavily focused in two areas and fit according to a concise thesis, Ganon’s standout power of healing and his implicit favored element of thunder don’t have so clear a notion behind them; only one conflates directly with his lunar motif. But this still suggests things about his character, and you can make a connection here:

While the sun is always the same, the moon continuously changes its face. While all of the Chosen Three are redesigned repeatedly, Ganon is overwhelmingly the same person deep down- so the transformations he goes through are just that. He changes, but a certain core of him remains the same. And as a healer- as someone who basically has an incredibly tenacious grasp to life so much so that when run to his limits in BotW, pieces of his body scatter, separate, and latch onto the landscape itself for survival- it makes sense that he would be the assimilating force of the three of them.

He’s the man with a thousand enemies and who has died something like a hundred times by now- he’s the pariah who lives at the edges of the world, refusing to stay down, refusing to stay in his grave no matter which new king of hyrule thinks they can stake him and put a rock over it. So he uses that changing face and seizes everything he can. Survival at all costs. No wonder his conflated animal motif is a creature once known in the ancient world for running the length of the weapon it was impaled with to kill the person holding it.

And, yet. The fact that Ganon is ultimately focused on his own survival isn’t the only application of his healing powers. He’s also someone who heals others. I mentioned that Zant’s reverence in TP makes a lot of sense in the face of BotW- but, we also have a pretty compelling argument why so many disparate groups, time and time again, unite under his banner. It’s not fear- it’s hope.

If Ganon just walked into people’s villages as a warlord and threatened them into fighting for him, that loyalty would wither easily. But we know that even when he’s doing absolutely miserable, Ganon tends to galvanize Hyrule’s “monsters” into a feeding frenzy of growth and development. The average moblin is a lot less likely to forget Ganon or turn their back on him if they have a scar from a mortal injury and know that it was Ganon, their savior, and his moon rising in the sky that personally saved their life and probably dozens of other people they knew.

It’d suggest exactly what Zant’s proselytizing does- that to the people who work for Ganon, he’s viewed in a messianic light, in contrast to his pariah status in the rest of Hyrule’s eyes. And that doesn’t appear to be insincere on Ganon’s part- while TP appears to end with Zant severing his connection with Ganon, it stands that Zant was in a position to do that after Midna killed him- which would tell us that Ganon resurrected Zant again, after a point when Zant was no longer useful to him.

Sure, Ganon’s not exactly an honorable person. There are plenty of accounts in various stories of him lying through his teeth or buttering someone up only to discard their corpse at a key moment. But the fact that Ganon callously throws certain people under the bus while taking pains to heal others is not necessarily contradictory- it just tells us that Ganon is a loyal compassionate person... to certain entities. To others, they can rot, and he won’t give a shit. But his healing power would logically, then, be a gateway to who he’s decided he really wants to live. And many of the entities with him, both sapient and non, would appear to be beneficiaries of his mercy, to the point that the implication of creatures like Helmaroc in Wind Waker is that Ganon could very well have hand-reared and personally trained that behemoth given its very exclusive loyalty and attentiveness to his commands. We see no one else- even in Forsaken Fortress- commanding Helmaroc.

Someone not capable of long-term kindness and patience towards what would have been an incredibly difficult baby to take care of would never have gotten access to a creature like that in the first place. I know Nintendo put Helmaroc there to be a boss monster and didn’t want us to think about it, but the watsonian implications are obvious and damning- Ganon isn’t backstabs mclovesmurder, and he is capable of spending a long time lavishly investing in an animal in a way that leaves it earnestly willing to fight, hunt, and kill on his behalf, and unafraid of him. Thus, Ganon being genuinely cruel to people is something that happens in situations he feels are personally warranted- where he feels he was wronged first. In short, he’s potentially petty, vengeful, and very good at holding grudges- but he doesn’t hate indiscriminately, and that’s a noteworthy distinction.

It’s another angle of that changing face, of that lunar motif- Ganon is not someone who’s easy to figure out, in part because he often actively does not want to be known. In Wind Waker, he appears to have a conversation with Link only to reveal Link was talking to a monstrous puppet while the real Ganon escaped. In ALttP he extinguishes all the lights and hides as a shadow. In TP he goes through multiple layers of hiding himself behind barriers and even inside Zelda’s body. A lesser theme that crops up here is evasion. While Ganon’s certainly not unequipped for a direct fight, he tends to try and avoid it as long as possible, divert attention onto proxies or shields.

In BotW, “the Calamity” is obviously clever, bringing about catastrophe by dramatically outfoxing the entire royal family and not just negating, but actively weaponizing in his favor things that were used against him in the past, guaranteeing that win or lose, it’ll be a long time before Hyrule is so friendly with the Guardians and Divine Beasts- and int hat time they’ll probably have forgotten about his intelligence again. Yes, Ganon hardly deliberately engineered being dehumanized, but, he’d be long used to it at this point- at this point, he’s probably able to set his watch to someone forgetting he was ever a mortal person, and he can play the role of a mindless beast easily enough. He can swing it in his favor.

In a way, it furthers that sense that Ganon’s not actually mutable at his core- if anything, he’s rather stubborn and brash- but he is very prone to accumulating and utilizing external ‘faces’ to try and stay protected, to stay untouched.

Which brings us to, finally:

Link

Link’s motifs are probably the most interesting because they tend aggressively mutable. Hero of Time, Hero of Winds, Hero of Wild, Hero of Twilight, Hero of the Sky. Unlike Zelda or Ganon, Link lacks an obvious conflation with either day or night. If anything, Link stands out because he tends to have balanced and contradictory associated motifs.

The fearful rabbit and the aggressive wolf, for example.

In Twilight Princess, the light spirit Faron councils Link that in order to defeat Zant, he must match Zant in power- and this starts gathering the Fused Shadows that Midna ultimately uses to destroy Ganon’s barrier around Hyrule Castle.

Zelda is mainly conflated with the harp (shown playing other instruments from time to time, but the harp is the most consistent between Sheik and Skyward Sword’s Zelda), Ganon the rare times he’s shown with an instrument the organ, and certainly Link’s most famous instrument is the ocarina, but he also takes up a huge number of different instruments throughout the games. Likewise, while the Master Sword is his signature weapon, he sometimes spends entire games without it, or using a different sword instead, and every game, without fail, sees him accumulating a large number of different tools and armaments and using all of them.

At a glance, this can seem like proof Link is an everyman hero without personality- an empty vessel for the player’s will. But unlike in, say, Undertale, there is no in-universe acknowledgement the player exists, ever. And Link does plenty of things without player input, or where the player can only choose one of a few options to respond with.

So in-universe, what does it say about someone who is incredibly versatile, but also consistently characterized as the furthest thing from weak-willed?

It suggests that while Zelda might be the sun and Ganon the moon, Link is the interceding force between them; perhaps embodied as the manifold and diverse light of the stars. It suggests a vague, yet powerful sense of self- Link doesn’t need to know who he is or where he comes from, it’s what he chooses to become that defines his fate for him. Which lends significance to how, while Ganon in ALttP was able to take possession of the full triforce, the only one who’s united the triforce inside their body was the first Link in Skyward Sword.

Many games feature Link actively taking qualities from his enemies- in ALBW, his ability to proceed at all is by stealing Yuga’s curse and using it against him. In TP, he very quickly exploits his abilities in his changed form to proceed even before he utilizes Zant’s “help”. In fact outside of ALttP, where he found a way to circumvent it entirely, I can’t think of a single time Link’s gotten cursed where he hasn’t fairly rapidly made peace with it and swung it in his favor.

Hell, it’s worth noting that in BotW Link would even seem to have an indifferent relationship with gender since he’s not particularly concerned wearing traditionally feminine clothes to enter the Gerudo city. (at least, that’s how I’m choosing to interpret that to save myself a lot of frustration,)

It ultimately comes down to a sense that while Zelda might conceal herself, while Ganon might adapt and change his outer layer, Link, out of the chosen, is the one prone to true metamorphosis.

This is the significance to Link always being conflated as an outsider- he doesn’t have a specific biased anchoring to Hyrule or it’s systems. And it’d reflect how, with the help of masks, BotW Link has absolutely no problem partying it up with a bunch of monsters- or, with masks again, Link in Majora’s Mask basically becomes a full-time medium helping the spirits of the dead find peace through his body.

Heck, Skyward Sword’s Skyward Strike, the mechanics of transformation in Twilight Princess, and Link’s unique ability to see Zelda’s ghost outside of her body in Spirit Tracks would seem to point to the idea that Link in general is ghost sensitive / kind of a medium. It’d also reflect on how, while Zelda and Ganon both tend to be established mages, Link lacks magical power until it’s bequeathed by some kind of outside source.

#Legend of Zelda #Link #Zelda #Ganon #long post #readmore

157 notes · View notes