Timeline things
I figured out how to fit the BS games into the timeline!
In order to incorporate all the heroes for this AU, the TC timeline will be split up so that “every time someone time travels and makes significant changes in that time, a new timeline split is created” (so going back in time to complete the Temple of Time in Twilight Princess wouldn’t cause a new timeline for instance). Basically this rule means that a timeline is created where the person DID travel through time and a timeline where the person LEFT and life continues on without that person, as if they just vanished into thin air. It is much more confusing than Nintendo's timeline but bare with me
This creates 4 main timeline splits
when Impa travels back and forth to aid Zelda in Skyward Sword
when Zelda sends Link back to his childhood in Ocarina of Time (we already know this one)
when Veran possesses Nayru to travel between the ages in Oracle of Ages
when Zelda travels back in time in the memories in Tears of the Kingdom
(technically Hyrule Warriors: Definitive Edition doesn't combine or split the timelines but rather makes the timelines super unstable since Cia brought people to her time rather than traveled herself, more on that later)
Skyward Sword
When Impa travels back and forth in time to help guide Zelda (Destiny) as Hylia's reincarnation, she inadvertently brings Ghirahim with her and starts the events of Skyward Sword as we know it. This is known as the Master Sword timeline because Link (Chosen) ends up upgrading the white goddess sword into the master sword.
However, this means Impa leaves a timeline where she didn't time travel in the first place known as the Goddess Sword timeline. In that timeline, Destiny is not kidnapped by Ghirahim but does end up being drawn to the power of the triforce on the surface. Chosen and Groose try to help her but Chosen doesn't find the goddess sword and Groose (the first ancestor of the Gerudo) ends up sacrificing himself to help defend them. Destiny somehow ends up barely sealing Demise but without Impa's guidance, she accidentally fuses the pieces of the triforce into one singular artifact known as the light force. The hylians of Skyloft still descend to found the settlement of Hyrule but some creatures (who later become the Minish) stay in the sky and discover the untouched goddess sword.
Demise's monster army is still scouring the surface as Hyrule is being founded. So in the Age of the Minish that follows, the small race descend from the sky and bring the light force and the goddess sword (referred to as the Picori Blade) to the hylians to help defeat the monsters. The light force only responds to the new princess (Power) due to her goddess bloodline. The hero of men (Mighty) wields the Picori blade and seals the monsters of Demise into the Bound Chest, thus creating the legends in the intro sequence of the Minish Cap. The Picori Blade goes on to become the Four Sword in the events of Minish Cap. Based on this, the Goddess Sword timeline contains the Four Swords trilogy (Minish Cap, Four Swords, FSA) while the rest of the games exist in the Master Sword timeline.
Ocarina of Time
We already know how the adult timeline and child timeline split. The downfall timeline is also basically the same in concept. When Young Link tries to wield the Master Sword, there's a timeline where he doesn't travel forward in time or get aged up into Adult Link. Thus, Young Link is not strong enough to defeat Ganondorf and dies during their fight.
The Adult timeline contains The Wind Waker, Phantom Hourglass, Spirit Tracks, and Hyrule Warriors.
The Child timeline contains Majora's Mask, Twilight Princess, Link's Crossbow Training, the Age of the Sheikah (first Calamity), and Breath of the Wild.
The Downfall timeline contains ALTTP, Oracle of Seasons, Oracle of Ages, and Link's Awakening.
Oracle of Ages
In OOA, the Twinrova send Veran to possess Nayru and use her time powers to go back in time to light the flame of sorrow while Legend uses the Harp of Ages to collect the Essences to stop them. But by doing so, there is a timeline that Veran-Nayru leaves and Legend is able to defeat the Twinrova prematurely, without the flame of sorrow lit to resurrect Ganon. In that battle, as a last ditch effort, the Twinrova curse Legend with horrible sorrow before they are defeated. This causes him to carry this innate sorrow in his heart that is subtle at first and slowly grows over time but Legend is none-the-wiser and sails home.
When Legend is sailing home, he goes on the adventure in Link's Awakening. But because of his growing sorrow, he can't bear the thought of saying goodbye to Koholint or waking the Wind Fish, so he chooses to stay there and live in that dream world forever. This is known as the Dream timeline.
In the Dream timeline, it's unknown if Legend is alive or if he died at sea or is in a weird state of Schrödinger’s limbo. In Legend's absence, the monsters of his time return six years later and two young children Star and Sun are forced to take up the mantle. They do not have the hero's spirit (Legend holds it) but are endowed with the light of the goddess, going on to become the heroes of light in BS Ancient Stone Tablets. These two heroes also go on a very fast-paced adventure many years later in BS The Legend of Zelda.
The other timeline where Legend successfully completes OOA and Link's Awakening in canon is called the Reality Timeline. In the Reality timeline, Legend returns home successfully and can defeat the monsters that return with ease. Many years later, Legend's successor Clover does ALBW and then travels to Hytopia to become one of the Triforce Heroes with two other Links nicknamed Ember and Aqua. In the Reality timeline, Hyrule enters an era of peace for many years until the Era of Decline, when Fay becomes the hero of TLOZ and the Adventures of Link.
Tears of the Kingdom
When Zelda goes back in time in the beginning of TOTK, she creates a timeline where she becomes the light dragon and lives for over 10,000 years (which is the canon of BOTW and TOTK) known as the Light Dragon timeline. The young pre-Calamity Zelda would notice the dragon during her childhood and feel strangely drawn to the creature, she ends up pulling herself away from her Sheikah research sometimes to spend time trying to catch a glimpse or study ancient legends about dragons and Zonai. The events of BOTW and TOTK occur normally in this LD timeline.
In the timeline where she doesn't become the LD, Zelda solely focuses on Sheikah research and experiments with ancient relics, even re-activating a strange mini-Guardian she names Terrako. This is known as the Terrako timeline because when the Calamity hits, Terrako goes back in time to prevent the death of the Champions in HW: Age of Calamity (technically creating 3 timelines because Terrako time travels too but we're going to pretend it works out for now until another game comes out)
Hyrule Warriors
Normally, Hyrule Warriors is the game that connects all the OOT timelines because of Cia opening up the time-space portals between the eras, allowing for Breath of the Wild to come after. However in this timeline, BOTW occurs in the child timeline with Twilight Princess, which is why the past heroes mentioned in the Subdued Ceremony memory are “skyward bound, adrift in time, or steeped in the glowing embers of twilight”
Meanwhile, I put HW after Spirit Tracks when New Hyrule is founded and a new royal army is formed. Purely based on vibes in all honestly.
Instead of 'merging the timelines,' HW creates cracks and instability between the timelines, accounting for weird inconsistencies between eras like Majora's mask in Link's house in ALBW or a small subsect of the Zora evolving into Rito without the flood in the Child Timeline. Maybe that’s also how the TC heroes manage to meet up across time hehe
Although, there’s a particularly strong connection between the downfall timeline and the goddess sword timeline. Namely, the palace of the four sword can be found in ALTTP while Ganon and the dark world find themselves in FSA (since with Groose’s death, the Gerudo, and Ganon by extension, cease to exist). I like to think their worlds are unstable already due to their status as ‘failed’ timelines in a sense and messing with the hero’s spirit (fracturing it into 4 with FS and the weird limbo Legend gets into in the BS games). So to compensate for their unstable states, they start to bond together and share pieces from their world like electrons to form some semblance of stability and strength.
This was just supposed to be about accounting for the BS games but all this timeline talk kinda got away from me and became an essay, it’s fun to think about though!
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ok now i wanna know your favorite things to see in a fanfic
oh my goodness i love this questionnnn!!!
1) ok i am a SLUT for slow burn and tension idc if the oneshot ends up being 10k words it’s WORTH IT.
2) i also love more poetic kind of writing styles especially when used for simple things? like very vivid imagery or metaphors during smut or just dialogue. this is something i def try to incorporate but would love to work to add more of.
3) specific tropes i am a fan of: forced proximity, best friends little sister (or adjacent), denying feelings until they simply CANT anymore, there also aren’t enough making out fics like give them the tension then interrupt them after just kissing.
4) ok and then lastly i love when authors give their oc’s drive and passions and work outside of their love interest, even if it is a very romance heavy fic. like give your college girls a side job and a dream internship yk?
bonuses!
anything Kate. there are simply not enough ms martin fics. and i think it’s so cute when you can tell where the author is from based on spelling or specific vernacular like idk i find it so cute and i just love regional dialects.
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Apparently, my decision to be silly and make fanart of someone's writing (because I genuinely enjoy the story the person is writing and I was struck with inspiration upon reading a particular scene) has benevolent and wildly unforeseen consequences.
I apparently gained a bit of control of the canon because said writer really loved the art and decided what I drew/draw is canon.
2. Writer put said artwork into the document of his story right below the scene, so now it's IN the story where people who read the story will see it (with a link to me)
3. He sent the artwork to all his friends and people he knows because he was so excited
Wholesome interaction and I watched him do all that in real time, good stuff. However...there are two more consequences I was notified of today...nearly a full week after I gave the artwork.
Seeing the artwork caused his friends to become interested in reading and hearing about his story, which means more people are reading what he's writing and giving him critique on the story (which he actively asks for).
Apparently, upon seeing the art, his writer friends got a sudden second wind to pick back up writing they'd abandoned for a few months. Because, I quote, "seeing that someone enjoyed {his} writing enough to take the time to make art of it gave them the motivation that maybe THEY can write something that will inspire someone to also create something." I have accidentally caused a writing frenzy among his writer friends and my silly idea to make art for someone has had a butterfly effect for people who I don't even know.
Uhh...I'm pretty sure there's a moral here but I am tired and have a great deal of emotions about this.
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In Plagiarism and You(Tube), Hbomb says "If you consider something so obscure you can get away with stealing it, you do not respect it." Save that line for the next time someone tries to tell you that Roy Lichtenstein brought respect to comics as art.
It's since been pointed out that while Lichtenstein did copy one of Russ Heath's drawings of an airplane getting hit, the painting depicted above was actually copied off Irv Norvick, because Lichtenstein did this so many times to so many comic artists.
In Lichtenstein's defense, he was doing this in a time when comic artists frequently weren't even credited in the issues themselves. In his condemnation, he never even tried to check, nor has he made any move to pay or credit any of the comic artists who recognized their own work later on. Rather than elevating the "low art" of comics, he was widening the gap of financial success and respect even further.
The Hbomberguy of this story is art historian David Barsalou, who has now spent decades tracking down the original art and the names of the original artists used in Lichtenstein's most famous output. Here's the flickr gallery for the Deconstructing Roy Lichtenstein project. Frequently copied were Tony Abruzzo, Ted Galindo, Mike Sekowsky, Joe Kubert, Jerry Grandenetti, and dozens more Golden Age artists who aren't very well known in comics circles, let alone art history books. Many of them died in poverty. That's something that the Hero Initiative, mentioned in Russ Heath's comic above, aims to prevent.
Also, Lichtenstein didn't even paint Ben-Day dots. That's a specific thing.
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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