25 for the revalink prompts? Bonus for not the gerudo outfit
(ask game from here)
part two of You Guys Have the Same Brainworm in my Askbox. but aw darn ya got me anon!!! truthfully, if you want me to write this in canon, i'm not sure what other armor sets would incite the same sort of fluster the prompt implies? like i have a zelda wiki open on the botw armor page and i'm going through it like Hm. Not sexy enough. KJDFHJKDHF but i still wanna write this one in canon so we're gonna take the non-horny route on the definition of 'flustered' instead LMAO
👔 25. Link dresses up just to try and get Revali flustered.
"why in the name of the goddess do you have so much clothing?" revali grumbles, crossing his arms. he's sitting in the middle of their shared roost, surrounded by piles of link's collection of armor, growing more and more as the blond continues warping them out of the sheikah slate. how much could that little contraption hold?
"well, i didn't mean to get this much," link says, tapping at the slate. he holds one of his hands out and in the next second, a pair of opal earrings materializes out of blue light in his palm. "at first, it was just out of necessity. you know zelda left me with only one set of shirt and pants when i woke up? it was way too small and that shit had probably been molding for a hundred years."
he places the earrings on the table with the other jewelry he's pulled out of the slate so far. "i mean, thankfully i found some better pants on the great plateau, but i threw that shirt away as soon as i got to hateno. there's definitely some freak in akkala who got ahold of it somehow, though..."
"and then you just kept buying more?" revali says, peering at one of the piles. why did he have so many of the same green tunic?
"in my defense, i just found some of the stuff lying around hyrule!" link replies, raising both of his hands up in surrender. "but the stealth set is really useful, and the snowquill armor is my favorite of all of my armor." he smiles fondly at revali, and the rito can't help but melt a little bit under his songbird's gaze. "and i look really good in the gerudo top and sirwal." link wiggles his eyebrows at revali, his smile growing mischievous. "wanna see?"
warmth coils under revali's cheek feathers, but he wills it away as best as he can. "maybe another time, when you haven't made an actual nest out of our home," he mutters, looking away.
as he does, one of the armor pieces catches his attention. it's designed with glowing swirls of orange and dots of blue, reminiscent of ancient sheikah technology. "what's this one?" revali says, pulling the piece towards himself. the shoulder ridges sort of remind him of the crest of medoh's head...
link follows his gaze and hums. "that one's the ancient cuirass," he says. "you're supposed to wear it with the greaves over here—" link reaches over to a piece of the other side of revali, revealing matching pants. "and also the helm, but uh... the headpiece is honestly kinda goofy, so i just wear the diamond circlet because it's prettier."
he reaches back towards the table to find the circlet and places it on the head. link then places his hands under his chin and slightly turns his face to the side. "don't i make a prettier princess than zelda like this?"
revali snorts. "sure." he turns back to the cuirass. the orange glow honestly reminds him too much of windblight; the swirling patterns are too similar and he fights down a shiver. he has to remind himself that the sheikah technology had existed prior to the influence of ganon and that it was always meant to be used for good. "what does the helm look like?"
link giggles sheepishly, rubbing the back of his neck. "well, uh, here's the one i bought from robbie..." he taps at the sheikah slate and something that looks vaguely like the head of a guardian materializes and drops in link's lap. he holds it up towards revali, grinning in a way that looks more like a grimace.
revali blinks once and then his eyes widen, staring in disbelief at the headpiece. "what... in hylia's name is that," he says taking the helm from link. at closer inspection, the glowing blue circles dotting the circumference of the helm are reminiscent of guardian eyes, or like windblight's. revali shivers this time; he decides he doesn't like the helm at all.
link laughs again nervously. "yeah, like i said, it looks goofy and i feel really silly wearing it..." he trails off, looking away before perking up again. "oh! i have other ancient helms that you might like better than this one."
"robbie made more?" revali says, looking up at link.
the blond shakes his head, tapping at the slate again. "nah, he only made that one, and these ones..." he pauses, chewing on his lip. "um... would you believe me if told you these ones fell out of the sky after i defeated the ganon blights?"
revali blinks once slowly and stares at link, searching his face for any hint of mischief. the only expression on his little jewel's face is hesitance and wariness. "and how exactly would they have done that?"
"dunno, i couldn't explain it even if i tried," link says, shrugging. he taps at the sheikah slate again and another helm materializes from blue light, dropping in the blond's lap. but this time, revali's eyes widen. "i have four of these ones and they all look like—"
"what the hell?" revali exclaims. "how— what— where did you—?!" it feels like every feather on revali's body has risen, standing straight up. he probably looks ridiculous right now, but every part of his body is flushing warm with a feeling he can't put a name to. the helm looks like exactly like medoh's head, or perhaps more accurately, a smaller version of it.
link stares at him, frozen in place holding the helm. "uh... like i said, it kinda just... fell out of the sky after i beat windblight..." chewing on his lip, he slowly holds the helm out to revali. "do you wanna...?
revali just stares at the headpiece with wide eyes for a moment. how did link even get a hold of this? it was supposed to be... slowly and warily, revali takes the helm from link and turns it over in his hands until he's looking at it head-on. it really looks just like medoh.
"you said it fell out of the sky," he murmurs, running the tip of a feathered finger over the ridges of the helm, "but why... why was it given to you... and how did it get to you if..." he trails off, finally speechless.
"if what?" link says softly, trying to prompt revali to continue.
"this is the divine helm of medoh," revali says, his voice quiet. "it's supposed to be a treasure gifted to the one who controls medoh. and as her champion, this was gifted to me back then. i lost it during the awakening of the calamity and after windblight took over..." revali resists the urge to tremble. "i don't know what happened to it. how it came to be in your hands is..."
"i don't know either," link says. "i don't know why it was given to me either. i have other helms that look like the heads of the other divine beasts, too. if that one was yours, then i guess those helms belong to the other champions. i should give them back..." the blond fidgets. "do you... want yours back? it's not like i use it that much anyway. it's just been sitting in the slate collecting dust— i mean, if it could collect dust in there, i don't know how it's stored—"
"it's fine," revali cuts him off, his voice soft. he's still staring at the helm. "just keep it with you for now. the role of the champions and the use of the divine beasts is obsolete now, with ganon sealed away. i wouldn't have a use for it either."
"are you sure?" link murmurs. revali looks back at him and his precious little jewel's eyes are wide and shining. revali doesn't know if it's possible to love a person more than what he feels for link in this moment.
"yes, i'm sure, songbird," he replies and hands the helm back. "it will probably be safer with you in the sheikah slate as well. you'll take good care of it, right?"
"of course," link responds immediately. "it's yours, of course i will." he turns back to the sheikah slate and taps at it again. in seconds, the helm dematerializes in blue light, presumably back into the slate. revali wonders then how anything is stored in there; is it an endlessly sheikah-blue space, floating forever in a void inaccessible from this world?
then, link sets the slate off to the side and crawls forward into revali's lap, wrapping his arms around revali's neck. like clockwork, the rito responds by wrapping his own arms around link's waist and holding him flush against his own body.
"i'm sorry," link blurts suddenly.
revali raises a brow. "what for?"
"that i had the helm. i should have realized that it would probably be yours."
revali snorts. "it was, in the past. i'm not sure i'm worthy enough to have it now, failing my role as a champion and no longer being required as one. you don't need to suffer any feathers over it, snowdrop."
"i guess..." link shifts in his hold so that the side of his head rests on revali's shoulder and he faces revali's neck. "but you are worthy. you're always worthy of it, 'vali, even if we don't need champions anymore. i love you, you know that, right?"
"i do," the rito responds softly. "and i love you as well, much more than you could ever fathom, songbird. thank you." he hears link hum, a content noise against his throat. they sit like that, wrapped in each other's embrace quietly for a couple moments until link speaks again.
"wanna see me in the gerudo fit now?"
"link—"
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The fandom echo chamber: fanon, microanalysis and conspiracy brain
As someone who has been in fandom spaces, on and off, for 20 years, I find some fascinating trends popping up in the last decade that I thought to be fandom-specific but clearly aren’t. So, I would like to do a little examination of where those things come from, how they are engaged with, and what it says about the way we consume media. This is a think piece, of sorts, with my brain being the main source. As such, we will spend some time down the memory lane of a fandom-focused millennial.
This is largely brought about by Good Omens. But it’s also not really about Good Omens at all.
Part one. Fanon.
The way we see characters in any story is always skewed by our very selves. This is a neutral statement, and it does not have a value judgement. It’s simply unavoidable. We recognise aspects of them, love aspects of them, and choose aspects of them to highlight based entirely on our own vision of the universe.
Recognition comes into this. There is a reason so many protagonists of romance novels have a “blank slate” problem. Even when they do not, we love characters who are like us or versions of us that we would like to be. And when we say “we”, I also mean, “me”.
(I remember very clearly this realisation hit me after a whole season of Doctor Who with writing which I hated utterly when I questioned why I still clung so incredibly hard to Clara Oswald as my favourite companion. Then I looked at myself in the mirror. Oh. Well. That would do it, wouldn’t it?)
Then, there is projection, and, again, this is a neutral statement. Projection exists, and it is completely normal and, dare I say it, valid way of engaging with — well, anything. Is the character queer? Trans? Neurodivergent? Are they in love? Do they like chocolate? Are they a cat person? Well, yes, if this is what the text says, but if the text does not say anything… You tell me. Please, do tell me. Because, in that moment of projection, they are yours.
And then, there is fandom osmosis, and that is the most fascinating one of them all, the one that is not very easy to note while you are inside the echo chamber. It’s the way we collectively, consciously or not, make decisions on who or what the characters are, what their relationships are, and what happens to them.
(Back when I was writing egregiously long Guardian recaps on this blog I actually asked if Shen Wei’s power being learning actually was stated anywhere in the canon of the show. Because I had no idea. I have read and reread dozen of fanfics where that is the case, and at some point through enough repetition, it became reality.)
We are all kind of making our own reality here, aren’t we?
Back when things were happening in a much less centralised manner - in closed livejournal groups, and forums of all shapes and sizes - I don’t remember there being quite as much universally agreed upon fanon. Frankly, I don’t remember much of universally agreed upon anything. But now, everything is in one place: we have this, and we have AO3, and it’s wonderful, it really is so much easier to navigate, but it’s also one gigantic reality-shifting echo chamber, with blogs, reblogs, trends, and rituals.
Accessibility plays its part, too. If you were, say, in Life on Mars (UK) fandom between seasons, and you wanted to post your speculation fic, you had to have had an account, and then find and gain access to one of the bigger groups (lifein1973 was my poison, but ymmv), and then, if you feel brave you may post it, but also, you may want to do so from your alt account if you wanted to keep yours separate, and then you would have to go through the whole process again. And I’m not saying that fan creations then were somehow inherently better for it than fan creations now (although Life on Mars Hiatus Era is perhaps a bad example - because some of the Speculation Fic there was breathtaking), but there is something to say about the ease of access that made the fandoms go through a big bang of sorts.
(I mean, come on, I can just come here and post this - and I am certain people will read it, and this blog is a pandemic cope baby about Chinese television for goodness sake.)
The canon transformations that happen in the fandom echo chamber truly are fascinating to witness as someone who is more or less a fandom butterfly. I get into something, float around for a bit, then get into something else and move on. I might come back eventually when the need arises, but I don’t sustain a hiatus mind-state. This means that when I float away and return, I find some very intriguing stuff.
Let’s actually look at Good Omens here. Season two aired, and I found it spectacular in its cosy and anguished way; deliberately and intelligently fanfic-y in its plot building; simple but subversive, and so very tender. (I will have to circle back to this eventually, because, truly, I love how deliberately it takes the tropes and shatters them - it’s glorious). And, to me - a person who read the book, watched the first season, hung around AO3 for a few weeks and moved on - absolutely on-point in terms of characterisation.
So imagine my surprise when the fandom disagreed so vehemently that there are actual multi-tiered theories on how characters were not in possession of their senses. Nothing there, in my mind, ever contradicted any of the stated text, as it stood. This remained a strange little mystery until I did what I always do when I flutter close to an ongoing fandom.
I loaded AO3 and sorted the existing fic by popularity. And there it was, all there: the actual earth-shattering mutual devotion of the angel and the demon; willingness to Fall; openness and long heart-aching confession speeches. There was all of the fanon surrounding Aziraphale and Crowley, which, to me, read as out of character, and to one for whom they became the reality over the last four years, read as truth.
Again, only neutral statements here. This is not a bad thing, and neither this is a good thing, this is just something that happens, after a while, especially when there are years for the fandom-born ideas to bounce around and stew. I can’t help but think that so much of what we see as real in spaces such as this one is a chimaera of the actual source and all the collective fan additions which had time and space to grow, change, develop, and inspire, reverberating over and over again, until the echoes fill the entirety of the space.
Eventually, this chimaera becomes a reality.
Part two. Microanalysis
Here are my two suppositions on the matter:
1. Some writers really love breadcrumb storytelling.
Russel T Davies, for instance, on his run of Doctor Who (and, if you are reading it much later - I do mean the original one), loved that technique for his seasonal arcs. What is a Bad Wolf? Who is Harold Saxon? Well, you can watch very very carefully, make a theory, and see it proven right or wrong by the end of the season.
Naturally, mystery box writers are all about breadcrumb storytelling: your Losts and your Westworlds are all about giving you snippets to get your brain firing, almost challenging you to figure things out just ahead of the reveal.
2. We, as humans, love breadcrumbs.
And why wouldn’t we? Breadcrumbs are delicious. They are, however, a seasoning, or a coating. They are not the meal.
Too much metaphor?
Let’s unpack it and start from the beginning.
Pattern recognition colours every aspect of our lives, and it colours the way we view art to a great extent. I think we truly underestimate how much it’s influenced by our lived experiences.
If you are, broadly speaking, living somewhere in Western/North-Western Europe in the 14th century, and you see a painting in which there is a very very large figure surrounded by some smaller figures and holding really tiny figures, you may know absolutely nothing about who those figures are, but you know that the big figure is the Important One, and the small ones are Less Important Ones, and the tiny ones are In Their Care. You know where your reverence would lie, looking at this picture. And, I imagine, as someone living in the 14th century, you may be inspired to a sense of awe looking at this composition, because in the world you live in, this is how art works.
If you, on the other hand, watch a piece of recorded media and see the eyes of two characters meet as the violins swell, you know what you are being told at that moment. You don’t have to have a film degree to feel a sort of way when you see a green-tinged pallet used, when cross-cuts use juxtaposing images, or notice where your focus is pulled in any given shot. This stuff - this recognition of patterns - has been trained into us by the simple fact that we live in this time, on this planet, and we have been doing so long enough to have engaged recorded media for a period of time.
As humans, we notice things. Our brains flare up when they see something they recognise, and then we seek to find other similar details and form a bigger picture. This often happens unconsciously, but sometimes it does not. Sometimes we do it on purpose: finding breadcrumbs in stories is a little bit like solving a mystery. It allows us to stretch that brain muscle that puts two and two together. It makes us feel clever.
So yes, we love breadcrumbs, and, frankly, quite a lot of storytelling takes advantage of this. It’s very useful for foreshadowing, creating thematic coherence, or introducing narrative parallels and complexity. It’s useful for nudging the viewer into one or the other emotional direction, or to cue them into what will happen in the next moment, or what exactly is the one important detail they should pay attention to.
Because this is something media does intentionally, and something we pick up both consciously and not, it is very hard to know when to stop. We don't really ever know when all of the breadcrumbs have been collected. It becomes very easy to get carried away. There is a very specific kind of pleasure in digging into content frame by frame, soundbite by soundbite, chasing that pleasure of finding.
But it is almost never breadcrumbs all the way down. They are techniques to help us focus on the main event: the story. I truly believe those who make media want it to reach the widest possible audience, and that includes all of us who like to watch every single thing ever created with our Media Analysis Goggles on and those who are just here to enjoy the twists and turns of the story at the pace offered to them. And I think, sometimes in our chase to collect and understand every little clue we forget that media is not made to just cater for us.
One can call it missing a forest for the trees. But I would hate to mix my metaphors, so let’s call it missing a schnitzel for the breadcrumbs.
Part three. The Conspiracy Brain.
If you are there with me, in the midst of the excited frenzy, chasing after all those delicious breadcrumbs, then patterns can grow, merge together, and become all-encompassing theories. Let’s call them conspiracy theories, even though this is not what they truly are.
So, why do we believe in conspiracy theories?
One, Because We Have Been Lied To.
All conspiracies start with distrust.
If you are in fandom spaces - especially if you are in fandom spaces which revolve around a queer fictional couple - especially-especially if you have been in such spaces for a period of time, you have most certainly been lied to at one point or another.
We don’t even have to talk about Sherlock - and let’s not do that - but do you remember Merlin? Because I remember Merlin. Specifically, I remember the publicity surrounding the first season, with its weaponised usage of “bromance” and assertions that this whole thing is a love story of sorts, and then the daunting realisation that this was all a stunt, deliberately orchestrated to gather viewership.
And, because we were lied to in such a deliberate manner for such an extensive period of time, I genuinely believe that it forever altered our pattern recognition habits, because what was this if not encouragement to read into things? Now we are trained to read between the lines or see little cries for help where they might not be. Because we were told, over and over again, that we should.
(Yes, I think we are all existing in these spaces coloured by the trauma of queer-bating. I am, however, looking forward to a world where I can unlearn all of that.)
Two, Cognitive Dissonance.
The chain reaction works a bit like this: the world is wrong - it can’t possibly be wrong by coincidence - this must be on purpose - someone is responsible for it.
Being Lied To is a preamble, but cognitive dissonance is where it all originates. In so many cross-fandom theories I have noticed a four-step process:
A) this is not good
B) this author could not have made a mistake
C) this must be done on purpose
D) here is why
(Funny thing is, I have been on the receiving end of the small conspiracy spiral, and it is a very interesting experience. Not relevant to this conversation is the fact that a lot of my job revolves around storytelling. What is relevant is that my hobbies also revolve around storytelling. And one of them is DnD. Now, imagine my genuine shock when one of the players I am currently writing a campaign for noticed a small detail that did not make a logical sense within the complexity of the world, and latched on to it as something clearly indicating some kind of a secret subplot. Their thinking process also went a bit like this: this detail is not a good piece of writing — this DM knows how to tell stories well — this is obviously there on purpose. It was not there on purpose. I created a clumsy shorthand. I erred, in that pesky manner humans tend to. And, seeing this entire thought process recited to me directly in the moment, I felt somewhere between flattered and mortified.)
This whole line of thinking, I think, exists on a knife’s edge between veneration and brutal criticism, relentlessly dissecting everything “wrong”, with a reverent “but this is deliberate” attached to it like a vice, because it is preferable to a simple conclusion that the author let you down, in one way or another.
Three, Intentionality
I believe that there is no right or wrong way of engaging with stories, regardless of their medium, and assuming no one gets hurt in the process. While in a strictly academic way, there is a “correct” way of reading (and reading into) media, we here are largely not academics but consumers; consumption is subjective.
However, this all changes when intentionality is ascribed.
The one I find particularly fascinating is the intentionality of “making it bad on purpose” because, as open-minded as I intend to always be, this just does not happen.
It certainly does not happen in long-form media. Even in the bread-crumb mystery box-type long-form media.
When television programs underdeliver, they also underperform, and then they get cancelled.
If all the elements of Westworld Season 4 that did not sit together in a completely satisfactory way were written deliberately as some sort of deconstruction for the final season to explore, then it failed because that final season will now never come.
(There will likely never be a Secret Fourth Episode.)
And look, I am not here to refute your theories. Creativity is fun, and theorising is fantastic.
But, perhaps, when the line of thought ventures into the “bad on purpose” territory, it could be recognised for what it is: disappointment and optimism, attempting to coexist in a single space. And I relate to that, I do, and I am sorry that there is even a need for this line of thinking. It’s always so incredibly disappointing that a creator you believed to be devoid of flaws makes something that does not hit in the way you hoped it would. It’s pretty heartbreaking.
Unfortunately, people make mistakes. We are all fallible that way.
Four, Wildfire.
Then, when the crumbs are found, a theory is crafted, and intentionality is ascribed, all that needs to happen is for it to catch on. And hey, what better place for it than this massive hollow funnel that we exist in, where thoughts, ideas and interpretations reverberate so much they become inextricable from the source material in collective consciousness.
Conspiracy theories create alternate realities, very much like we all do here.
So where are we now?
I am not here to tell you what is right and what is wrong; what is true, and what is not. We are all entitled to engage with anything we wish, in whichever way we wish to do it. This is not it, at all.
All I am saying is… listen.
Do you hear that echo?
I do.
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The ways in which being asexual feels isolating
I've been pondering whether to post this or not, but I figured out I wanted to explain a bit of this experience.
So, I could go on a very long tangent on how being asexual is usually a lonely experience, and how much I've been otherized here and there- Specially in real life. How the same people that claimed to be queer (or allies) had been much weirder about my asexuality than they were about me being bi/pan or whatever.
But I think I wanna talk about how something like that bleeds in every aspect of socializing, even down to something like fandom. I stay away from fandom usually- I like to look at cool fanart and that's about it. I hate discourse, I hate drama, I hate reading people getting worked up because they're treating fanon as canon. But there's one thing I've noticed, over and over, that just sends me off my rails.
And it's how fandom tends to treat asexuality (or aromanticism). So, you get a character in some piece of media that explicitly, unequivocally, states they're either ace, aro, or both. "I do not have interest in a partner", "I don't desire to have sex nor do I enjoy the topic", whatever. And as an ace person, I do appreciate being able to see myself in media- There isn't many chases where something is established that bluntly.
Now, you decide you want to check some fanart for that. Fandoms have this tendency to make absolutely everything about shipping, even when the media they're basing it in does not revolve about that (and it's annoying, because a lot of times people aren't interested in the actual themes- It's all reduced to shipping). Suddenly, you notice people treating the aforementioned character as anything but aro or ace. It's all about shipping. "This person interacted with this other person in a way two friends would, but we gotta make this their entire personality now". Some people may instead go for "well, maybe the character is not having sex, but they're probably an absolute freak about it, studies it extensively, has encyclopedic knowledge about it-"
Now, there's of course sex-favourable aces, and that's completely valid, but it's already straying from what, canonically, the character had mentioned. Asexual or aromantic characters aren't really allowed to exist as themselves. People often see them as a blank slate to fill, to change, to fix. I could talk forever about how people react to real life aces like that. I've had people asking me incredibly invasive questions because they saw my lack of sexual attraction as something broken, something they could fix.
And I hate that! I think I'm allowed to say that I hate that! It's hard and unusual for media to cement an aro/ace character, because they're defined by the lack of interest for something, which is often hard to show. But when it does- No one seems to care. It's all shipping, it's all "well, he's gay in denial", "well, she's probably super repressed". If you took a canonically gay character and made them straight on a fanfic, you'd get angry people. Which is bound to happen when you erase representation that people identify with. But aro/ace characters are NOT even seen as queer, they're not even seen as "representation" by most people. You can erase that bit of it, put some god awful shipping on top, and people will applaud you. And it sucks!
I wish people would see being aro or ace as an identity worth respecting, not an identity that needs overwriting. It feels a bit too close to how people often treat aro/aces irl, and it sucks. It reeks of this sort of exclusionism, where "aro/aces are technically queer but it's queer lite at best, it's less interesting than being gay, and we kinda don't want them near us anyhow". Again, I've had far worse experiences about being ace than I have about not being straight.
Sorry if the post got long, but I hope this experience may at least resonate with other people who have been struggling with this, too. It has always felt just kind of lonely to be ace, and see how little people do even consider it an identity, even when it comes down to something like fandom.
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