Y'know bandori talks a lot about Moca and Ran's ~deep bond~ and stuff which like they do have but one thing I find interesting is that despite them being described as being able to easily read eachother like a book, Tomoe seems to be a lot better at reading Moca than Ran is. Obviously we see this to a cartoonish degree in the most recent aglow event, but like even before Tomoe just seems to have a surprisingly good sense for Moca's thoughts and feelings. Idk, I just think it's neat that Tomoe and Moca can have that kind of bond without it being as romantic as with Moca and Ran. The idea that romantic partners get eachother better than anyone else has always bugged me, so while it's small and idk how intentional it even is I love Tomoe and Moca's friendship a lot because of it. And also because they're very silly and goofy.
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do u have any navi thoughts from your oot replay
i've been waiting to answer this until I actually beat the game in my current playthrough because navi is another one of those characters that i think of in like a "set" with several other characters who serve relatively the same thematic purpose; in this case that purpose being the "mother" character, and i wanted to have all the characters in that set fresh in my mind. it's notable that while oot shows us very clear and consistent instances of the ways in which the adults of hyrule fail to protect their children, there ARE several adults who DO go out of their way to both oppose ganondorf and protect and nurture the children under their care. All of these characters are adult women, and all of them explicitly help the children out of some sort of parental responsibility or sense of duty towards them. in this group I include link's late mother, impa, nabooru, and navi.
all 4 mother characters, despite being adults or adult-coded, reject the inaction mentality which characterizes other adults in the game. they become either direct supports or shields to their children from the conflict the world has to offer them, and they are always explicitly punished for their interference--link's mother is killed trying to protect her son, impa's village is burned, nabooru is brainwashed. The mother's fatal flaw is that she will protect her child above all else, even in a world in which children cannot truly be protected. however, with the exception of link's mother, these characters manage to persist even in the face of her punishment, and this is where I think navi becomes the exemplary character.
Navi, after a lifetime of being link's only support system, the only adult in his life he could truly, consistently count on, receives her punishment at the hands of ganondorf--in the final battle, she is pushed out. she is unable to reach her child. she cannot protect him. However, BECAUSE link has grown up with her at his side, he is strong enough to take ganondorf down. and when ganon rises again, navi is there to support link, promising not to leave his side, and the intuitive targeting of that battle (a mechanic which navi is inherently tied to!!) makes it a cinch to win. Navi, and the other mothers we meet, are a reminder to the player that the world doesn't HAVE to be the way it is. Their persistence when punished, their insistence that their children ought to be protected, is a reminder that good adults do exist, and that good adults raise good children. link and zelda are able to win in spite of the adults who refused to help them, but also BECAUSE of the adults who DID. It's a reinforcement of the core theme of oot--that childlike idea that the world SHOULD be good and fair and if it isn't, it should be changed until it is. The mothers of oot are examples of what the world COULD be, reminders that it is possible to grow up without losing hope or growing bitter, and they are examples of the next step for the children they've raised to change the word--to continue fighting even in the face of punishment, to refuse inaction, and to foster that same hope and persistence in the generations to come.
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I have only one word and one word only :
CRI CRI CRI CRI CRI CRI CRI CRI CRI
"I intended to skip Purgatory 2 to catch up faster on VODs since I was told they were unrelated lore-wise
But my biggest mistake was to vibe check all the new players -
I was not expecting to completely fall head over heels for Team Capybara, hot damn I love them all so much ????" - Me, February 2024
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I took @sunshinetomioka's werewolf Guill headcanon and ran with it btw, credit to it
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Dude, the fact that you can see Strazza putting KJ through all five stages of grief in that bathroom, landing on an expression that perfectly sums up the feeling of: THAT. That’s it. That’s the thing I’ve had at the back of my head all my life. You watch it click home behind her eyes. It’s in the leveling out of breath. The slight pull-back of her shoulders. The blink. The full range of human emotion spills out in the span of forty seconds, it is insane. This kid is an excellent performer.
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I love kabru like he’s established as this manipulative and shady person with ulterior motives who could be a major threat to laios’s party, but he also is one of the most empathetic and kind characters in the series and does his best to try and help everyone bc he is one of the people who understands the situation the best. and I think ppl are too focused on the first part they forget the second part. (Anime onlies are ok bc you guys haven’t gotten his character development yet ^^)
Also his party getting wiped out constantly in the beginning was funny as fuck
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katara spends the whole show searching for acknowledgements of her grief from others to get closure of some kind, or to gain a sliver of peace. but it never sticks. talking about it doesn't ease the pain. time didn't ease the pain. action doesn't ease the pain. the war is still going and the wound is still growing, so of course she still hurts. her story doesn't end with her resolving that pain, but she does accept that she's always going to be angry and sad, and the empty space where her mother was will always be there. and of course it will. of course it will. but she's strong enough to always be aware of that emptiness, and to stop trying to fill it in.
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