#and there's ALSO a version of him that is Not like that which speaks a lot to it being specifically a Thing That Happened

[kinardsevan]

i wrote a whole ass psychology breakdown (for the first time in FOREVER) about the break-up. enjoy (if you so choose):

so I've been reading a lot in relation to Tommy's speech during the break-up (and have actually gotten through the scene several times now, mostly as a creative reference for these fix-it fics. I think one of the first things that I've seen completely tossed aside (that bothers the shit out of me as someone with over a decade of therapy treatment and a psychology degree) is whatever trauma Tommy carries.

We know that there are issues with his dad. We know Lou's lore behind him is that he spent a lot of his childhood alone. We don't know anything in relation to his mom, but she may or may not be the cause of more trauma. We know that his way of dealing with abuse of authority is to shut down and follow the leader, which is likely a mix of his military time and growing up in his father's household (and when I say this, I mean from what we saw of him under Gerrard's command). This is a person who has put years into getting himself into some version of okay after all that he's endured, and we know he still generally does it on his own.

To that end, here, have my breakdown of the break up (roughly right about the time Buck says "I want you to move in with me"). (with pictures!)

Prior to the offer, we watch Tommy process through Evan's explanation about his relationship with Abby, things being transformative for him, etc. We have to bare in mind that this is where we also start to get what I've dubbed "starry-eyed Buck". He's so in the throes of what he's saying that I don't think he's really considering the connotation of his words. At the same time, Tommy doesn't know what lore Evan is about to drop him about this prior relationship. Remember that he now has to contend with the fact that they both have strong opinions on their relations toward Abby, and Tommy can't know if their feelings toward her as a person will be the same. I think Lou played this beautifully, appearing anxious and apprehensive as Tommy listened to Evan explain that Abby was transformative for him. Then he shifts into how Tommy has been transformative for him (which, he has, and we as the audience know this, but we understand it from a bigger POV than what Evan is saying with his words.)

There have been posts about Evan putting Tommy up on a pedestal throughout this speech (and really, possibly even sooner, but this is where we really get it expressed). Tommy tries to rectify this to a degree by countering "I wasn't always that way".

To that end, we then get Evan telling him "I know, and it just makes me admire you more." Tommy gives a bashful smile, clearly heartened by the statement, and even opening his mouth as though he's going to respond to it in some form. It would be interesting to know what was on Lou's mind of what (if anything) he thought would've been said there. Are there lines that were removed in this scene? Was 'I love you' actually going to come up? We can't really know. However, there's this part of me that thinks that Tommy thought that they were having a discussion on the depth of their relationship which would've possibly brought those 7 letters to the equation. Either way, this entire bit of facial acting is SO important, because it speaks volumes about how Tommy feels about how Evan feels about him.

From there we get the "I want you to move in with me, and this, THIS, THIS is such an important point for this ENTIRE scene. It's two seconds, but it holds SO much for the narrative. This man, who seems to be on the verge of ...something, clearly (who knows if I Love You was on his mind, or if it was just the fact that Evan was expressing how much he cares about him.) The reason this is all so important is THIS REACTION:

Now again, we don't know Tommy's trauma, but the joy literally drops out of his expression and shifts to panic. Now, speaking solely from the standpoint that these two haven't even said "I love you" yet, his boyfriend steamrolled over him from a possible declaration of love straight to moving in together without discussing semantics. Further, it's not even "I want to live together", it's "move in with me". We don't know much about Tommy's house (because these shitheads haven't built him a set yet), but we know that he has a HOUSE. With a GARAGE. Buck lives in a LOFT. Regardless of how much of an asshole this makes me sound like, it's crawling with red flags. It comes across as "fit more into my life" instead of "lets do this thing together". Further, if that's not bad enough, mention of getting engaged and married is thrown at Tommy as well, which holds two major bits of information: One, these are on Evan's mind. We've NEVER heard him talk about getting engaged or married to anyone. This speaks to the importance of their relationship to him, but the lack of I Love You also speaks on his own trauma. If we truly are getting the rom-com trope, at some point there's likely to be a conversation about why he lept over it (*cough* Taylor, his parents *cough cough*). Meanwhile, as he's continued in his starry-eyed speech, this is what Tommy is giving:

Now for those who don't know how to spot it, this my friends is a PANIC RESPONSE. The shift forward, the move to get up, the literal deep breath. He's having a panic attack. Now, obviously we don't know what brought this on, but god-willing, we WILL get the answers.

Now, to his own point, Tommy doesn't just straight up pop Evan's pink bubble. He does express that it's a sweet sentiment, but that it's a bad idea. To which point we get:

"Evan, that is so sweet. But I can't move in with you." "And why not?" Because. I know how this ends." "Uh, what-what's that supposed to mean?"

At which point, we clearly get the qualities about Evan that Tommy likes. "Incredible guy. Big-hearted. Hot as hell. Impulsive." I don't feel that the expression here matters as much as his tone of voice, because we can see on his face that he's expressing these qualities from a good place. The next point of reference isn't until Tommy's next line, when he says that Evan's reaction is out of things being "new and exciting".

To that end, the way Evan is talking to him makes this statement valid. He's not talking to Tommy like they've been together for six months and have built a relationship that should be moving in this direction. (For the tenth time I will repeat, he couldn't even dignify whether he was in love with Tommy when Josh asked).

Furthermore, I think when you consider this part of the scene, you also have to consider the strain in Tommy's voice. Something about those concepts (living together, getting engaged, married) is terrifying. It definitely gives the impression that Tommy has been faced with some version of this before and he got burned. Why is this important? Because of this:

"I'm saying no matter how bad I want it to be, I'm not your last." Those 9 words are important on their own, but when you couple them with the expression on Tommy's face and what we've just seen him go through, there's a clear point to the fact that he's been through this before. I also think that there can't be enough importance placed on the way he intonates "how bad". This is not a man saying no because he doesn't want to. He's backpedaling because he's sure that he's going to get burned. We get this point further driven home with this exchange:

"I'm your first." "But hey, they can be the same thing." "But, they usually aren't."

See this doesn't read to me as someone who's scared because he knows Evan has never been with another man. They're both fully grown adults who have had multiple relationships. What this speaks to me (now) as, is someone who has let someone convince him before that he would be their forever, that they were all in, and then broke him. When you include his childhood trauma and whatever abandonment issues it's left him with in correlation with all of this, yes, it's still an extremely biphobic set of lines. But in the context of what he's expressing and why, it's not about telling Evan he needs more experience, it's about telling him that he doesn't believe that he'll want to stay settled down with him six months, a year, etc., down the road. And THAT my friends, is abandonment issues 101. "Everyone else has left, so it doesn't matter that I'm in love with you, because you will leave too, and I need to protect myself from that."

Following that, we get this: "if I were to move in with you, you wouldn't mean to, you wouldn't plan for it, but you'd end up breaking my heart."

This line is SO important, right next to Evan's exchange with Josh about his relationship with Tommy. Why? Because even though neither of them have said it, it spells out that these two are in fact in love with each other, even if they haven't said it.

"I don't think I could deal with that." Tommy is fucking GONE on him. He's expressing that if he gave himself fully over to what Evan's referring to, losing him would break him. Again, we don't have the full picture on his trauma, but we know there's a mountain there. It's also worth noting again, that the intonation he uses in these statements clearly come across as someone trying to reign in their emotions and keep it together. That says to me that we're dangeously close to touching his trauma.

I don't feel like I have to include the final few bits of the scene in gifs because they're all over the site now, but the next line gives over the fact that he hasn't really been open about his trauma to Evan, given that his immediate response to expressing all of this is "I should go". This kind of reaction is generally brought on as not being accepted for having certain feelings. Now, obviously Evan is caught off guard by the entire interaction, the same way Tommy was (but for different reasons), so we have to take all of that into account when we think about the fact that instead of countering Tommy's logic, he asks instead if Tommy is breaking up with him.

Body language is also so important here for Tommy. His shoulders are hunched in, we see him wipe his face (meaning there are likely tears), and when he turns around, he's so caught up in whatever wave has taken him over that it takes Evan asking him for Tommy to state "yeah, I guess I did" about breaking up. Further, there's the fact that he states that he didn't see the break-up coming, which goes back to my point at the top of this post, that he clearly thought the conversation was going one direction, and instead it goes the other. From this point, we have Evan reeling, because he wants to create more of a life with Tommy, while Tommy is shutting down because of whatever is holding him back.

Finally, as I've referenced before, we get this line:

"Should've known that parking spot was too good to be true."

That line makes zero sense out of context, but in consideration of someone trying to lighten the weight they're carrying (which you can literally see by the way he has his hand on his neck, which you generally only see people do as a stress response). You can also double entendre this statement that getting to be with Evan was too good to be true. We get that little inhale with the smile, and I swear to God the only time I've seen that kind of reaction is right before someone cracks.

And then in closing, we get the "I'll see you 'round, Buck," our closing gut punch. Evan is still reeling, clearly. His face is very "what the hell just happened". Tommy is clearly not okay. This entire scene has opened an entire can of worms on them without a whole lot of answers.

Now, I've owned the fact that basically from the end of 806, I felt like this had to be a swerve, and that there has to be more to the story. I've also pretty much owned the fact that if the writers did actually just do this for kicks and don't have a resolution for it, I may not keep watching. However, in the context of the fact that, for the moment, I'm choosing to put hope in some kind of resolution, these lines make so much more sense. It is worth noting though, most people in the fandom, let alone the general audience, aren't going to psychologically break this shit down line-by-line. They're not going to lean into whatever trauma Tommy has that we don't know about yet. Its why the internet has been a mess since Thursday night. But it's also why I talk about how, when this situation gets resolved (because right now I refuse to say if), Buck has to give up the loft and give more of himself. Tommy, by the nature of the show, has fully immersed himself in Evan's life, but we haven't seen or heard mention of Evan doing so at all in Tommy's life. That doesn't mean he hasn't, but we haven't gotten any version of that. So when I say Evan needs to give things up... it's about matching what he's asking Tommy to give up. Because at the end of the day, when this circles back around, he's effectively going to be asking Tommy to trust that he won't break his heart like others have, and when you have a lifetime of abandonment issues and have learned to cope by being hyper-independent and alone, moving in the opposite direction is more terrifying than anything else. ESPECIALLY when you love that person, which we saw Tommy spell out. Evan has the ability to break him (and probably already is via this cut-off-at-the-quick break up.)

So, I'm really gonna need these shit heads to figure out that they'll be more miserable apart than they'd ever be together.

That's all. Thanks for coming to my TED talk.

[fairy-spring]

I’ve read over this essay several times over the past few weeks. It wasn’t because of a profound realization or anything, but more because with each successive read I was squinting my eyes harder and harder as I sat there thinking, “None of these words are in the bible.” I also had to dig around and find your proper, published essay from 2017, as this post is simply an abbreviated version of that publication which is missing essential points of your argument and kinda muddied the whole read for me.

You had another post in 2020 dabbling on Midna and Ganondorf’s interactions which, uh… I also had to read through several times.

I'm going to be courteous and put everything I mean to say under a read more, both for the sake of anyone who happens upon this post and for you, in case you don't feel a want or need to even look.

I think I have to start with tackling the crux of this essay: the thought that Ganondorf is gradually humanized during the entire four-phase battle with him, that Ganondorf was written as “an unquiet postcolonial ghost,” and that players are meant to experience, essentially, a hate crime.

“Throughout most of Twilight Princess, Ganondorf is characterized as a ruthless tribal warlord who attacked Hyrule because of his lust for power. As indicated by his monologues and gradual humanization over the course of the final battle, however, Ganondorf represents much more than simply an evil to be defeated. He is introduced to the player as a foolish man who became evil incarnate, and he does little more than scream in rage and pain when the player first sees him in a flashback. When he is allowed to speak for himself, however, he reveals himself to be highly intelligent with motivations that are not unsympathetic.” (The History of Light and Shadow)

While I do agree that Ganondorf may have motives rooted in the eradication of the Gerudo, the problem is that, in order to have this context, players must have played Ocarina of Time first.

Ocarina of Time really set in stone the animosity between the Gerudo and the other peoples of Hyrule, given how wearing the Gerudo mask evokes anything from townsfolk in Castle Town screaming in fear to Darunia straight up saying, “I hate the Gerudo!”

Without that context, however, any potential humanization in this aspect is lost, for lack of a better term.

I don’t know how else to explain that Wind Waker is masterful in its humanization of Ganondorf because it talks about Ocarina of Time. Ocarina of Time is the ghost haunting the narrative of Wind Waker. The game opens with a retelling of Ocarina of Time’s plot, Link is compared to the Hero of Time by elder deities such as the Deku Tree and Valoo, Daphnes constantly hammers in how Link was not chosen by the gods like OoT Link or even TP Link were, the boy has to hunt for the pieces of the Triforce of Courage that had shattered after the Hero of Time wound up in Termina, literally picking up the pieces the Hero of Time left behind! And when Link finally enters Hyrule Castle, what is there to greet him but the statue of the Hero of Time?

So, it makes perfect sense, then, that Ganondorf in Wind Waker would reflect on what led him up to this point. Of course he would think on his foiled plot, on the people he abandoned, the people who disappeared because of him. And of course, because he is so set in his ways and so stubbornly determined to fulfill his goal, Ganondorf wants not the Great Sea the goddesses left behind, but Hyrule. Because he’s always wanted Hyrule.

Perhaps more than any other game, The Legend of Zelda: The Wind Waker is the true sequel to The Legend of Zelda: Ocarina of Time.

In contrast, in The Legend of Zelda: Twilight Princess, the events of Ocarina of Time didn’t happen. Any reference to Ocarina of Time is referred to as “ancient,” as if hushed whispers from a distant past. While Wind Waker hammers Ocarina of Time over the player’s head with its plot beats, character interactions, and imagery, Twilight Princess functions more as an echo of Ocarina of Time. The gameplay is similar and Link bears a striking resemblance to the Hero of Time, but the game itself is largely separated from Ocarina, with Ganondorf as the enigmatic specter behind the scenes, a literal ghost story uttered by the petrified spirits of a forgotten age.

Because of this quiet refusal to discuss Ocarina of Time, players aren’t allowed to understand Ganondorf. It is why he feels so weakly written compared to his Adult Timeline counterpart. People in Hyrule today know nothing of the Gerudo. Link’s map refers to Gerudo Desert as “The Great Desert.” It is a forbidden place, only accessible via cannon as the main pathways are blocked off. The desert itself is empty, deprived of life or civilization, with the only places of note being a Sky Puzzle and the Cave of Ordeals.

It is a subtle horror, yes. The thought of an entire people, an entire culture and way of life being wiped off the face of the earth, erased by a country that refuses to discuss ancient sins and would rather focus on the everyday or on borderline cryptids like the Oocca is a poignant one. As you’ve said, it mirrors post-imperialist movements to censor or downplay unsavory moments in history, from American textbooks attempting to downplay slavery to Japanese efforts to wipe away thoughts of Korean comfort women.

But you need Ocarina of Time to understand it.

If any player is just as clueless as Link and going through this journey for the first time, Ganondorf is portrayed exactly the way the game wants him to be: as a menacing, power-hungry, evil man who puts himself above the gods themselves, given his defacing the effigies of the goddesses when Midna confronts him in Hyrule Castle’s throne room.

Furthermore, Ganondorf’s acts throughout the final battle do little to humanize him. In his first monologue, he:

Degrades Midna and her people and refers to them and the Fused Shadow as inferior beings and “petty magic”

Dangles Princess Zelda over Midna and Link's heads like a trophy

Puts himself on the same level as the goddesses by wielding one of their pieces and defacing the Royal Family’s images of them

Upon being met with defiance from Midna, then possesses Zelda as a means to personally hurt Midna and force Link to confront Zelda

credit for the above gifs goes to @hyrulehistoria on tumblr

On this last bullet in particular, it’s certainly… interesting that you stated this regarding Puppet Zelda:

“Ganondorf later possesses Zelda as a means of forcing Link to sheath his sword before a real battle can commence, and this hostage strategy is awful. Nevertheless, the bluntness of this ultimatum should have been effective. When Link proves that he will not hesitate to kill even Zelda herself, only then is Ganondorf overcome with rage.” (03/27/2020)

Whereas in actual gameplay, Link is incapable of harming Zelda’s body. The entire fight against Puppet Zelda is comprised of Dead Man’s Volley, where you’re turning Ganon’s magic against him and stunning him; or, simply evading Puppet Zelda’s attacks as Ganondorf has her flying sword first at you. During this entire fight, Link is unable to strike Zelda’s body with the Master Sword, nor can he fire an arrow at her. This first phase isn’t about killing Zelda; rather, it’s about incapacitating Ganondorf.

credit for above gifs goes to @sacredflames on tumblr

Link clearly shows visible relief when Midna squishes Ganondorf out of Zelda, I don’t know how you missed that one.

credit to @fuckyeahlink on tumblr

In phase two, Ganondorf doesn’t utter a word, instead morphing into Beast Ganon in an effort to destroy Link. When that doesn’t work, he enshrouds Hyrule Castle in twilight, where Link and Zelda would be incapable of battling Ganondorf directly. Midna then teleports the two out of Hyrule Castle and dons the Fused Shadow, facing Ganondorf alone.

When next we see Ganondorf, he is on horseback, and he has a new trophy: Midna’s helmet.

Everything up to this point paints Ganondorf as the “ruthless tribal warlord” the sages characterize him as. I genuinely don’t know how you saw Ganondorf explicitly regarding the Twili’s greatest power so lowly that he destroys it and practically tramples it with his ghost riders, and then said this:

“When we next see Ganondorf, he is holding Midna’s crown, which crumbles to dust in his hand. We think he’s killed Midna, but of course he hasn’t. Ganondorf has spared Midna’s life and obliterated the cursed artifact that transformed her into an uncontrollable monstrosity. This incident marks the last time we see Midna in her imp form, which means that the spell on her has now been lifted.

“Ganondorf has suffered through war, genocide, and unimaginable physical pain, yet he does not kill Midna, who has openly attempted to kill him. He takes the formidable weapon Midna has been assembling throughout the game and, instead of using it, destroys it.” (03/27/2020)

(Sidenote: Where on earth did you gather that the Fused Shadow is uncontrollable? Midna was simply inexperienced with it the first time she used its full potential, which is why she collapses after breaking the barrier surrounding Hyrule Castle. She used the Fused Shadow to squeeze Ganondorf out of Zelda’s body like a lemon, and seemed to have a perfectly good handle on it when using it to face Ganondorf alone.)

((Double sidenote: The very last time we see Midna in her imp form is after Ganondorf’s death, where she is sitting in Hyrule Field with the Light Spirits. That’s the whole reason why Link runs to her. Because the Light Spirits revived her. And they lifted her curse. Look, they even look at the camera like, “Heeeeeey, we got your girl~”))

((Did… Did you forget that?))

Just before the final phase of the battle, Ganondorf unsheathes his own blade, regarding Link’s as “impressive looking… but nothing more,” and then makes a declaration to “blot out the light forever.”

With his final words, Ganondorf hisses out, “Do not think this ends here… The history of light and shadow will be written in blood!”

You have interpreted these final utterings as a warning to Link and Princess Zelda:

“At the end of Twilight Princess, broken and defeated, Ganondorf still finds the strength to warn Zelda and Link about how a cycle of hatred has created a history ‘written in blood.’” (03/27/2020)

However, I choose to read it more as a final “Fuck you,” much in the same way that Demise’s curse in Skyward Sword could be read. However, both readings are mere speculation, not fact. We may never know the “true” meaning of Ganondorf’s words, which I quite like.

Now, I fully agree with the sentiment that, symbolically, Ganondorf is the ghost of the old world returning to terrorize a postcolonial country. However, at least in my interpretation, Ganondorf is not humanized by the game’s narrative. Any potential depth that Ganondorf has must be inferred, as according to plain text, he is simply the most evilest villain ever and must be stopped no matter what.

Is it the tired, racist stereotype of the barbaric, war-mongering brown man seeking to destroy the good and pure fragile kingdom? Yes, it very much is. It is sadly a very easy way for Nintendo to shorthand why Ganondorf is so evil and terrible and must be purged from this good and blessed nation. That said, I firmly believe that Ganondorf is portrayed exactly the way Nintendo wanted him to be: as an egotistical, self-righteous, manipulative man, who believes himself untouchable and deserving of Hyrule because he, too, was chosen by the gods.

Is there a hypocrisy to criticizing Ganondorf for holding godlike aspirations, when the descendants of the Goddess Hylia have held dominion over Hyrule for countless generations? Yes, there is. I won’t deny that. However, we must remember that Twilight Princess was released before Skyward Sword came along and did that; so, within the context of this game, Hyrule was just ruled by a royal family, not a goddess-blessed-mandate-of-heaven one.

All that aside, there is something else I need to mention, too: Why Midna shattered the Mirror of Twilight.

You have stated multiple times that Ganondorf’s death was wrongful, and it is that hate-filled death that makes Midna realize Hyrule has no place for people like Ganondorf or herself, which is why she chooses to shatter the mirror. You’ve also stated that Midna saw Link kill Ganondorf?

“… Link kills him anyway, and the cruelty of this act convinces Midna that it’s impossible for her to remain in Hyrule as an ethnic minority.” (10/20/2024)

“… but it is significant that this occurs immediately after she has witnessed the fight between Link and Ganondorf.” (… Light and Shadow)

Which, uh…

Midna was dead during that. I know a lot of people didn’t play Twilight Princess, so I need to reiterate: Midna was dead during that. She didn’t see that.

Even if she did, Midna literally wanted him dead five minutes ago. She declared to his face, “I will risk everything to deny you!” Why would Ganondorf’s death suddenly influence her to do something so drastic, if she wasn’t already thinking of this throughout the second half of the game?

I suppose there is a cryptic aspect to Midna’s final interaction with Link and Princess Zelda, wherein she states: “Light and shadow can’t mix, as we all know.”

Did Midna believe she will never belong in Hyrule? Did she, as you state, realize that “there is no room for ‘monsters’ in Hyrule[?]”

To land on this sentiment, however, is to forget a very literal aspect of Midna’s existence in Hyrule: Until she was blessed with light, whether it be from Zelda’s aspect or from the Light Spirits themselves, Midna physically could not live in Hyrule. In the first half of the game, when she isn’t in the twilight, Midna will retreat into Link’s shadow.

It’s the only place where she is safe; otherwise, the light will harm her. This is most evident when Zant turns the Light Spirit, Lanayru, against Midna, and the poor imp is hit with a full blast of concentrated light.

Like, the light literally almost killed her. It stands to reason that the other Twili would more than likely react the exact same way.

I guess in that way, you are correct. Midna quite literally does not belong in Hyrule, nor do the Twili. The thought is a heartbreaking one; to say that, biologically, you are the other. That you will never have a place here because you are built differently.

Along that same vein, though…

There… is room for monsters in Hyrule. For me to really bring this point home, I need to talk about the bulblins.

Now, bulblins are kind of your main goon in Twilight Princess. We have bokoblins and keese and deku babas, for sure, but bulblins are… different. From the moment we’re introduced to them, they are organized and coordinated. While bokoblins are shown as more “primitive” with their use of large clubs, bulblins have an array of weapons, from clubs with big old rocks attached to them, to riding on massive boars called bulbos to attack you whether on horseback or on the ground, to arrows that are dipped in oil and set ablaze. They literally set an oil trap for Wolf Link on the Bridge of Hylia and tried to burn him and Midna to death! Like… that’s so cool. Bulblins are so fucking cool, we never see monsters quite this intelligent ever again.

And I haven’t even brought up King Bulblin yet. Throughout the game, the leader of the bulblins is portrayed not as yet another monster to be eradicated, as we have with Zant and Ganondorf, but instead as a rival for Link. He jousts the boy twice on the Bridge of Eldin and the Bridge of Hylia, respectively; he battles Link just outside of the Arbiter’s Grounds with a giant axe, just after Link cleared out an entire camp of bulblins.

Is there something worth noting about the player aka Link killing all these monsters if they’re intelligent and sapient like people? Well, wouldn’t you kill a band of human thieves in Skyrim if they slighted you? Kidnapped your friends and family? Slaughtered your livestock and hung their horns over their giant gate as a personal taunt?

It is only after besting King Bulblin for the final time, in Hyrule Castle’s courtyard, that the leader finally concedes defeat, proclaiming, “I only follow the strongest!” He recognizes Link as an equal, and he agrees to back off. In the end credits, King Bulblin and his guys are riding around on their big old bulbos, no longer terrorizing innocent people.

Now, we could argue all day about whether they’re only allowed in Hyrule because Link one-upped them and these guys now consider themselves subservient to him. Regardless, the end credits show that even Bulblins belong in Hyrule. They, too, have a place here.

And if we go by Zelda’s final plea to Midna, so do the Twili.

“Shadow and light are two sides of the same coin… One cannot exist without the other. I know now why the goddesses left the Mirror of Twilight in this world. They left it because it was their design that we should meet. Yes… That is what I believe.”

But the thing is, Midna already made up her mind. She made up her mind a long time ago.

But that’s not good enough for you. Is it?

“… Midna's reactions over the course of the story deserve far more attention than simply taking what she says at face value.” (10/21/2024)

And as a fun little bonus round, I need to just say little things concerning your argument of Hyrule’s “slow apocalypse.” In your essay, you refer to Hyrule’s “eroding ruins and decaying ghost towns,” such as the Hidden Village, or Snowpeak Ruins, or the random little stone area just outside of Castle Town that houses a Sky Puzzle, as environmental suggestions of Hyrule’s gradual downfall. But to insinuate that the erasure of the Gerudo or the slaughtering of Ganondorf are primary symptoms of this decline would be disingenuous.

“Without the dynamic diversity symbolized by Ganondorf and the Gerudo, Hyrule is now in economic and political decline, isolated from any contact with the world beyond its borders.” (A Legend of Regret…, p.52)

“The people of Hyrule are entering the twilight of their civilization under the rule of an ineffectual leader that has not allowed its people to be revitalized by change and diversity… The potential for energetic dynamism represented by Ganondorf has been violently denied in favor of cultural and ideological purity…” (A Legend of Regret…, p.56)

Cultural exchange is actively happening in Hyrule during the game. The only place you can argue is truly “culturally pure” is Hyrule Castle Town itself, with people from all reaches of Hyrule integrating themselves into this “pure” culture one way or another. Everywhere else, however?

Renado, the leader of Kakariko Village, is outright stated to be proficient in treating both Gorons and Zora. Gorons are not only allowed to sell their hot spring water to residents in Castle Town, but are actually permitted to enter Hyrule Castle itself to sell their wares. Or, at least they were before the Twilight Invasion began. Malo’s business practices more than likely reflect Sera’s, given his upbringing in Ordon, and he then brings that frugal model into Castle Town, where the people rejoice.

credit to @roaxes on tumblr

Gorons taught Mayor Bo how to sumo, and in turn, Bo teaches Link. Even the yeti, Yeto, teaches Link how to snowboard to get to Snowpeak Ruins! You can then race him and his wife afterwards! The passing down of culture is at play in real time in this game!

I’d hardly say that Hyrule is in a state of decline. If anything, given such innovations as high-quality pictographs in places like Hena’s Fishing Hole, fully electric lighting in Castle Town’s Malo Mart, and advanced weaponry like Auru’s bazooka—as well as Hyrule’s apparent religious enlightenment, given that this is the most secular that we have ever seen the country—I’d argue that Twilight Princess’s Hyrule is actually on the cusp of an industrial revolution.

But those are just my own thoughts.

Also, ruins and ghost towns exist all over the real world. Roanoke Island, Nara Dreamland, Imber… There are countless examples. Sometimes a disaster befalls a town, and it’s easier to relocate than to start over where you were. Sometimes you can’t maintain a house and it gets abandoned. Sometimes an area is reclaimed by the government or the military. Sometimes a town dies out because its lifeblood runs dry, forcing residents to relocate elsewhere. Given the massive disparity between the rich and the poor in this game, this feels the more likely scenario.

Does that mean the real world is on the decline, too? I suppose that depends on who you ask.

And finally, as you’ve stated before, Link is what the game and the player dictate he be. You’ve tried stating in your essay that “if the gameplay demand that Link must defeat enemies in order to advance,” or that he “ransack ancient temples to progress,” then he is a killer and a “marauder.” (A Legend of Regret…, p. 54) However, that is to ignore the story once again.

The only temples Link arguably “ransacks” are the Arbiter’s Grounds, and the Temple of Time. Link is given permission to enter the Forest Temple, the Goron Mines, Lakebed Temple, Snowpeak Ruins, and the Twilight Realm. Link was even, debatably, given permission to uncover everything in the Temple of Time, as the ancient sages had instructed him to go there. The Arbiter’s Grounds is the dodgiest one to discuss, because nobody should be there. It’s a necessary evil, but to accuse Link of further desecrating a place Hyrule and Zant have already stained would be a hard pill to swallow.

And then we have the big one: The killing of Ganondorf.

Why was Link so cruel? Why wasn’t there a way to stop Ganondorf peacefully? Why couldn’t Link and Zelda just talk to Ganondorf, after he “[refrained] from taking control of the kingdom through conquest and murder, even though doing so would have been well within his abilities[?]” (03/27/2020)

I think we’re ignoring the fact that Ganondorf acted through Zant and killed countless Twili to achieve his goals. We see soldiers in Hyrule Castle, but how many more were there before the Twilight Invasion began? How many people died in Kakariko Village? What would have become of Ordon Village, or their children, had Link not awoken as the chosen hero? What would have become of the Twilight Realm, had Ganondorf not been content with only Hyrule?

If one man believes himself a god, and he is threatening the lives and wellbeing of not one realm, but two, then what choice does a boy chosen by the gods, by royals, by the people, have? Is it truly so monstrous? Do the ends justify the means? Is it cruelty? Salvation?

I don’t know. And neither do they.

Now, why did I bother writing this whole thing? What was the point?

Quite simply, since your first publication iterating these thoughts was back in 2017, and your most recent post in 2024 proclaims that Link is a murderer, it means that your interpretation of The Legend of Zelda: Twilight Princess is one that you’ve held for at least seven years, if not even longer. There’s nothing wrong with interpretation. The problem, however, is that you portray your take as “the correct one,” or the “big brained, deep one,” given how the thoughts you bring up in this first essay have been repeated by you again and again, whether it be the aforementioned “Link killing Ganondorf was an act of cruelty,” or “Why did Midna really shatter the Mirror of Twilight?”

And… The game already answered those questions. The game has already refuted your claims. You’ve just been ignoring it, and you’ve been encouraging everyone else to do the same.

And I don’t think that’s how you’re supposed to start a conversation about it.

TLDR: Uhhhhh please don't misconstrue what was in the game in order to make your argument because that's Not Cool, and I invite everyone to please play or watch a playthrough of The Legend of Zelda: Twilight Princess in order to form your own educated opinion!

Basically ummmm please reread the book before writing your book report.

And here are all my referenced sources so nobody thinks I'm pulling this out of my ass:

A Legend of Regret: Fallen Kingdoms and Postcolonial Ghosts in Twilight Princess

Tumblr Post Dated 03/27/2020

Tumblr Post Dated 10/20/2024

Tumblr Post Dated 10/21/2024

The History of Light and Shadow

At the end of Twilight Princess, Ganondorf delivers one of his most memorable lines, “The history of light and shadow will be written in blood.” He is not wrong. As the player has witnessed over the course of Link’s adventure, Hyrule is haunted by ruins and ghost towns, a mere shadow of what it once was. The landscape is filled with numerous sites of past violence and empty spaces visibly marked by decay and wasted potential.

When Zelda tells Link and Midna that “these dark times are the result of our deeds,” she is referring to specific historical acts of imperialistic aggression. Hyrule established hegemony over its outlying territories by crushing the rebellions against its advances, but the kingdom has suffered from cultural stagnation as a result. Without the dynamic diversity symbolized by Ganondorf, Hyrule finds itself in economic and political decline, isolated from any contact with the world beyond its shrinking borders.

As a representative of a marginalized group of people who have been attacked and driven from their homes, Ganondorf is a tangible manifestation of the horrors of imperialism. He must be defeated, but doing so does not address the underlying problems that have resulted in Hyrule’s decline. I therefore want to argue that Twilight Princess uses Ganondorf to deliver a subtle yet poignant protest against the discourses of empire reflected by the dualistic “light and shadow” rhetoric of heroism that has resulted in tragedy and regret.

Keep reading

[soldearestsoulmate]

Sol x GN!MC

No real proof read lol

Warnings: It's mainly fluff but with subtle suggestive and implied non-consensual stuff. (If you played the nsfw version of the game. You'd get what I mean.)

"I know this is a weird request but...I really like listening to you read poetry...So I was wondering if you could...uh...If it's alright. Could you record yourself reading some one day? So I can listen back to it whenever I want, maybe whenever I am about to go to sleep too? To...help me sleep?"

Sol was speechless after hearing you say what you did. He already knew what he wanted to say. A thousand times yes! But his heart was racing and pounding so hard, he feared it would burst out of his chest at any moment now.

"...Sol?"

Hearing you say his name, only made his breathing hitch but he tried to compose himself. Though the clear blush on his face gave away his real nervousness and shyness in the moment.

"I...I--" He struggled to speak, he felt like screaming from joy but also running away too.

"This was too much to ask. I'm sorry I--"

"WAIT! I--" You were startled by his outburst but tried to let him speak. "I'll do it! I just--Is there anything you have in mind for me to read for you exactly or...?"

"Anything is fine, if its from you."

He was thanking any gods right now for this moment, for bringing you back into his life. Oh if he could, he would pull you in and kiss you now but he refrained himself.

Not yet...Just wait...The right time will come again, after all...

"Alright...I...I'll get something recorded for you then."

"Great! Thank you so much, Sol! I appreciate this so much!!" You didn't think twice when you rushed in to hug him, pulling him close. Which he stiffed at the hug at first, then quickly melted into it as he hugged you back. Pulling you in closer, burying his face into the crook of your neck and inhaling your scent...He felt like dancing with joy right now.

Though he felt himself getting too excited from this alone, feared you'd find out. But you let go just on time before anything were to be noticed.

"I better get going, since class is going to start. Talk to you later alright?"

Sol nodded, giving a small "Yeah" with a smile, love struck over what just happened. Then said his goodbye, but was okay with parting ways with you for now, since you'd be talking again later with certainty.

"Talk to you again soon, pumpkin~."

As requested Sol did as you asked, but he didn't record a few lines. He recorded hours of reading poetry for you...As well snuck in some of his own made for you.

Though he felt that alone wasn't enough...He was nervous about it, but even offered to call to read some to you live, to help coax you to sleep. Which did its charm...But those sleeping pills did the real trick on helping you sleep as well.

You'd think that would be it, but like most nights now. He'd sneak into your room, sit by your bed side, or slip into your bed if brave enough to risk it, and cuddle with you. To then whisper more poems of love into your ear as you sleep, as he shows just how much more he loves you...

[warrioreowynofrohan]

Random opinions about how aging works for elves, half-elves, and hobbits:

For hobbits, I stand by my belief that hobbits do not age to maturity any slower than humans, they just have a more “millennial” (speaking as a millennial) attitude to adulthood, and then get old slower than humans do. If you have more time in “middle age” and old age than the humans do, then socially ending up with an extended period of youth and irresponsibility, relative to humans, seems like something that makes sense. I don’t think Pippin (age 28 during LOTR) is actually the hobbit equivalent of a teenager; I don’t think they would let him go on the quest if he was.

Also, Merry is born in 2982, making him age 19 when he’s helping Frodo out in the aftermath of Bilbo’s 111th birthday-party and surprise departure; that’s a reasonable human age for him to be doing that, whereas assuming a notable difference for hobbits means Frodo has recruited a preteen to fend off Lobelia Sackville-Baggins, which, while funny, is not what I think the narrative is going for.

Frodo had retired for a while and left his friend Merry Brandybuck to keep an eye on things. When Otho loudly demanded to see Frodo, Merry bowed politely.

“He is indisposed,” he said. “He is resting.”

In terms of elves, I think comparisons to human aging are complicated because elves age to mental or social maturity faster than they do to physical maturity in a way that is not the case for humans. LaCE says:

Not until their fiftieth year did the Eldar attain the stature and shape in which their lives would afterward endure, and for some a hundred years would pass before they were full-grown.

…The Eldar wedded for the most part in their youth and soon after their fiftieth year…at whatever age they married their children were born within a short space of years [as the Eldar reckoned time; in mortal count there was often a lomg interval between the wedding and the first child-birth, and even longer between child and child] after their wedding.

I personally would regard a 50-year-old elf as equivalent to a human in their early 20s, in terms of maturity; with the exception that, unlike a human, it might still be some time after that that they reached the peak of their physical strength.

This is relevant to the fact that Maeglin chooses to leave Nan Elmoth and go to Gondolin when he is approximately 70 years old. He’s not a child or even a teenager; he’s probably roughly equivalent to his mid-20s.

In terms of peredhel (half-elves), I am convinced that they age to maturity at a human rate, with the difference that they stay at their peak of health and strength for far longer after that (and, if they choose to be counted as Elves, retain that appearance basically permanently). This is because of the few dates that we have, in History of Middle-earth, for Dior, Eärendil, and Elwing. Granted, these are Tolkien’s draft notes, and he edited them continuously; but one version has Dior’s twin sons being born when he is 30, while a family tree has them born when he is 22. There’s a timeline where Elrond and Elros are born when Eärendil and Elwing are both in their late 20s to early 30s. We can choose to conclude either that marriage and having children is happening at a terribly early age to people who are basically teenagers, or that that half-elves age like humans and they are doing these things at normal times. I choose to conclude the latter – and given that Dior marries and has children before Thingol’s death, when he is living peacefully in Ossiriand (Elwing is named for a waterfall near his home in Ossiriand) and there is no especial urgency, I think the conclusion that they age to maturity like humans and choose to get married and have children at human-similar times is the one that makes the most sense.

[dehliadelights]

Lyric is rambling about Epic the musical whauh woah

spoilers read more just in case you havent heard it yet. also trigger warning for typical greek mythology references like rape, torture, ect.

Not Sorry For Loving You

I'm not a fan of this song! I've never been a fan of the slow romantic songs in the musical, and I never particularly liked Love in Paradise either so. But I do like the parallels between the two songs, and Calypso's story is one that facinates me because she was punished for assisting her father Atlas and the other Titans during the Titan war. She's literally doomed by the narrative.

Dangerous

Sad in the start, reminecent of Full Speed Ahead, but with the sadder, more melancholic instrumental that would fit with The Underworld. When Hermes enters with "All you have to do is not open this bag", it's a direct parallel to Aeolus' in Keep Your Friends Close, which leads to Odysseus bring betrayed by his crew, but now it's just Ody alone.

Odysseus sounds so tired, like he's a man being beaten down at every turn, but his voice perks up when Hermes arrives; The last time Hermes showed up, he gave Odysseus the Moly flower to drain Circe's power, which lead to his victory. There's a spark of hope in his tone, and that's clear.

Odysseus sounds mostly more awake and like himself as he speaks with Hermes, who's his usual silly (/pos) self. Hermes' whole demeaner is a bit more serious than it was in Wouldn't You Like, with less of his jokes and general humor, he's giggling but it feels like he's laughing almost out of pity for Odysseus, the man who's been beaten down so badly.

"Well, it's a little bit dangerous, my friend, you'll need a mindset change for this, you cannot get away with safe, for this, you wanna get home? Put it all on the line"

Hermes is trying to tell Odysseus that he needs to leave his regrets and his guilt behind in order to succeed, that in order to get home, he needs to basically wipe the blood from his hands. He needs to be smart, clever, quick, like he was when he fought the Trojans, like when he tricked Polyphemus to drink wine with lotus in it. But he also needs to be merciless, be ruthless.

Hermes tells Odysseus to follow the North Star, which serves as a guiding factor for many sailors. The North Star is part of the Constellation Ursa Minor, and in Greek Mythology, Ursa Major and Ursa Minor refer to the story of Callisto and her son Arcas. In some version in the myth, Callisto was a follower of Artemis, Maiden Goddess of the Hunt, though was raped by Zeus (disguised as Artemis). This caused Callisto to break Artemis' Celibacy rule, and she was turned into a bear (In varying versions of the Myth, it can be by Hera, out of jealousy, Zeus, to placate Hera's rage, or Artemis, out of anger of Callisto breaking the celibacy rule). She gave birth to her son Arcas, who grew up to be a hunter himself, which eventually lead him to find his mother as a bear and attempt to kill her, thinking she was a wild bear. Before she could die, either Zeus or Artemis decided to turn Callisto and Arcas into constellations, Ursa Major and Ursa Minor. This really doesn't have anything to do with the song, but I just really like sharing my Greek Mythology brainrot. Also it's another tale of the gods ruining the lives of their followers.

Anyways, Hermes directs Odysseus to follow the North Star without hesitation, to fight any monsters that attack, and then we get to the wind bag!

Hermes says "Keep the bag closed if you wanna get home, sir", reminding Odysseus of the fact that he was alone now, that he was the only one that he could trust, and the Winions make their return, the melody and tone a direct, albiet more melancholic reference to Keep Your Friends Close. The Winions sing "It was meant to stop you by design" as a reference to Poseidon's storm, which he'd created with the desire to kill Odysseus for harming his son.

Odysseus regains his typical confidence and hubris by now, and sings that "I'm gonna use ruthlessness" as a direct callback to Poseidon's song from the Ocean saga, Ruthlessness. In the end, Odysseus thanks Hermes as he did back during Wouldn't You Like, but instead of Hermes replying, "Don't thank me, friend, you very may well die" like last time, he sings, "Don't thank me, friend, I'm not the one who fought for you", referencing Athena's trials in God Games.

Charybdis

This is actually the first time I'm listening to this song in full, so new songs yippee, but I'm not hearing many references to the other songs.

Odysseus' typical hubris is fully back now, pride and confidence echoing as he taunts Charybdis due to already knowing the sea monster's attacks thanks to Hermes.

Odysseus finally manages to see the beach of Ithaca, so close to his son and wife, the only minor callback to The Horse and The Infant where he calls for Penelope.

I do like the leadin for Get in the Water, though. Odysseus realizing what was happening.

Get in the Water

I love this song, it was one of the first clips I heard from Epic, next to Warrior of the Mind! Steven Rodrigeus did a fantastic job as Poseidon, and you can tell he absolutely adored the role and put his heart into it. He actually sounds livid, like Jorge had offended him personally, and I love that for actors/singers.

Get in the Water starts out similarly to Ruthlesness, with the raging storms and angry waters, albiet without the crew's voices calling out to Poseidon, making it more eerie.

"There you are...

Coward."

Poseidon's voice is full of irritation, like an irate child having his toy taken away. He's angry that Odysseus managed to get away last time, using the wind bag to escape, and he didn't want it to happen again. His voice is almost eerily calm a couple of times he orders him to get in the water, like he was on his last nerve with Odysseus, and it shows. Every lyric shows how Poseidon is feeling, rage and mercilessness towards Odysseus.

"Maybe you could learn to forgive?"

"...no."

A god doesn't need to do anything, he doesn't want to give a mortal the time of day, after everything he's done to disrespect him. And throwing him to the sea, letting him drown, leading to...

Six Hundred Strike

OKAY SO I originally thought that Get in the Water was going to be my favorite UNTIL I saw an animatic for Six Hundred Strike.

It's this one. This is my favorite. THE SYMBOLISM, THE IMAGERY, EVERYTHING ABOUT IT MAKES ME FOAM AT THE MOUTH.

I enjoyed Duvetbox's animatics beforehand, but this one specifically shows the absolute care they put into the animatics they make, the attention to detail and willingness to follow their own heart in their thoughts.

First off, Odysseus in the water, trying to grab at the wind bag desperately for a way to escape being dragged to the depths, a call back to the way he used the wind bag to escape originally in Ruthlessness.

"I don't think you get it; I can't afford to die, because I will get back to my son, and I will get back to my WIFE!"

Odysseus is using his cleverness to fight, using the wind bag to serve as a weapon, deflecting and escaping all of Poseidon's attacks using it. Only one weapon draws the God of the Sea's Ichor (God Blood), being Poseidon's own trident. This leads Odysseus to clash open the wind bag (With a picture of Aeolus in the sky, since they're the wind god). It catches Poseidon off guard, and he taunts that Odysseus wouldn't get home because he released Poseidon's storm.

Odysseus uses Poseidon's spear to hurt Poseidon, knowing he couldn't kill him, but could torture him. His words are full of sorrow, regret, and vengence as he attacks, and Duvetbox does a fantastic job at portraying this in their animatic.

"After everything you've done, how will you sleep at night?"

"Next to my wife."

[waterfire1848]

Au where Zuko also is a prodigy + has white flames

Hello, anon!!

When Zuko is born, he's born as a powerful bender. Ozai is very happy to see a strong flame in his son and it keeps Zuko from being in danger of being killed. Zuko is allowed to be a normal kid for a few years (because Ozai knows an infant isn't going to firebend) and Ursa tries to raise him as best she can but Ozai is also pretty much there from the start which keeps Zuko from fully learning from his mom like he did in the show. Instead, Ozai raises Zuko and Azula to be mini versions of himself and since Zuko is also a prodigy now, Ozai has two weapons who want to earn his favor. Ursa, again, tries to do what she can for her children but there isn't much that can be done once Ozai gets his hooks in them. (Azula: Zuzu! Look what I learned! *Does a kata* Zuko: Yawn. I learned that move five weeks ago, Lala. And I got it down in one session. Azula: That's impossible! No one can master it that fast. Zuko: Well, I am father's oldest prodigy. The one who will be taking over for him one day. I think you are....Oh, how did that general put it? The spare. The forgotten child. Azula, angry: Yeah, well-have you learn the Flying Dragon move yet? Zuko:.....I'm going to very soon. Azula: I've already started. Zuko: I'll have it mastered by the end of the week. Azula: A move so complex even uncle struggled with it? I'm sure.)

When Lu Ten is killed and Ozai asks for the throne, Azulon orders him to kill Azula because Zuko is the older child, male, and a prodigy as well (Azula is powerful, yes, but Ursa and Ozai can always have another kid as far as Azulon is concerned since they already had two prodigies. The new child will just be a bit younger than their older brother. Nothing that would seriously hurt the family in the long run). Azula panics and flees to her mother, begging her for any kind of help. Ursa makes the same deal she does in canon but this time, since she did it for Azula and Ozai agreed to kill her, Azula starts to wonder if her father really is as amazing as she once believed him to be. She spends the next few years starting to doubt her father more and more but keeping quiet because she's not an idiot. There is no Agni Kai scene since Zuko never speaks out. Ozai raised him here. If anything, he would be congratulating the general on his plan. Rather, Ozai keeps both him and Azula around to train until they are 14 and 16 which is when Azula gets her blue fire and Zuko gets his white flames. (Zuko: White flames are better. Azula: Huh? That's interesting. I could have sworn blue fire burned hotter than white. Zuko: Just means you're going to burn out before me.)

Aang is still broken out of the ice by Katara and Azula is sent after them (because...again spare heir). Azula eventually catches up to them and pretty much partakes in Zuko's role in canon except she had the authority to throw Zhao off a boat. But, since Aang is constantly slipping through her fingers, Ozai takes her off of the mission and puts Zhao in charge. Azula, not wanting to fail in her first mission outside the Fire Nation, ignores her father's order to return home and follows the Avatar to the North Pole. Zhao still murders the moon (Azula: How did this man become an admiral?) and is then killed by the ocean spirit. Azula fails in getting the Avatar again but refuses to stop in her mission, making it clear to the team that she is still after them. Meanwhile, Ozai realizes Azula is not returning and sends Zuko after the Avatar and her. (Ozai: Azula is a failure. I have a task for you, my son. Capture the Avatar and your sister and bring them here. Do you understand? Zuko: I do, father.)

Zuko and Azula quickly start competing with one another to try and capture Aang. Zuko had more resources behind him since Ozai isn’t currently mad at him, but Azula has more experience fighting Aang (basically Zuko gets taken out by airbending and waterbending more than Azula does). Now, because both siblings trained under Ozai they’re both incredibly smart as well as powerful. Zuko knows Azula is going to get Mai and Ty Lee and decides to recruit Mai before Azula can get to her, so it becomes Azula and Ty Lee vs Mai and Zuko for who can capture Aang first. When Ba Sing Se comes around, both siblings have the idea to sneak in but while Azula and Ty Lee sneak in with the Kyoshi Warrior disguises, Zuko and Mai sneak in as refugees. In the upper ring with the Gaang, Azula believes she had the advantage and decides to act and capture Katara. Her plan is to use Katara as bait and then attack and capture Aang when he comes to free her. Meanwhile, Zuko and Mai are in the lower ring and make their way up to the upper ring while chatting which is when Mai realizes that the Zuko she knew is kinda gone. Zuko at 10 and Zuko at 16 are two very different people after 6 years under Ozai. She tries not to let it bother her but it’s very clear. Eventually, the final fight breaks out and ends with Azula aiming the lightning at Aang but Zuko, who refuses to let Azula win, takes the lightning blast and sends it back at her. The blast is strong enough to disorient everyone and knock Aang out, who is quickly captured by Zuko. He and Mai flee the city before they can be stopped leaving the Gaang without an Avatar (thankfully in a still standing Ba Sing Se) but with a captured Royal and acrobat.

Ozai isn’t happy. Zuko’s job was to bring Azula back but instead he just did half of his job. Zuko tries to argue that Azula is taken care of since she’s in enemy hands. (Zuko: I give her a week before they kill her for not giving up information. Ozai: I didn’t ask for the Earth Kingdom to kill her. I asked you to bring her back! Zuko: Father, please, I….I thought it would be a good idea for the war. Ozai: Explain. Zuko: Sozin’s Comet is coming soon but we haven’t been seeing a spike in morale- Ozai: You’re too concerned with regular soldiers, Zuko. Zuko: I know, but hear me out. How would citizens feel when they find out the enemy murdered the princess? The princess who was trying to save her nation from Ba Sing Se’s tyranny gave her life to defend the Fire Nation. Ozai:….Hmmmm. I will consider this. It’s not a horrible idea. You’re dismissed. Zuko: Thank you, father.) Meanwhile, Azula is very much alive and pissed at Zuko for abandoning her in the city. The Gaang knows they have to get Aang back if they want any shot at ending the war and, to do that, they have to get into the Fire Nation. Thankfully, they just so happen to know a familiar princess who knows the nation like the back of her hand. The Gaang make a deal with Azula and Ty Lee: they help them get into the Fire Nation in exchange for saving them from Earth Kingdom execution. Azula initially refuses, saying she doesn’t want to betray her father or her nation. However, it becomes clear to her that this might actually be a blessing, a way to return to the Fire Nation with the Avatar’s team, capture them all and stop the eclipse invasion: three birds with one stone. After talking to Ty Lee, Azula agrees and the five head off towards the Fire Nation.

[kuschelkissen]

So uhm...

“需要的话，这份能力也可以为你所用”

Ok, so Google translates it to "If you need it, this ability can also be used by you", which feels different from the English "if you need, I can use this power for you" at first glance.

The English one sounds like he's offering to use his power for someone else's goal. "I can use it for you, so you can see what happened in this photo". Someone on twitter pointed out he said "this" and not "my" power, which imo doesn't deny this interpretation if the context is taking about his powers?

"I have a power, I can see what happened before and after a photo was taken. If you want, I can use this power for you on this photo you have."

The Chinese one... well, Twitter is going wild with speculations on Lu Guang giving Cheng Xiaoshi his power, "you can use this power", but tbh? It can still mean the same imo?

Keep in mind that I don't speak Chinese, please, so I have no idea how the Chinese language works and how convoluted it may be in its wordings.

But I've learnt Latin in school, and sometimes, the translation was a lot easier in words than what the original was. So "If you need it, this ability can also be used by you" in my opinion might just mean the same?

"I have this power, and if you need it, it can be used by you (for your goal, by me using it for you)"

What I'm trying to say is... unless the one responsible for the English translation did it wrong, it should at least have the same meaning overall?

So.... yeah.

Idek why I'm writing this, I guess I'm a bit overwhelmed right now, but I don't think Cheng Xiaoshi got his powers from Lu Guang (though I DO think that he does play a role in him understanding/ *getting his powers).

*getting in the sense of them awakening, or like in the live action version simply telling him he has them.

[kacievvbbbb]

to complement this post

I think the red hair pirates would be obsessed with S-Hawk too! Especially the main group who've known Mihawk through his teenage marine hunting phase.

Benn would know they are walking on thin ice but look at him! He’s a little baby Mihawk! Look at his little uniform shirt tucked into his little shorts. Every angry and threatening expression s-hawk could make would mean nothing to a crew that has seen the real thing live and in color. It would just be adorable like look at his little frown! His glare! The threat of disembodiment in his eyes! Adorable

Mihawk is very uncomfortable with how much the red hair pirates fawn over and adore what is essentially a manufactured baby him. But yet also somehow touched? By it. He’ll kill everyone and then himself before he admits it tho

Yasopp, who actually did know a shorter 19 year old Mihawk, would ask him if he was that adorable but tiny (still can't comprehend that the seraphim are infact giant) as a child and if he had any pictures, and Mihawk almost takes his head.

[tellthemeerkatsitsfine]

If anyone doesn't want to wait until then, you can buy an audio version here and now:

It was a bit annoying as I had to install their software to download after buying, I wish he'd just stick it on Bandcamp. Was also a bit expensive for an audio-only recording, but not too bad, and definitely cheaper than buying the vinyl (I'm not completely sure, but I'm pretty sure this is a digital download of the recording he released on vinyl, which I believe is from a different night than the one that'll be released on HBO soon).

I've purchased it but haven't listened yet so I can't speak to how good this version is - given the nature of Heckler's Welcome, it's going to be very different on different nights, depending how much the audience decides to shout at him. But I have heard the show before and the material is excellent, so if the audience lets him talk for even, like, 10% of the total runtime, that'll be worth the price of the download.

- james’s new stand-up special, heckler’s welcome, is being released by HBO!

it premiers on 23rd november on hulu, directed by stuart laws. tweet link here

hollywood reporters article link here

trailer link here (also below)

[hadesknockedupintheunderworld]

Still blows my mind the disparity between the Eng and the JP localization of Sonic Frontiers

So in the og English Tails expresses that he needs to part ways from Sonic so he can grow into a hero on his own, right? That he can't grow by being with him?

But like. The director of the game, who worked with Ian Flynn, worked on the JP localization and it's like. You're telling me that when they localized that scene for the Japanese audience

That it was about Tails learning that there are things only he can do? That instead of concluding that he needs to part ways from Sonic and become a hero, he just comes to realizes the ways in which he and Sonic fill each other's gaps? He learns that he already is on equal footing with Sonic. The two of them are just heroes who save people in different ways?

[kaurwreck]

y'all, atsushi isn't rude or bitchy or entitled when he saves dazai from the river. you act like he isn't having a natural response to someone giving him a dirty look and "tch" after he threw his starving orphan ass into a river to fish them out. have you ever fished a grown, water logged man out of a river. they're heavy.

atsushi wasn't necessarily expecting a thank you, but he wasn't expecting to be met with irritation either, and he mirrored dazai.

[valiant-portabella-pirkko]

[ Tideturners AU - Grand High Sovereign Ruju ]

Champion of the [REDACTED]

"Neither of us will live to see the world that emerges once this one is gone. Our purpose ends here, burning in a distant land where no one will remember our names."

"Now, step forward. Show me your resolve... And I will show you mine."

[enhanced-operatives-division]

Junicrane/Starstruck Ramble

I will not be brief, all under the cut

To clear some things right off the bat:

No corpse, no proof with Juniper. Obligatory this is set in a canon where he's alive and adjacent to the agency in some way.

Reggie & Juniper are just gay to me, but I don't mind any interpretation of their sexuality

The games are set in 1967/68 to me (based on a couple bits in game) which is before it was legal to be gay in America at least (1971), which is relevant to how I interpret canon as being somewhat grounded in reality, despite unrealistic elements.

This is just an insane amount of headcanons/elements of and AU all culminated into one post. I will talk about some headcanons like they're just facts because they are established in my head, and it saves me over explaining literally everything, however I will explain some parts a little bit for clarity.

Alright. Actual beginning of the ramble:

Juniper is a character to me who had gotten so lost in his job as an actor and a social presence that in the end his whole life revolved around that 'role'. Because of this, by the time he's put into the situation where he's around the Agency, he basically knows nothing about himself, though he doesn't realise at first. Furthermore, what little identity he had has changed in so many ways. He's no longer a beloved famous actor in the prominence of public light, he's legally dead and he tarnished his career just before he was supposed to die, with the bonus of that making him lose the majority of his estate. From that, he also has horrific facial scarring from the electrical burns from literally having his face fried. I believe a friend of mine made a post about this a while ago (I also think they were the first to think it up also), but, to me, Juniper has a permanent trimmer in his right arm (aka his dominant hand) from the electrical current and it is messing with his nervous system.

All in all, he's not doing great, but he's too proud to admit that he's not doing great, because if anything, what's left of his ego is all he has as a defense since he's deep in unfamiliar water.

Before ending up around the agency (I have multiple interpretations of this, so I'm just going to bring it up generally), he'd never actually seen Reggie, and his only impression of him is a single voicemail, which was his only reference he had to later impersonate him. Juniper probably has very little feelings other than the ones he projects onto him because of Phoenix and that, at the very least, he's physically attracted to Reggie to some degree (that's like the beginning of how everything else would tumble into place in this sort of interpretation at least).

And on Crane's side? His feelings towards Juniper are probably very intense and muddled. On the one hand, he adores musical theatre, and that's his now ex-favourite actor. The thought of just casually being around him blows the bit of fanboy in him away at first because THAT'S the GUY, plus the inklings of a celebrity crush which still poke at him. And then there's the rational side of him, which knows Juniper has committed absolute atrocities on the side of Zoraxis, and hates him for that. Then there's how much Juniper comes off as an asshole at first because he refuses to cooperate with anything the Agency tried to put in place. He finds Juniper endlessly frustrating, and yet he's stuck working with him since, afterall, he's the one who knows the Agency's history with Juniper the best. I imagine him acting a lot like how he does IEYTD 1 around Juniper.

At this point, I'm just describing the pitch for a romcom.

I think the start of their relationship with one another largely started with Juniper trying to wind Crane up. It was a way of getting his attention, and I don't think Juniper knows why he's so dead set on that at first, because I don't think he realises he has a crush on 'this grump' at first. (I think that's actually the fun part about these two, because it's almost like a role reversal of the celebrity crush dynamic. This ex-big name actor has a TERRIBLE crush on an average joe and it is KILLING HIM.) But of course the Agency keeps them together because Juniper is at least conversing with Crane, so it's a start.

Through one way or another, they actually get talking casually, at least mildly at first. It takes Juniper a long time to fully deconstruct the wall he's built, and the thing is, Crane isn't the one trying to deconstruct it, at least at first, because yeah, Juniper realises if he wants Reggie to actually like him in any way, he can't keep winding him up. So they talk. Small talk at first, something rhythmic and almost easy to keep to a script. And over time that turns into actual conversations. Genuine ones in which Reggie rips out the occasional one of his jokes which Juniper is endlessly endeared about. The way he smiles just before he makes them, like he wants to chuckle at what he's about to say before he says it. That's probably when Juniper realised that he does have some vague crush on him, and that it wasn't going away.

This is what kickstarts John I can't-buy-you-things-to-impress-you-so-acts-of-service-it-is Juniper to do little things for him. It mostly starts off as him trying to make Reggie his tea how he likes it. However, the nerve damage in his arm makes that hard, as the weight of the kettle and trying to pour is hard all of a sudden. And he refuses to accept that, so he tries for a very long while. Long enough that Crane would go to investigate what was going on. And when he does see Juniper leaning over a cup with the kettle as he uneasily tries to pour it, and when Crane asks Juniper responds so matter-of-fact that his intention is nothing but genuine. And it catches Reggie off guard because Juniper hadn't done anything like that up to that point, and his very apparent vulnerability is so clearly on show.

It shifts something between them.

From that point on, conversations are longer, more familiar. Both of their attitudes soften, and Reggie makes more jokes. Juniper learns how to better use his left hand while strengthening his right back to a point where it could be used again. Slowly, they're both spending time with one another not because they have to, but just because they can. Little bits at first, not too far outside what they already were doing, but those little bits turned into long bits to a point where the other person's company was genuinely desirable.

As time passes, Juniper probably realises that he doesn't genuinely know much about himself or what hobbies he's into, because he never really had the time when he got big, and his home life in his youth wasn't bad, but it wasn't picturesque. I think Reggie would pick up on it, and absolutely try to introduce him to some things he's into. Some things stick, other things don't (corn husking very much stays Reggie's passion, and John will go with him sometimes because it's him, but it's not something he strongly cares for). Crane introduces him to a lot of music, and it's something that becomes a staple between them, with tracks they listen to more than others (tragically, I know relatively little about 60s music so I couldn't really say what). Occasionally they dance, never anything intense, think slow dancing, but the closeness is nice.

Through all of it, Juniper is battling the worst crush of his life, and he can't stand it, because I think he struggles to read people since he doesn't have anything like a script or a director to refer back to, so he has no idea if Reggie likes him back or if he's just desperate for that to be true. I think because of that any sort of confession between them would be incredibly raw, not only because of the time they live in making it hard for them to be truthful about how they love, but because it's a complete show of Juniper who's worked to be this better person. I don't exactly know how that would go, mainly because I don't have one set version of their dynamic, this post is just a generalisation of main consistent points.

Reggie does like him back, because he's gotten used to Juniper being just this guy, not a figure in the public eye, not a Zoraxis lackey, and not any sort of Agency operative (despite being under their care to some degree). He's someone he genuinely cares for, because they've given one another the time of day to learn one another, and I think because Reggie was a field agent, he was a lot better at reading Juniper than Juniper was at reading him. Eventually Juniper's company becomes something he could see around him for the rest of his life, and I think he accepts that he likes Juniper a lot more gracefully.

I think any affection directed at Juniper would at first be met with him feeling a little muddled. Reggie was a very physically affectionate person when he could be, and sure the initial flirting with one another came with the occasional little touches, but everything now was so deeply intentional. I also don't think Juniper would almost ever get over the novelty of being able to kiss him, or many other gestures, because it made the fact that they were together so very real, and it was great. I do think it comes easier to Reggie, and it's a big way of showing how much he cares, so it's important for Juniper to try and show it back because he knows how much it means to the other.

I like the idea of them eventually living with one another, too. I think Juniper would have always had a quiet little daydream of sorts where he does just live a domestic quiet life, and he can with Reggie (well, as close as they can get between the Agency and Zoraxis always being at odds), and he loves that, and he loves him, and it's immense.

I think they cook for one another a lot, it helps Juniper work on his dexterity in a controlled environment, which means a lot because it's a huge point of insecurity (that and his scars). He does improve, and Crane is proud of that and shows it and it's great. I also think they'd probably cook together too, because they can deal with being in the kitchen together and they work well with one another. It's probably a good way for them to unwind because over time they can do it in relative silence.

As I said before, I also think music is a staple in their household, and that Reggie listens to things on vinyl almost all of the time because he likes the background noise. Sometimes Juniper will catch him chuntering along to the music which he finds endlessly endearing. I wouldn't put it past his dramatic ass to also join in to fluster Reggie, but I also don't think Reggie would mind that terribly because Juniper has listened to the music enough to know the lyrics, and that's huge to him.

I don't think they are without rough patches, no relationship is, but I think the good part about them is that they're willing to talk about it (... eventually). They're used to long conversations, and while they're often less fun conversations, they're needed and they know that, and it works out.

Alright. I think I'm done for now. I haven't mentioned everything, but this definitely got the worst of it out of my system. If you ever want to hear any specific thoughts my ask box is open but other than that, behold my general dynamic for these two which has been festering in my head for years. I think they're great

[b4kuch1n]

more sk8. I think the cindereki stuff is extremely stupid but I am not immune to trying to conceptualize a princess gown in any setting

[bmpmp3]

and another thing about vocal synth fans: we will always find some adult male voicebank to turn into a funny little clown for our amusement. some guy to communally bully in our talkloids, the miserable straightman to the shenanigans, the sad little freak punchline to our jokes. it happened to kaito. it happened to gakupo. it happened genbu. it even happened a bit to kevin (although he seems to have looped around somehow). and it will happen to you too, frimomen. it will happen to you too.

[huldrabitch]

Something something the idea of a character all about death and the dead and the fragments of previously living beings spirits. A character who finds passion and care and respect for the end of life and the small bits that remain after life has finished. Someone who finds humanity in someone needing to find their rest and going out of their way to help them get there regardless of gaining nothing. Meanwhile, the antagonist of the game essencially has many of his actions driven by the guilt and regret of in some ways creating death and dying. Because what could be more terrible than nothingness. And how could it ever be forgiven that he created the end of an existence that was supposed to be endless?