#finally something from a different perspective

[gwemmieee]

Yup! To be honest, though, in my experience, someone who deliberately refers to themselves as a man is unlikely to surprise me in what I expect. And what I expect is a lot of insensitivities, forcefulness, arrogance, and entitlements that very literally trigger me into panicked survival states due to lifelong continuous trauma from being abused and mistreated. And butch lesbians really are usually much less likely to have anything to do with such triggering behavior.

I don't judge someone before I get to know them. I always give them that chance. It gets harder every time I'm burned for it, though. I imagine plenty of women eventually become exhausted by all of it and start closing up. It does mean they're missing out on better people, and it doesn't excuse behavior that amounts to lashing out, gatekeeping, or spreading hate.

But I can't agree that we're all the same. At best, I would say that we're all the same in that we all want to do better and be better to others and ourselves, on some level. I can say that of those of us who really put in a respectable level of effort towards those goals--which in my experience has been a frustratingly low percentage of people--we are mostly the same in that important way, and that goes a long way. Even in that category, though, not everyone is currently right now wise/mature in the ways they need to be to overcome my own triggers and traumas and become close, and vice versa. But when you finally get to the category of people who are... well, some of them are very different from me and have different perspectives--some of them are men. I just have to also keep myself safe whenever that's not the kind of man I'm dealing with, and I can't know in advance. That's something that I think most women have to process at some point in their lives.

wait where are all the trans guys

Historical-anthropological research, especially the work taking place before the 21st century or outside the West, tends to focus entirely on transfeminized groups. So when reading these works it’s pretty natural to ask — wait, where are all the trans guys? This is a reasonable question with a few clear answers; this post is something quick I can point people to.

The central condition of transfeminized groups' absorption into feminist activism has been to accept a kind of symmetry with select TME groups through the understanding of trans femininity as "gender variance." Under this framework, transfeminized groups' social position can be understood as a consequence of gender variance and some abstract violation of cis norms; this was proposed by people like Susan Stryker and Emi Koyama [1], among others, and continues to structure trans inclusion today. It also fails when considering several basic aspects of these groups:

Transfeminized groups are associated with hyperspecific labor practices, most frequently sex work, but also hair styling, drag, makeup artistry, acting, and other forms of 'gender work.'

Metropolitan transfeminized groups appear in the archive as highly clustered and active groups connected with, but usually intensely split from, the masculine men they fucked.

Transfeminized groups become a kind of 'third gender' on an epistemic level; they are Known to wider society before and after “coming out” in a way that USAmerican transmasculinity has only recently vaguely approached.

Transfeminized groups are heavily clustered in labor practice, social organization, and epistemic position, although this is not universal -- certain strains of USAmerican transfemininity have become a bit more labor-agnostic in the last two decades, not-so-coincidentally alongside more general currents of gender-labor liberation. The messy strains of trans male identity recovered from the archive and from current practice tend to lack labor, social, and epistemic coherence. As Aaron Devor notes in FTM, his 1997 history of FTM men, trans men in the 20th century tended to transition out of cities and into the countryside, finding low-profile places they could exist in. These practices, and the earlier "female husband" practices described by Jen Manion, relied on the labor-agnostic nature of transitioned manhood in order to disappear from public life. Transfeminized groups, on the other hand, are categorically restricted from the main form of economic life historically available to women -- marriage. Their labor practices are heavily constrained and have almost always revolved around some form of 'gender work:' as Susan Stryker put it, you need to get people to pay you for being a trans woman. Transmasculinity pushes away feminized restrictions on labor; trans femininity is labor.

Because transfeminized identities are so often labor-identities, and because their specific brand of 'gender work' and hormonal/silicone/surgical embodiment usually requires both specialized training and community support, nearly every metropolitan center in the world developed highly centralized transfeminized groups over the course of the 20th century [2]. As Ochoa notes, this visibility is partially due to epistemic visibility (everyone knows what a trans is), partially due to group structure (people work and train each other), and partially due to the selectively visible demands of finding clients. Fledglings come in with a way of being that is always already visible to society, but changing the body to match and learning how to fully enact and slowly contest the third-gender labor-identity they've been given takes a lot of community support.

So as labor-identities, transfeminized groups tend to a level of labor/community/epistemic coherence that has no clear counterpart. The news archives we have of trans men (as seen in Manion) position them as singular and easily absorbed back into the female gestalt; the cisgender feminist/gayguy/AIDS researchers that form the bulk of historical-anthropological work saw them as unnecessary to their grand theories of gender; the communities themselves have been materially fractured and, for the groups that rise out of lesbian-feminist activism, only partially committed to their own existence. The result of all this is that there is no clear equivalent to the "transfeminized groups" of Jules-Gill Peterson; there is no symmetry to trannydom, and while additional work to unearth trans manhood in the archive remains extremely valuable, sometimes the necessary level of label-coherence and social existence just isn't there.

[1] Stryker, "My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage," Emi Koyama, "The Transfeminist Manifesto" [2] As seen in Namaste, Invisible Lives, Prieur, "Mema's House, Mexico City," Kulick, "Travesti," Newton, "Mother Camp," Ochoa, "Queen for a Day," Hegarty, "The Made-Up State," and plenty more. Most of these works came out in the late 80s and 90s due to a combination of the feminist "third gender" craze, the burgeoning field of masculinity studies, and AIDS.

[atangeledskein]

Ever since I watched Tennelle Flower's video analyzing Chikai and Don't Think Twice a few months ago, my mind felt like an egg that had been cracked open, leaking yolk all over my writing and my daily life. I'd heard these two songs through my Utada rotation on Spotify over the years, thought they were pretty, never thought to look up the Japanese lyrics, etc. I think even if I had, without the context of being songs written specifically for Kingdom Hearts, I would have remained blissfully ignorant, never knowing just how much they could inflame the torch I carried for SoRiku in my heart.

Link to the video, for reference -

All my thoughts after watching this video were stuck between two, major and immoveable truths -- one, that I 100% agreed that Chikai was from Riku's point of view (on top of the perfect lyrics, it played first the first time during his reveal trailer, after all), and two, that as much as I wanted to agree with Tennelle, I couldn't think of Don't Think Twice being from Sora's pov with the same conviction. I thought it could make a neat inspiration for fanfic, being so full of longing and portraying an unfulfilled connection between two people. It clearly expresses a desire for closeness, a gratitude for being a part of this other person's life. But underlying all of it is a bittersweet frustration that their feelings aren't being returned, that even after making promises to change they are practically begging for any hint of affection from the other person. It made no sense to have two people, mutually declaring their love and a desire to stay together, being framed in one of the songs as having unrequited feelings.

So I sat on it, listened to it, sang it, watched more videos, and finally came to a different realization. Don't Think Twice is from Kairi's point of view.

And all the puzzle pieces fell nicely into place.

How did I live in a kingdom of thieves And people who say things they don't really mean - Kairi's early life in Radiant Garden

You're only everything I ever dreamed Ever dreamed of - Kairi's desire for Sora in her life, his steadfast companionship, is a balm to her lonely soul

I want you for a lifetime So if you're gonna think twice, baby I don't wanna know - Sora's initial rejection and hesitance over sharing a paopu fruit with her; she doesn't want to know the real reason, or how he feels, she just needs him to take it and give her peace of mind

If you want to take it to an even higher level All you gotta do is say the word, you know I'll follow - She's still waiting, hopeful for some word of affection, some sign that Sora is willing to give her a chance and take the next step in their friendship If you want to make it happen, nothing's impossible All you gotta do is say the word, the walls will crumble If you want to make it happen, nothing's impossible - Kairi's unrequited longing is so clear here, how desperate she is for a chance to be what Sora wants, even though he is still giving her no sign that it's going to happen.

This block of lyrics is really where I started to doubt that this song was from Sora's point of view. The line "nothing's impossible" and all the sentiment around it feels really naive, like a schoolgirl with her first unrequited crush. A relationship of mutual affection isn't built on breaking the laws of reality, on forcing something that's impossible to become real. This struck me too heavily with a feeling of, "I'll change, I'll be anything you want, just say the word and I'll be everything you need, I promise." But why should there be a need to change in the first place, unless they know deep down that their feelings aren't returned?

I won't go deeply into Chikai's lyrics, since I think it's a given that it's from Riku's perspective. But I do want to point out the contrast between the two songs and how difficult it is to think that they're being offered as the sentiment of two people that have the same feelings for each other. Chikai is all about the awe and wonder of discovering that their secret feelings are actually mutual, that their self-perception of unworthiness hasn't chased away the other person or gotten them rejected. And from that point onwards it's nothing but pure conviction, an outpouring of their deepest feelings, and a declaration to keep their lover close for the rest of their lives. It's a vow of everlasting love.

And who has always been at the center of the love triangle between the Destiny Islands trio? Sora, of course.

So it makes sense to me that both of these songs are being sung TO Sora. One, wishing for more but knowing deep down that their romantic feelings are unrequited. The other, expressing their disbelief that they were chosen, and then charging full-speed ahead without hesitation (I love you too, I want you in my arms forever, let's get married).

And there's my analysis. SoRiku is endgame.

[As an aside, I have to thank the existence of MDZS for even more firmly cementing Chikai being from Riku's pov. I think I would have fallen into that uncertainty that our fandom is often plagued with otherwise, because SoRiku is built on context clues rather than explicit narrative, and we deal with a fan-majority that is indifferent to or outright hates any mention of homosexuality in the game. But if I had been presented Chikai without knowing it was from KH, and been asked to think of a character it could have been written for, I would immediately pin it on Lan Wangji and his feelings for Wei Wuxian. The instant change from, "Wait... you feel the same as me?" to "I love you too, I will promise you forever, let's go get hitched," is too on-the-nose to ignore. I wonder if Utada is a secret MXTX fan...]

[chaoticbiguysblog]

Three days into the hiatus and I still can't believe that after 7 long seasons and so many hurdles, Buddie canon is on the horizon and at the end of ep8, it seems like the arc has finally started. Buck's expressions were something I don't think we've seen before, even when Eddie was leaving the 118, and it's safe to say he has realized that he might be in love with Eddie. Sure, in the fandom we over analyze stuff but even from a regular viewer's perspective, it seems Buck is bothered by it and that'll lead to some deep introspection on his part, that may change his life.

I guess we could've used a more explicit hint bc I see a lot of people dooming but atp I feel like the show is clearly setting the stage for Buddie canon. Obviously they're not gonna do everything at once bc this thing has been cooking for years now, I'm sure they're gonna milk it for all its worth and their getting together and first kiss is going to be nothing short of EPIC.

Tim said a lot of different things in his post episode interviews, all of which seem to point towards Buddie canon. One of his most important quotes from the decider interview is that (I'm paraphrasing) Buck will try to distract himself from Eddie, he'll latch onto something, which won't last long and we'll all find out why none of his relationships don't last long. So all of these things, no matter how you look at it, seem to be leading to Buddie.

As for Eddie, I loved that his reaction is the complete opposite of Buck's, whose heart is breaking at the thought of the love of his life moving away and that he'll be left alone, Eddie on the other hand realises that he's never alone bc Buck has always been his partner. We AND Eddie are not ready for when he realises that Buck is the love of his life too.

Although side note, I will say that we should stop expecting a big sexuality discovery arc for Eddie revolving around catholic guilt and what not, the priest's return and his inclusion in Eddie's storyline was for the sole purpose to get Eddie to stop denying himself joy, and so when he finds out Buck is in love with him, it'll be a mostly angst free storyline that can easily be wrapped up in 2-3 episodes. And I'm sure we are about to get Buddie canon around April/May, right in time for Pride month!!

I'm happy with how everything is turning out on the Buddie front, the whole moving away trope is a much better option for Buddie than an NDE, so I can't wait for how it's all gonna happen. Although, addressing the elephant in the room, I'm disappointed by the lack of screentime for Christopher and Eddie, so I need them to get an entire episode all to themselves, away from Buck and the 118, to make up for all the off screen development their fractured relationship went through.

[dsvoid]

remember when i said i was beginning to relate more and more to michael? well,

i think it’s easy to underestimate his character and not really understand who he is, but once you start acting like him, it gives you a new perspective in the whole of solitaire. michael is a very angry individual, i think we all know that. however, he is not portrayed like how angry characters usually are. his anger stays inside, like a lion waiting to attack. michael lives hiding a part of himself, somewhere so deep in his mind that whenever it is able to come out it becomes his worst nightmare ever. unlike most angry characters, the anger doesn’t affect the rest, it affects him.

i think this is so important to talk about, because yes, solitaire is tori’s book, but michael brings very important details to the story. i know most of the fandom likes to talk about him as a silly little guy, and that’s valid, because he also is that. my mind just won’t be at peace until we all realize a bit more how important he is.

anger will bring him down. that’s not something we can argue about, it’s the truth. and yes, it sounds silly, anger, really? that’s the thing that’s gonna bring him down? well, not exactly. anger is the first symptom of losing yourself. you start keeping all the anger to yourself, not really knowing what to do with it or why it’s becoming bigger and bigger. as this continues, you start hating, loathing every single moment of your life that doesn’t go as planned. before you even know it, you’re isolating yourself, afraid of any chance of the anger getting stronger.

if i were to show this with a scene of the book i would choose the one were michael finally explodes at tori. because at that moment, he has been trying so hard to be her friend, and attempt after attempt, she’s just been making things difficult. i say this from an objective perspective, because we know tori wasn’t in the right headspace, but that doesn’t mean michael’s wasn’t bad mentally as well. it’s what i said before, you start loathing everything that doesn’t go your way. and in this case, his friendship with tori wasn’t going his way. it’s a very hard topic to explain because i have been in both ends, mostly in michael’s, and it is extremely difficult to deal with. we know michael doesn’t have friends and probably didn’t have before either, which means he has been carrying this issue his whole life. it’s obvious he was going to explode. he keeps trying and trying and nothing goes his way. he can’t make friends to save his life, oh and look, he also failed the competition of what he is supposed to be great at, perfect!

i guess i just wanted to talk about this because as i said, feeling like this is not great. it sucks. it’s horrible to experience but so normalized as well. people like tori get talked about behind their backs. everyone has a bit of bitterness in their voice when they talk about them, spitting how being mentally ill doesn’t excuse you for being a bad person. people like michael get pitied. the people who keep a smile and don’t stop trying even when they’re dying inside. everyone feels bad for them, but no one cares enough to make a difference.

[starrysharks]

STARRYSHARKS FAQ: 2!

this FAQ will go over some of the questions about my process that i get in my askbox. some disclaimers:

ANYONE who asks any questions that have been answered in either FAQ will be ignored.

PLEASE don't take this FAQ as gospel or assume that it's viable art advice. it is not. i am not a professional, i am a teenager who draws in her free time and therefore many of these answers will involve things that break common "laws" of art, logic, and anatomy. this is just how i personally go about my illustrations. please also don't take me or any individual artist as your sole inspiration, you will not get anywhere believe me. art is like a balanced diet. if you eat sweets all the time, you'll get sick - but if you only eat veggies and healthy food, you'll get bored. try to take inspiration from a vast range of artists, even those you don't think you'd really enjoy. and most importantly, LEARN THE FUNDEMENTALS OF ART!!!! even just a little bit of knowledge can go a long way, regardless of how simple or realistic you want your artstyle to be. refusing to learn fundamentals had my art looking janky for years.

ok enough waffle let's get started!

Q: HOW DO YOU DRAW FACES?

A: it depends.

there's lots of things you can do to a face to make it unique. the starting point is the facial features themselves - eyes, eyebrows, nose, mouth... if they're the same for every character with the only uniqueness being in eyecolor or something like that, you get same face syndrome.

so, take your characters and apply some diverse facial features. certain facial features have certain character connotations too. like downturned eyes implying a laid-back or tired character, or a 3-shaped mouth implying a catty character, something like that.

but, for me, facial diversity isn't enough. it's not like you go out and everyone has the same head shape. so, i tend to try and get creative with face shape, and depending on how thin or wide the shape is, you can move around the facial features too.

these examples are a little shitty but that's because i put them together in 10 minutes. you can see the effect in my actual characters, who have more effort put into them, and how no character looks alike.

other than that, i tend to try and give every character a different eye shape and pupil "type" - so while krankenstein and romèo might have simple black dot eyes, octavia and vivica have large multicolor anime esque eyes, onion has cartoony circle eyes, and so on. if you just switch things around enough, even characters with similar face shapes will look unique. and even if they don't, doppelgangers do exist in real life.

Q: HOW DO YOU DRAW HANDS?

A: once again it depends. some characters have regular shaped hands while some have really tiny hands that only have 3-4 fingers instead of 5. usually my larger characters will have smaller hands but that isn't always the case.

but for the standard hand, i tend to have a line between the palm/base and the fingers. and then i um...add the fingers i guess😭 there's usually a lot of abstraction when it comes to hands for me, because i'm not the best at drawing them. usually either the last three fingers or the middle two will be connected as well depending on the pose.

Q: HOW DO YOU DRAW FURRIES?

A: i don't really know myself. i still don't know how to draw most furry species especially canines, god i hate canines!!! well not really, i can just never draw their snouts. really i draw furries like i would human, just with larger thighs and further back lower legs. and fur too. i like to exaggerate the nails too. and of course add fur, usually at the joints.

Q: HOW DO YOU DO LINEART?

A: i draw over the sketch. i do the sketch in thin, low opacity lineart, and go over it in varying thickness based on the perspective/desired look to get that comic book varied thickness look. the eraser will be your best friend more than the pen here, cuz there's a lot of cleaning up with both the sketch and the final lineart to have everything looking sharp.

Q: CAN YOU GIVE A STEP BY STEP GUIDE OF HOW TO DO YOUR STYLE?

A: no and i will never be able to. there is no formula to my style, i break every rule i make for myself. i barely follow any of the answers i write in these QNAs. they are not rules or steps but rather just me explaining my habits in art. i never have a checklist when i draw, i just do these things intuitively based on years of drawing. this might sound like some stuck up "it comes naturally" thing but trust me IT DOES NOT COME NATURALLY!!! these habits are born from over a decade of drawing. and besides, like i said before, with how varied i try to make my character designs any step by step would never be universal to my style. i'm really sorry but that's the truth. either way i hope this QNA helps.

[aikoiya]

Thank you so much!! I try! I really do! 😁 But then, I also enjoy it, so, ya know. 😆

I really like thinking about this & I'm glad that, if nothing else, I've given you some food for thought.

Now that you mention it, Thundra being Castor Wilds is a pretty interesting possibility. 🤔

I can understand your perspective & it's no less plausible than mine. Though, I will say that, for the nostalgia thing, I remember hearing that, part of the reason was that they thought they'd explored everything they could in as a unique a way as they thought they could, but that EoW showed them that the classic formula still had so stuff they could play with.

Huh... I wasn't aware of the sabaku pun! Cool! I like that, but yes, you're right. It could be a different location. Though, I actually think I knew about the Tabanta thing, but I still find it neat!

---

I'll be honest, I actually had a number of issues with TotK's story myself, but then I started watching analysis on the game & the character's motives from a more Japanese perspective &, when I did, things finally started to make a degree of sense.

For those living in the other timelines at the time of the merge, what happened was most likely something similar to what happened with the flood. The gods told those living in those timelines' Hyrules to scale to the mountain summits & wait. They did it before, why not again?

As for what they'd know? Myth & legend. Little knowledge of what truly happened, but then again. Not long ago, IRL we also believed that Sparta was a mythical, made-up city, but then the actual city was uncovered. Sometimes, things are just forgotten & then found again. It happens & yes, it's sad & maybe sometimes it makes things feel like it was all pointless, but that doesn't mean that it is.

So, even though it may seem that combining the timelines erases any consequences of Time dying, I actually wouldn't really say as such. Those things still happened. And, if I were to say anything, it's likely because of the merge that the Wild Era has so few references to the past. Because it would cause there to be 3 different histories with inconsistent narratives, which would likely be why the Era of Myth would be called as such.

Also, by this point, it's likely been approaching 50,000 years since SS... Like, I dunno, it just seems like that's a heckton of time, ya know?

Though, I guess that I feel like "just" is a bit of a stretch. Like, in my mind, the gods of Hyrule aren't all-powerful. They have limits to what they can do, so if they wanna do something as big as merging timelines, I think it would take literal millennia of planning & organizing & making sure that things are just so. As such, I'd be surprised if there wasn't some huge reason for this.

In my mind, the timelines still exist, but they eventually merge back together later down the line. Like, the pasts of those timelines don't just disappear. More so, it's like if a river divides into 2 before joining again somewhere else. There was still a point when they were separate, it's just isn't now. But don't take this as me trying to convince you of anything. I'm just a rachet-jaw (means I talk a lot) & I like chattering about my hyperfixations & explaining things. I understand that my takes are most likely pretty confusing, too, so I don't mind criticism, either! 😆

For the dragons, I actually really didn't like their designs. I preferred how they designed the Light Dragon, though I'd have liked it better if she'd had a more leonnine tail.

And, the dragons could very well be a reference to Skyward Sword, but I never thought that they were literally the dragons from then. A) They never talked. B) The element of the blue dragon was wrong as well.

For Rauru as the first king of Hyrule, my thoughts are that he didn't found Hyrule, but more so, he re-founded it unknowingly, likely naming it after the stories he heard from the locals of an ancient & prosperous kingdom of light. It wouldn't be the first time that a place was named after a legend in hopes of bringing about prosperity.

And, I actually think that it's heavily implied that before Rauru, Hyrule was unnamed & the tribes were at war. One thing I remember Ganondorf saying in the Japanese version was that he wished to return the world to how it was meant to be. But this would indicate that before Rauru, the land & its people were at war. Possibly for a very long time. If so, then if my theory is correct, then it would mean that the main populous of the land when the merge took place would've been the descendants of the Great Islanders of WW. However, if you recall, the islands ran in an acephalous manner, meaning without a single ruling head or centralized government. So, the citizens of the Downfall & Child Timelines would've been, in many ways, refugees of 2 destroyed worlds. Refugees that would begin to integrate into this post flood world that had only been called the Great Sea, but was now no longer a sea. A land that had no princess, because the princess had left to found a new land. It is why Sonia was referred to as a priestess rather than a princess before she married Rauru. Because the Royal Family had been dissolved. Much like how it was in BotW. And, to be fair, Zelda 2 was also a post-apocalyptic time.

Then, I think that Ganondorf also mentions that Rauru & Mineru were the only surviving Zonai... Which... yeah, that makes the fact that he causes their deaths even more effed up because he essentially just committed genocide...

And, it really isn't all that odd for magical sky beings to appear & be thought of as close to the gods or even gods themselves only to never be seen or heard of again. The Occa & the Minish for a couple. In my mind, the Zonai were just another race of people who lived in the sky. And, keep in mind that Hyrule has the same constellations as Earth & it's been said that Hyrule's world is an alternate earth where magic exists. In such a case, we have really & truly seen nothing as far as their world goes.

Like, absolutely nothing. Because BotW's Hyrule was very specifically based on the creator's hometown of Kyoto, so if this information follows, then this is all that we really know about Hyrule's world:

(Also, sorry about that. Vendettas is just an LU-style nickname I thought up for TotK's Ganondorf. Just ignore it.)

So, I guess that when I think about it that way, it's actually much more feasible to me.

Which is another huge thing I wanna see from Nintendo: remasters or sequels to Zelda 1-2 & the Oracle games! All we ever see is Hyrule! Show me some more places outside of that, Nintendo! Let's go back to these really super old places & retell those stories in a new style! Let's hear more about places outside of Hyrule! Let's hear about how Labrynna & Holidrum are doing! Let's learn about other kingdoms & their relation with Hyrule! Let's bring this story to the world stage!! We have an entire world to explore & all they've been playing with is that tiny, piddly little speck???

But going back a bit, I remember that Zelda inherited both Rauru's Light & Sonia's Time magic. In fact, she even said as such. So, I am very much under the impression that, yes, Zelda is their dependent, we just never hear about Rauru & Sonia's child, which is one of my only major issues with the game. As for Zelda's stone changing... Yeah? The stones themselves never had elements to them. They're blank power modifiers that take on the attributes of their wielder. You see it happen twice in the game with Zelda turning Rauru's Light Stone into a Time Stone & then Ganondorf takes Sonia's Time Stone & turns it into a Dark Stone.

And, I actually know a thing or 2 as to why Ganondorf got so much more from the stone than the others. And it has to do with a Japanese concept of how rancor & something known as On'nen works.

You should really look up QuestWithAaron & watch some of his Zelda analysis videos, they're really interesting because he dives in super deep into the original Japanese translations & even brings into perspective the nuances & cultural significances of things.

For one, that Demise & Ganondorf aren't literal demons. Not in a western sense. They're much more analogous to the Japanese concepts of Akuma, which are entities of negative karma born from overwhelming hatred. They are even well-known for placing the sort of curses that Demise did.

It turns out that there's a lot of Buddhist & Shintoist influence on the Zelda series as a whole & once you know this, you find it difficult not to see it.

On'nen is essentially what Malice was in the previous game & Shoki is what Gloom is, but a more accurate term for it would've been Miasma as it goes beyond simply being a corruptive force & into being not dissimilar to pollution or a plague (which is most likely why they went with Gloom instead considering the event that took place around when it came out). On'nen is rancor. It is an overwhelming & enduring hatred & resentment that can even be carried through multiple lives. And it isn't just some feeling, but can become a legitimately corrupting force. In a lot of ways, it's what allows for the existence of death curses. So, I think that due to the way that the stones work, which the Japanese version says that the stones very specifically double the power of the individual. But, the thing is that TotK Ganondorf's power is directly connected to his resentment & hatred. So, if this is the case, what happens when his resentment grows? Well, so too does his Shoki, which is why it's so bad. And, in fact, Shoki is just a more concentrated form of On'nen, meaning that Gloom is just a more concentrated form of Malice. And remember that Gloom didn't just decay the Master Sword, it also decays all the weapons in Hyrule, which itself actually connects the game back to BotW, because that right there is the reason for the durability in the games to begin with! The reason that all the weapons would shatter so quickly in both games is very specifically because Ganondorf's hate-magic was saturated all over the place & causing the weapons to be corroded. But knowing this, we now have a reason as to why the Master Sword was breaking! Fi wasn't weaker, Ganondorf just found the perfect way to combat her!

And, I actually think that we did sort of see something connected to the Zonai in a previous game. Or, more so, we say something they once were.

And, this one might be a bit controversial if goofy, but I think that they are, essentially, evolved remlits. 😆

But, at the end of the day, it's well within your right to have not enjoyed TotK's story or the Zonai. You stick with whatever hc you like most or think is most plausible! I'm just the weirdo who enjoys trying to fit things together regardless of whether Aonuma cares or not. Sure, he's the authority on it, but at the same time, this is just me having fun! 😁

---

Regardless, my many many thanks for all your help!

This has been so very fun & I loved talking & speculating! And I'll definitely be using some of your suggestions, though before that, what do you think of a portmanteau of Croisés & Confluances? It'd probably sound like gibberish, huh? 😅

I was also thinking of naming things in the Zora area that are named after sages as Saint. So, Mipha Court would eventually become Cour Saint Mipha?

But, I gotta say... I would love to see a Zelda spin-off game where you play as a Sea Zora & you go around the ocean to different Zora settlements where we could see more of their culture independent of Hyrule. Like, I imagine them curing bull kelp, then twining them together to make rope. Or that settlements tend to either be close to the surface, on land, or near hydrothermal vents & that, because of this, cooking tends to be a more communal thing.

If not that, I'd like to see some more dark games like OoT & MM someday.

Like, hoy vey, dude! The Dead Hand was seriously messed up, but it gives so much food for thought!

But, sorry! Went off on a tangent! I've enjoyed hearing your thoughts, too! It's really interesting to think about all this! 😁

Hi, sorry if this is a bit rude. 😅 I guess that I was just wondering. How would Jabul Waters, Zora Cove, & Crossflows Plaza be named in French?

I'm trying to give Jabul Waters an interesting name that works to go with my hc & I came up with "Jabuleaux." And Google Translate tells me that Crossflows Plaza would be Place des Flux Croisés. And, I'm seeing that Anse is the term to refer to a cove &, if that's true, then would Zora Cove be Zoranse? At the same time, somewhere else, it said that Anse actually means beach.

And, I believe that a town by a swamp would have cher, quier, bren, brin, or Hor- in it?

I'm sorry if this is weird... 😅

Hi! Don't worry it's not rude or weird at all! I offered to help and I'm happy to do so :D

Did you check the official French translations? I had a surprisingly hard time finding the French version of the map online so here's a screenshot I took myself:

Jabul Waters = Eaux de Jabule (this one only appears when I zoom out)

Zora Cove = Baie Zora

Crossflows Plaza = Place de l'Estuaire

In case you didn't know the Zelda Wiki often lists names for places or characters in various languages in the "Nomenclature" section of its pages. It's very helpful especially if you're searching for the original Japanese names. If we look at at the different names for Crossflows Plaza we can see that a literal translation from Japanese would be something like "Exchanging Place". I checked the Jisho dictionary and it seems to be an accurate translation, though "Place for Cultural Exchanges" would be more meaningful.

It's not exactly a good name in English so it makes sense that the localization team would come up with something like Crossflows Plaza instead, which in my opinion does a very good job of stating that this is both the place where the river meets the sea and where the two Zora tribes traditionally meet each other.

Other European languages all settled for variations of "Estuary Plaza" ("Place de l'Estuaire" in French), which is fine but looses the "cultural exchanges" aspect of both the original name and the English translation.

I've been trying to come up with a French translation of "Crossflows Plaza" but it's not that easy. To me "Place des Flots Croisés" or "Place Flots-Croisés" would sound better than "Place des Flux Croisés", but I still find it a bit weird ("flot" meaning flow, tide or stream). "La Croisée des Flots" is another option if you agree to get rid of Plaza/Place (it means "the intersection/junction of streams"), but I don't think it works very well as a name.

You could also mix words to create a name the same way it was done in English, something like "Place Croiseaux" (croiser/cross + eau/waters). If any of my French speaking followers is feeling inspired, please share your ideas! :)

(I just thought of "Place Cruciflot" and found it too funny not to mention 😆 maybe it sounds too much like crucifix)

In French we also have the word "confluence" that has the exact same meaning as it does in English: either the meeting of two rivers or a gathering of some kind. So to me the most obvious translation would be something like "Place des Confluences" or maybe "Place Confluence", as it would preserve the dual meaning, but it's not very fancy or creative. Maybe we could simply change the spelling to something like Place Konfluans, the same way "Village Côtier" (Seaside Village) is spelled "Village Kothié" (Seesyde Village). But it doesn't look like a French word anymore so I'm not sure that's something you'd like.

As for Jabuleaux, it can work but I prefer the official translation "Eaux de Jabule". Same thing for Zoranse, we would say "Anse Zora" or "Anse des Zora". The official French translation is "Baie Zora" (Zora Bay), which I think is more appropriate given the size of the sea inlet (in my understanding an anse/cove is a small baie/bay and isn't very deep). I think maybe it should have been bay in English as well instead of cove, but I might be wrong! Also I believe "anse" isn't used as often as "baie" and might be confusing for most people, so I would go with "Baie Zora".

I'm not sure where you found this information about swamps and town names? I didn't find anything to confirm it but I might not have looked in the right places.

French towns are often ancient and their names can derive from other languages such as Celtic, Occitan, Flemish, or regional dialects, so that's a very difficult question and I'm not sure I can give you a satisfying answer ^^

I still did a little search and found an Old French word for swamp, "palud" or "palu", that still appears in some town names such as La Palud-sur-Verdon, Saint-Pierre-la-Palud, Lapalud, etc. (today we say "marais" or "marécage"). You might be right about "bren", it could be something like muddy in Gallic.

There's also "vign" or "mign" (from Celtic), as in Mignéville or Lévignac, or l'Île de Migneaux on the Seine river (this one's in my city!).

Near where I grew up is a town named Hazebrouck, it literally means "hare swamp" (brouck/broek = swamp in Flemish). For a bit more French flavor you could maybe use -broucq or -breucq instead of -brouck.

I think the vast majority of French people have no clue about all of that (I didn't except for the last one and it's more Flemish than French), so I'd say don't oversweat it ;)

And that's all! I hope you'll find this helpful ^^

[roots-symphony]

what's so interesting is that agatha and nicky clearly had their cons well-oiled, and at the end it seems they even started turning their song into a part of it as well, like i don't think that was the first time nicky sang that song for an audience and they used it to lure witches (i do think it's the first time that it /technically/ didn't work), and how after nicky died it continued to gain popularity and be so well-known it became a legend, and along with that agatha being known as the only survivor of the road and people (like billy) seeking her out to walk it or just for knowledge of it. and i think that had been the idea when they first started using it as a con. making it so they no longer had to travel and scavenge, using it as a lure to bring the witches to them in order to keep nicky alive, but only one small misstep and rio got him anyway

and then thinking about how lorna, who had a generational curse placed upon her family that is going to kill both her and her daughter and who desperately wants to see her daughter survive, heard this song and created her own version to use as a protection spell for her daughter and, like agatha did before her, she made her version so well-known and so popular that years and years after death it's still protecting her daughter, until ultimately her daughter was finally able to use it to break the curse and save herself

idk just.. they're like two sides of the same coin, or distorted mirrors of each other

agathas love was so powerful and so strong that death gave nicky time

lornas love was so powerful and so strong that the ballad gave alice time and even freed her

if nicky hadnt been taken that night, could it have eventually freed him as well? rio said agatha used the dark magic of the darkhold to hide herself from rio, so was that the end goal? they'd continue to lure witches to both keep nicky alive and to have agatha become powerful enough to forever keep them hidden?

[lafoget]

ok ok the more i think about what kind of grand finale to gotham war would suit me, the more i want prodigal son 2.0. bruce goes off to heal his mind BC HE REALLY NEEDS A VACATION maybe with selina while tim and damian become batman & robin duo and eiko stays in town as catwoman

[commsroom]

when it comes down to it, however much i think about eiffel's memory, whatever my reasoning might be, i think there's a much simpler core explanation for why i feel the way i do. i've said before that, if eiffel did regain his memory, i would want it to happen through 'an eiffel version of change of mind' i.e. a personal inner journey where the narrative he tells himself amounts to some greater reminder, self-confrontation, and self-realization. and that's just it:

eiffel regaining his memory wouldn't be a cop out to me for the same reason that lovelace not actually dying isn't a cop out: it's not just a story beat, it's a catalyst for character development & a better understanding of lovelace as a person. eiffel has spent his whole life trying not to be the person he is, and i just don't feel wolf 359 is the type of story to let him off the hook for that, when the ending is as much about accountability (to ourselves and to others and all the ways those responsibilities overlap) as it is about hope. i think there are ways you could argue that eiffel can still be eiffel without regaining his memory, but i think i've convinced myself that the symbolic resurrection / self-confrontation and acceptance of all the people he's been in the past, in order to move forward, is the more compelling option, especially for what it parallels, and the "eiffel is still eiffel" part is non-negotiable. it doesn't even feel like a question to me.

(and it makes the most sense to me in the context of eiffel's survivor's guilt - "of course i was fine. the driver's always fine." - and tendency towards a type of self-sacrifice and self-punishment that the show ultimately denies him / that doesn't address his real problem. he thinks sacrificing himself for the people he cares about will make up for something, but it won't. having him make that sacrifice and then keep living and keep being doug eiffel, with everything that means, feels like the natural extension of constructive criticism.)

in another story, or in a more theoretical context, there are all kinds of questions you could ask about whether eiffel's memory loss means he's a different person now, but in this case... i think it's better understood in narrative terms and what it represents for him as a character than any broader philosophical conclusion about the nature of the self and human consciousness. (and it is in no way as absolute as people sometimes behave like it is, considering he still has a concept of, like... everything. but that's a whole other topic of discussion.) most importantly, i just don't believe wolf 359 is a story about ideas as much as it is a story about people, these people, and in order to (hypothetically) continue to tell a story about doug eiffel, well. he has to still be doug eiffel. one way or another.

[deus-ex-mona]

[tea-of-destiny]

*voice of a guy who all but disappeared over the last month because he's already got too much to do* you know what would be fun? if i did some kind of month-long drawing challenge during this end part of the year

[aroaessidhe]

2023 reads

The Winter Knight

slow-building urban fantasy mystery

reincarnated arthurian legends living in modern Vancouver

follows a gay autistic college student who’s the reincarnation of sir gawain who just wants to live a normal life

and a 30-something valkyrie woman

when a knight is murdered, she’s assigned to investigate, and he’s pulled into things after finding the body

m/m and pre-f/f (she is bi ace)

[osterby]

Ilberd is hands down my favourite villain in the game. He's exactly the kind of desperate nothing-to-lose do-bad-things-for-good-ends character I always go for (fun fact: he's the villain Ardbert tried to be), but I have to squint and peek around the corners and fill in the obvious glaring blanks.

And, yeah, the background that would really sell his motivation and overall story to the average player who isn't playing an Ala Mhigan WoL and doesn't laser in on any minor character with desperation as a key plot point isn't even in the game!

That's a complaint I have about SE's writing overall, especially in the early game. They think up all this good lore and then just... don't bother including it. But they really dropped the ball on Ala Mhigo in general and on Iilberd specifically.

Ilberd was so badly communicated in story I'm not even mad anymore. Just disappointed.

Like I hated this man with passion. Mere hearing his voice or seeing his face made my blood boil. At least the Japanese dub makes him more sympathetic, because he speaks calmly, albeit painfully, not just complaining like his English dub sounds like.

But I bought the book and did some digging and wow? He was paid with McChickenNuggets and a sword when he worked as an adventurer to support his family. Man was treated worse than a dog, and he had a family - possibly partner, possibly kid too, I mean, he was 40 years old. Or idk, very nice of him to take care of his elderly parents, I guess - and he lost them to the calamity. Mfs were barbecued by bahamut.

And yeah, Ilberd lost 100% everything, and had nothing to lose anymore. He wanted to take their ashes back home, and when enough people told him "no", he said "fuck it", and backflipped straight to god.

Also. He likes tea. Like he drinks tea. A LOT.

Like excuse me. How about telling this in-game? Sounds like the writing was a little... what's the word... slo---

[getstickbuggd]

I am once again: I don't think I like my friends very much anymore

[ambrosiagourmet]

This episode of the anime made me realize something about Namari and her relationship with Tansu and his party. Before now I haven't been able to quite pin down how and why they start treating her more like family and less like a disposable bodyguard. But the anime conveys the shift so well!!

So, at the start of the episode, Tansu pulls Namari in the way of the undine's attack to protect himself. He's perfectly happy to let her die to save himself.

Kiki and Kaka both shout for him, but no one expresses a lot of care for what happens to Namari. This isn't remarkable to any of them. They do bring her back to the camp, of course, and Tansu resurrects her... at which point she starts yelling at him about how this is, in fact, a common thing.

Throughout the rest of the episode, there is a clear contrast in how the Tansu family all treats each other versus how they treat Namari. Tansu or Kiki being in danger is concerning. Namari getting hurt or killed is just part of the job. She is a meat shield, a tool they paid for and are using as part of this expedition. They take care of her, but they care about each other.

And though it's not exactly explicitly stated, Chilchuck's speech about reputation makes it clear why - they probably assume, because of her reputation, that this is how Namari views things, too.

From their perspective, Namari signed up to die a lot and get paid a lot. She is only there for the money, but acts upset when they don't treat her as a proper member of the party (and family). From their perspective, flawed as it is, she is asking for more respect than she will return.

That's not how Namari actually feels, though, and at the episode she tells Tansu as much:

And this is what changes things between them! Tansu finally sees her as more than a tool. For the first time, the party bonds with Namari as a person.

It's very fitting that this comes right after Namari realizes the value of Senshi's pot, too.

Just like the adamantine shield can be used for more than just fighting, Namari is more than just a tool and shield herself.

So they all share a meal, and things are different between them now. Tansu and his family will go on to treat Namari with more respect in the future, and they will begin to forge actual bonds. As complex as the layers of distrust, reputation, depersonalization and assumption are... In many ways it's as simple as that. How very like Dungeon Meshi. I'm so glad the anime made this finally click for me.

[wild-battlebond]

i really like the idea of Y as a narrative with a nuzlocke incorporated into it because i think there's a lot of potential fun to be had with playing up the themes of death to an eleven.