#it's fine if you disagree

[project-changeling-zero]

was gonna call this a rewrite, but p much any Forces hc is a rewrite in of itself, most of the time, so:

Infinite "I hate Shadow so much, I will love you" the Jackal with Sonic ( this isn't a /pos, btw, he's toxic // abusive asf ), but he hates Super Sonic with all his dead heart 'cause Super Sonic 'has Shadow's eyes', so when he fights Super Sonic, he's pure venom and none of the 'love' he was before.

and, for Sonic 06 ( cuz ofc i did ), Mephiles "I hate Shadow so much, I will copy his life" the Dark with Sonic, because i made it so he was able to perfect Shadow's form ( colors and all ) and obtain his memories, so he manipulated Sonic and that's how he killed him.

i just think Mephiles and Infinite hating Shadow so much that they'd hurt Sonic, 'cause they know that would hurt him far more than any physical pain they could put him through, is gold, but, like, in a /neg way. fool's gold, mayhaps.

this was inspired by GinjaNinjaOwo's 'Aishite' Cookie Run animatic, yes, why do you ask?

[eldritchgray]

So. About TMNT Mutant Mayhem. I've seen a few takes that I don't really agree with, and feel kind of cynical regarding the ending. I'm not gonna call out anyone specific obviously, but I do want to talk about it.

What I've seen is that the ending is unrealistic, and that the mutants wouldn't be accepted by society that quickly, and okay. Maybe. There's probably a lot of people who aren't on board with the mutant turtles being accepted, and we just didn't see them.

And yeah, the whole scene where the humans help them fight super fly is probably a bit idealistic, but like. Is that actually a bad thing? I firmly believe we need to have some hopeful, undeniably happy endings.

I'd also like to point out, that during that scene the kind of folks we see stepping in to help. It's a delivery man, a taxi driver, some punk teens, folks living in an apartment complex, and construction workers.

What I'm getting at is, there's solidarity there. It's the working class, and some punks that are the ones who step in. People who undeniably understand being looked down on. I loved this scene, and personally? I was smiling ear to ear at the end of the movie, and I loved that those teenage mutant turtles got a happy ending.

[bixels]

tarpit site.

[poorly-drawn-mdzs]

Unsolved Mysteries.

[First] Prev <–-> Next

[dukeofthomas]

I find the fact that the confrontation at the end of UTRH is often summarized as Jason asking Bruce to kill the Joker for him fascinating.

Because that's not what happened.

Jason holds a gun up to Joker's head, gives Bruce another, and tells him that if Bruce doesn't do something (shoot Jason), he will kill Joker.

Jason doesn't give the gun to Bruce so that he would shoot Joker. He isn't expecting Bruce to pull the trigger on the clown. He's asking Bruce to do nothing. To be inactive. Because that will still be a choice, and despite having done nothing, everybody clearly agrees that Bruce would still, at least in part, be responsible for Joker's death.

...And to me, this moment is a kind of- microcosm, of the rest of Jason's point. Because after being captured and carted off to Arkham, the villain will escape again, and will kill more people. The only way to truly prevent that from happening would be to kill them; Bruce refuses to do so, and I respect his right to choose such a thing for himself, but it is still a choice, and if we agree that Bruce's inaction during the confrontation would leave him at least partly responsible for the Joker's death, then we must also agree that his inaction in permanently preventing the Rogues from killing more people means he is also, partly, responsible for all of those deaths.

[riseandfallofamidwestbyler]

“what if will and mike kiss while mike is still with el?!” you fools. you utter buffoons. you underestimate just how much william jacob byers cares for his family. he would never and i mean NEVER let anything happen between him and mike before he knew that their relationship was 107% completely over. he wouldn’t want to hurt el (even though he probably feels like he already has just for liking mike.)

[sonknuxadow]

its so frustrating how a lot of scu fans cant handle other sonic fans not having the exact same taste in sonic media that they do. like i feel like you can say something negative about literally any other sonic media on here and people generally wouldnt care that much but the second you say anything less than positive about the movies people start getting all weird about it and trying to argue with you ive had it happen to me and seen it happen to others as well .... like the sonic franchise is very big and has many different media types and writing styles not everyone is going to uncritically love everything. get over it ? im not trying to be mean but idk what else to tell you

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[fishing-lesbian-catgirl]

After a 4 hour discussion with several Arknights and fighting game fans, I present to you with absolutely no context the “What fighting game archetype would Arknights characters be a part of” chart. Enjoy

[turtleblogatlast]

Leo frowns at his phone.

Or more specifically, at the test on his phone.

Around him, he hears the sound of his brothers tapping their own devices, much faster than he is. Looking up just makes Leo feel worse about his own progress - or lack-thereof.

Mikey’s the fastest, speeding through the test like nobody’s business. He’d been the one to make them all do this stupid test in the first place, so it makes sense that he’s having a blast.

Raph’s slower than Mikey is, but he’s still clearly answering the questions at a steady pace. Sometimes he looks unsure, but he powers through anyway.

Donnie often looks frustrated, which relieves Leo somewhat because at least someone is struggling like him. But that “struggle” isn’t nearly as big as his own, considering that Donnie is answering about as fast as Raph is.

Leo turns his gaze back down to his own test. He’s still near the beginning, he thinks.

He’d put the same answer for the past seven questions - the middle of the road answer, neither a “yes” or a “no.” Then, whenever he does come across one that is more one direction than the other, he second guesses himself and restarts the test!

Sure, there are a few he could definitely give a yes or a no to, but…never the “strongly agree” or “strongly disagree” that the test seemed to want from him.

He eyes his twin sitting nearby, the softshell absorbed in the test. Maybe Leo should copy what Donnie put for some of these…

“DONE!” Mikey’s shout makes Leo freeze in place just as he started to lean over.

“What?” Donnie squawks, “No way you’re already finished, you must’ve been cheating!”

“It’s a personality test, Dee!” Mikey stuck his tongue out, “You can’t cheat at those!”

…

Leo settles back into his seat.

Ignoring Donnie’s mutterings about how it was “just because it’s not an academic test” that he didn’t finish first, Raph smiles encouragingly at Mikey.

“Hey, good job! So what’d you get, Mike?”

Mikey looks back down at his test, reading aloud, “Says that I got the “Campaigner”!”

“What’s that mean?” Leo asks, his phone screen going dark.

“Apparently, I’m an “enthusiastic, creative, and sociable free-spirit”.” Mikey reads, smiling at them, “You think it fits?”

“Oh, to a T, bro!” Leo laughs, giving Mikey a thumbs up, making Mikey’s smile grow larger.

Inside, Leo was feeling a lot more mixed about this. He has no idea how Mikey knew himself so well. Maybe Donnie was right and Mikey did cheat, because how could he answer those questions so easily?

Leo’s phone burns in his hand. He keeps it locked.

“Wow, that really is you.” Raph says, his eyes flitting back and forth between his own test and Mikey, “Do you think it fits?”

“I guess? It’s fun to see at least!” Mikey shrugs with a grin.

“Hold on, I think…” Raph makes a noise of satisfaction, “Okay, done!”

“Sigh, now I’m relegated to the straggler group.” Donnie grumbles, his thumbs moving faster as he tries rushing through the questions.

“Ooh, what’d you get Raph?” Mikey asks, practically bouncing in curiosity.

“Says, uh…I got something called the “Consul”?” He squints his eyes to read more, “Uh, “caring, social, and community-minded.””

“Sounds about right to me.” Leo nods. Can’t be more “community-minded” than being a hero.

“Yeah, no one’s more caring than you, Raphie!” Mikey says, moving to lean across Raph’s shell.

“You do put the community in mind, that’s for sure.” Donnie states, not looking up.

Raph chuckles, a bit embarrassed, “Aw, thanks. It’s just some test, but it feels kinda good to hear that.”

Just a test. Right.

Leo unlocks his screen.

The test stares back at him.

Right. Okay. He can do this. He can.

The screen ends up going dark again.

Frustration builds up in Leo. Was he even halfway done with the test? At this rate, soon even Donnie will-

“FINISHED.”

Leo unlocks his phone.

“What’d you get, DonTon?” Leo asks as his thumb taps the top right of the screen.

Donnie puffs up proudly, a self sure grin on his face, “I got the result “Logician” which states that I, obviously, am an “innovative inventor with a thirst for knowledge.” Truly could not have described me better, if I do say so myself.”

“It is pretty accurate.” Raph agrees with a nod, “Even calls you an inventor, so extra accurate.”

“Super accurate.” Mikey jumps in, eyes shining.

“Yes, yes, almost like reading my own character synopsis.” Donnie’s grin had not dwindled since the word “innovative” had left his mouth.

Leo just nods along, eyes on his own screen as he skims the words. “Yeah, kinda creepy how close it got. Could have called you a nerd for extra accuracy, though.”

Donnie turns to him, eyes narrowing, “Have you even finished your test? I can think of a few words that’d describe you fairly well.”

“Test-y, huh?”

Before Donnie can strangle Leo, Raph cuts in.

“Ok, ok, calm it down, guys.” He rolls his eyes before turning to Leo. “But really, you’re not done yet?”

“Leo’s taking this self reflection seriously.” Mikey sports a faux intellectual expression as he gives a jokingly serious nod. “Maybe we all should’ve taken our time.”

“Says the one who sped through the whole thing in a record time.” Donnie mutters.

Leo waves them all off, “Nah, I finished it ages ago.”

He grins when Donnie immediately shoots him a suspicious glare. “Oh, you did, did you? Then what could you have possibly gotten, Nardo?”

“I’m glad you asked!” Leo clears his throat, “Neon Leon just so happens to be an “Entertainer.””

“Ah. That confirms it. This test is meaningless.” Donnie drones.

“Hey-“

“What’s an Entertainer like?” Mikey asks with a tilt of his head, still hanging off of Raph’s shell.

“Glad you asked, Miguel!” Leo exclaims, “It says that “life is never boring” around yours truly~”

He emphasizes this “result” of his by waving his phone with said “result” on screen.

It’s just an image he found of his chosen personality result, but they don’t need to know that.

Raph nods slowly, “Well, I guess that’s true…”

“”Never boring” is one way to put it.” Donnie hums.

“You are pretty fun, Leo!” Mikey says emphatically, because he’s great like that.

“Thank you, thank you, life of the party, right here.” Leo grins, pointing both thumbs at himself.

He’s careful not to go too overboard with it, or else it might tip someone off.

Not that it…really matters. It’s just a test. Like Raph said.

As the topic around him shifts to something else, jumping away from this brief activity as fast as any other among them, Leo finds himself unlocking his phone and pulling up the test again.

Unanswered questions stare at him. He knows what answers Lou Jitsu would pick. He knows what answers Jupiter Jim would pick. Hell, he knows exactly what answers his brothers would pick.

He doesn’t know what answers Leonardo would pick.

Leo stares at the test for a second longer, before he exits the site and throws himself into the conversation happening around him.

It’s just a stupid test, nothing to worry about.

Just a test…

[shattered-earth]

"orange peel theory" on the main 6 bg3 companions according to me

[causalityparadoxes]

Oh so when the Brigadier brings in a plucky young girl to be the Doctor's mandated best friend its 'cute' and 'wholesome' but when I THE MISTRESS-

[cappucino-commie]

[wishchip106]

yapping

talking about politics and all that

Charles is just happy to be here

[tomialtooth]

Adler is a dog guy because he loves the obidence, affection and deference dogs show their masters regardless of how they are treated. A dogs owner is their entire world, they are reliant on them for everything and this is probably appealing for Adler and his need for control. Having a dog strokes his ego both because a dog is obedient and affectionate to it's master, which Adler thinks he is owed and because it affirms his sense of American masculinity. Adler would be one of those dog people that hate cats because you have to respect a cat's boundaries in order for it to love you and you can't control them like you can dogs. Adler likes Bell for the same reason he likes dogs.

[blue-likethebird]

Reusing the memory system from botw for the tears of the dragon storyline in totk was such a terrible decision on so many different levels that it’s honestly kind of impressive.

While the botw memory system had flaws of its own, there was one small but significant thing that worked in its favour: botw’s memories were largely separate from the main plot in the past, and have absolutely no bearing on the story being told in the present. Aside from a few specific instances (ie the calamity striking, the ceremony, Link and Zelda becoming closer) the memories are all self-contained moments that emphasize character development over driving the story. Because there’s no major narrative throughline between them, it gives players more freedom to discover in any order regardless of how much they’ve progressed through the main quest without running the risk of stumbling across a memory that ruins something else later on in the game.

(This got long so the rest of my analysis is going under the cut.)

The biggest change between the memories from botw and the dragon’s tears from totk is definitely what kind of information these cutscenes relay to you as the player. Botw’s memories are primarily snapshots of small interpersonal moments that hold very little significance to the greater narrative taking place in the past. Totk’s memories are the greater narrative. With only one major exception -that I’ll touch on in a sec-, every cutscene in the dragon’s tears shows a crucial moment of story development with no time left to explore the characters driving that story forwards. There’s no organic moment revealing, say, a quirk of Rauru’s that Mineru finds annoying, or Sonia’s sense of humour, or any of our literal Main Villain Ganondorf’s motivations for going to war with Hyrule. If there’s any moments of character focus they only happen in ways that advance the plot (meaning the only real character focus is on the characters totk wants the entire universe to orbit around, namely Rauru and Zelda), and as such it’s harder to bring myself to care about what happens to anyone.

To illustrate the point I’m trying to make here, compare the memories of the champions Link regains during the divine beast quests to the conversations with the ancient sages at the end of each temple. The memories make passing mentions of the ongoing preparations for the calamity, but the real purpose of those scenes is to showcase who the champions were as people before their deaths and give us a reason to mourn them, even though we know at the start of our journey that they’re all long gone. In contrast, the conversations with the ancient sages are all about the events of the imprisoning war and their promise to Zelda that their descendants will come to Link’s aid in the future, very obviously copy pasted for each of the five times that cutscene is brought up (which is a particularly egregious moment of bad quest design but that’s a rant for another time) in such a way that none of the 5 incarnations of that cutscene reveal anything new about the ancient sages as characters, to the point where none of them even show their faces. I care about Daruk because the game shows me that he cares deeply about the wellbeing of his fellow champions and brings out the best in others. So why should I care about the nameless, faceless sage of water? What’s there to move me about their struggles if my only interactions with the sages are a series of exposition dumps? If the game can’t give me a reason to sincerely care about its main characters, the whole rest of the story is meaningless.

(As an aside, I get the feeling someone on the dev team caught on to the issue I’m describing here, because the tea party memory sticks out like a sore thumb from the rest of the dragon tear cutscenes. It’s such a jarring change of pace to have the otherwise plot-heavy dragon’s tears come screeching to a halt for a scene where Sonia sits down with Zelda to have a cute little tea party and talk about absolutely nothing of significance that the whole thing almost seems like it was hastily tacked on to the story later. Given that the next (chronological) memory sees Sonia fall victim to an unceremonious death by chiropractor, it feels like someone realized that Sonia really doesn’t do or say much in the scenes before she dies and threw together the tea party scene so players would have at least one moment to look back on fondly when she’s fridged. But I digress)

The story told in the dragon’s tears is a highly linear one. But the open-ended nature of botw’s memory system remains, meaning that these tears can be found and viewed in any order. At first this doesn’t seem so bad, since the first two tears you’re likely to find if you follow the game’s intended path are also the chronological first and second of the memories you can discover through these geoglyph tears. But after those first two, the game kinda gives up on guiding you towards these tears in a way that flows well with the story they wrote: the closest tear geographically to the two the game initially guides you towards correlates to one of the penultimate scenes of that entire storyline, while the next scene chronologically is found almost halfway across the map. As such, it’s all but guaranteed that you’ll spoil yourself in some way without using either a guide or the (somewhat unintuitive and never fully explained by the game) little map in the forgotten temple. Finding memories in order didn’t matter so much in botw because the scenes you could find still worked well as standalone scenes before you discovered every memory and pieced together the full picture, and the game is never trying to surprise me about the characters’ fates at the end of this storyline: hell the first memory you’re guided to shows the calamity striking. But in contrast, viewing a dragon’s tear at the wrong time can completely ruin the story they’re trying to tell in those cutscenes. During my playthrough, for example, the first tear I found after the game stopped guiding me to them showed Ganondorf removing Sonia’s stone from her dead body. At this point I had known Sonia existed for all of like an hour, so every subsequent appearance she made was ruined for me by the fact that I already knew she was nothing but cannon fodder to be killed off for the sake of another character’s pain (Rauru and Zelda a-fucking-gain). I expected to be pissed that it was so easy to spoil myself, or maybe sad in passing that a character with her potential was so underutilized, but instead I just felt… tired. I wasn’t even halfway to the first settlement and already I was completely numb to the story the game was trying to tell.

But the worst was yet to come. And oh boy was it ever a low point for storytelling in the Zelda series. Remember how I said up above that the memories in botw had no connection to the story in the present? Let’s just say the same cannot be said for the dragon’s tears.

It’s May 2023. I’ve just finished the sage of wind questline. I still have hope that the story the game is trying to tell will be good. Deciding that I’ll go to Goron city next, I head towards the Thyplo skyview tower to expand my map, catch a glimpse of a nearby geoglyph from the air, and glide over to check it out. This geoglyph shows me a memory that not only recaps the entire dragon tear storyline, but also ends on a bit of foreshadowing about Zelda’s fate that’s about as subtle as a brick to the fucking face. By exploring -the thing the game claims it prioritized above all else in the design of its world and quests- I’d once again been hit with spoilers for a major story detail.

My main objective in this game is to find Zelda. It’s the only driving factor behind my journey towards all these different regions. The current big mystery I’m supposed to solve is why Zelda’s causing so much hell for the people of Hyrule. I now knew exactly where she was and what the deal with her appearances in other parts of Hyrule was, and I’d found it completely by accident by doing something the game says over and over again that it wants me to do. Unlike with Sonia’s death, this time I was a mess of emotions. I was pissed the fuck off that this open-world game had punished me twice already for trying to explore. More than that, I was disappointed that a game I had been so excited to play, from a series I had so many fond memories of, had let me down like this. With every subsequent quest where the sages and I chased a Zelda I knew was fake to our next objective, and every NPC wondering where she was that I couldn’t tell the truth to, that disappointment grew. The entire rest of the main story was ruined for me before I had progressed past 1/4th of the regional quests and a third of the dragon’s tears. There was no more sense of anticipation or mystery. I finished the rest of the game with a bitter taste in my mouth and haven’t touched it again since.

Do I think this story could have been good? Honestly, I don’t know, and by now I don’t really care either (that’s a lie. I care so so much and that’s probably why I hate totk as much as I do). But it’s all irrelevant, because like Cinderella’s stepsister cutting off her own heel so she can cram her foot into a glass slipper that’s never going to fit, totk is sabotaged by the devs’ insistence that everything fit itself into a world they custom-made for botw. This isn’t a new formula that the series is following, it’s Nintendo slapping a new coat of paint on an existing skeleton, and I’m not optimistic to see what this particular approach has in store for the Zelda series. Especially not at the price they’re charging for it.