any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before
i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig
from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.
the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.
as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.
I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.
The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.
In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.
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Hello! Are you still doing requests for the drabble game? (If not it's still okay!!)
I've been browsing the milgram tags and I keep seeing your drabbles here and there and I've been so in love with each and single one of them. You characterize them in a way that feels so canon I wish it was actually real. Your stories are such a delight to read!
I'd like to request Lies + Kazui and Yuno, or Kazui with anyone really. He's been a liar through and through and I'd like him to talk with someone about it, and Yuno's the only other prisoner who can truly understand him. Especially with Kazui's trial going on and him leaning guilty, he would be more antsy than usual. (But if there's another scenario you'd like that's totally fine as well ^^) Thanks!
Aww thank you so much, I'm so glad you enjoyed! :D And thank you for the request, these two are so interesting !! I imagine that Kazui can tell from the voices he hears that he's leaning guilty, or at least very close in the middle. Here's him and Yuno, following an instinctual lie that she just can't leave alone...
“I’m doing fine,” Kazui said, perfectly accustomed to lying about himself. He was used to putting on a smile when his insides were yanked into knots. He was used to ignoring signs under the surface for the sake of others. There was one thing he wasn’t prepared for, though, and that was Yuno Kashiki.
“Mmm, no you’re not.” She said matter-of-factly. She braided her hair in a complex pattern, hardly even looking at Kazui. Instead, her eyes stayed fixed on the tiny handheld mirror she’d propped up on the table in front of her.
It wasn’t the first time she’d caught him in one of his lies. She’d been merciful in the past, allowing the group to laugh it off and move on. Now, in private, she seemed much less forgiving. She wasn’t the only one in an unforgiving mood (which, conveniently, brought him back to the root of the problem.)
“What are you doing with your hair?” He peered over from behind. “It looks nice -- what’s the occasion?”
Her voice lilted as she said, “oh, well I’m so glad you asked! I’m celebrating the day that prisoner number seven tried and failed to hide his true feelings from me after I asked him oh-so politely how he was doing!”
He returned her smile with a pained one. “I’m not hiding anything. I’m doing as well as any other prisoner. Better than most, for that matter.”
She returned to her task. “That’s a pretty low bar.”
“Heh, I guess.”
“So? What’s eating at you?”
“Just annoying young women who can’t leave an old man alone…”
He thought they could leave it at that. Yuno disagreed.
“Come on, it’s just us. Be honest.”
After a pause, he furrowed his brow. “Why?”
Yuno wasn’t the nosy type. She could have probably gone through all three trials without knowing a single thing about the others’ sins. She’d been even more solitary this trial, forgoing the usual gossip and conversation. For some reason, she seemed unmovable on this request.
She caught his gaze through the mirror. He could only see one of her eyes, but from her angle she probably saw most of his face. “Because it hurts, to lie.”
It did. It had hurt for years. Even when his act became second nature, when the words flowed easily and his body moved without pause, the truth was still somewhere deep inside trying to eat him alive. Here in Milgram, he continued to feel its ache. Now, on top of the same old lies, he was trying to play the part of the calm and collected adult. Yuno was right about the bar being low -- the prisoners were in a sorry state. He had to be strong for them. She herself wasn’t doing well; despite the airs she put up, she was struggling just as much. (She wasn’t the only one who could pick up on someone else’s well-worn mask.)
So he couldn’t be honest and falter in front of her, either. Aware that his silence would be equally telling, he asked, “are you speaking from experience?”
“I’m not letting you change the subject,” Yuno pursed her lips, “but I’ll never miss an opportunity to talk about myself.”
She shifted in her chair, now turning away from the mirror to look at Kazui. He was taken aback with how smoothly the confessions spilled from her. “Yes, I know firsthand what it’s like. I know how much it hurts to lie to someone who loves you. I know what it’s like to wait until the last moment to say something, realizing it’s too late, and you’re screwed. I’ve had to cover up my pain in front of others, pretend like it’s all fun and games when it’s clearly not. And most of all, I know what it’s like to be caught in the middle of the warden’s judgment.”
“I don’t know what you mean.” He did.
Being named guilty is the worst fate for a lot of reasons. The thought of being forgiven, though, felt worse. There was no winning. Just another thing to claw at him from the inside out.
“It hurts, Kazui. I know you feel it. I realized how much all that secrecy tore me apart inside, so I came completely clean to the warden during my interrogation. I thought maybe it could help you, too.”
His expression softened. As much as Yuno wanted to be independent of this whole situation, there was always a part of her that wanted to treat others right. Seeing her intentions were pure, he felt himself relax under her gaze.
“Telling them the truth… and being forgiven afterwards… will it help this ache, then?” He placed a hand on his chest. It was easier to direct his questions at her, but it was clear he was curious about his own fate. “Do you feel at peace now? Can you forgive yourself?”
She turned back around. Her eye watched him from the mirror once more.
“Yes,” she told him, and Kazui knew he wasn’t the only liar here.
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