Mar 19, 2024
Roy Mustang would HATE Bosai, send tweet
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Roy Mustang would HATE Bosai, send tweet
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In retrospect, it’s absolutely incredible that the other Blights devote all this time and effort to off Ganondorf’s skill in genre-appropriate melee weaponry, how much he outclasses the Champions even as a bunch of split-up revenants, etc., and then Windblight just pulls out a fucking gun.
I feel like a bit of a ding-dong for not noticing this sooner, but the intro establishes a solar motif for Zelda.
First, our introduction to her, when she appears in Link’s dreams as a distant star:
And then when she speaks to Link as he’s leaving the Shrine of Resurrection, when the shot literally transitions her distant light into the light of the sun coming from the entrance to the Shrine:
I feel a bit silly for not calling that out during my playthrough when I first talked about the Deku Tree comparing Zelda’s smile to the light of the sun, but then again, I didn’t start explicitly looking for celestial/planetary symbolism until I was a few Shrines deep and was like, “Huh, those Sheikah Monks sure do love outer space, don’t they?”
I wonder if the Gerudo’s preoccupation with sun symbolism in their art/weapons signified their allegiance with Hyrule over time, particularly since it seems like the moon was more important in “ancient rituals” but fell out of favor over time. By Link’s era, the only traces of these moon rituals left in their cultural memory are that one of their more popular weapons was based on the shape of these ancient ceremonial swords. It makes sense that Urbosa’s weapons would have the most big honkin’ obvious solar motifs (”Daybreaker,” anyone?) due to her loyalty to Zelda being one of her defining traits.
It also makes me curious about whether TotK could elaborate more about the sun/moon contrast between Zelda and Ganondorf. It might also finally explain why Ganondorf chose throwing a shadow over the actual moon in a mini-eclipse as one of his chief instruments of revenge. If the moon was really of immense cultural/religious significance to the Gerudo before they were fully annexed into Hyrule, well, there are some interesting implications in using it as a ritual tool.
Everybody drawing Ganondorf in the Voe outfit as if upon visiting the GSC he wouldn’t immediately pick the Glow-In-the-Dark Skeleton Luchador costume.
I know there’s a lot of controversy over the English translation of Zelda’s lines about Ganon, but there’s something that kinda cracks me up about the giant boar being his “pure, enraged form.” Like his purest state only comes out when he’s Big Mad.
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Thinking about how the really slow fireball you assume is the Dead Man’s Volley but is actually Fireblight’s “big explody ball” attack looks like a collapsing star going supernova. Fireblight’s fight actually had a lot of astral symbolism, what with the high temperatures and flaming spheres and big explosions. I’d say “solar,” but that feels like something specifically reserved for Zelda herself, and the dark room at the beginning of Vah Rudania seemed to evoke the distant stars lightyears away in space instead of our closest one. Even though Fireblight is hot and bright, it’s a (metaphorically) cold and uninviting sort of heat and light, more of an full-power industrial furnace than a warm hearth.
I also do think there’s something to how Calamity Ganon spends a good porition of the fight crawling around on the ceiling, as the mural on the walls of the “Laboratory” depict the horizon of Hyrule and the heavens above. If, through his abilities gained through use of Sheikah magic/technology, Ganon is deliberately invoking the cosmos, it makes sense that he’d see the heavens as his domain.
...Ganon...wants to go up to the heavens. Calamity Ganon was echoing that wish, by trying to go “up,” maybe? Calamity Ganon is found in the highest part of Hyrule Castle, he figuratively “goes into the heavens” during his boss fight, and then in the sequel he tries to force the castle up into the sky with his Malice. ...Why? Is he solely going after the Sky People, or is he trying to go to space? Is this a La-Mulana sort of situation where he wants to “go home,” or to where he feels he belongs, by trying to go up among the moon and stars he’s so preoccupied with?
God, Hyrule Castle’s ruins are just so lonely. Apart from a handful of Lizalfos wandering the library and a bunch of Moblins throwing a dinner party, it’s just the myriad little dolls Ganon’s possessing and the guy himself locked upstairs. Impa said Ganon was “well-protected,” but…he’s not at all being protected the way Zelda was. He’s appointed himself as the castle guard, and he’s just endlessly scanning the horizon or pacing around the walkway up the castle. The only sentient beings present barely even seem to know he’s there. There’s no sense he was ever really cherished by the people “on his side” the way Zelda was. There’s no Yiga Clan propping his horrible old cocoon on a nice pillow or surrounding it with food offerings for him to indulge in when he wakes up. He’s just totally alone, backed in a corner, trying to do a whole army’s job of defending himself.
Not to mention the genuine sad patheticness of this guy obsessively parking himself in the place that Zelda herself desperately wanted to escape. I’ve got a lot of feelings about that shot of Zelda looking up at her former home, which she’d felt more and more trapped inside to the point where she dreaded returning to face her father just before Ganon woke up, and that she’d been forced to become a warden of someone else in for the century since. And then that moment where she sadly turns away, trying to put the past behind her.
Given how Ganondorf’s isolated the castle even more in the sequel by hoisting it up in the air, I imagine the atmosphere of that miserable ruin is going to get even more depressing.
I just realized something while fighting the final boss. True to the planetary/celestial motifs of the game, Calamity Ganon is a big-ass nebula cloud.
Don’t believe me? Here’s the Orion Nebula.
And here’s the official render of the big man himself.