Trigger

If we’re giving him every item then he also has multiple items that can match Mario’s invincibility star. The Magical Armor from Twilight Princess and Nauru’s Wisdom from Ocarina of Time come to mind. He also gains a number of hax abilities that make the fight even more unfair, like the ability to rewind time.

Assuming you only meant physical stats, Link still gains all of the training that SS Link went through and all the techniques that the Hero of Time developed.

If we’re giving him every item then he also has multiple items that can match Mario’s invincibility star. The Magical Armor from Twilight Princess and Nauru’s Wisdom from Ocarina of Time come to mind. He also gains a number of hax abilities that make the fight even more unfair, like the ability to rewind time.

Assuming you only meant physical stats, Link still gains all of the training that SS Link went through and all the techniques that the Hero of Time developed.

If we’re giving him every item then he also has multiple items that can match Mario’s invincibility star. The Magical Armor from Twilight Princess and Nauru’s Wisdom from Ocarina of Time come to mind. He also gains a number of hax abilities that make the fight even more unfair, like the ability to rewind time.

Assuming you only meant physical stats, Link still gains all of the training that SS Link went through and all the techniques that the Hero of Time developed.

If we’re giving him every item then he also has multiple items that can match Mario’s invincibility star. The Magical Armor from Twilight Princess and Nauru’s Wisdom from Ocarina of Time come to mind. He also gains a number of hax abilities that make the fight even more unfair, like the ability to rewind time.

Assuming you only meant physical stats, Link still gains all of the training that SS Link went through and all the techniques that the Hero of Time developed.

Then if you took somebody out of that society, it would be a huge shock for them. They would have to develop their own identity inside their mind.

1) If you want a story to be good, it has to be internally consistent, and it has to be satisfying. If the scriptwriter really wants Mary Jane to beat Galactus in a fistfight, they need to stack up advantages for MJ and situationally weaken Galactus to the point where the audience believes it. A bunch of comic writers kinda forgot that part throughout history, and that's led to some really frustrating sequences for readers!

2) "Could X beat up Y" is a game. The rules are, you can pull from anything the character has been shown to do to demonstrate that they're able to do bigger scarier things than the other character, or to show that the other character has certain weaknesses your person could exploit. Sticking to these rules means you get stuff like Homelander (The Boys) vs Sportacus (Lazytown), which is a massive stomp in Sportacus' favor. Sticking to the rules means that with a tiny bit more work, you get way, way more interesting results!

Detective Gordon, watching as he walks by, being transported to twenty years prior when he was a rookie cop first on the scene for the Wayne murders and finding a shocked eight year old little boy standing in a puddle of his parents’ blood. Remembering how he wrapped his jacket around him and carried him away in a hurry, tucking his face into his shoulder and whispering, “Don’t look. You’re going to be okay, I promise you’re going to be okay, just don’t look.”

Gordon watching as the supposed playboy billionaire Bruce Wayne does everything he can to comfort Dick Grayson, this little boy from the circus he’s never even met before, because he knows exactly the kind of pain he’s going through in this moment.

Eight year old Bruce letting out the most distressed sounding sob Jim has ever heard. Bruce gripping the shoulder of Jim’s shirt, crying out, “Mommy!” while Jim holds him tighter. Bruce trying to look back towards the alley, still calling for his parents, but Jim tucking his face back into his shoulder so he doesn’t see their bodies.

“Just don’t look,” Jim whispers.

Twenty years later, Bruce carries a shocked eight year old Dick Grayson out of the circus tent, rushing to get him away the sight of his parents’ dead bodies. Dick not letting go of him even as Bruce tries to set him down on a bench. Dick coming out of his shock with a shaking, rattling breath and a choked back cry. Bruce whispering to him, “It’s okay if you cry. You can cry as much as you want, chum, I’m not going anywhere. It’s going to be okay.”

Dick letting out the most distressed sounding sob Bruce has ever heard. Dick gripping the shoulder of Bruce’s shirt, crying out, “Mommy!” while Bruce holds him tighter. Dick trying to look back towards the tent, still calling for his parents, but Bruce tucking his face back into his shoulder so he doesn’t see their bodies.

Six months later, Jim Gordon meets Batman at a crime scene only to find a brightly coloured, suspiciously familiar masked kid struggling in his arms to get at the bound criminals

Jim slowly raises an eyebrow

Vigilantes are one thing, but kids?

Batman gives him the most helpless shrug imaginable and slings Robin over one shoulder

“This one’s personal.”

The kid spits half a dozen words Jim couldn’t even guess the language of, but they’re clearly obscene

It takes a grand total of ten minutes to make the connection once the rap sheet comes in; an open case at the circus, a shaking boy, an all-too-familiar pain

Jim is suddenly so, so, so grateful that he picked up Bruce Wayne, pampered son of socialites

At least that little boy took a decade to grow up before taking the law into his own hands

Another six months later, Jim Gordon and Robin are debriefing on a rooftop when the kid casually shrugs and tosses a french fry at a seagull

I have not managed to find anyone who thinks that in the wild, but it is so damn funny.

*crash!*