Gigi. She/her. Millennial AF. I write/draw for LoZ mainly, currently also into SpyXFamily, Dunmeshi, Frieren and Dandadan! https://linktr.ee/ZeldaDiarist
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Chapters: 23/?
Fandom: The Legend of Zelda & Related Fandoms
Rating: Mature
Warnings: No Archive Warnings Apply
Relationships: Link/Zelda (Legend of Zelda)
Characters: Link, Zelda (Legend of Zelda), Original Characters, Original Hylian Character(s), The Sheikah, The Gerudo, Gorons (Legend of Zelda), Zoras (Legend of Zelda), Original Legend of Zelda Character(s), Hylians (Legend of Zelda)
Additional Tags: Alternate Universe - Modern Setting, Original Character(s), Original Fiction, modern hyrule, Urban Fantasy, Canon Compliant, Gerudo Link, Nerd Zelda, Post-Botw Hyrule, Childhood Friends, Male-Female Friendship, Friendship, Friendship/Love, Friends to Lovers, Road Trips, Awkward Romance, Family Dynamics, Slow Burn, Domestic Fluff, Worldbuilding, Alternate Universe - Modern with Magic, Modern Royalty, Legend of Zelda References, Sheikah Culture, Link (Legend of Zelda) is a Dork, Family Shenanigans, Past Relationship(s), Living Together, Alternate Universe - Bodyguard, Plebeian Princess, Dorks in Love, Falling In Love, One True Pairing, secretly in love, Yearning, Longing, Unresolved Sexual Tension, Unresolved Romantic Tension, Idiots in Love
Summary:
UPDATE TIME YES,YES! I hope you enjoy this chapter.
Huge thanks to @mistresslrigtar for being my beta reader, I wouldn’t have made it with her insights.
Black ppl deserve to feel safe and welcomed on the internet, on fandoms on whatever community or hobbies they want without having to deal with antiblack racist attacks, microaggressions or enablers of antiblackness . And if u genuinely consider urself to be left leaning or an ally or woke you should do and try to unlearn the colorism, texturism , eurocentrism and antiblackness
When the royal girlie squad is chilling at a Hyrule Castle ball and overhear some arrogant prick Lords whispering about Zelda.
Little Lady Neisha: "Mother what does that voe mean by "taking Auntie Zelda to wife??"
Chief Sajani: "It means it's time to fetch mummy's scimitars."
Zelda *hears this shit on a daily basis*
If you have a fucked up sicknasty fanfic you've been thinking about sharing but are unsure, this post is your sign to run to AO3 and Just Do It:
1. Someone somewhere wants to read it. Even if it's only one person, that person matters
2. Your creativity matters and so does your ability to share it
3. Serial harassers in fandom spaces are beginning to express discomfort that sites like AO3 completely strip their ability to do anything about fic they don't like, sometimes going as far as leaving entire fandoms due to the influx of "problematic fiction without a chance for consequences to the author". Posting your fanworks to AO3 actively contributes to making harassers feel unsafe and powerless in fandom
4. Militant anti-fanfic content creators also cannot do anything about fic posted to AO3
5. You can post anonymously to AO3, with the ability to de-anonymize at any time
6. You can moderate comments before making them visible on your fic, restrict comments to logged-in users only, or turn off comments altogether, meaning you can post anonymously and completely turn off comments if you choose
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Alright, one of the regular compliments I get on Goddess of Secrecy and now on Mark of a Hero is on how my dungeons feel like they could be in the games. It's still one of my strengths, so I figured I'd actually try to write thoughts down. I have never documented this process so please understand a whole lot of it is just ✨ vibes✨ and then piecing that together into something coherent.
Not to give homework, but I think the Deku Fortress (the first dungeon of GoS) still holds up roughly to my current standards and it's a quick read to get to relative to the other examples in my repertoire. I also have a particular naming convention for my works, so you can very easily jump to Dungeon Chapters & Boss Chapters via the index.
Concepting
I talked a lot about in a post I made on MoaH's dungeon design what I think the point of LoZ dungeons should serve as but I'll sum it up here. A dungeon has three goals narratively:
Advancing a local/character plot
Advancing a regional threat arc
Advancing the grand quest arc
If you want a really good example of this in games, Dragon Roost Caverns from WW is a prime example. I talk about it in the linked post above as well.
Starting your own, I recommend picking two of three things before you get into it:
An aesthetic
A boss and/or mini boss
The dungeon's relic
These things should inform each other and are the barest place to start before design. The aesthetic will generally decide the vibe of exploration, while the bosses determine the means of combat and likely your minions throughout the rest of the dungeon. The relic will engage with both as a puzzle solution. And typically if you can figure out two, the third will follow after.
Debatably, dungeons through an original legend should be concepts to connect together as a series of trials to build your hero up towards their final fight. It also depends on if you want to imply whether the dungeon order is linear or not how that will turn out. Having solutions only focused on general mechanics/exploration can lean more open world, while puzzle solutions that use focus on items or require items from previous dungeons will lean towards a linear narrative. Both are valid, but it's good to decide on one or the other before making a dungeon list and order.
Designing
I cannot emphasize enough in this step, but make maps. They don't have to be detailed maps, but figure out your spatial stuff. I wrote all of GoS without any maps and boy, let me tell you. The jump to having them for MoaH was night and day.
Generally, the recommendation here is to look at TTRPG dungeon design or escape rooms. If you got stuck doing this puzzle with other people/reliant on other people's pacing, what would be enjoyable to follow? Because unlike in the games where you are the player, in books, you're limited to the pace of the POV character.
There is also the limitation in writing of the reader's imagination. Complex puzzles are great and all in games, describing it in a way people can imagine is harder. Without the visual and interactive elements of games, easier puzzles are better because most people can picture the basics. As anyone who has played a TTRPG before can tell you, a puzzle for a 3rd grader will absolutely stump an adult if the setting or size of the puzzle makes them miss the important elements of it. You do not need to design complex traps and puzzles (in fact it will often go poorly).
This is also where that aesthetic decision can help. A relatively simple dungeon can absolutely be carried by an interesting location. Are there lore drops to be found in the dungeon? Is it just a cool space to explore? Is the means of backtracking post-relic something the reader can piece through as the character(s) explore it the first time? There should be hints on how these aspects will link together before the end.
I will get into this with relics as well, but it's a good idea to keep an inventory of your character(s)'s abilities before going in. Is your hero traveling alone? How many relics do they have? What resources did they bring into the dungeon? This can help inform solutions too by eliminating what your hero doesn't have access to.
Writing
Pick a pace of chapters. There's a reason that dungeons are consistent in their chapter length for GoS & MoaH. They're aimed to set the tone for how long the dungeon should feel. I'm going to use both as examples for outlining everything I haven't already said in previous sections.
GoS has two types of dungeons: Goddess Temples and Sage Dungeons. The Goddess Temples were designed to be shorter "tutorial" dungeons, the formula being 2 Dungeon Chapters + Mini Boss + 2 DC + Boss. Compared to the Sage Dungeons, which were 3 DC + MB + 3 DC + B. The Sage Dungeons also typically got a Mini Dungeon and Mini Boss to reach the dungeon itself.
The goal of this was to suggest size and difficulty. GoS was meant to parallel OoT in a lot of ways, the Convergence timeline event to the "Divergence" event that was the timeline split. So the Goddess-Sage split is meant to mirror the Child-Adult dungeon split. Once GoS!Link pulls the Master Sword, things got harder, the challenge leveled up, dungeons got longer and more complicated.
Conversely, MoaH's dungeon design was based around BOTW/TOTK and my general response to it. MoaH's dungeons are designed around the idea of having a series of shrines that build to a larger dungeon puzzle in a region. The split here will be a single dungeon chapter and Mini Boss at a time, but three or four trials before leading to the culmination of four dungeon chapters and a boss in the main temple combining the relics and puzzles from the trials.
In both cases, good divides for dungeon chapters are typically switching between floors, puzzles being cleared, or to break for backtracks to other wings.
Bosses & Mini Boss
The top of this, I want to say that the power scaling will not always be right. Nintendo doesn't even always get this right. Sometimes the Mini Boss is harder than the Boss. Obviously aim otherwise, but trust it's fine if it happens.
There are a goals to aim for with trying to keep that balance:
The difficulty of the puzzle
The tools necessary to solve it
How easy it feels like the hero lands a hit
Generally, a mini boss fight will rely on the tools already at the character(s)'s disposal while a boss fight should rely on the dungeon's relic. Both should incorporate parts of puzzles already in the dungeon itself, either in getting to the dungeon or in progressing through it so far.
It can help to look at boss fights as puzzles on a timer. The timer is how fast you hit it before it hits you harder. But that also should help pace the three stages of the fight. The first phase should be the longest, it's puzzle-solving first to see how to hit the boss. Stage two will likely be shorter, as that knowledge is reapplied. It's the same solution but with some added retaliation. Stage three should make the solution slightly harder to reach by adding that final hit glowing red desperation energy.
You want to make sure that hitting a boss monster is challenging but doable. This could be done by letting the hero get hit, focusing on coordination tactics, or having a failed attempt and having to retry. While never gets hit heroes are impressive in games, they can't build tension very well in stories. If there's no risk after all, then the reward won't feel as earned. At the same time, if there's too much risk, then it may feel like your hero is not competent enough to handle the fight. The character(s) should figure out the mini boss's weakness faster than the boss, or the steps to hit the mini boss should be easier to achieve than the boss.
If you want to come up with a new enemy and not reuse an existing one, I'd recommend picking two plants or animals to smash together. Generally, it only takes two or three off character traits for a chimera to start feeling like a monster. Too many elements though and the design may not read well to your reader (unless the point of it is to be unknowable or absurd). Your bosses should fit the aesthetic of your dungeon too, so if you're running short of ideas, trying looking what might live in the kind of environment that your dungeon is and you'll probably start getting ideas. But also, sometimes the answer is just rule of cool.
Relics
Relics are the best part of a Zelda game for me. They add a lot of fun to problem solving and reexploring old areas. They culminate to decide on the general skillset of your protagonist and dungeons serve in part as tutorials to learn how to use the relics in all its possible uses.
A relic should be the primary puzzle solution for a dungeon after its acquired. This is in game to experiment with its uses before the boss and experiment with its mechanics in lower stake situations. Most dungeons will have some no stakes mandatory puzzle in the mini boss chamber requiring use of the item before the character(s) can progress. And then it scales up from there to get creative and use the item with other tools at the hero's disposal.
While there are staples for sure (hookshot/bow/bombs/etc), most Zelda games will typically have at least one totally unique relic to that game. This is a great way to build your story's identity too! Your character's tools should cover a wide array of options, so it's important too to look at your relic list as a whole to make sure they don't overlap with other relics. It's also important to consider a relic having not only combat use, but also puzzle utility too! These are after all going to be used to get through the rest of your dungeon.
Companions
One of the harder things to balance is party comp. If your hero travels with other people, this can change the necessary scale of the dungeon as a whole. Puzzles and fights will need to be solvable with multiple people working together. Sometimes this can be expediting the issue, many hands make light work after all. Other times it's about strategically placing everyone on the map.
One thing you should decide early in is whether dungeons are intended to be solved with more than one person. If the hero is supposed to be handling their quest on their own and just happens to have a companion, then puzzles need to be solvable on their own (this may be better to implement the expediting method). Or you can make the puzzles quick, allowing for more dialogue while they solve puzzles faster.
If the hero is supposed to be traveling together, then puzzles should incorporate each of party member's skill sets. Be sure to add those to the inventory you take at the beginning of design! Rotating around party members solving the puzzles can help them feel like a team, but you can also incorporate this cooperation slowly if you're trying to build up a new relationship.
Based on Zelda tropes, it's very likely that the companion in question to a dungeon will be someone like a Sage. If this is the case, I would advise against making the character's abilities exactly the same as the relic. If the two are identical then it runs the risk of underselling them both. They can be similar, but they shouldn't be the same to make sure both have room to shine. Also so getting the relic at the mini boss isn't just your hero one-upping a companion. That's a quick way to making them seem less useful to a team! It's best to look at them as compliments. For example, if a dungeon gives the hero the hookshot to bring enemies in close, then having your companion be a fighter who deals with the monsters as they're getting dragged in to range would be a good way to highlight teamwork.
On the Grander Scale
As I said earlier, dungeons combined serve as the training montage that gets your characters ready for the final fight. But, as a narrative, they should share some central theme together to weave them together as a story. Maybe that's the overall aesthetic sharing some element, like the Divine Beasts and the Blights. Maybe it's a similarity in the bosses and how they appeared, like the echoes in EOW.
This is where making a loose outline can help. If you have a rough idea of the dungeon themes or relics you want to include, you can start to build a wider narrative theme you want to meet. Do you want your hero to feel more like a wizard? More magic focused relics may help. Do you want them to feel more like a tactician? Having more allies to coordinate could be the way to go.
And I do mean loose! For the entirety of GoS, I only had a list of dungeon names and some rough ideas for items I wanted to give Link. In the original outline, the Soul Temple was going to be kinda funky and disco themed. It ended up in narrative needing to be a much more serious late game beat. The same boss and relic was in the dungeon, but the aesthetic shifted to fit the theme I needed for that story arc. Your grander narrative can always come back to inform what kind of challenge your characters need to face in that moment. And that may change as you figure out the story.
I think that's generally it though. If I think of anything else, I'll add it in a reblog or edit it in, but generally applying all these elements should get you on your way to making some fun dungeons. Excited to see what you come up with.
A very atmospheric piece that explores how Princess Zelda feels trapped, not only physically within the walls of her tower, but by expectations. This story is filled with symbolism and references to Zeldas of other games, how she has both been a person that has experienced freedom as well as entrapment. Definitely worth a read! - bloobluebloo
The sensory language in this one is top tier as Zelda examines what it feels to be free and trapped within a cage. A short read filled beautiful imagery. - Schneeflakes
An evocative and poetic piece exploring a princess examining her cage. A short read but a good one! - amelias-hart
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the relief i feel when i see when i see art and art installations and architecture and interiors and just everything beautiful in the world in a post and the timestamp says it was posted before 2020
I think the best demonstration of Tears of the Kingdom's misogynistic treatment of Zelda is the comparison between its final battle and the final battle in Breath of the Wild.
While she doesn't appear on the battlefield to fire arrows herself in Breath of the Wild, it is nonetheless inarguable that Zelda consciously and deliberately assists Link in the Dark Beast Ganon fight. Not only does she create and give him the Bow of Light, but she also tells him that the malice covering Ganon's body makes him invulnerable to damage . . . and so she uses her power to draw the malice back to create vulnerable spots for Link to attack.
Link could not have defeated Dark Beast Ganon without Zelda's assistance. He couldn't damage Ganon at all without Zelda pulling the malice back to create vulnerable portions of Ganon's body. And that's not even getting into how it was Zelda who ultimately sealed Ganon once he was weak enough for her to do so, after she had already consciously and deliberately restrained him within the castle for a century.
Now let's look at Tears of the Kingdom. Tears of the Kingdom strips away the bulk of Zelda's agency. Setting aside how the events of the past relegate Rauru as the primary hero, with Zelda only going around to do clean up after Rauru has sealed Ganondorf underground, but Zelda's one big act is to turn herself into a mindless dragon. Yes, she does this to return the Master Sword to Link, and it works; but the moment she swallows that stone, she ceases to both be herself and have any agency at all within the story. Nothing she does as the Light Dragon is because it is something that she, Zelda, as a person, wants to do. And that includes when she shows up to help Link in the final fight.
Because while there is something to be said about subconscious desire, it is simply that: subconscious desire. It's instinct, and instinct doesn't require thought. In fact, instinct is the opposite of thought. She didn't think to herself, Link is in danger and I must help him, because I love both him and Hyrule. She didn't think anything to herself at all. If anything, she as the Light Dragon sensed a Demon Dragon and decided that fucker was in her territory and needed to go. Because Zelda essentially rendered herself an animal. She plays the exact same role in the Demon Dragon battle as Link's horse plays in the Dark Beast Ganon battle, and that is deeply insulting and disrespectful to her as a character, particularly given the role she played in the previous game.
And yes, we do know that it was all subconscious, that she had absolutely no thoughts or awareness of what was going on at all. She tells us this.
Compare this to what Zelda tells Link after Dark Beast Ganon is defeated:
Zelda was able to keep watch over Link. She chose to watch over him as he healed in the Shrine of Resurrection and then journeyed across Hyrule to help her seal Ganon away forever. Versus in Tears of the Kingdom, where she was asleep as a mindless animal. In Breath of the Wild she could utilize agency to choose what she did, and where she paid her attention. In Tears of the Kingdom, she had none and could not.
And it doesn't even end there, because let's compare how she's freed in both games, once the player deals enough damage to get rid of Dark Beast Ganon and the Demon Dragon.
In Breath of the Wild:
Screenshots really do not do this justice. This sequence, from the moment Zelda bursts out of Dark Beast Ganon's body to the moment she fucking atomizes him (well, seals him, but it looks like she fucking nukes him) lasts for a grand total of 1:36. Which might not seem like much, but it is when it's a game cutscene to finish off the final battle and Link isn't present for any of it. This is 100% Zelda's moment, to the point where it actually mirrors (in the beginning) the moment when Calamity Ganon swallowed her one hundred years ago (not realizing that he was dooming himself when he did, because once she was inside him she was able to restrain him in the castle) only for him to not be able to do it this time. Zelda stands bathed in the golden light of her own power and takes him the fuck out.
And in comparison, here is Zelda in the aftermath of the Demon Dragon battle:
Zelda doesn't return to her mortal body because of anything she thinks, wants, or does. Instead, Link, Rauru, and Sonia do that for her. And she's completely unconscious for everything in the following sequence; Link has to save her as she falls out of the sky, and doubtless would have died if he hadn't. Whereas she had full agency to shut Dark Beast Ganon down in the climax of Breath of the Wild, she has absolutely no agency at all in the climax of Tears of the Kingdom.
And don't get me wrong, the ending sequence of Tears of the Kingdom is beautiful. That last screenshot there is gorgeous. And just like Breath of the Wild paralleled the moment Calamity Ganon swallowed her (and then she restrained him) in the final battle, this ending sequence parallels Link trying and failing to catch her at the start of the game. I, too, was moved by Patricia Summerset's performance as Zelda realizes what Link has done for her (it was some of her best acting as Zelda; you could hear the tears in her voice), and as a Zelink shipper, the "felt a warm, loving embrace" line really gets me. I get all of that.
But we can't ignore the vast difference in Zelda's role in these two games and, specifically in this case, their climaxes. No, female characters don't have to fight and be physically powerful to be strong characters. And in fact, it's easily argued that Zelda isn't a fighter. Link is the one who fires the arrows from the Bow of Light, after all; he's the one that deals all physical damage to Ganon. But setting aside how Zelda assisted him with restraining the malice and then did the final sealing, what I'm highlighting here is less her literal actions and more the fact that she was able to make them at all.
Character agency is their ability to make decisions and take actions within the narrative. In Breath of the Wild, Zelda has extraordinary agency within the narrative. It's her story. Even in the flashbacks, when she was drowning under the pressure of her responsibilities and Rhoam restricted the actions she was allowed to take (i.e. banning her from working on the ancient Sheikah tech), she still made her own decisions and took actions independently within the narrative. She routinely ditched Link before she warmed up to him. In the voice memories, it's made explicit that she spends little time in her bedroom because she spends all of her time in her lab instead. She's the one who sends Link to the Shrine of Resurrection, who returns the Master Sword to Korok Forest, and who finally makes her way to the castle and holds Calamity Ganon captive for one hundred straight years, while being conscious literally the entire time.
Tears of the Kingdom is the exact opposite. She's yeeted to the past against her will. Rauru makes all of the major decisions regarding how to handle Ganondorf, while Zelda passively makes suggestions. (The one time we see Zelda perhaps concoct a plan, it's one she made with Sonia that resulted in Sonia's death.) When Rauru sacrifices himself, Zelda goes and asks the past sages to have their descendants help Link in the future, and then turns herself into a mindless dragon as her one big act in this game, thus completely destroying her sense of self and any chance of agency she may have had in the rest of the plot.
There is a lot to hate in Tears of the Kingdom, and a lot that I, personally, hate. And let it be known that I have always been a hater; my "totk critical" tag started in the very first month the game was released, and while there's not too much in there, there's still enough to show that I've loathed the story of this game for years. And considering I play Zelda games for the story, my hating the story means that my hatred for this game runs deep.
But while there is a lot to hate about the story in Tears of the Kingdom, this is the aspect that I hate the most. Breath of the Wild, for all the ways in which it can be criticized, handled Zelda, as a character, phenomenally. Although the game tells you over and over that you have to save Zelda, and keeps harping about how Link is the hero of Hyrule (and Zelda's low self-esteem has her constantly talking about how he is Hyrule's last hope, and how he saved everyone, etc etc, completely downplaying her own accomplishments here), not only is Zelda the true protagonist of this story, but she is also, in my opinion, the most heroic character in it.
Tears of the Kingdom saw that, and then decided to do the complete opposite. Zelda was damseled once again, inarguably and so much harder than Breath of the Wild could ever dream of. Her role as the one who seals Ganon was handed over to Rauru, despite how that completely breaks the series lore (he should not have Hylia's power, Sonia should have had it, it makes no goddamn sense and it makes me so mad). Her agency is ripped away from her, and I can't see any reason for it other than misogyny.
I'm not saying that the writers sat down and said, "Man, we really hate women and treated Zelda way too well last time, let's treat her extra badly this time to make up for it." In fact, I would be willing to make a monetary bet that they think they did okay by Zelda in this game. The awful thing about misogyny is that it is so baked into the patriarchal fabric of our society that most people don't realize when they're participating in it. It sucks, but it's reality. And with it being reality, I can't see Zelda's treatment as anything but misogynistic in Tears of the Kingdom, particularly with how she was treated in Breath of the Wild. And the final battles between the two games demonstrate that better than almost anything else could.
We've just had a big burst of folks joining, so it seemed about time to make another hello post. So hello! Welcome to Expanding Hyrule, we're excited to have you! If you've found us, it's probably because of our Story Spotlights project, where we spotlight Original Legend works in our archive here on our blog.
The thing about this project: it's entirely community run! All of the positive reviews we share are collected for our whole community. Anyone can write them in. And so we need your help keeping this project going.
If you'd like to help us with submitting reviews for works we haven't yet been able to feature, check out the hub post for the project here on the blog or on our wiki.
But what if the work you want to leave a review for has already been spotlighted, you ask? You should still submit a review! All reviews get added to a work's page on our wiki for creators to see, but it also builds them towards Gold Star ⭐ status, which lets our community know a lot of people liked this work!
And if you wanted even more reasons to help us with this project beyond supporting our fandom community, in the winter, we run TBR Bingo with a chance to win art and writing commissions. Every spotlight review you submit counts as a whole ticket in the raffle! You've still got six months before that event kicks off, why not start reading now?
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chatgpt is a threat to the symbiotic relationship between fanfic writers and their betas. we are losing our traditions. eradicate the soulless machine and ask your friend who has a full time job and 3 kids to annotate your omegaverse fanfiction like any other responsible adult.
sometimes i think about the history of coffee culture in islam and how it spread like it’s so funny
discovered by sufis who decided it was a miracle from Allah since it allowed them to stay up late into the night for night worship
miracle beans = UNLIMITED DHIKR
cue scholars debating for years about whether it’s haram or halal and if it should be classified as an ‘intoxicant’ or not
fast forward to 16th century ottoman empire, where a woman had the legal right to divorce her husband if he failed to provide her with enough coffee
europeans called it the “mohammaden gruel” or “devil’s drink” bc they believed it to be a “bitter invention of satan and his followers”
fast forward to pope clement viii finally giving in and tasting it to see what the hype is about and then stating: “This Satan’s drink is so delicious that it would be a pity to let the infidels have exclusive use of it.”
pope clement viii then proceeds to BAPTIZE THE COFFEE BEANS
The coffee divorce thing seemed too funny to be true and it is in fact not true BUT there is a potential loophole in that if an Ottoman woman convinced her husband to conditionally swear that he would divorce her if he failed to provide sufficient coffee, it could theoretically happen in a specific case, although she'd have to provide proof in court of the lack of coffee, which seems tricky.
But IMO a conditional divorce pledge based on coffee is actually a funnier basis for a romcom than a generalized law.
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