Another Zelda crossover! *May contain a teeny spoiler*

Another Random Connections of the Day!

This is going to be a short one – as I see/play more games, links between certain things are more prominent than ever, and it’s hard to imagine how or why they’ve been linked (huh) together. Like Majora’s Mask and Twilight Bar (the latter of which I may come back to – actually, scrap that, I will come back to), but here’s a little comparison of a side quest in Skyward Sword and Childhood’s End. Like the previous situation, the connections only go so far, but I think they’re quite interesting given the timespan between the two. That and it’s Zelda/Nintendo and Clarke – quite different in the grand scheme of things.

So… in Skyward Sword, there is a sidequest that does nothing much to aid the plot – as it suggests, it’s a way to prolong the replay value and give you more bang for your buck (imo something that the franchise sorely needs in such a linear set up). Batreaux is a demon who has banished himself from the townspeople as well, a demon wouldn’t get very far if he were to visibly set up shop in the human world. He is very aware of this and therefore suffers understandable loneliness from a human point of view (I guess in a Frankenstein-esque manner). We find him in our quest to find a little girl that had gone missing from the village, who comes by the shack to play with him and has no fear of him being obviously different in a physical sense. Clarke’s overlords promise to reveal themselves in the midst of a new generation, whose tabula rasa mentality allows them the freedom to adapt to the new species and not to be afraid of them. They are seen as “devil-like” in appearance, which would explain the reluctance to unveil themselves in human company.

Where it does differ starts from the origins of the creatures. Zelda generally runs off the genre of fantasy, and in this case Batreaux needs gratitude crystals by completing sidequests in order for him to revert back to a human form. Actually, from what I can remember, since we’re in Skyloft now – does this mean they’re human? Anyway, creatures similar to that of human. He is then accepted by the community and he can do well for them… and well, the end is history. He’ll leave the main stuff (well everything) up to you anyway, although he gives you somewhat helpful items.

The overlords of course, do not turn human, although they do exhibit their own brand of kindness as they protect earth’s civilisation. In fact, I think the similarities can stop there. However, I do feel that there may be something stirring that may create another (if strained) link. As the overlords are restrained themselves in a previously unknown hierarchy, they can be seen to provide for humans as much as a parent would do for their children. This could be seen as a reflection of the fact that they themselves are at an evolutionary dead end: “Yes, we are the midwives. But we ourselves are barren.” (Clarke 206) In fact, Batreaux and the Overlords have an envy for humans, albeit in a different way:

“When our race is forgotten, part of yours will still exist. Do not, therefore, condemn us for what we were compelled to do. And remember this – we shall always envy you.” (Clarke, 217)

Isn’t that worrying, in a way? For some reason or other, “aliens” or creatures of alterity (?) always have a fascination with humanity and their attention, whether it’s for their acceptance or a certain aspect that they desire in us. It’s a slightly settling idea in such a distanced view of humanity, I guess, and of course it’s not always the case. Quite a few of them don’t like us and still drop us a disparaging visit, but hey, how else could we write about them…huh.

Random Connections of the Day

Since my mind likes to join up things that would not usually be considered “sane” in the grand scheme of things (which is probably why, coincidentally, I enjoy science fiction), I would like to present connections that tend to pop up in my head without barely any noticeable thread of thought leading up to said conclusion.

This week was of Koestler’s science fiction play Twilight Bar and the N64 game in Legend of Zelda: Majora’s Mask. The similarities are not precisely mimetic, but there’s enough relation to make the post somewhat relevant.

  • Both include the theme of the world potentially ending in 3 days if not for the help of human/hylian agency.
  • External agencies are also in play that make this rather arbitrary period of time  – the mask in Majora’s mask (who’d have thunk it) as well as the aliens in Twilight Bar.
  • The aliens (in the bizarre plot method to show their “otherness”) refer to cows as dragons, whose milk has the intoxicating effects of alcohol. In Marjora’s Mask, the cows are stolen by aliens at a specific time each night, and a special bar “for adults” is available for drinking said milk.

Seeing as Twilight Bar was written in 1945 by a Hungarian born author and Legend of Zelda: Marjora’s Mask is part of the notorious Legend of Zelda series published by Nintendo, a Japanese company, released in the UK in 2000, you wouldn’t initially see the connections (in my case, anyway). It can also make you think about the ways in which Zelda is typified (as it is very linear and formulaic, but with its own unique plot device in each offering).