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botwstoriesandsuch · 3 years

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Kip v Age of Calamity

For someone who writes tough shit on Age of Calamity, you sure don’t see me writing a better story. So maybe I should stop complaining and be satisfied with what was given to me.

...or...

...maybe we can dedicated a few hours of my time to spite an ask.

Even though the entire argument of “why are you mad if you can’t write a story yourself” is inherently flawed and pointless considering that’s the equivalent of telling me I should chug spoiled milk because I’ve never milked a cow, I’ll fucking step up to the plate here, I’ll put my money where my mouth is.

So here is Part 1 of your residential Kip approved rewrite of Hyrule Warriors: Age of Calamity. Or as I like to call it:

Ok so before I get into it, a couple things I wanna establish. First, I know I just said I’m doing this out of spite, but I’m actually also doing this for fun. I really enjoy and am passionate about the writing process, so if you were looking for an angry rant about how terrible everyone’s opinions are about everything, this isn’t that. I don’t think that I am a better writer than anyone, or than the professionals that made this game, or that I am somehow superior to Nintendo. I am someone with the benefit of hindsight, I don’t have the constraints of producers and mandated directives and executives rubbing their hands in the story to make it more marketable or dumbed down or any of the other chaos that goes into crafting a videogame. So while obviously I think the people involved in this could have done a much better job, this isn’t a bash to say, “look how easy it is to make a story” because there’s a ton of unseen drama that goes into development that I have the luxury of avoiding, and it’s a miracle that any games are coherent and enjoyable in the first place. I’m just a lil Kip doing a fun lil exercise.

This little series is also not going to be a fanfic. I’m going to be telling the story chronologically as if you were playing for yourself, but it’s going to be from my omniscient perspective because 1) I need to relate the story to the gameplay 2) That would take way too much time to actually make this into a fanfiction as it already takes a hell of a lot of time to even plan out the beats of this rewrite and 3) This is less going to be a telling of a story, and more of a fun little exploration on the Three Act Structure and The Hero’s Journey. In fact, I am going to try and keep the given story of Age of Calamity as intact as possible.

The general ending is going to be the same, the characters used are going to remain roughly unchanged, (there will be no new characters, or removal of characters) and characters that live or die and where they end up are going to be mostly the same with how the original game is written. I know, I know, we all would love to see the Champions die brutally or to get us that sweet sweet Link angst or to have a game with multiple endings. And even though I personally would change some of those premises in Age of Calamity, I’m going to strive to keep it all as intact as possible, just to prove wrong the misconception that the story was only bad because of the writer’s choices for the general arc. I am a firm believer that biggest weaknesses of this game are in its methods of conveying its story, a problem in the storytelling process, and not (necessarily/only) the story product itself.

If you want to use any of the ideas that I present, go for it! I release them into the public domain, I have no plans whatsoever to write a fanfic for this myself, in fact I already have my own separate Pre-Botw fic story that I am pouring myself into, so I give the people full permission to take these ideas off of me.

Alrighty! With all that out of the way, let’s get into:

HERE IS THE VERSION IN A GOOGLE DOC FORM BECAUSE TUMBLR HATES YOU MOBILE PEEPS

Spoilers! Obviously. I’m going to act on the assumption that you know the full story of Age of Calamity to save myself some time, capiche?

Ok so we start out the game roughly the same, with eggbot being chased and forced to time travel into a portal. But, there is going to be some important differences in details.

We have the part of the scene where Zelda awakens her powers, and at the same time, something else in Hyrule Castle glows with the same aura. However, this glow is not coming from the Princess’ Tower, but instead, the camera pulls back from the fields of Fort Hateno, sweeps over Hyrule (where you can see the Guardians and the sense of destruction and all that) and the camera eventually flies over Castle Town, then within the Castle, weaving through the halls, until the camera stop and focuses on the entrance of a destroyed room, slowly creeping in. It’s a room that’s been demolished, stone rubble from Guardian blasts ruin the floor and cave in from the ceiling, there’s a small fire in the corners of the room, and from the props that you can make out, it seems to look like some study or office of some sort. The room is small, but domed and circular, signifying that it’s of a bit more importance than you might think . The desks and books and all buried beneath this collapsed stone brick. But as the camera focuses on that pile of rocks, from within that rubble, you see that same glowing aura that Zelda has, glowing brighter and brighter until finally out pops, eggbot.

Now, you can have that same sequence within the game where he runs around all cute, the outter wall of the room is broken so eggbot can look outside and see the Calamity’s destruction. Then that cut to Zelda saying “I want to save...everyone,” and this is important because I need the fade in between Zelda’s line and the fade back to eggbot to wordlessly imply that he is hearing these words, something that’s already done pretty well in the original cutscene. Anyhow, then the Guardian Stalker pops from behind, prepares to shoot, and eggbot can escape into its little time portal, and then the malice follows or whatever.

However, I’m not gonna immediately cut to the title, but instead, we have the music build to eggbot’s little jump in a pretty climactic way. But then the music still lingers slightly, and rests in suspense, camera is still looking out the window where eggbot jumped. It pulls back, turning back into this room that eggbot emerged from. Music is still relatively silent. Then, from the corner, you see some of the fire suddenly catch onto something. Flattened between the rocky rubble, just a few feet where eggbot emerged, is a purple cloak, trimmed with gold, flapping just slightly in the wind. [Said flapping being what causes it to catch] The fire catches, burning through the cloak, and underneath it, is a fallen copy of the Sheikah tapestry of 10k years ago. Camera zooms into that art of the Calamity, music suspends, merge to title card, then the music hits that climax and BOOM, “Hyrule Warriors: Age of Calamity.” Main Theme plays. Let the opening title roll.

Now the reason I changed this slightly is because 1) I wanted to earlier set up some of the plot points that I have planned for this (some of which you might already guess or maybe not who knows *wink wink*) and 2) I think that the original opening could have been much stronger with its hook. Yes, the element of mystery is established with eggbot’s existence and that element of time travel, but then the opening immediately goes into saying “This is the tale of champions, a diminutive Guardian who traveled backwards through time, and the Great Calamity they faced.” So...you just dampened that hook you established two seconds ago because you explained it all. Sure, it doesn’t completely ruin it, but I think the impact would be much stronger if that text wasn’t there at all, and the music and hype of the tapestry moving and coming alive is all there was. I’d much rather that element of time travel just be explained through the cinematography itself, because you can already understand that perfectly with that scene where you see the portal lead into birds flying around a beautiful Hyrule Castle.

Also, the music in this game is fantastic! So letting moments that really let you soak it in, I think would be very beneficial. So now this scene serves as a much more effective hook before we get into the actual plot. The mystery of eggbot’s identity is heightened and left a bit more unexplained, you have this mysterious circular room that you’ve never seen before, and the set up of details that will eventually serve later revelations in the plot, cough cough.

Then you hit Chapter 1, Link gameplay, eggbot and the tower, that’s all the same. I got no changes for the story there, it’s a great introduction. However! I know my strength here is writing and I am by no means a game developer or designer, but I need, I absolutely need to add one aspect to the gameplay.

Near the end of the first stage, where there are those three moblins at the end, I want to add something that I’m going to call, a gambit. The game already introduced you to the special meter and “press a to use special attack” thing, but I want Impa and Link to use a gambit to defeat this last horde of moblins. Essentially, you press A to use your special attack, BUT, if another character is in proximity, the attack is even more powerful. Every pair of characters has a special little attack, that does tons of damage, and during said sequence, there are voiced lines, or at the very very least text boxes that comment on it. And with this gambit, while a regular solo special attack still does a lot of damage, I’m gonna nerf it slightly to encourage players to use this gambit feature.

Now, why did I add this? Because I need to better connect this gameplay to the story on more than an external “lets defeat this and go from point A to point B” type of way. I need something in the gameplay to better serve to the game’s main theme of “teamwork makes the dreamwork” and all that. The CURRENT gameplay, although absolutely fun and fantastic, just doesn’t do this. I need just one element to serve this theme while ALSO having the dual purpose of serving as character interaction. The current structure of Age of Calamity works where the sidequests and battle serve as your character interaction, development, and banter, while the cutscenes serve the main story beats, and important plot revelations. The cutscenes just aren’t crafted to support the weight of these dozens of characters while also giving them all interesting interactions, and that’s fine! So I’m just adding this feature to the gameplay, because being able to customize different lines for different characters for different stages that are voiced will go a long way into making the character development seem more fleshed out. And this gambit feature doesn’t necessarily change the way you play the game drastically, as you can still have four character slots and have them split up to take on the battlefield, but now you can split them off into groups of 2. And also, because I’m not completely blind to game design, the damage percentage boost of these gambit attacks will not increase as much, just slightly lower, than the damage boost of a solo attack when you level up. So what I mean is, when your character is weaker level, you are forced to rely on others in order to defeat your enemies, but, with the way the leveling up percents work, your characters can still reach a point where they can defeat big bosses all on their own without gambits. THAT way, when certain events happen in later chapters, when your character is all leveled up, (and maybe they awaken a sacred power or two) it feels all the more powerful when you can go off on your own. You can feel how your character has grown in strength because you can contrast it with your teamwork gameplay of earlier levels. AND it still highlights the importance of that theme of companionship, because you would never have gotten to this level of strength had you not relied on your friends.

OK, so the stage 1 ends with a gambit attack, Impa compliments Link’s fighting style or something that shows her admiration or respect for him. And then stage 2 for the Road to the Royal Lab is the same, but gambit dialogue for that stage is Impa complimenting Link, Impa being protective of Zelda, and since this is Zelda’s first playable area, Zelda’s gambit lines can be about kinda brushing Link aside like “I want to capable to hold my own in battle but thank you” to Link (cause I never really got that same “I don’t really like you” vibe that is established in botw for this game) and then to Impa Zelda’s gambit lines can be like “is this thrill what you always feel when battling?” and Impa is like “yeah isn’t it great we should do it more often!” and then you can allude to that with a sidequest for Zelda’s training or something. I just want to better connect sidequest stories with this stuff. And also, gambits are obviously optional so that’s why this is all just banter and character development and not actually plot points, and I’m going to stick with just one-on-one dialogue, although it should be theoretically possible to have gambit boosts of three and four, but I feel that would be too much as I don’t want to ruin the gameplay balance and encourage you to keep all four character slots close together, because splitting them up is an important part of the game. Anyhow!

So Chapter 1 is done, my changes being almost purely in the gameplay because this is the start of the story and the character set up is important. Chapter 1 to Chapter 2 is basically the establishment of the ordinary world, and in the Three Act Structure it’s basically Act 1. Act 1 is all about set up. I need to really focus this chapter on both introducing the player to the mechanics of the game, having them connect to the characters and the characters connect to each other through the gameplay, and I need to establish this tone so that when I rip it away, and change the tone during the threshold, it feels more meaningful and suspenseful.

As you can see from the diagrams, Act 1 has something called the Inciting Incident. The Inciting Incident is going to be the Yiga attack in Chapter 2, where our heroes first experience the true dangers of their journey, and there is no turning back. BUT I’m getting ahead of myself.

Chapter 2 is also exactly the same. I would literally change nothing about the Champion’s sections (other than my addition of gambit interaction of course) because they’re all pretty great. For the record, yes, evil egg is still a thing, and yes, Zelda and the gang can still discover those pictures of the Calamity in eggbot, yes you beat up Revali, and the Divine Beast sequences are the same. I just really need that gambit dialogue to help establish character relations. Revali quips at Link, Mipha protects him, Daruk is his buddy [I thought a cool gambit attack for Link and Daruk to better show that they are old friends could be them both chewing down on some rocks, before striking an enemy simultaneously. Because they never eat rocks together and I just want this ok] Kohga is the same, Sooga is the same, BUT, for that scene when you first meet Astor in the Yiga base, I need two things to happen. 1) The camera reveal for Astor starts at his cloak, which is intact and NOT tattered like how his design is in game. It’s a deep purple with gold trim, the camera pans up to the back of Astor’s head. Now 2) When the camera moves to look at Astors face, I need him to be standing in front of and staring solemnly at the evil eggbot. He’s frowning, and his eyes suggest something like he’s deep in thought of something in the distant past. That’s how the scene starts, and in the background is Kohga recounting the events of his failure to beat Urbosa and the gang. Then, Kohga can say something funny to annoy him, Astor’s face changes to your classic villain disgust. Then, he can get a bit pissed and go on his little rant about how pathetic the Yiga are and how the Calamity is trapped within the evil eggbot and how he will use his powers to end the Kingdom of Hyrule. Then he can take his little astrolabe and be all “My harbinger, show me the future!” and all that. IMPORTANT LINE CHANGE, Astor’s motivation here is not “The future, as it will and must be. I will not allow anyone to alter its course.” Instead, I need to tweak it slightly to be, “The future, as it was fated to always be. The pathetic stories and legends of children and false kings cannot waver this course. I will not allow it, for my sake…” camera pans to the broken evil guardian, Astor’s voice lowers just slightly. “...and yours.” The slightest, almost silent bits of the harmonies (not the melody) of the Hwaoc Main Theme play before fully fading back to Astor’s theme. And the final shot of that scene is Astor, looking down at the heap of Sheikah tech, with a neutral expression, but then looking back up at the malice stars, and the future visions of the Calamity. He just ever so slightly smiles.

[Also I JUST realized that the harbinger is actually slightly above Astor, because it’s supposed to show that the power dynamic is really Calamity Ganon is in control, so ignore the “looking down” parts I talked about, and just think in the broad direction of Astor looks at the guardian, and then looks further up at the ceiling with the Calamity and the future and then he smiles]

For that scene, I also need to remove any characterization where Astor is laughing and being joyous at the impending destruction, I only need that smile at the end. There is no villainous cartoon laughter, at least, not yet. Also the part where Sooga calls Astor a fool for thinking he can control the Calamity is GREAT I need that, that absolutely needs to stay in.

And then Chapter 2 closes off with that Yiga ambush. That’s the inciting incident, so I need the tone at the end to be slightly different. Instead of ending on that cute little thing where eggbot points angrily at Link, (like that part can still EXIST in there BUT) I need it to end on a more serious note.

Referring back to the Hero’s Journey, the Call to Adventure is the parts of each of the Champion’s recruitment. They each have their initial reasons for joining the fight, whether to protect their people, to feel validated for their skill, to get closer to the ones they love etc etc that’s all established in their respective stages.

This Yiga stage, however, serves as the official barrier between Act 1 and Act 2, the threshold between the known world and the unknown world, where the heroes prepare to seek out the obstacle that stands in the way of their goal. It’s important that this threshold establishes a sense of urgency, because that better gets you invested in the stakes, and helps the story's momentum to move forward. IT shows that the journey and adventure that these characters want/need to take is outside the safety of their home/known world.

In the original game, the threshold ends with that cute scene of eggbot and Zelda and Link and the Zelink vibes. That’s not bad, but it’s also not good. The momentum towards the later confrontation in Korok forest needs to feel more important, because this is a major turning point in the story. SO, I am going to add one more scene at the end. It’s just after the ambush, after the fires have died down, and Zelda (and in the back the Champions) discussing the events with the King. I want King Rhoam to a few things. First, I need him to kinda berate the Champions for falling for the Yiga’s “splitting them up trick” and leaving his daughter vulnerable. This 1) establishes doubt within the party, which makes for better uncertainty for the future and later internal conflict. This was supposed to be the dream team but the King is already kinda telling them off. 2) This also still characterizes the King as someone who cares for his daughter’s safety. That care for his daughters safety is layered in the subtext of him saying something like “Your priority must be to protect the only person capable of sealing the Calamity. You were so concerned with victory and glory in battle that you forgot that the fate of this kingdom lies on my daughter’s survival.” and blah blah blah. The King can also congratulate Link for keeping Zelda safe, and this is GREAT because that can add further to Zelda’s slight resentment for him, as he’s getting the approval from the King that she has yet to receive. But like overall the King is like “don’t leave my daughter alone cause she almost got killed if it weren’t for Link wtf.” and then that can also be a further excuse to hurry to korok forest to find the wielder of the sword so that they can better protect “not just the Princess, but the entire world,” something something fancy kingly dialogue.

Also when the Champions leave THIS can also be the time where Zelda gives that Sheikah device thingy to Rhoam and also where he sees eggbot. I know that happens a bit later, but for pacing purposes and for the sake of the story changes that I made, it better serves to place it here. That interaction itself can stay mostly the same as it is in the game.

So now, the threshold ends with a bit more tension. The Champion squad is powerful, but also has flaws in how they were split up by the Yiga, (cough cough I wonder if that serves the themes of the game in some way cough cough) and it’s not just “smooth sailing” into the search for the Master Sword, and the stakes are a bit rocky as we finally enter into the story’s Act 2.

= = = = =

And that’s Part 1 of my rewrite. Not really a lot, cause again this is mainly character set up, and establishing stuff, but personally I think it’s already a bit stronger than how Age of Calamity did it. Stay tuned for Part 2 either tonight or tomorrow, mwahaha.

Predict the future if you can...

#yes that is a allude to Nando v Movies #hwaoc spoilers #Hwaoc: The Kip Cut #honestly not TOO much rewritten for the First Act because the First Act is actually one of the strongest and best written parts of the game #hwaoc #age of calamity #hw age of calamity #hyrule warriors age of calamity

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botwstoriesandsuch · 3 years

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Sidequests are part of the story so it’s still my ballpark shut up it’s time for

Read Part 1 here!

Part 2 || Part 3

If you’re on mobile, and tumblr hates this post, follow along on this google doc!

Rules/overview this rewrite in the beginning of Part 1

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Side quests, side quests, side quests. What are they? And what are they doing here, on an Age of Calamity rewrite? I must admit, game design is not an inherent forte of mine, and I like to think that my only “expertise” would be on writing and storytelling. So what the fuck is a fool like me doing here

Well my dear ladies, lads, and gentlefolk, if your memory does serve, I did say that the format of Age of Calamity was one that served the major plot and story beats for it’s cutscenes, and its worldbuilding and good parts of it’s character development for its gameplay and side quests. It’s actually a concept that can be seen in shows and movies too, although obviously it’s origins are in TTRPGs and videogames. Definition wise, a side quest is any deviation from the main story and plot that serves to flesh out an optional/overseen aspect of the game. So there’s out perfect outlet for worldbuilding, characters, and even a bit of humour. Side quests, by definition, can’t simply be just XP grinders, because otherwise you could…..just make an XP grinder. It’s like saying you’re getting your kids a bike, but then you get them a stationary exercise one. Sure it’s functionally the same and gives the same benefits, but it could be so much more.

Does Age of Calamity have good side quests? I’d actually argue, yes. I mean sure, it’s not exactly gonna hold a candle to Fallout or Witcher 3, but there are great memorable side quests that do serve their purposes in this game.

A fan favourite is “The So-Called Knight,” in which Link spars Mipha, Teba, Sidon, and Revali, a conflict of the Sidon’s confidence and belief in Link, with Revali’s skepticism and grudge against him. Not only is it great fandom content, but it explores the carrying POVs of several characters in a fun way. We also have Hestu’s Dance Competition, and the Miss Vai Battle Pageant. What they lack in serious character tone, they make up for in humour and world building. Even the quests that have nothing to do with the main cast of characters, like the Questionable Escort Mission, still provide funny and interesting details about the world, like how the Yiga Clan is still ever persistent in trying to take down Link with monsters and Windcleavers alike.

It’s not like those side quests were functionally useless either, all of them still provided great amounts of exp and materials. What specifically made them great and memorable was their small little stories and character/world details. Of course, that’s not to say you can’t have the occasional plotless boss rush every now and again, those are fun in their own right and it’s good to have variety. But just thinking about it...what were everyone’s least favourite sidequests? The timed Yiga Escape? The ones where you sit around defending strongholds? The one hit death Hair-Width Trials? Ah...so all the least enjoyable side quests were the ones that were difficult, with no enjoyable character or worldbuilding to back it up….interesting interesting….interesting pattern indeed.

So, let’s improve the game a bit further. I do need to pace out my future character arcs somehow. I tried to make use of the existing quests where I could, but it’s just eaaaasier to just not think about it and do it from scratch. Just shove these in place of all those quests whose only description is “monsters have been spotted here! Take Mipha and go to work!” and stuff like that. Alrighty then! Here’s my take on cool side quests for every single character thus far, along with their paired gambit attacks. Prepare for heists! Drama! Simping! And Bananas!

Link: Mastering Stasis

Ok I have no idea when this quest unlocks so just for my purposes assume this only becomes available after Link pulls the Master Sword.

Engage the hordes of monsters that have been spotted in Hyrule Field. Now is a great time to master the use of the Stasis Rune. Impa and Zelda accompany you, but it seems stasised monsters aren’t the only thing coming to a tense standstill…

This isn’t anything that special, I just want to further highlight this tension that Zelda and Link have, as it’s something touched upon in Botw, but never really mentioned or used ever in Hwaoc. Now more than ever, Zelda has an excuse to have a rocky relationship with him because she could actively see just how far he’s coming in such a short amount of time. Classic “he probably hates me so I guess I’ll hate him” thing.

You play as Link, the game gives you your little prompts on how to use Stasis, you take out a few hordes of Bokoblins and blah blah blah. I wanted to use an earlier level to establish Zelda’s relationship sooner as obviously it’s gonna be important to the story. But of course like all side quests it won’t kill you to skip out. Text dialogue can be Zelda saying science shit like “This will be a good opportunity to test out the full limits of the Stasis rune” and then Impa’s all “Yep! We got your back, Princess! We’ll clear out these monsters in no time.”Then Link the little angsty shit that he is says nothing, and as you play you clear out more and more bokoblins Zelda just says “...” and then we can toss in a Moblin or two in there for gambit voice stuff.

Gambit dialogue with Impa would be supportive, her usual spunky dialogue. I had two ideas for Gambit attacks with Link: One where Impa does that thing where she cuts a giant laser through the air, but it’s aimed towards Link and he parries it right in a monster’s FACE because I think it’s badass and also a good way to show trust and stuff. The second thing was Impa’s giant bomb barrels, but Link is the one to somehow ignite them, because he is an arsonist after all. He can even have a chaotic Sheikah blue glint in his eyes like blue flame, I can already picture it so clearly given how anime/dramatic Impa’s movements are. Impa sets bombs, Link *teleports behind Moblin* nothin personal, kid.

Also right at the end of their gambit attacks, Impa and Link should try to fist bump or something (cause the whole “cool guys don’t look at explosions” thing that Impa usually does on her own) but are interrupted by eggbot jumping up to try and join in. And then Impa can be annoyed and try to punt it or something. That’s not just self-indulgent that’s in her character she totally would and I want to make use of the fact that eggbot travels around with Link. The success of her attempts to punt him can vary.

If Link does a gambit with Zelda, her dialogue can just be her usual monotone Princess stuff, “Thanks for lending your strength,” or “There is still much more to do!” just purely professional, we’re not at a stage yet where she’s buddy buddy with Link. Their gambit attacks can still be cool though. One idea I had was Zelda using stasis, and you know how when you use it in botw everything lights up with that sonar effect? So Link stands besides Zelda, and she activates stasis, the first “sonar” light wave reveals the stasised monster, and you see it from the view of the Sheikah Slate. Then with each additional flash of sonar you just see this silhouette of Link going absolute ham on a monster. And then when the stasis “ding ding ding ding ding” is done, everything’s just dead. Can you see my inspiration from Persona 5 yet? Second idea was Zelda using cryonis and makes an ice ramp for Link to shield surf on and ram into a monster. For entertainment purposes Zelda should also be putting frogs on said slide. (Also also the reason I’m putting Link as the main focus for those gambit attacks is because I want to juxtapose it with future gambits where Zelda may or may not be more powerful…)

Anyhow anyhow, so this side quest, you beat some bokoblins, theres a moblin or two. However as you progress Zelda’s dialogue because a bit more passive aggressive, maybe Zelda can be a bit irritated at how quickly Link is defeating everything before she can even contribute. Impa can comment on this like “She hasn’t exactly been warming up to you, has she…” and then the last point of the side quest, Zelda runs off, there’s a...let’s say a big horde of blue or black Moblins. Or a horde of Wizzrobes, I’m not too picky on it. Link can save her and do a gambit or whatever, but the point of importance is that Zelda leaves with the clear mindset off, “You don’t need to keep coddling me, I can handle my own” to Link, but is “Thank you, I’m glad you’re here,” to Impa.

Now I stole was inspired to use this based on this comic by @novellanova, and you should check it out here. But basically, at the end when all the monsters are dead and the last few text boxes are rolling, Impa says something like “Gee, at this rate I might have to protect you from the princess! Hmm…. you know, maybe if you two had the opportunity to hang out more and get to know each other, she’d warm up to you! Ha! That’s it! I’ve made up my mind. Listen up Link, from now on I’m gonna let you man the wheel when it comes to protecting Zelda. So with me out of the picture you better take the opportunity to be the nicest, most helpful, and most effective body guard there is. I know you already are, but still, if I hear that one little Chuchu so much as splat in her direction I will take you down...got it?” And, that’s that.

Side quest done. Fun Link gambits with Impa and Zelda, some little character POVs on the situation, plus an explanation as to why Impa doesn’t accompany Zelda everywhere/nods to the cutscenes of Botw as to what happened to Impa. Alright, that was probably the most boring one so let’s move on to

Daruk: A Rumbling Stomach

Alright I’ll be honest...I have no idea what to do with Daruk. Especially when Yunobo’s not here, I got zip-zero to work with considering his character is non-existent. Further down the line I’ll certainly try to give him more nuances and the like, but I’m afraid the majority of my character efforts have been towards Astor, Revali, Zelda, and [REDACTED] so this is my apology ahead of time, rock fuckers.

This is my take on how to make those timed quests more fun. So basically, the premise of this stage is that Daruk was just happily hanging around trying to enjoy his rock roast, when a monster surprised him and he dropped it, and now it’s rolling down the hill. This is based on my real Breath of the Wild experience where I had to trek up that Volcano path to bring a rock roast for that shrine quest, but at the very top I dropped it and had to chase it down before it fell into the lava below.

Daruk is eager to chow down on the finest rock roasts this year has to offer! It’s too bad things go downhill when monsters start to ambush. Defeat key enemies and rescue Daruk’s tumbling meal before this year’s wait goes to waste!

So, that’s what this is. The stage opens and Daruk says “NOOooOO! My rock roast! Damn monsters!” and you have to defeat baddies and catch up to the rock roast before the timer runs out and it falls into lava. And then when you finish and get back the rock roast that’s pretty much it….except SIKE no it’s not. Because a lot of these timed quests usually have a “surprise! There’s more!” thing at the end so I’ll do that here too. So Daruk has saved his rock roast and he’s talking about how he’s going to enjoy it in all its deliciousness, when he’s cut off by a random Goron’s scream. Turns out, Daruk’s yelling at the monsters about desperation to retrieve his lost lunch has attracted monsters to some traveling civilians, and now you gotta go beat a Talus, or a couple of Moblins, or something...Again I don’t really have level set or idea when these side quests unlock so just use your imagination. Once Daruk defeats the monster(s) the Gorons can thank him, and then one of the Goron kids can be like “Ooo! Is that a super special rock roast?!?” And Daruk is all: “Ah! Well all the best Goron heroes eat plenty of rocks! This here is the gourmet stuff. You can only get it once a—” And the kid’s like “Woah! I’ve always wanted to have one, that’s why I’ve been training hard so I can explore more of the mountain. Where’d you get it??” And Daruk can sputter a bit, before finally sighing and giving into his instincts. “Ah….well, why don’t you have it? You’re probably really hungry after running around with those monsters…”

“Woah really?? Are you sure—”

“YEAH JUST TAKE IT ALREADY GO”

“Woah, thank you!” and then the Goron kid and co run off. Cue Daruk crying to himself in the background. Daruk may have an appetite, but I like to characterize him as the Goron Hero first and foremost.

I’m sure that doesn’t stop him from mourning his rock though.

Mipha: Stronger Sentiments

Mipha and Daruk talked a whole bunch about training together so that Mipha can grow stronger, and Daruk was catching on to her crush on Link and it was a nice interaction in between them except for the fact that we never see them do the damn training so that’s what this is.

I think this is as good an opportunity as any to make this a Hair-Width quest, the ones where you can’t take one hit. The difficulty of a level is one of the most effective ways to put the players in the boots of a character to experience the same struggles they do. If the player works hard, then they automatically associate that with the character working hard. So, yeah, let’s have Mipha kicking ass and working to be strong enough to protect Link.

Mipha is determined to grow stronger. Daruk and the other Gorons are helping out with an intense training session by Gut Check Rock. Prove yourself by defeating all the enemies you encounter!

So Mipha is sparring with the Gorons, you fight through them and the captains and blah blah, the final boss is fighting Daruk without getting hit.

“I promise not to hurt you more than I’m capable of reversing.”

“Ha! Give me all you’ve got, princess!”

You fight, cue the special music or whatever. I mentioned that gambit dialogue/attacks could also work to be custom for the character that you’re fighting, so I’m thinking something like this. Daruk slams the ground and rocks and magma sprout up around him like jagged pieces of glass, but Mipha is no where to be seen. Daruk’s kinda huffing and puffing, “Where’d you go Mipha…” and then FWOOSH, giant geyser right behind him. [yes I KNOW I overuse the *teleports behind you* “nothing personal, kid” thing but I think it’s COOL and you can’t stop me] So anyhow, you know that thing in Avatar where Pakku is just riding at the top of a whirlpool and destroying everything? That’s Mipha.

Daruk turns around and scratches the back of his head. “...huh….that’s not good.” Cue Mipha swooping down to deal the defeating blow.

So Mipha wins, she can mention how wonderful it was and how much stronger she feels. And she can thank Daruk, and he’s all “No problem!” but he mutters something like “And I thought Gorons hit hard...now I know how Link feels.” End side quest….SIKE it’s another surprise boss at the end. A Goron captain suddenly reports that an Igneo Talus has appeared nearby.

Mipha goes up to fight it, but wow! Link is already there. They both fight it, but it’s clear that Link didn’t need her help that much. You can defeat the Talus with a Mipha/Link gambit. It’s similar to Link’s usual “swing sword in a giant circle and become a death windmill” but Mipha kinda enhances it with water or something and it puts out the Talus. I wanted this ending with a focus on how strong Link is just to show that while Mipha is improving, she’s still not yet where she needs to be.

Daruk: “Sorry I wasn’t much help at the end there, I was busy, uh, stretching.”

Mipha: “Oh it’s quite alright, Daruk. We were both quite tired from today’s training.”

Daruk: “Well I dunno about that...seems to me you were quite lively and active as you fought beside Link. *wink*”

Mipha: “Huh!?!? W-What is that supposed to mean??”

Cue laughter from Daruk. Mipha is flustered. And Link is just...confused, as always.

Urbosa: Mighty Thunder of the Gerudo

So in the game this is just some normal outpost capturing, stronghold defending side quest, but we’re gonna spice it up just a bit.

An important excavation site is being overrun by monsters, and Urbosa has set out to engage them. Defend and capture the outposts, in order to prevent this valuable place from falling into enemy hands…

So you fight as Urbosa, defeat some enemies and blah blah. When you first arrive there, I want one of the Gerudo Captains to be like “Lady Urbosa? Where did you come—What are you doing here? Aren’t there areas of greater importance for you to be at right now?” Urbosa says something like “Nevermind that now, let us focus on achieving victory over these rotten beasts.”

As the battle goes through, it is revealed that this excavation site is where Zelda’s mother would often work and hang out with Urbosa. Urbosa says some stuff like “Her Majesty would not be happy to see all these monsters heading here!” *decapitates Moblin* and then she can say other dramatic stuff at the end like “We have fought well...for her memory” and other classic lesbian pining. Some guard at the end can say “Perhaps you should move on and help out somewhere else, Lady Urbosa. We can handle the clean up from here.”

“Sure,” Urbosa replies, “Just another moment.” And then cue reminiscing. “She always did love these machines…”

And just other sentimental stuff like that. If you’re gonna be a coward and hold out on the Champion death angst, then you best be pumping that angst and emotion from somewhere, you know?

Also yay for worldbuilding! At least in my rewrite, the Guardian excavations and stuff were overseen by the Queen. Could be a reason Zelda hangs out with Sheikah tech so much...who knows who knows... who knows what other implications this has, it’s just a side quest after all.

Revali: Anti-Ice Training [get it??? Cause in this one, Revali’s gonna break the ice with some other characters?? I’m funny I swear]

Ok so for this one, I want to pull Revali’s character away from just “the birb that doesn’t like Link” and give him some other stuff to stand on. Obviously, there would be other side quests in a fully fleshed out game that did even more to characterize him, but for my rewrite I’m only dedicated this post and one other future post to sidequests, so I gotta really bring out what I can for the few side quest stories I have time to tell

Revali sets out alone to deal with some monsters by the Hebra trail. Although intended as an isolated moment to hone his skills, he finds himself with unexpected company. Defeat key enemies.

So you play as Revali and at first you’re alone, taking out Ice Lizalfos and the like. Revali’s text dialogue can say stuff like “Hmm...not fast enough” “My current needs to be stronger” “*mutters* Can’t compete with lightning and magma with aim like that.” Just stuff that establishes that he’s working hard to really prove himself as the best, but is still a bit insecure about his position. He thinks he’s better than Link, sure, and he certainly thinks that being a princess or a chief doesn’t automatically make you the best. However by this point, Revali has battled alongside the other Champions and seen their skill in battle, and has developed some respect for them. Afterall, Champions were chosen in some part for their skills, unlike Link or Zelda who destiny just thrust greatness upon.

So Revali has this slight insecurity that compared to lightning, and magic healing, and magma, with chiefs and princesses and titles of heroes, he and his efforts will be overshadowed and forgotten, unfairly deemed the useless one. Thus, here he is, training in solitude, not wanting anyone to see the imperfections and mistakes until he is absolutely perfect.

Except for the fact that after you beat a Wizzrobe, the other three Champions show up.

Revali: Wh—Huh?? What are you all doing here?

Urbosa: Well, we all have to travel with the princess to that Tower in a few hours, so I recommended we find you and hang out until then

Mipha: And a good thing too! Look how many monsters there are

Revali: I’m actually doing very well on my own right now. Wouldn’t want you to catch a cold or something, so why don’t you head on back and let me handle this.

Daruk: Aw, it’s not that we think you can’t do this. It’s that you’re hogging all the fun! Urbosa: And that it would be more efficient if all of us went to work

Daruk: That too

Revali: Look it’s not—you all can’t just—this is not just about—AUGH, look, I’m just trying to train myself at the moment, and I don’t need you all to mess with my drills

Urbosa: Training, hm? Well how about this...you let us continue helping you with these monsters, and after, I’ll let you in on a good Gerudo training technique

Revali: Hmph. Fine, whatever gets you out of my tail feathers faster

So Revali and the Champions clear out the monsters. Revali can have gambit attacks/dialogue with each of the other Champions. This is already incredibly long so perhaps I’ll save specifics for another time, feel free to use your imagination. Urbosa teasing Revali and they make a thunderstorm, Mipha and Revali swimming in the sky and kissing—wait that’s—

When all the monsters are cleared, which honestly isn’t tooooo many, Revali speaks again.

Revali: So what’s this oh-so-holy technique you had in mind, then?

Urbosa: Ah yes, well really it’s quite simple. It’s called…

Urbosa: One-on-one combat

Now Revali fights Urbosa. It think it’d be really fun if your allies on a stage could swap to a boss, and I wish hwaoc had a bit more freedom with the interactions as a whole, but ah well, that’s what I’m here for I guess.

So when you/Revali defeat her, it’s a good accomplishment! Not only for you the player, as Urbosa would not be the easiest to beat, but also because match-up wise, Revali prevailing over Urbosa is a big feat as their styles are quite opposite, arguably with the strength in favour for Urbosa.

Revali might at first have the mindset that Urbosa is overconfident and thinks she’s got an easy win on Revali, but that mindset is quickly proven wrong when 1) the difficulty of the gameplay itself shows how they’re both doing their best and 2) Urbosa with her Gerudo qualities is probably shouting stuff like “give it your all!” and things.

And so, as you beat her...

Revali, kinda huffing and puffing, but just a bit:: ...you….held back

Urbosa: Come now, do you really think of me as someone who’d do that? I’m almost insulted.

Revali: Hmm...perhaps not then....

Mipha: Wow! What a wonderful fight from both of you.

And then insert some other dialogue from Daruk or something that shows the Champions acknowledging the training and hard work Revali must have put in to be so skilled. Perhaps it’s not so bad, when you train with others and your skill is fully appreciated by your frie—GAH. Perish the thought, they’re all just a bunch of royal fools who can’t hold a candle to the skill of a Rito Master….probably…

Revali: Well unlike you lax fools, I tend to take my job seriously. I don’t have time to longue and banter when the princess is still expecting me in an hour or two

Urbosa: Oh alright, let’s get to it then. What’s the expression? “The early bird gets the w—”

Revali: Gross. No. Don’t finish that sentence, I beg you.

Urbosa: Oh? Well why don’t you fly off to escape my dreadful tones then?

Revali: ...Heh, don’t be absurd…

Revali: Without me, you’ll all probably get lost. So, I suppose I should stick around for that sake Great Fairies: Dress to Oppress

The Great Fairies are holding a fashion competition and rating people’s outfits. Poorly judged outfits gives them the right to compensation combat. Defeat all your less than fashionable allies.

...

...yeah.

It seemed funny in my head, alright? cOme on, just imagine…

Revali, fully expecting to win: Well?

Great Fairies: Hm...I don’t know dear, all the colors are very clustered. Perhaps if you were taller—?

Revali: bWHAKT!? *other angry bird noises*

- - -

Daruk: I brought my BEST out today! :D

Great Fairies: Is that a….chain?

Daruk: TWO chains, actually. :D

Great Fairies: Oh honey…

- - -

Great Fairies: Ooo! Our little hero is about to come out! Wonder what he chose...a knight in shining armour? A handsome desert voe? Ooo!! And those Snowquill braids always made him look so cute…

Link: *comes out in the Tingle Outfit*

Great Fairies: …

Great Fairies: …………..hm…..

At the end of the side quest, after you beat everyone, the Great Fairy wins because of course they do.

Great Fairies: Oh my! What an unexpected outcome...but it really couldn’t have gone any other way. I declare the judges the winner! I mean just look at me, I’m as dazzling as a jeweled desert flower, because I am! Ohohohoho…

This side quests unlocks the Tingle Outfit

Hestu: Forest Dance Festival

Alright this quest was already pretty perfect, BUT, I just want to use this opportunity to say that all of Hestu’s gambit attacks makes his allies and enemies do special dances. Absolutely abSURD that Hestu can only make the lesser smaller enemies dance on occasion, nonononono, my guy Hestu is making everyone dance. You can’t stop this. Nothing I say will ever top the imagination, so just take my word that this is a good thing. [Reluctant Revali doing the macarena against his will in sync with Hestu and they bash someone’s head in...ah the possibilities.]

Maz Koshia: Links to the Past

Ok so before I get into this, a few things. This quest takes place well after the tower activations in Akkala. Age of Calamity leaves a whole lot of plots holes as to why a Monk is just...here, and what the point of the shrines are, and personally my first reaction to all this was just a five minute extended “huuhhhhhh???”

So here is my headcanon, explanation, thing, canon to the world of the Kip Cut story. Ones all the Sheikah Towers were activated, that officially woke up all the Shrines, because we know that the Towers and Shrines are all connected to the same system. [See Great Plateau Tower activating all the Shrines and Towers, and Creating a Champion explanation on the system] But when all the monks were in their little altars and noticed how Link hadn’t dont a single one, they were like “what the fuck.” Monk Maz Koshia, who is kinda the head honcho of the monks and probably the only one powerful enough to go out in the world anyhow, sets out to see what the deal is, and after many a teleportation and telepathic communication, he figures out that Link is just running around with the Master Sword already. This kinda confuses him, because the whole point of the Shrines was to test Link and give him the spirit orbs so that he could grow strong enough to get the Master Sword, but he somehow already has it...so hmmmm something fishy is going on in this timeline. So Link technically hasn’t proven himself at all, Maz Koshia ambushes him, they do their little combat trial, Link passes, and Maz Koshia’s like “ok cool so you’re not useless.”

So now Monk Maz Koshia has cast aside his old monk duties of waiting around for a couple hundred years, in favour of just hanging out with Link and continuing to train him combat wise. Shrines are still explored by Zelda and co because they are important areas to establish teleportation pads, and whenever they’re there, Maz Koshia forces Link to get in a shrine to get a spirit orb, which is not only useful in general for health, but since Link already has the Master Sword, the other characters can get the spirit orb too. (So all those little heart upgrades that you see on the map, those are all just in the real Botw Shrine locations, rather than just scattered around randomly. Also I’m ignoring the stuff about talking to Hylia in order to exchange for stamina or heart containers because the game never talks about her, or stamina, and I’m not about to create an entirely new custom gameplay feature for this game, fuck you.)

I like to think that Maz Koshia is very selective about the Shrines he encourages people to try out. “Oh nonono, don’t bother with Qukah’s….lazy ass, only set up one little mountain that you have to blast through with lightning and that’s the entire puzzle! Disgraceful...Here, Kaam Ya’tak has set up a wonderful Trial of Power for you. I’m sure you’ll find the level design quite thrilling. They spent a lot of time on the critical thinking aspects so have fun!”

“I should warn you that this one was made by one of the millennials...yes, those youngins who were only initiated 1000 years of age. Honestly, they lack so much experience. Ms. Agana over here was experimenting with something called ‘motion controls?’ Pretty lazy if you ask me. Traditionally I would just stick to combat and block and switch stuff...but ah well, variety I suppose.”

Right, what was I talking about? Oh right! This is a sidequest. So Monk Maz Koshia doesn’t really have...a character??? Or a personality??? So I don’t really know what to do with him other than use him as an outlet for world building. Apologies to the Monk….fuckers? Stans? Feel free to leave me a comment about how I missed all the nuances of his character or something I’m all ears.

On an expedition to mark more Shrines and establish more teleports for the Kingdom, a large horde of monsters is spotted, seemingly with the intention to destroy these Ancient relics. Link and Maz Koshia use this opportunity to sharpen their combat skills. Protect the stronghold and defeat key enemies.

And then that quest would just kinda echo the stuff I said earlier about the world. (As Maz Koshia defends a Shrine, somewhere Qukah Nata is smugly shouting “Bet you wish ALL of them were protected with a giant mountain now, do ya?)

Also Link and Maz Koshia’s gambit attack involves the Master Cycle. I don’t have the specifics, but damn if I want some call backs to Botw while also having fun.

Impa: Steal Yourself [Yiga Clan Escape]

In an act of pure hatred and malice, the Yiga Clan has snuck into Kakariko Village in the dead of night…and stolen all the Swift Carrots! Impa sets out to get them back, as well as taking something else as a form of swift revenge...Escape before the time runs out.

Ok I can explain.

So you know how the Yiga and the Sheikah have kiiiiinda been murdering each other a bunch in Botw, going as far as to kill a deserter’s wife and threatening to murder his kids, and also people on both sides were sorta massacred for no reason? And alsoooo one of those people who literally lived during that time of the massacre is just kinda floating around now? And you knooooooooww how the Yiga Clan just kinda joins Zelda’s side later on and we’re not supposed to think about the implications of that too hard because they’re the funny banana ninjas, haha? Yeah well neither Age of Calamity or I really have time to explore the moral grey areas of an alliance between two warring factions, one of which has a leader who doesn’t really seem to remember the reason why they hate Hyrule which brings into question whether the lackeys even know their clan’s history, and brings about the moral dilemma of criminalizing the ignorant, and also there’s the whole other dilemma of depicting the side that submitted to their oppression as being “in the right” and the topic of a race of people being pitted against their own by a higher power is really brushed over sO WE’RE JUST GONNA TOSS ALL THAT OUT THE WINDOW AND MAKE THEM ACT LIKE RIVALLING HIGH SCHOOLS, OKAY? OKAY! This is fine this is fine—

So I have dubbed the High School mascot of the Sheikah, the Swift Carrot. And although there does seem to be some internal debate about whether the carrot should be replaced by the Fortified Pumpkin, the hero of Hyrule Link favours carrots so that’s that. Then of course, the mascot for the Yiga Clan is the Mighty Banana. The two sides hate each other and steal their food symbols to be petty. I’ll be covering the side quests of Kohga and the other later characters in another later post, but just know that Kohga will have his banana heist sidequest too.

So anyhow, you play as Impa. Maybe she can say a piece of dialogue or two about how she has to uphold the image of her people as she has to lead them one day. And then, this side quest is just her retrieving the carrots and running off with the Yiga’s big banana supply before she’s caught. This is based on that “Escape the Yiga Clan” quest if you couldn’t tell.

Custom gambit defeat of Impa vs Kohga: On one hand I think it would be badass to see Impa’s Sheikah skills go up against the Yiga Clan tactics. Kohga summons a giant metal ball to throw, Impa teleports behind him “nothing personal, kid” nO fuck I’m doing it again away goes to swing a blade at his face. He blocks it with his little energy shield thing, but not before an entire conga line of Impa clones start slashing at him until he’s defeated by a giant explosion. So yeah, that’d be badass and cool. But on the other hand…

Kohga, stomping his feet and having a fit: I cARROT believe you would do something this terrible! Give us back those bananas right now! D: ….please? You can keep the gross orange sticks.

Sooga: He asked nicely. You wouldn’t deny the wishes of the most polite and charming Yiga Chief there is, would you?

Impa: No can do, Yiga scum! I’m afraid this cruel action wasn’t veggie nice of you so I must exact justice! Now it’s my time to split. *Impa clones gather and throw Kohga into a giant frog’s mouth. Impa runs off with a sack of fruit [fruit (derogatory) if you will] cackling into the horizon*

Zelda: The Path She Laid For You

The King has order Zelda to head to the Temple of Time, in order to see if anything there could help awaken her powers. Zelda sets off quietly, with minimal company, as not to attract too much attention lest the Town’s folk be hit with another attack. It seems, however, that these precautions won’t be enough...Defeat key enemies

So this is a pure Zelda sidequest, with no other characters except for eggbot because I said so. Starts out normal when SURPRISE! Bunch of monsters appear and Zelda has to whip out her iphone and fight them.

Also!! Good time for the Hollows to show up, and you know, tell her what a failure she is and all that. Convince her that she's useless and gonna doom everyone. All that good stuff!! It’s just nice to catch up with the villains and see how they’re doing, you know? ‘Sup Hollow Urbosa, last I saw you were barely spitting words in the Lost Woods, and now you’re giving full hard-hitting insults to Zelda’s character and ability? Good for you, Queen, good for you.

So Zelda and a handful of guards are fighting off monsters, and Zelda has to beat the Hollows too. Her gambit dialogue when she defeats Hollows can be stuff like “You’re not the real ___” or something idk, I don’t have a lot of experience with the evil clone trope, I’ve never played Ocarina of Time. But one specific I DO want to highlight is that Zelda uses the nearby Sheikah Tech to defeat the enemies. I find it a bit weird how Zelda just knows how to use those random water canons in the Faron region in later chapters, so we’re just gonna at least set up a pattern so that it makes a bit more sense later. Plus! This is in front of the Great Plateau, AKA Gate Post Town/Garrisons AKA oh lOOK it’s that area where Link and Impa and eggbot first meet in that Impa introduction scene of my rewrite so we have already established that Sheikah Technology is being stored here and ready to use! Continuity in world building! Nice.

So Zelda uses her knowledge of Sheikah Tech to defeat the Hollows, when...dun dun dun! Astor appears. But you don’t fight him...

Astor: Have you listened to one word spoken to you today? Why are you still resisting? Let me help you.

Zelda: And what exactly is your plan? You wish to kill me, then?

Astor: Not quite. I mean, if you do die, there are ways I can manage, so if some stray Yiga blade happens to strike you I’m not completely doomed.

Astor: But no, the most optimal outcome for everyone is the one where you live yet. You must see the truth as I do, and let me fix this. I can undo this terrible knot destiny has thread for you. [and insert other fate sisters and sewing metaphors here]

Zelda: But how? What’s your game here, if you’re truly claiming to be in everyone’s best interest then why all this secrecy?

Astor: Ah...ever the one to look for the facts and logic, hmm? Can’t blame you, you get it straight from your mother.

Zelda: …!

Astor: But...I’m afraid even if I did tell you now, you’re in no state to truly grasp it. No...the only way this works is for you to truly understand the position you're in, and the stakes that hang in the path before you.

Astor: And if I have to kill every King, Champion, or knight to get you to understand…

Astor: Then so be it.

[dun dun dun]

Zelda: No! I won’t let you hurt anyone, I swear it!

Eggbot [just pretend eggbot can have dialogue boxes too]: *chirps*

Astor, suddenly noticing eggbot: ...You…you’re one thing I still don’t—

Eggbot chirps again beside Zelda, both seeming to be angry at Astor’s words. Eggbot releases a glowing flash of light. Kinda like a...flash bang? [is that the right word idk]

Astor: Ah—! *and he teleports away to escape* Astor: Until next time then...Princess

And that’s pretty much the sidequest. Zelda can question what exactly eggbot did, but he’s not exactly the most verbal in responses. Finally it ends with Zelda going home, “He was still right though...I’m still sitting in failure, with not a hint of my powers awakening. All I have is some Sheikah tech, some exhausted shoulders….and well, you, I suppose, little one.”

“Come, it’d be a waste to continue forth in this condition. Let’s go back to the castle.”

Eggbot: *happy whistles and chirps*

= = = = =

Tune in next time folks, as we dive back into the main event! Needless to say, Chapter 4 is where the shit starts to go down...

#Hwaoc: The Kip Cut #hwaoc spoilers #hwaoc #hw aoc #hw age of calamity #age of calamity #hyrule warriors age of calamity

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botwstoriesandsuch · 3 years

Note

I really like/agree with the changes you’ve made so far to AoC. One thing I’d personally want to change is Impa’s intro cutscene. It seems very odd to me that the first thing we see is her crying out for help bc a small group of Bokoblins were after her, but then the game IMMEDIATELY turns around and shows that she’s a strong warrior, both through gameplay and the king’s dialogue about her being able to take care of herself. (1/2, sorry this is a little long!! I hope you don’t mind!)

Anonymous said to botwstoriesandsuch:

(2/2) Not to mention Impa is labeled as “Royal Advisor”, but other than giving Zelda encouragement she never advises anyone on anything (as far as I remember.) As much as I love her humorous scenes I wish we saw more of her as an advisor and strong warrior. I’d love to know what you think, though! Maybe I’m thinking of things all wrong? Hopefully this doesn’t come across as Impa hate bc I really like her and her character! I just wish Nintendo did more with her, you know?

- - - - - -

Oh you’re absolutely right! I actually completely forgot about Impa’s introduction because of how forgettable it was...lmao. So yeah! Like you said that introduction completely contradicts how she’s characterized for the rest of the game...which is probably why I had nearly erased it from my memory, since it really serves no importance to her.

I actually have some plans for Impa’s little “Advisor” title, although it’s nothing too major, I might rework something to make her a bit more important as I guess I’ve mainly been too focused on rewriting the Champs and counterparts but I think I can actually play with that title to give her a more memorable introduction for the game.

So I’m just spitballing here, but only significant part of Impa’s intro that we need to keep intact is that she needs be in possession of the Sheikah Slate, and somehow lead into the activation of eggbot. We don’t want her to clumsily trip and drop it because Impa is supposed to be physically capable, with her flaws being in her slight hot-headedness, or I guess the better word is impulsiveness? She confident to a fault, absolutely loyal to Zelda as both a friend and an advisor who supports her, and she’s got that cute sister foil dynamic with Impa. She’s also got a bit of humoristic air to her. So! Let’s a go and introduce her.

Link is running through the garrisons, sword at the ready, he’s running around looking for monsters. He hears a commotion to his right, and spots a building. Inside, he can already see bokoblins making their way inside. He follows.

The building he walks into is a storage place for Guardians, because of course there is! Like this is a war they’re fighting, and the entire point of the Guardians was that they were part of their arsenal, so I’m surprised that their precesne is better established at these forts and stuff. Anyhow, Link kills a bokoblin and steps inside, following the sound of grunting. Turning the corner he see, Impa, by the backdoor.

Currently, she’s trying to bash a bokoblin’s head with a Sheikah Slate. As she is standing on a table with the monster grabbing at her leg, a few other surrounding her. “Let! Go! You!” Her words in time with her bonking it on the head. She suddenly spots Link. “Hey you! Can you hold this for a sec?” She tosses the Slate, and Link fumbles a bit as he catches it.

“Don’t break it now! Princess’ orders.” Impa yells. With her hands less full, she does the little hand finger motion thing and summons her clones. She then unsheathes her sword, and along with her clones, she instantly kills off the group of bokoblins in the room. As they crumple to the ground, she bounces off the table and turns towards Link with a smile.

Thanks for the hand, I’ll take that back now please. As the monsters behind her vanish into malice, and her clones do the hand thing and disappear, that’s when her title comes up.

Before Link has a chance to react and give it back, the Guardians in the room suddenly buzz and whirr. Impa frowns a bit.

“Ummm, ok? I’m no expert but I don’t think that’s supposed to happen.” Link looks around, the room they’re in is littered in Guardian parts and Sheikah tech. Suddenly, under a table, he spots something white and shiny, much unlike the other stuff in the room.

Impa is still staring curiously at the awakened Guardian, meanwhile Link crouches down under the table to look at the mysterious object. It’s eggbot. He reaches out to pick it up, Sheikah Slate still in hand. But as he does, the whole room suddenly lights up in blue light.

“What the?!” Impa and Link and both startled, and the ground begins to rumble.

Impa gives a quick nod towards the back door. “Come on! We need to get out of here.”

Back outside, the ground is still rumbling, but similar to the actual cutscene, a group of bokoblins approach them. Impa steels herself and readies her weapon along with Link. But before they can fight, the Sheikah Tower rises up.

Then that’s the same as the original scene, where they both look up in shock. Link then turns around, and back by the building they just came out of, he sees a little Terrako walking around. It patters around by the back doors entrance, but when it sees Link, it gives a cute little jump of excitement and runs towards him. Maybe it can knock him to the ground like a puppy or something. Impa can look at him weirdly like “wtf”

And that’s my change! Impa gets a badass moment, we got a few dialogue pieces that show her respect for Zelda and her lack of knowledge about Guardians. And ALSO, I give a more reasonable explanation for eggbots presence. You ever notice how eggbot is just randomly lying in the field deactivated? Even though his time teleport thing clearly took place at the Castle? Yeah well here, eggbot is in storage with other Guardian parts. So it’s a wordless explanation that you can just fill in the blank spots in your head. Like some research found it lying around, and just shoved it with the other Ancient Technology.

And that’s my take on her introduction! It serves multiple purposes besides just introducing her, as it more fleshes out some plot details and keeps some action and momentum. Plus it’s a bit light hearted and funny, but not as the cost of making her look weak and helpless. Hopefully you think it’s ok D:

#Hwaoc: The Kip Cut #hwaoc spoilers #impa hwaoc #impa #long post

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botwstoriesandsuch · 3 years

Text

Back here with another episode of:

Read Part 1 here!

If you’re on mobile, and tumblr hates this post, follow along on this google doc!

Rules/overview this rewrite in the beginning of Part 1

Alrighty then, so let’s just jump into it!

- - - - - - - - - -

Recap! So when we last left off, we had just finished off Act 1 of the story. We’ve used the character introduction segments and the gambit feature as a means to give more life to everyone, without sacrificing too much cutscene time. Allowing us to save and focus the major story details and set up on the more cinematic cutscenes.

I had forgotten, but after Part 1 came out, an anon pointed out that Impa’s character introduction could use some work, and while you don’t need to read it right now to understand the rest of this post, I encourage you to look at it eventually to see the strengths and flaws in the original Impa introduction, and the reasons for my rewrite changes! All you need to know is that eggbot was lying around, deactivated, but when in proximity to the Sheikah Slate, was turned on like other Guardians. Eggbot being activated by the Sheikah Slate is kinda brushed over in the original game? But in my rewrite it’s gonna have some later significance. Also during the Royal Lab cutscene, I want Robbie or Purah to mention how Zelda’s control of the Sheikah Slate is quite exceptional or something. It’s a bit obvious already in Hwaoc, but I need it to be verbally said in a story scene for, again, later significance. Alright that’s it for my added details, moving on now.

After Chapter 1, we moved into the characters accepting the Call to Adventure, whether by the general external reasons of wanting to save the world, and developed a little bit further with more internal related reasons to give nuances and identities to different characters. Revali wishes to prove that his hard work earns him better merit than a sidekick, Urbosa wishes to protect and help Zelda on an emotional level, Mipha wishes to get closer to Link and come back to her family proud, etc etc.

Then, the climax of Act 1 ends with the Yiga ambush, and the characters get a first taste of leaving their areas of comfort, and journeying into the unknown world. Although the gameplay and the successful defeat of the Yiga establishes the Champion team’s strength, our interaction with Rhoam shows us that they still have a ways to go. The momentum into the full story now has a bit of tension and conflict.

So now we crash into the beginning of Act 2, the longest Act in a story, as it’s the part where the....story, happens. Let’s take a look at changes to the Hollows, eggbot mysteries, Zelda character growth, and our first real dip into the character of our antagonist, the Prophet of Doom himself, Astor…

So in the game, Chapter 3 opens on the flank of Death Mountain, our heroes overlooking the view of Korok Forest.

There are a few problems I have with this scene. It’s really stale, there’s no movement, nothing dynamic about it other than the opening shot. They just kinda stand there and say words until Revali’s done ranting and summons Medoh. Also Revali’s dialogue is a bit “much” to say the least, and uh, spoiler alert, he’s gonna be reworked a bit more than the other Champions. Finally, this scene doesn’t have a lot of purpose or substance. Sure, it has some character conflict with Revali and Link and the team, but that’s kinda established already, plus it’s something that I’ve already fleshed out in the last scene with King Rhoam, so it’s a bit redundant. So that leaves this scene serving only as a boring current draw to the Medoh fight and nothing else. This is the opening set up for the Chapter where important story stuff goes down! Needs a lot more substance. So! Here’s my rework.

We open on the sound of running. Link, along with Zelda, Urbosa, Daruk, and Mipha are running upwards on a path by Edlin. They’re chasing a small group of bokoblins and it looks like it’s the end of the fight. Urbosa is more near the back, with Zelda, but Daruk and Mipha both kill a bokoblin, their bodies of the monsters exploding in a cloud of malice upon their demise. When the camera shows each of their kills, the shots are quick, but I want the angle of the camera to be in such a way that the malice evaporates center frame, with Daruk and Mipha being behind the malice. This is because for a split second, it looks like the malice lingers around them like smoke. Huh, I wonder if that’s foreshadowing or something.

Anyhow, Link chases the final red bokoblin uphill, boots pattering against rock. However, we’re now seeing this from a moving, flying, bird’s eye view [quite literally wink wink]

Cut back close to Link, he kills the bokoblins. Stands there for a sec as he sheathes his sword. And then...

“Well I’ll be plucked. You defeated it, eh?”

Reveal Revali flying from above, and he lands in front of Link, but faces away from him. “Who would have thought that some little knight, amongst a group of chosen heroes, would get some action. You must be pretty proud of yourself, hm?” Cue that classic Revali head turn with a glare. Also when Revali says “heroes” I want him to flick his scarf dramatically, while staring at Link’s armour, as if internally he were judging Link on a runway.

Zelda runs up and starts speaking. “Oh Revali, I apologize our meet up with Medoh got a bit delayed. I assume that you’ve already positioned them by now for the attack?”

Revali hums a yes, but doesn’t bother to entertain a more fleshed out answer. Instead, he flicks his wing (as if to say, “come on”) and turns his back to walk up the trail. The others follow.

“I was informed that only the Champions and yourself would be present. What are…” Revali flicks a wing in the direction of Link and eggbot, like a Karen shooing a waiter. “...they, exactly contributing?”

Zelda says some stuff about Link being her bodyguard like: “Well, my father was impressed enough with Link’s actions from the other week that he’s assigned to give me further protection.’ She can say this a bit grumpily, to Link’s ignorance. Daruk can pipe in like “And a good thing too! Always great to have little guy at our backs.” and Mipha can nod sheepishly or something. But their dialogue is cut off by another rude interjection (because hell if Revali wants to listen to more rambling about Link)

“Right, right. And this thing is still around?” Revali gestures to eggbot.

Zelda: “Well, This little one's technological prowess has been quite useful in battle, allowing us to access the rune functions and all. So I figured it’d be a big help should something unexpected happen. Plus...” cute shot of Zelda staring at eggbot, “it just...feels right.” Then the little eggshit can like, chirp happily or make some cute whistle or whatever. Just shove in a bit of that egg fanservice, might as well since I need to better establish its presence for later.

Revali mutters something about “big help,” before gesticulating with his wings as he continues walking up the trial. “Mooore like a big liability should anything happen to your little pet, and one of us be forced to risk our lives just to save it from becoming scrap. Honestly, when it comes to you, and you.” Revali points to both eggbot and Link, “Your presence is an entire waste of time. ‘Backup?’ Help?’ Tsk. Humouring.” Eggbot can make a noise or something while Link just tilts his head. Revali continues: “You’re only here because of a non-existent, fantastical, imaginary hypothetical in which I somehow fail, and I don’t, fail.” When he articulates that last part, he stops walking and does another little head turn/glare, but he still doesn’t bother to fully face him. “I’m sure that your duty will no longer be of importance once your reputation...is nothing but a memory overshadowed by today’s great feats. A forgettable knight, heh heh!”

“Revali,” Urbosa sighs, “How long do you expect us to put up with your showboating and prattle?”

That when Revali finally turns fully to face the group, with a more grim glare. They’ve reached the top of the ledge anyhow, so they’ve stopped walking. This is where the camera can view the Lost Woods in its fullest as it zooms on Revali. Then, that ending is the same as the game with the pan up to Medoh’s presence.

“Fine. I’ve said enough. The time has come to show you what I’m made of. Now witness...Vah Medoh’s divine power!”

So that’s that. Revali is toned down a bit, and his rude remarks have more of a precision as to their point. It’s a bit hard to explain over words alone, but the fact that this scene takes place as the Champions are walking up the trail, means it’s a lot more interesting to look at. (Kinda like the walk and talk premise that you see in The West Wing) Plus, the trail being uphill establishes that hint of power dynamic as Revali is above everyone else. Also there’s just a bit of some botw dialogue connection, not only in just the opening, [Hwaoc Revali vs Botw Revali “Who would have thought” is put in different context based on their development, so it’s a good establishing point to show where this Revali is at in dynamics with Link in comparison to botw, all in just one line rather than in a more longer explanation] but I also scattered a few dramatic irony pieces in there heheh. There’s a lot more reasons why this scene is an improvement [and hopefully to you, it already *feels* better] but I’m not going to explain them until near the end, as its importance is connected to the later scenes of this Chapter.

In fact, that's the overarching change that I’ve made to these cutscenes, I’ve actually connected them and related them to the other scenes. This is the very first introduction to Chapter 3, after all, so it’s important that this introduction serves to be of more significance than “ok here’s the champions, here’s revali, there's medoh. Now go wreck stuff.”

Medoh’s fight is the same, the cutscenes after are mostly the same. Except here, when everyone runs into Korok forest and you see Astor, I want this scene to end not on Astor’s face (because it’s not as significant anymore since we’ve already see Astor in full in Chapter 2 with Urbosa’s stage) but it should end with Astor reaching out a hand towards the camera. The camera angle would be just a bit below Astor. This is because I want the implication to be slightly more clear that he killed those two Yiga underlings to craft the Hollows. It’s a nice little “watch it for the first time it doesn’t mean anything” but watching again it’s like “ohh how did I not notice that” kind of thing.

Then, Hestu’s introduction is roughly the same. I don’t think I really need to rework it too much, since Hestu as a character doesn’t serve anything major to the plot, so it’s fine for it to just be fun and cute. I will however, change just a few pieces of dialogue.

Revali: “Are we even making progress? We could just be going in circles.”

Daruk: “Good point. If only someone could fly above and scout the way.”

Revali: “As though I could see anything through this muck. Honestly, do you even think before you speak?”

Revali!!! Don’t be so rude to Daruk. Like yes it’s a bit funny, but that last part with “do you even think before you speak” is a bit much, because honestly Revali doesn’t really have a reason to hate Daruk. He’s characterized as being rude to Link and those he deems unworthy of respect, but Revali respects Daruk, Mipha, and Urbosa fairly well, considering they were chosen alongside him. So personally, I’d just tweak this to

Daruk: “Good point. If only someone could fly above and scout the way...”

Mipha snickers at this. And Revali mutters more quietly to himself, “As though I could see anything through this muck.” and gives little “hmph!” at Daruk, moving away.

There we go! It still serves it purpose of showing how the Champions are still not completely in sync (which is what I can assume was the original purpose of Revali’s rude comment line) but it’s played a bit more comedic (which makes sense considering this is in the context of Hestu’s introduction) and we get to poke fun at Revali, since just early we had spent so long boosting up his ego. Also Mipha laughing a bit with Daruk while Revali broods adds to that point of them being too busy to see Hestu right behind them.

Another small change, I don’t want Zelda to discover Hestu first. I want eggbot to discover Hestu, maybe they shake their maraca and eggbot notices and gives a little curious whistle. When Zelda notices eggbot not walking with her, she looks right, and that’s when she notices Hestu. It’s almost insignificant, but I really want to establish the eggbot’s presence for this chapter. Especially since this game writes him out of cutscenes a lot.

Final small change. That Hestu scene ends, not with Revali wordlessly shaking his head and following the group after hanging back. But with Mipha actively turning back, saying something like “Come, Revali. We should all stick together. It wouldn’t do for us to get lost.” and then a reply like “As far as I’m concerned, when it comes to mystic swords, magic trees, lucky knights, and walking eggs...I already am.” I’m just trying to keep intact that Nintendo “vibe” of flicking the character stances right in your face, especially since this game's only forms of telling the story are through these less than a minute cutscenes.

OKAY! Gameplay stuff. There are no real mechanic or level design changes to the Battle of Korok Forest, BUT there is one important change that I want to make here.

When the party splits up to take on the bosses in order to get rid of the malice. I think that the Hollows should speak.

Not like full on sentences and stuff (yet) but I think they should mumble and groan and be able to speak a few simple words. Now why do I say this? Well, let’s take a look at how I think we should introduce them.

First off, I think it should be a cutscene. Not just some 2 second animation where the Hollows spawn in. Nonononononono, this needs to be a cutscene, because it needs to be acted, because we need to see the character reactions. Like, if you’re gonna have that cliche “dark evil clone of the protagonists” thing, then you might as well go all out with the angst. In fact, personally, I would have rewritten is as the hollows actually *being* the champions and astor can temporarily control them but then when he sees that fail later in the game that can be his motivator for making the blights to kill them off since they’re no longer of use to him alive or whatever but we’re scrapping that idea because like I've said I want to try to keep the integrity of the original story.

Ok, so you have a character come up to one of the map points, and when they get there it fades into a cutscene. It’s not gonna be super long, but here’s the vision.

Character is in the lost woods, they killed a stalbokoblin or whatever. Just some low tier enemy, and then it dies and becomes that whisp of malice. Great. Character turns to leave, but then they hear something. Like a snicker, or laughter. Cut to this angle from behind the trees, but instead of astor it’s the character you’re playing as.

They go over to investigate, creeping closer with caution, until they see a shadow. The shadow of a small figure, about no higher than Link, with a long, trident weapon.

FWOOSH! An explosion of malice, almost like a fountain behind the character. They turn just in time to block the attack, the Lightscale Trident, but yet...it’s not the Lightscale Trident, because it’s covered in malice. Hollow Mipha is striking from the air, because this is basically her fountain teleportation thing, but malice. Once the character blocks the attack, time slows just a bit so you can see Hollow Mipha’s face, and then cut to the other characters face to give them a reaction. And that’s it.

Then you can pop back into gameplay, but there should be textboxes on the bottom where you can see the character’s surprised reaction like

[Unimportant detail, but if Daruk fights his Hollow self I want his reaction to be like “Woah! I sure look grumpy. I look like I skipped breakfast.” and then his gambit attack is like “eat THIS!” Also Revali can say something about how imitation is a form of flattery]

Through that fight, the Hollows also have like one textbox and a line of Evil™ mumbling and/or laughing once they’re defeated. The laughing is kinda used in a later scene, but it’s never really seen again so I just want that to be more prevalent. You all could probably think of more angsty “evil version of you” lines that are specific to each character, but I’m just thinking stuff like “You...won’t...last” or even just *muttering*. In fact, this is another thing that I want to flesh out with my gambit feature. It not only serves as interaction between whatever two characters you’re playing as, but also as interaction between your antagonists. So if you use a gambit on Kohga, he’ll say something specific about the characters he’s fighting. Same idea with Sooga, or Astor, and now here, the Hollows can say stuff to you.

There’s gonna be someone out there more creative than me out there that can think up some cool dialogue for them, but basically what I want to establish is that we know that these Hollows are made from people’s like, souls? Or life force or whatever you wanna call it. So it wouldn’t be farfetched to give them the ability to speak. Over the course of the game, I want their textboxes/dialogue to be more and more lifelike, like without the pauses or muttering. This is because the entire point of the dialogue is not only to serve that trope of “I’m the evil you I’m gonna say stuff that emotionally impacts you mwahaha” but it also makes them just a bit more menacing in my opinion. Also overall gameplay wise, I think they need to become stronger with the Champions because idk if it was just me, but they were so easy that I just forgot about them.

So! Korok Forest Battle introduces these creepy mumbling Champions, people react and are a bit freaked out, but they eventually clear the malice and we hit the next cutscene.

This is where the shit goes down.

You all probably remember how this scene goes down so I’ll try not to spend too much time explaining it. But here’s my two cents as to why I’m gonna rewrite it a bunch. I think it’s not a good villain reveal.

Like first off, it doesn’t establish Astor as a threat. His memorable action here is the summoning of the Hollows, and while yes, they do beat up Link and that’s very good, it also let’s Link easily beat them and Astor as soon as he gets the Master Sword IN THAT SAME SCENE. There was no time to let the threat of Astor linger, and when we see Link instantly beat him once he gets his Mcguffin, it really hinders the effect of this reveal.

Secondly, everyone is just silent during this??? Like, obviously Link doesn’t say anything, but Zelda doesn’t do stuff? Astor just kinda says “kill her!” and thats about it. Zelda never says “who are you?” or “what do you want?” or anything because as far as she’s concerned this is just some random dude, he’s not Yiga or anything. Also Astor never even introduces himself?? Throughout the entire game??? So while we the player know who he is because of his fancy title card, as far as all the characters are concerned he’s just a Mystery Clown.

It’s just super weird how no one asks any questions during this scene like no one acts like a human being with common sense. In fact, one could say that no one asks any questions for this entire game. Things just happen, and happen, and happen, and everyones just kinda chill. And then Zelda just kinda receives 17 flashbacks over the course of two minutes at the end of the game like she’s speedrunning botw memory%. Obviously having an aura of mystery over the course of your game is fine, it’s good to keep questions lingering over the audience’s head. Just so long as you answer them in a satisfactory way later on. Like, that’s not something I need to spell out for you right? If you set up a question, give the audience a good answer. If you set up a mystery, give a cool explanation. If you set up an interesting character you have to give the people a pay off that was worth their investment into them, right? Right? Right? You understand right? Cause as the writer for a story, it’s you’re to explain the significance and importance of why things happen in a creative way. It’s almost as if that’s the entire purpose of storytelling, you know, an explanation of events in a compelling manner. Like please, this is a concept that you are able to grasp right? This isn’t just me right? See that’s how writing works when setting up anything ever, you gotta give an explanation to the choices you make in the plot. You gotta explain why. You gotta explain why. Explain why. Explain why. Explain, why? Explain, why? Why? Why? WHy? WHY? WHY? WHY? WHY? WHY? WHY? WH

Sorry I got carried away. Anyhow, here’s the rewrite.

Link and Zelda don’t enter the forest at the same time. They run through the wooden tunnel thing, and Link makes a gesture like “go!” while he stays back a bit to hold off some monsters like stal-lizalfos or something. So Zelda runs into the center of Korok Forest.

As far as any of the characters know, this is a safe haven now, this was their destination, so there’s no monsters here, so they’re good. The princess is safe, the Champions are just cleaning up in their respective corners of the forest with the Hollows, and Link is fighting off the monsters by the entrance. So while there is still tension from the battle, Zelda lets out a sigh of relief once she sees the Master Sword.

She approaches it, cautiously, but doesn’t step onto the stone pedestal, still staying a ways back in the grass. “We’re finally here,” she says to herself. “Now we just have to protect the sword, await for the hero to retrieve it, and await for destiny to arrive.” She looks down at the ground, and then at the back of her hand (fuck what hand was the one with the triforce, her left hand? I’m gonna say left hand). So she looks down at the back of her left hand, before letting it fall. She turns away from the Master Sword and to herself she just mutters, “I only wish that I could make as much progress in fulfilling my own role...in making myself to be of actual use, like the others.”

There’s a moment of silence as Zelda wraps her elbows and closes her eyes. Then,

“If that is what you wish,” a sudden voice echos, and Zelda spins around to face it, “Then perhaps I can be of some assistance.”

Cut to Astor, standing in front of the Master Sword, facing Zelda. Roughly where he is shown here, but Zelda is a couple feet away from him, standing on one of those rocks.

Zelda steps back in shock for a moment. “W-Who? Who are you?”

“Me?” He takes one step down the stairs. “Oh, I am just someone, same as you, who wishes to see destiny fulfilled.” Zelda takes another step back, and seeing this, he stops approaching. “Ease your mind, Your Highness. There is no need to be frightened. You may call me, Astor”

Cut to title card on his face, it can be like this, BUT, no malice or glowing magic around him, it’s all still lush green forest, and I don’t want as much focus on his astrolabe. It’s just his face, and he’s giving a warm, yet chilling smile.

Zelda is still stammering. “Y-You...do I……. how did you—”

“It doesn’t matter. What matters now is taking every step towards stopping the Calamity, correct?” Astor starts to take a step towards her again, and this time Zelda doesn’t flinch.

“Y-Yes. Yes of course. But I’m afraid I’m still a bit confused. ...What exactly do you...want?”

Astor doesn’t immediately answer. He steps off the pedestal and starts to circle around Zelda, eyeing her, but still with that creepy smile. “Tell me, Princess, how fares your recent training? Adequate progress, I presume?”

He continues circling around her, still a few feet away. Zelda looks to the ground, defeated. “I’m afraid not. I’ve been trying to aid the researchers with the Guardians and Divine Beasts. But when it comes to this power…” she looks down at her hand again. “...it seems despite my great efforts and restless hours of prayers, they have yet to awaken.”

Using his free hand, Astor places a hand on his chest, tilting his head in a sorry pout. The gesture seems exaggerated. “My...you poor thing. How harrowing this must be for you.” He continues walking, eyeing her as he circles behind. “But, I am certain it is not your fault. You are but a child, after all.”

“I…” Zelda is still staring at the ground in front of her. Astor continues.

“I mean really, have you ever stopped to think about how absurd this all is? A collection of mis-match warriors, demanded to pilot gods. A sword for an unseen hero. The lives of us all, in the hands of one girl. Expected to lead us all, awaken a divine power, and save the world, all before her 17th birthday…”

After a beat, Zelda finally looks up at him, confusion and suspicion back in her eyes. “What did you say?”

Astor stops walking, he’s back directly in front of the pedestal. The camera is on him center frame, so that when he turns to face Zelda, his figure blocks the sword.

“Now Princess, is that truly what you want? Do you really believe yourself prepared to live up to such a monumental task?” He’s walking directly towards her now, arm outstretched.

“I—” Zelda pauses, before shaking her head. “Of course not, but that doesn’t mean—”

“Yeesss. Precisely! You needn’t not let yourself live like this, like some beggar to the gods, like a failure.” Astor is walking more quickly towards her, and Zelda is stepping back.

Zelda lets out a gasp of fear now, as Astor approaches, there’s a swirl starting to form around the astrolabe in his hand. “I don’t understand! What’s your point, what do you want? Who are you!?”

He stops walking, he’s so much closer now, just a foot or two away from her. “It’s quite simple my dear.” He gives another smile. “I’m a man who wants to live.”

Fwoosh! The air around them is now tinted purple, the astrolabe’s power surrounding them both. Zelda gasps again.

“If we truly wish to see this realm prosper, we must accept the indisputable truth.” Astor reaches out his hand. “You are not worthy of saving this Kingdom. You do not have the power to oppose such an unimaginable enemy! Therefore I shall relieve you of your burden, for the sake of us all. I will steal, your, destiny!”

Astor is seconds away from touching her, before suddenly...the sound of a sword unsheathing.

Astor flies back, crumpling on the steps of the pedestal, he looks up to see Link, sword at the ready. Link had pushed astor back with the pommel of his sword [because no stabbing or blood for our PG Nintendo game] and the motion has cause him to drop his astrolabe, which now lies a few feet in front of him in the grass.

“Link!” Zelda says, relieved. From behind, eggbot also appears. It walks infront of Link and gives a little whistle and does that sassy pointing thing in the direction of Astor, as if telling him off.

Astor frowns when he sees Link, but when he sees eggbot his face morphs into confusion. “You…? But I…” he glances at his astrolabe. Astor gets up to retrieve it and stands.

“It doesn’t matter how you’re here again. You can’t stop this.” Astor summons the Hollows, and they appear in front of him. It was harder to see in the lost woods, but here in the lush grass, its undeniable that the Hollows are draining the plant life around them.

“Kill whoever he is. Fight the Guardian if you must, though I’d prefer it intact. But don’t touch the girl.” He narrows his eyes. “Her thread shall be cut by my hand alone.”

Then it goes into that action sequence. Link is desperately fighting off the Hollows, while also trying to keep eggbot close to protect it. The hollows are laughing, even taunting him, as Astor is just walking calmly forwards towards Zelda, and Link can’t do anything to stop it.

Then it’s roughly the same, Link flies back as his sword breaks. Zelda is kinda helpless. And then just as Astor is about to reach Zelda again, Link cries out, the Master Sword glows. Everyone looks back, confused. Link pulls the sword. Boss fight.

After the fight and after Link defeats Astor, he’ll say something like. “That sword...is too powerful.” and blah blah blah. He looks up at Zelda. “Should you come to your senses, Your Highness,” he hisses the words, “I will delightfully accept an invitation with your company again.” He glares at Link. “Perhaps one day, when we have more time, you will fully come to understand where your arrogance is leading you.” He stands, though clutching his side in pain. “Until then, I shall make certain we meet again.” Link charges him, but he disappears in smoke and malice. End the Korok Forest arc.

Okay so! Why is this scene better? Uhhhhhhhh because it fucking is that’s why. We got 1) A villain introduction that’s more menacing 2) an establishment of character goals, but a mystery of character motivation to keep suspense 3) a more insightful look at different character’s feelings and thoughts 4) a much more interesting interaction with dialogue that raises tension and properly climaxes to the action and 5) the story’s momentum moves forward with ascending action, and new story details that set up later scenes.

I find it absolutely absurd that in the original game, these scenes are not written with more impact. This is the first look into the real mystery and substance that the story has to offer, and the first real look into the prime antagonist’s head. The actions and stakes throughout Act 2 have to properly ascend and rise in order to truly keep the audience engaged. You can’t just rely on mystery alone, you have to make use of character goals.

Reiterating Zelda’s internal struggles means that this can more easily connect and flow into the later segments where she doubts her ability and sees Link and the others grow stronger. In addition, Astor’s presence is a direct foil to Zelda’s arc. You can already see it a bit based on his dialogue, but I will more fully explain the true depths of how his is a direct foil to Zelda further down the line when all the aspects of his character are revealed. It’s almost as pacing the amount of information you give about a character can properly incite your audience to be more invested in the story, hmm. Anyhow, all you need to know for now is that good antagonists have similarities and aligning viewpoints as the protagonist in the beginning of the journey, much more, than you might think.

= = = = =

That is it for now! I can’t believe I had to dedicate an entire section to just one battle. But! That is how the story must go, as I need to flesh out as much as possible in only a few cutscenes without ruining the pacing. Tune in next time for flashbacks, backstory, Yiga husbands, token Zelink hours, aaand perhaps just a bit of Impa simping.

#Hwaoc: The Kip Cut #Part 2 #hwaoc spoilers #long post #hwaoc #age of calamity #hw age of calamity #hyrule warriors age of calamity

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botwstoriesandsuch · 3 years

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Whoopsie King Rhoam’s a dick but I gotta flesh him out so

Read Part 1 here!

Part 2

If you’re on mobile, and tumblr hates this post, follow along on this google doc!

Rules/overview this rewrite in the beginning of Part 1

‘sup ya beautiful bastards it’s time to gush about the process of storytelling and writing as we fix up the fix it fic so let’s just jump into it

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A quick recap of Part 2, and I swear this recap is faster than the recap last time: Chapter 3 of Age of Calamity opens with a more substantial scene the beginning points of Revali’s character, and contrasting the old position that Link and eggbot have, so that their later changes in this chapter (well, at least for Link in this chapter) are more pronounced. We edited a bit of the dialogue to make Revali’s intentions make a bit more sense, while also putting some little foreshadowing points with some camera tricks for the Hollow Champions. The Hollow Champions can now speak, which means their potential for being used to bring out the flaws or bitter aspects of each character is more readily available further into the story. And of course, we’ve introduced the main antagonist of Astor, and coupling his presence and dynamic with Zelda’s insecurities. While his intentions of needing Zelda for something is clear, his motivations and backstory remain a mystery as of yet, the only true clue we have so far being some sort of connection to eggbot.

I didn’t get any big asks or comments about Part 2 so I’m going to assume that it was mostly well received (although I will note that I promise I’m going to flesh out Revali to be more than he has been presented as of yet, this is just the very very start of this development don’t you worry your feather loving butts) that being said, you should totally critique me or give me your opinions or comments. I’d love to hear them! Although, keep in mind that I am restraining my rewrite to the guidelines already said, so don’t get mad at me for not killing off all the Champions or something. Thaaat’s a rewrite for another time. So yeah if you reblog you get a little kiss from me because believe it or not I spent a lot of time trying to rewrite an entire storyline while keeping it’s tone and integrity intact. So thanks much <3

Okie dokie then chaps! Let us finally delve into Urbosa lesbian vibes, a zest of Zelink angst, rants about pacing, and a couple tablespoons of Astor backstory, all starting in the latest stage of Chapter 3: The Road Home, Besieged

So right of the bat, big problem here. This Chapter follows directly after the events of Korok Forest, so you assume that maybe “The Road Home” refers to the team, going home, back to the castle, to tell King Rhoam what’s up. But...that’s apparently not the case.

So this entire stage, firstly, it brushes over any scenes where Zelda, Link or the other Champions might talk to King Rhoam about the Master Sword, or the Deku Tree, or...hmm what else happened last stage that might be interesting to see—oh yEAH HOW ABOUT that mysterious magic guy that tried to kill Zelda and was going off about the future and stuff?? That guy that wielded a bunch of dark magic and malice looking stuff and, uh yeah, you’d think it might be important and interesting to see the King’s take on was is essentially a wanted traitor to the crown who may or may not be leading the entire movement for the Calamity’s uprising. But nope, no one asks questions, no one says anything or has interesting conversations that reveal stuff about the plot. It's just….just all about Zelda and ooooOOooo she can’t awaken her powers oh no what’s a gal to do!

And I do mean that quite literally, this entire stage is all centered around two scenes with Zelda. The first, an admittedly narratively important scene of Zelda having a quick flashback about eggbot after he sings her a song, but it lasts for five seconds. And the second, being a pep talk with Urbosa as Link eats rocks in the background. For the majority of this stage, it’s all focused on Zelda, and pacing wise, it does virtually nothing to progress the narrative/plot forward.

And on paper, there’s nothing wrong with that! Hell, people read entire fanfictions dedicated to character development and relationships that have absolutely no external plot. Having a scene dedicated to just character development is completely fine, it’s something that’s pretty common and even encouraged to an extent. The problem arises when you remember that this is a story being told through the medium of a video game.

Now, I am going to try and breeze by this because, similar to Age of Calamity, I have to also construct this post with pacing that keeps my audience engaged, while progressing with my core narrative and story. But I highly encourage you to watch through this video by hello future me (On Writing: How to Master Pacing) because a lot of what I know about this I’ve picked up from his videos, and if you’re a writer or just someone who thinks storytelling is cool, it’s a great guide to the art of pacing.

youtube

Anyhow. There are two levels of pacing within a story. There is the small type of pacing, like for the structure of a singular scene. And there is the pacing of the overall core narrative, how the larger beats of the entire story is revealed. Good pacing for your core narrative is about whether the reader feels like they are getting closer to the big thing, the big climax or answer or promise of satisfaction. The smaller type of pacing, for your singular scenes, focuses on that timing between how close you get to achieving new information, this refers to your slow and fast pacing, tension versus rapid action.

So, overall the rule of thumb is: the amount of time you invest into your smaller scenes, even put together, that must correlate with a big enough payoff in the core narrative. That’s what good pacing is. (And that’s why people make stuff like the Three Act Structure to help visualize this pacing process but obviously other forms of pacing guidelines exist like the Five and Seven Act Structures but that’s too complicated for this Nintendo Game anyhow that’s just some educational flavour for ya to impress your highschool English Teacher I guess)

So knowing that, the question now is: Does The Road Home, Besieged contribute good pacing to the story? This is going to be my excuse for changing up other later scenes in the game, so when I mention pacing and narrative again, remember this. The time spent playing for thirty minutes, minimum, in the game, to only be paid off by two lines of character development isn’t good pacing. So the answer is “no.”

Delving as long an amount of time as thirty minutes, means that pretty much everytime a stage is complete, you must introduce new substantial progress to your story. A game like this just doesn’t have time to waste it’s valuable cutscenes on character development alone. There’s an even further wrench in the issue when you consider you also need to account for sidequests, so you could really be forcing your player to go through hours of gametime before you introduce new details in the story.

Obviously it’s not always gonna be cut and dry like that—sometimes you have to account for how enjoyable the gameplay is, and sometimes the amount of character development offsets any lack of narrative development—but for the majority of stages I’m gonna change, they all suffer this pacing problem. In a game that's entire story hinges on these cutscenes, bad pacing is just something it doesn’t have time for.

Anyhow anyhow anyhow, I got to get my dose of serotonin by talking about pacing writing structure and stuff and blah blah, so now I shall grace you with the changes that address these problems that would theoretically lead to vast improvement. I gave you this reasoning and backstory to writing because I am making hella changes, to hopefully make the experience more “poggers,” which is something the cool kids say these days if you didn’t know.

Firstly, timeline wise this stage is gonna take place directly after the Korok Forest battle. The gang is returning home from the battle, with Link, the new wielder of the Master Sword, along with this new information regarding a certain Astor character.

We open the same way it does in game, focusing on Zelda’s face, before the frame is suddenly blocked by the pommel of the Master Sword. A wordless way to express how the sudden revelation of Link being the hero has forced its way into Zelda’s mind, great use of camera Koei Tecmo 10 outta 10

Now I don’t want to immediately jump into Zelda’s “oh poor me I can’t awaken my powers” dialogue because—and this is something even Breath of the Wild is guilty of—This game seems to forget that there are other characters besides Zelda. It’s marketed towards kids, sure, but I assure you that kids playing this game have a longer attention span than 2 minutes. You don’t need to keep reminding the audience every single scene about how Zelda is anxious about her powers. It gets redundant, you waste the audience’s time, and therefore you waste your own time, because you could have been using that precious screen time to develop some other thing further. So anyhow, goes a bit like this.

Zelda’s walking, the Master Sword comes into frame. Zelda looks down at the ground but keeps walking, but you can tell from her expression that she’s troubled. Don’t need to waste time on dialogue for her here, show don’t tell, we need to make the most of the scene here. Camera is still on Zelda, but the focus blurs shifts from Zelda to the Champions behind her. We can start with Mipha, I don’t have my heart set heavily on any specific dialogue, but I want her to say something along the lines of “how proud she is of Link” and what an honor it will be to fight by the side of not just her dear friend, but also someone selected by the goddess to be the hero. Subtextually, I want her to say this in a tone that suggests that she doubts the need for her to be here at all. She’ll say something like “He’s grown so…” glances up at Link who's just walking ahead, “...so much stronger than I could ever imagine. [Something Something] His power has grown so much over the course of a few days, more than I have achieved in a lifetime.” She looks down, but she still has a sweet smile.

Now I’m doing this because I want to develop further this plot line of “getting stronger” that Age of Calamity sets up but never does anything with. Remember how in Chapter 2, Mipha asks Daruk to train with her to get stronger? I really like the possibilities of this arc with Mipha as it can not only parallel with her feelings for Link, but also make her character better as an individual. Mipha wants to get stronger so that she can protect Link, but now she thinks that Link’s already growing stronger to an extent that she might not be needed. She’s not jealous of Link, nor does she wish him to be weaker, she simply wants to be more than she already is. This is literally echoing her words that she left her father, about how leaving the Domain and experiencing new challenges would be “good for her.” So I wanna run with it. The dialogue here establishes Mipha’s motivation to grow stronger, almost equivalent to a rivalry of sorts.

So after Mipha says this, Revali scoffs and butts in. Again, I’m not too set on any particular dialogue here, just something like “Hmph! Well, I don’t know about that. Seems to me all that’s happened is some magic sword gave the knight an ego boost. Blade’s only as strong as the little Hylian who wields it, and—based on my own extended experience and professional observations of course—I’ve yet to see this ‘stronger’ boy that you speak of.” Another camera pan to Link a ways in front of them. “If you ask me, hero or no, that knight is still exactly the same as I first met him.”

Revali places a wing on his chest dramatically. “Perhaps if you’re truly keen on seeing growth in skill and strength, Mipha, you’d do well to—”

“Flattering of an offer as that may be, Revali,” Urbosa interjects, “But I think Mipha might find it difficult to observe growth from one of the shortest Rito in Hyrule.”

Cue laughter from others or snickering or something. We just need some banter to add a bit more flavour to the characters. Revali can do a little huff and cross his wings or flip his scarf or something. But then Urbosa continues.

“Although...he is right about one thing.” Urbosa looks straight ahead. “A sword does not alter a hand, just as strength does not alter character.” She puts a hand on Mipha’s shoulder. “Grow as he might, there is no doubt in my mind that he is the same boy as he’s always been.” Urbosa looks up in the direction of Zelda. “Whether you realize it or not.”

Ok so, scene’s not done yet, BUT quick gush on the dialogue flow here. I’m trying to establish parallels in these character perspectives based on the flow of conversation. We started with Mipha who, like I said, wished to grow stronger along with Link. This flows into Revali who also has a similar parallel as he wishes to grow above Link’s shadow. But the distinction between Mipha and Revali is that Mipha think’s Link’s strength is earned, and Revali thinks he cheated, gaining authority through a magic sword, and not through merit and skill. Thus, leading to Revali’s perspective of Link being exactly the same as he’s always been, he believes the sword doesn’t change anything. Urbosa then speaks, because she thinks exactly the same thing. However, her distinction is that Link is the same as he’s always been: a determined young boy earned his place and cares for his friends. Then she looks to Zelda who, as we know, will develop a perspective that contradicts this. So you get it? This scene is like 20 seconds long but it already mirrors nearly all the character parallels and perspective, that’s why the flow of dialogue is important. And I know half of you probably think these kinds of details are a stretch but I promise you it’s not, just look at any movie or show ever and I guarantee you can find similar stuff there too. Ok moving on moving on—

Urbosa looks up at Zelda, comments her, “He’s the same boy, whether you realize it or not” piece of dialogue. Camera shifts back to Zelda and Link, who, idk if I mentioned this, but in the scene there’s enough distance between the Champions and Zelda and Link that the Champions can speak without the other two listening. So they didn’t hear any of this.

So the camera is back on Zelda, and now we can get her “How can I…..If I am unable to awaken my inner power….” line. Eggbot senses her sadness, does his little cheer up dance, Zelda gets a flashback.

One small change I wanna make to this flashback: Instead of just a baby Zelda going “nighty-night” I want there to ALSO be a figure in the background behind eggbot wearing a silk royal blue dress. And said woman has blonde hair and she’s by the table back there. We don’t have to show her face or anything because Nintendo hates that. Just place the woman somewhere in the back somewhere

Also possibly you could add the shadow of another figure by the doorway, maybe? It would serve good continuity purposes for the plot points that I’m telling, but that part is not as necessary. I just need at least the woman there.

Then Zelda is like “I remember you” to eggbot and all that and blah blah… Now, instead of Impa offscreen just yelling “enemy ahead!” I just want it to be a full on ambush. Not like a major one, but just enough where the group is surprised a bit. Maybe on the cliffs above, a lizalfo throws a boomerang, or a bokoblin shoots and arrow, or even just throws a rock. I don’t really care. I just need this to happen because…

As soon as this danger is presented, Link turns around to grab Zelda’s hand and they start running again. And he can like use his body to try and shield her a bit, I need it to parallel how he acted during Chapter 1 on the road to the Royal Tech Lab. However, this parallel has one important distinction because…

Zelda rips he grip from Link’s after a moment. “You don’t need to coddle me!” She says, or something along those lines. “Y-You...You’re the hero aren’t you! I’m perfectly fine, you don’t need to spend your precious time playing babysitter to me.” In the distance, a horde of monsters is beginning to form. Zelda looks between the monsters and Link’s Master Sword, her expression unreadable. “Well? Just...just go do what you need to do.” Link hesitates, looking between her, and the approaching monsters. Zelda speaks more sternly now, “Go!” So Link, not one to disregard an order from the Princess, gives one last look to Zelda before setting off towards the monsters. Maybe Zelda can take a deep breath to steady herself after he leaves, but as soon as Link unsheathes his sword, the metal glistening in the setting sunlight, it cuts immediately to gameplay. Start battle.

For essays’ purposes this is the part where I explain why this is better than the original. So here’s my reasoning:

Uhhh, it just is. :3

Ok but seriously, I’ve already talked a tone about why the pacing and dialogue flow is better than the original. But also this scene doesn’t just say “Ooo Zelda is sad about her powers,” because that’s not interesting. Like I said, it’s redundant information. What is interesting is see how characters deal with that internal conflict and how it affects their relationships. AKA Zelda’s relationship with Link, who now basically embodies the success that she’s been working so hard towards but never achieved, is deteriorating a bit. I wanted to get that sense of the Zelda that we see in Breath of the Wild because all things considered, they should be roughly the same character.

So that’s that, you fight the battle, the Hollows show up a bit, so insert “dark evil Champion” dialogue because if you’re gonna use the evil clone trope might as well use it to the fullest. Then you fight the Talus and hurray horrah the day is saved.

Then we have that iconic Urbosa motherly pep talk to Zelda as Link eats rocks in the background. Now honestly, I’m not that big a fan of the first half of the dialogue, so I wanna change it into something more interesting. But the rest of the beats and camera work go roughly the same.

Zelda: “Link is...so much stronger now”

Urbosa: “‘And yet I have not.’ I presume that’s what you’re thinking, hmm?”

Zelda: “Well it’s true, isn’t it? More and more, monsters have been appearing around Hyrule. It is a sign that the Calamity draws near. So...there isn’t much time. And still, no sign of my power awakening.”

Urbosa: *sighs* “Little bird…”

Zelda cuts her off, in an attempt to change topics: “Why do you call me that?”

Urbosa: “Hmm?”

Zelda: “Little bird...I feel like I’ve heard it before. Why do you call me that?”

Urbosa, after a beat looks off in the distance or something: “A long time ago, my dear friend would call me to the palace, or perhaps invite herself over to mine, [she chuckles] ...and she would talk with me all day, and ask me to gaze upon her little bird with her. Her dearest daughter...a princess”

Zelda: “You mean my…”

Urbosa just smiles with a soft nod: “Back then, times were a bit different. The destiny that you have was still upon the Queen, who worked day and night to refine her powers and fulfill her destiny. In just a few short years, I went from being friends with a Queen, to friends with the destined sealer of the Calamity.”

Another pause, before Urbosa speaks again: “But...she was still the same woman I had grown with. Still the same loving mother who spoke about her little bird with joy. She had not changed one bit.”

Urbosa: “Even when your mother passed, her loving smile was there until the very end. She always loved you—believed in you, Zelda. She had great hope, great faith that her daughter would grow into the beacon of light Hyrule needed. That even with her gone, you would spread your wings and fly, because you were just that amazing to her.” *Urbosa puts her hands on Zelda’s shoulders.*

Urbosa: “Destiny did not change your mother’s love, just as it does not change Link’s courage, or your value.” *the camera can pan to Link eating rocks now*

Urbosa looks directly at Zelda now: “Look how hard we’ve all worked to get this far, how hard you have worked to get here. While we may grow in strength, in that regard, we’re all one in the same.”

Zelda: “...I….well…”

Urbosa: “What did the Great Deku Tree say? There is no need to fret princess.”

Urbosa: “Our faith, Link’s, your mother’s, it’s all as strong as ever. And everyday, with every moment that you travel towards your destiny, it just grows. It is always with us. So believe in that, have hope, yet, little bird.” *Eggbot can scurry up and make cute noises here next to Zelda*

Urbosa: “I know, you are where you need to be. You must accept that too.”

Zelda: “...”

Zelda gives a solemn nod: “Thank you, Urbosa.”

So that’s that scene! Don’t let the length fool you, it’s technically even shorter than the original scene in Age of Calamity. So why is it, in my opinion, better? Because for one, we actually get an insight into Zelda’s mom and Urbosa’s relationship, something that was PROMISED To us but never given and I’m still a bit salty about it. Anyhow, in addition to just getting some lore details, that relationship between the Queen and Urbosa is important for this scene because, just like Urbosa spells out, it’s in direct parallel with Link and Zelda.

Before the Queen suddenly got sick and died, she was destined to seal the Calamity. But she didn’t let that destiny change her, she was still the same loving mother to the end. Now that is something that Zelda needs to realize about Link, as his newly acquired destiny doesn’t change who he was before, the knight who cares for her and wishes to protect her. Zelda needs to realize he’s the same and that she can still trust and confide in him. Hence, that’s why this mom backstory is in this scene and not somewhere else, because it serves to the narrative but also more impactfully to the character development.

The dialogue could probably be polished a bit more but come on, not half bad for an improvement yeah? So that concludes Chapter—

SIKE we’re not done yet. We still have to move into the entire point of this stage, the road home, to the castle.

So, badabing badaboom, I’m adding an entirely new scene from scratch right here at the end, because it is VITAL that I set up something new about the story, as a sort of clincher. So anyhow

Zelda is alone with her father, let’s set it in the royal library (Intact, not ruined, of course) because we don’t see enough of that location and it’s really cool. So Zelda is briefing her dad about the events in Korok Forest and on the journey back home. I know I always gush about cinematography but it can’t be fully appreciated since I’m….writing,,, this, BUT I think it might be fun if the side shots of Zelda have her background be some bookcases of the library, maybe half bookcases and the other half the ornate walls. Then the background for the King’s shots is the full symmetry of the elegant staircases.

[And if you needed the specific reasoning for that, because it makes camera shots more fun. Like when Zelda says something that aids in her scholarly side, the camera angle can change slightly where the bookcases take up more of the frame, and then when the King’s will takes more power, then the book cases can be angled a bit more out of frame. And then the symmetry of the King by the staircase is a way to show his higher power dynamic to her, and contrasts well with Zelda’s shots since the bookcases are dark and the stone is lighter, so on a meta level is also makes it easier for the audience to understand where they are. Shot composition is fun ok, and that’s not even getting into color theory (Thinks about Baby Driver and LaLaLand....even videogames like Undertale and Hollow Knight have such wonderful shot composition and use of color theory hhhhh love it)]

Ok so Zelda’s briefing the King in the library, she’s standing while he’s sitting at a desk. There’s maybe two or four Royal Guards on the staircase entrances, but for the most part, they’re alone. You can tell that this meeting between them has been going on for a bit now, as from Zelda’s dialogue, she’s retelling events midway through the story.

The King is flipping through some paperwork, not really looking Zelda in the eyes. She continues speaking.

“And so...with the malice cleared and the monsters being dealt with, Link and I made our way into the heart of Korok Forest.”

The King hums a response, flipping through another page. “And this is when Link pulled out the Sword that Seals the Darkness then, I presume.”

Zelda paused, as of thinking of how to phrase her next words. “Not exactly. I...we both encountered someone beforehand. A man, with a pale face, and dark hair and robes, and he had the power to control malice, using a strange object in one of his hands.”

Rhoam stops writing in his journal or whatever. He doesn’t look up, but the sudden stop he makes is obvious. Zelda notices, but continues.

“He talked about...the Calamity, and my birthday...destiny, and the future….I’m not quite sure I can remember his intentions word for word. But he did introduce himself as—“

“Astor…” Zelda and the King say simultaneously. The King has fully perked up now, looking at Zelda. She’s pleased to see a reaction from him. The King rises from his chair, and starts pacing a bit, stroking his beard thoughtfully like the asshole he is.

“So you know him then? This Astor man? Who is he, father? What does he—“

“Were you alright? Did he hurt you, or mention anything else?”

Zelda pauses for a moment before shaking her head, as if the concern he was expressing was uncharacteristic. “N-No. No, I’m fine, and Link was there. During the battle, as Link fought him off, that was when the sword was pulled. Then Astor fled, or...” Zelda pauses for a beat, “retreated...he expressed his wish to speak with me again.”

Another beat of silence, as Rhoam gets up, hands clasped behind his back. “He used to work at this very palace.” The shot is now directly on Rhoams back, as he faces a bookcase, although it’s clear that he’s just deep in thought, and not just staring at books. Rhoam is in third column of the shot (he’s to the right, not in the center)

“A trusted advisor. Someone gifted with foresight, who many years ago, had first predicted the coming Calamity.” Cut to shot of Rhoams face, the camera being by the bookcase, so that we see Rhoam’s expression and Zelda’s.

“In truth, I thought him dead. For the last time I saw him alive—truly, truly alive—was ten long years ago...” The shot goes back to the original establishing shot, of Rhoam facing away from the camera, towards the bookcase, he’s standing to the right, hands still clasped behind his back.

“...when your mother still graced this earth.”

From left frame, a younger Astor walks up and stands beside Rhoam. He runs his fingers along the books. Rhoam looks to his left, as if he is seeing Astor. Camera cuts to Astor’s right, as if looking at him from Rhoam’s perspective. He continues brushing his fingers against the spines of the books, before he finds the one he’s looking for. Pulling it out, he opens the book, flipping through its pages, before giving a genuine smile. Cut back to wide angle behind them. With the book, Astor starts walking back out left frame, but this time the camera follows him. Filter fade to a memory tint as the camera pans right to left

[when the camera fades fully into the Astor memory, the figures can have that silhouetted effect like you see in botw. Cause I know Nintendo hates making new character models for some reason.]

So if it wasn’t clear already, even though the memory filter doesn’t come immediately, Astor isn’t actually there, but it’s just a flashback. I’m a sucker for merges, which is something this game and botw NEVER do which bugs me because there are so many creative ways you could introduce flashbacks without just doing “ooOooOoo fade to sepia filter and then oooOOooOOO we fade back to reality and no time has passed.” I apologize if my explanation of the camera doesn’t make sense as it’s hard without much visual aid, but hopefully it makes sense so far. Anyhow! Let’s continue.

We’re now fully immersed in this memory, but King Rhoam’s voice still narrates overhead.

Astor brings the book to one of the desks in the library, where a woman sits writing something onto paper. News flash, it’s the queen. Astor hands her the book and starts speaking about something, although you can tell the tone of their conversation is light, almost akin to Zelda rambling about Sheikah Technology. The Queen laughs about something unheard, as Astor continues ranting about something, his hands moving to like a professor giving a lecture.

Rhoam Narration: “When he had first predicted the Calamity, things were much more hopefully for our kingdom. As although his foresight granted him only glimpses and fragments of a future, he was almost certain that with the Guardians, and the strength of your mother’s power, our victory would be absolute.”

Scene changes to the Queen walking down a corridor, Astor is leaning against the wall by a window.

Rhoam Narration: “He and your mother would often work together tirelessly to study the ancient arts, to make the most of the powers given by the goddess.”

The Queen has walked up to Astor now. She crouches down and gestures to her left, the side not yet seen by the camera.

Rhoam Narration: “In fact…”

The camera changes to focus to where the Queen was looking towards—a young Zelda, crouched behind her mother’s dress, stares up at Astor.

Rhoam Narration: “I would not be surprised if you found within yourself, a memory of such.”

I would prefer if you could see the expressions of Astor (giving Zelda not a smile, but not really a frown or anything rude either) and young Zelda. But I guess it can also just be silhouettes too cause again, Nintendo hates giving us younger character models outside of first person POV stuff. Anyhow.

The scene fades, the light from the window dimming as everything darkens.

Rhoam Narration: “I often times wish we could go back to such a time, when victory and pride swam in every corner of this castle. But of course…”

The scene brightens again, although not as bright as before. It’s the exact same corridor with the large window, but now it’s raining. A young Zelda stands alone in front of it, looking outside.

Rhoam Narration: “Such a time did end…”

We now cut to a new scene, King Rhoam is walking down a hall, the camera’s perspective is of a bird’s eye view, like we’re peering in from outside a window. We can see the shadow of Astor chasing after him, as he starts speaking frantically about something, not quite, but almost to the point of shouts.

Rhoam Narration: “After your mother died, the visions of the future shifted drastically. No longer was there glimpses of rolling fields and shimmering skies, but instead, of rubble, red earth, and death.”

You can now more clearly hear the words coming out of Astor’s mouth. He is telling something about failure, and souls, and the Calamity to the King’s ear. He’s still walking forward.

Rhoam Narration: “He was adamant that our demise was now coming faster than ever, and that without your mother, we were doomed. That even you, should you take up your mother’s mantle, could not save everyone.”

Astor: “I’m telling you Your Majesty, if you go down this path, there is no going back.”

King Rhoam: “There is no other choice, we are moving forward.”

Astor: “I don’t think you quite understand the true gravity of the fate you’re choosing for yourself. It is a guarantee that you, me, and countless others shall die.”

King Rhoam: “I don’t want to hear it.”

Astor: “And of course, there are a multitude of possibilities, but the end result is the same.”

Astor: “Do you have a preference, perhaps? Crushed by rubble? Suffocation under ash?”

Rhoam’s tone is deadly: “Stop.”

Astor: “I’ve seen fire too. I’m not yet quite sure the exact circumstances that lead to flame appearing and spreading so quickly, but rest assured that if you—”

King Rhoam: “Stop.”

Astor: “If you saddle someone else with this duty I am absolutely certain that you and I will—”

King Rhoam, voice not shouting, but still with a booming intensity: “Just like you were so certain of our victory 10 years ago?”

Astor’s face darkens. He’s silent for a moment, collecting his words before practically spitting the first articulation: “...That, future, was the one that would come to be if Her Majesty was alive. If you’re so unsatisfied with my departed wisdom you can go ahead and flail around with destiny alone. You think I choose for these events to happen? You think I lie when I saw I want what’s best for this kingdom—”

King Rhoam: “What’s best for you.”

An ugly pause.

King Rhoam: “It is decided, Seer. It’s time you accept this. My wife is dead. That is the truth. Thus the role of sealing the Calamity shall pass to my daughter. She will work to awaken her own ability. It will be her duty to save us.”

Astor half laughs: “A child?! Surely you don’t need the supernatural to see how foolish that is.”

King Rhoam’s voice is even more stern: “You are living proof that the future is not absolute. Therefore I...must place all belief in her ability.”

The King walks away, leaving Astor alone. Weirdly, he smiles. Perhaps to mask some other emotion.

After another moment, Astor yells to the King: “I’ll fix this! Alone if I must!” He’s chuckling as he shakes his head. “Your useless faith may cost many lives, but even so mark my words, I will fix this.”

The King looks back, but says nothing, his expression unreadable. He continues forward, leaving Astor alone chuckling, or perhaps something in between chuckling and crying to himself.

Rhoam Narration: “We haven’t spoken since that day. I simply left him to his devices. If he was so determined to find another way to stop the Calamity, then who was I to stop him. I doubt my word could have swayed his mind regardless.

We’re now looking at a room, the camera is just by the doorway, looking at an office, circular and domed. It’s stone brick walls are covered in parchment and ripped books, covered in symbols and frantic writing. An old Sheikah tapestry hangs crudely on the left wall, and the window on the right seems to tint grey, or even a deepest crimson. Centerframe, is the back of Astor, robe hanging just above the paper ridden floor. He is flipping through something on his desk.

Rhoam Narration: “Fixated as he was on the perfect future that you mother might have led, I still had hope that with time, he might still assist you with your destiny one day.”

The camera slowly comes closer to Astor. We can see more clearly the type of stuff that sprawls the papers and books and diagrams across his office. Some depict stars and constellations, and even a few notes on Ancient Technology, although in a noticeably cleaner font. However, as the camera moves close and closer to Astor, the papers and books depict only one clear topic: the aura of death that comes only with necromancy.

Rhoam Narration: “It seems…”

Astor finally reacts to whatever he was doing on his desk. You don’t see his eyes, but as he fully turns around to face the camera, you see his smile, along with him holding a dark orb of unknown energy. It hovers in his hand.

Rhoam Narration: “...I was mistaken.”

The camera cuts to a wide angle, looking at Astor from behind a stack of books on his desk. The stack of books on Astor’s desk brighten in color (from the memory dull filter), until the scene fully fades back into the Royal Library. The camera is now focused on a similar stack of books on the desk behind Zelda, where Rhoam was working before.

Zelda is still looking at her father, who is still turned away. Now, he turns back around to face her.

“He had disappeared completely one day, so it was my understanding that whatever he was working on killed him. However, if he is truly back as you say…”

Rhoam walks closer to Zelda, close enough that he might have put a hand on her shoulder, but his arms stay behind his back.

“It is in your utmost interest to prove him wrong. I know not what he plans on doing, but it would be wise to stop him before he does.”

Rhoam turns away now, pacing back to the otherside of the desk. “But, your more important priority is unlocking your powers, understand? Now more than ever, is not the time to get distracted.”

Zelda, taking this all in, takes a deep breath. She then nods at him. “I understand...Father.”

After a moment, the King makes a motion as if to dismiss her. She starts to walk away, her thoughts churning in her head, heart thumping to the same beat as her echoing footsteps. Suddenly, Rhoam calls,

“Zelda.” It’s not a question, but the tone is asked like one.

She turns back, looking at him, expectantly. Rhoam only stares at her, an uncharacteristic moment of uncertainty for him. The words he wants to form seem stuck in his throat, until finally, he lets out a quiet breathe through his nose, before simply saying:

“You must.”

Zelda can only frown, her shoulder’s slumping slightly, as she ducks her head and leaves.

- - - - - -

And that’s that! That’s the complete end of Chapter 3. So tune in next time for Chapter 4, including a new slight but important story changes, Yiga husbands, and shocking turns of events.

Edit: I forgot that posts with link’s dont show up in tag results so a rb is appreciated :p

#Hwaoc: The Kip Cut #fuck this is the biggest one yet #hwaoc #age of calamity #hwaoc rewrite #hw age of calamity #hyrule warriors age of calamity

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