Inspired by Anita Sarkeesian’s Video Game Tropes vs Women, I wanted to pitch a Zelda game where Zelda herself was the hero, rescuing a Prince Link.
Clockwork Empire is set 2,000 years after Twilight Princess, and is not a reboot, but simply another iteration in the Zelda franchise. It just so happens that in this case, Zelda is the protagonist. I’m a very big Zelda fan, and worked hard to draw from key elements in the continuity and mythos.
This concept work is meant to show that Zelda as a game protagonist can be both compelling and true to the franchise, while bringing new and dynamic game elements that go farther than being a simple gender swap.
“I’m tired of people asking me to smooth my name out for them. They want me to bury it in the English so they can understand. I will not accommodate the word for mouth. I will not break my name so your lazy English can sleep its tongue on top. Fix your lips around them. No you can’t give me a stupid nickname so that you can replace this gift of five letters.” - Hiwot Adilow (linked above, performing the quoted piece)
“Give your daughters difficult names. Give your daughters names that command the full use of tongue. My name makes you want to tell me the truth. My name doesn’t allow me to trust anyone that cannot pronounce it right.” - Warsan Shire
pictured above: Entitled white woman Jenny Johnson in all her ethnocentricity. I grew up with women like her, they were my teachers, classmates. They resent any self-possessed “other” as “arrogant” for attempting to access the same common courtesy and respect they might allow those as vanilla as themselves. These women view it as their birthright to decide what is “weird” and “obscure” from within a niche limited to “white women named Jenny.” They blame their linguistic inadequacy on our parentage while resting on the privileges of their own. These women never amount to anything beyond an ignorant bully forever isolating themselves from incredible people with spectacular names.