The Legend of Zelda Links Awakening

November 9, 2016

Hyrule Haeresis 4

Forest of Illusions Hyrule Haeresis, The Legend of Zelda, The Legend of Zelda Links Awakening, The Legend of Zelda Links Awakening DX 0

Blasphemy, they would have said.

The story of handhelds is the secret story of the video game industry. Always overlooked in conversations about “bit eras” and “hardware cycles” and “console generations”, the handheld side of the medium has from the start been relegated to the kiddie table of the master narrative of history. This is in spite, or perhaps because, of the fact that until quite recently handhelds were the best selling consoles on the market, and even today the “casual gamer” epithet is applied almost exclusively to those who are in possession of smartphones and tablets (that is, roughly 100% of the populace).

It is perhaps not altogether difficult to see why: Accessibility was always going to be a sticking point for a culture fundamentally built around the exclusivity of privilege necessary to have the latest up-to-date technology at any given time, and handhelds are built to be accessible, using older, established kit in inventive new form factors to keep costs down and ergonomics up. And there’s nothing gamers fear and despise more than low cost and ergonomic, for to them such things comprise the mark of the weak-willed and the infidel. So shunned was the Game Boy and its house for receiving allegedly pared-down ports of superior home console titles, and mocked were those who dared besmirch themselves by owning one. Why would you waste money on inferiority when you can get the same game but better for the NES and Super Nintendo for almost the same price, the gamers derided? Never mind that not everyone can afford a home console, or has room for one, or needs or wants one, and never mind that not everyone wants to spend their entire life slack-jawed and complacent in front of the reassuring glow of the TV screen.

And never mind that Nintendo has always built their name in the video game industry on the back of hardware like the Game Boy. Nintendo’s first real breakout in games aside from its early arcade cabinets was the Game & Watch, a series of simple handheld LCD games that doubled as watches and could fit in one’s pocket, marketed towards the average person on the go. In those days, and still to this day to an extent, Tokyo was a city of foot traffic, and something as simple and elegant as the Game & Watch was a surefire success. And if it wasn’t for the Game & Watch, we wouldn’t have the NES controller, and by extension every home console controller ever made. Or at least, it would have looked dramatically different: It was the unique cross-shaped input on the Game & Watch version of Donkey Kong that inspired the now-ubiquitous control pad. And it was that same Donkey Kong Game & Watch which also featured a unique dual-screen clamshell layout (also seen, curiously enough, on the Game & Watch version of the original Zelda no Densetsu alongside the same control pad), that gave rise to another influential Nintendo handheld.

And so, it was to fall to The Legend of Zelda, biblical canon of the gamers, to legitimize the Game Boy in the eyes of anointed.…

January 14, 2014

Ship’s Log, Supplemental: A Trekkie’s Tale

Forest of Illusions A Trekkie's Tale, american civil war, Fanfic, Mary Sue, Paula Smith, Ship's Log Supplemental, Slash, The Legend of Zelda Links Awakening, the time warrior 11

Gee, golly, gosh, gloriosky! It’s Lieutenant Mary Sue!

Oh boy, here we go. Yes, my friends, the time has finally come.

“A Trekkie’s Tale” needs no introduction. A notoriously vicious bit of satire attacking a particular trend within Star Trek fanfiction, the story is infamous for introducing the world to the hated Mary Sue. It took no more than five brief paragraphs to completely tear Star Trek fandom asunder and, as a result, “A Trekkie’s Tale” has transcended fan circles to become ubiquitous in the larger pop consciousness such that it’s had a truly transformative, profound, and arguably profoundly negative, effect on the way we look at genre fiction even to this day. A case could be (and has been) made that the introduction of the Mary Sue archetype is one of the largest and most sweeping acts of reactionary silencing tactics in the history of genre fandom.

And yet “A Trekkie’s Tale” itself is misread and misunderstood by pretty much everyone.

First, some background for those perhaps less familiar with what this is than others. “A Trekkie’s Tale” is a piece of satirical fanfiction published in 1973 and featuring a character named Lieutenant Mary Sue who is the youngest, most beautiful and most talented officer in the entirety of Starfleet. On her first day on the Enterprise, Lieutenant Mary Sue outperforms everyone else on the ship, causes Kirk to instantly fall in love with her at first sight, outwits Spock with logic (that is never fully explained) and singlehandedly saves the ship, the crew and the Federation at least twice before tragically dying randomly at the end of the story to be mourned by everyone and essentially turned into a modern-day saint. Lieutenant Mary Sue, and “A Trekkie’s Tale” more generally, is fairly transparently an attack on a certain kind of Star Trek fanfiction, and is most often read as a parody of (usually female) writers who create author avatar characters as wish fulfillment, thus sidelining the original cast and narrative in the process. In the years since the initial publication of “A Trekkie’s Tale”, the term “Mary Sue” has become a stock character archetype and nowadays gets tossed around rather carelessly, most typically as a knee-jerk reaction from insecure male fans to the concept of “strong female character I don’t like and who makes me uncomfortable with my masculinity.”

What’s the most interesting thing about the Mary Sue archetype to me, however, is how uniquely Star Trek a concept it really is. Star Trek fandom has, in my opinion, a very peculiar fascination with an *extremely* specific sort of fantasy: It’s an almost omnipresent dream amongst Star Trek fans of all ages, generations and genders to be captain of their own starship, command their own crew and, essentially, to be the star of their own Star Trek spinoff. This goes totally contrary to the stereotypical conception of the obsessive fan, which would be someone fantasizing about the characters or the actors, either in a romantic or sexual way or just a desire to meet them in person.…