rowan rabe . ink

The Legend of Zelda: Breath of the Wild and Tears of the Kingdom

That’s Not a Horse

That Is a Horse (Stable Roster)

Foreign Languages

I think a lot about future-nostalgia: an anticipation of a more empty, post-apocalyptic world. Indeed, this would not be an apocalypse one had to experience firsthand with the tribulation and loss associated, but a life constructed totally within the new world. I consider BOTW and TOTK exemplars of this atmosphere–the spare, single-piano soundtrack of the over-world makes me think of air and grass freshly cleansed with rain. Link’s ease of movement with the glider* and his ability to climb pretty much anything are freedom made manifest, and I spent an inordinate amount of time in those games just wandering. It felt like a state of meditation or worship.

I consider the setting of Nausicaä of the Valley of the Wind a refraction of this idea–it is still a polluted world with rampant warfare and deprivation, but (especially in the manga) there is the promise of a not-too-distant future where the earth is purified. It is a clear aesthetic influence for BOTW and TOTK. The source of conflict in Zelda, however, is not desperate fighting between neighboring fiefdoms over land and resources, but sourced in one Bad Guy against whom the people of Hyrule unite. Ganon is unambiguously the bad guy–there is no two-sides to this even if you squint really hard. You can sympathize with him, but he is unambiguously the one doing evil here. I usually dislike stories with a simplistic morality like this. However, in this case, having one “bad guy” contributes to the sense of vast space.

*Yes, I did spend most of the tutorial island portion of TOTK jumping to my death.

First post 17 Dec 2025