David Foster Wallace was like, Art must be sincere! We must use every tool in the linguistic toolbox to cut through sentiment and dishonest cliche and build fresh ways to reveal the power and reality of unironized emotion.
And Mister Rogers was like, Basically the same thing, but without any shame or pretense or fear of sincerity.
“All of them are quite alone, some involuntarily, some by their own hand, some without realizing it, but none of them come to the study room table with the emotional advantages held by that mythical creature known as ‘a normal person.’ … The good news is, being messed up doesn’t mean the story’s over. It means the story’s just starting, and in the end, we all find out we’re not alone, or maybe that we’re all alone and united in our loneliness.” — Dan Harmon
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.