Did you know there’s a secret story, the
one behind the bigger mystery surrounding the Bargainer, the secret hidden face behind
the gargantuan statue and how that relates to the Goddess Hylia, and so much more when it
comes to the series lore and meaning. Below the surface is a litany of secrets and clues
waiting to be unearthed if we look hard enough. With each new discovery comes the rich detail,
from in game lore and history to the fascinating stories surrounding them. The narrative
is one underpinned by the choices we make, as the Link between worlds, and the key to
unlocking the mysteries and puzzles baked into this fascinating world of Hyrule. The Legend of
Zelda is one that embodies the freedom to craft tales personified by our unique perspectives
and today I want to share some of the untold stories outside the obvious and the typical, off
the beaten path, where curiosity and imagination lead to new insights and appreciation,
the real treasure and reward that comes with digging a little deeper. On that
note, let’s dive into the details and find the hidden gems left undiscovered
in the depths of Tears of the Kingdom. Chapter 1: The Inverse Universe
Within the vast canvas of "Tears of the Kingdom," the Depths unravel as an "Inverse
Universe," a concept that goes beyond mere reflection to embody complementary oppositions.
This realm mirrors Hyrule's sunlit expanse with an uncanny precision, where towering peaks above find
their echo in the yawning chasms below, and serene waters become insurmountable barriers in this
underworld. The towns of Hyrule’s surface find their counterparts in ancient mines, a testament
to a civilization that thrived in shadow. Enemy encounters in the Depths mirror those above, even
places of worship typically reserved for the most sacred rituals find a darker echo amidst
the gloom ridden shadows secreted below. Link can find pockets of sanctuary amongst
the Light roots, each a counterpart to the Shrines above, bound together by the ancient
pilgrimage of King Rauru and Queen Sonia, so tell the stone scripts kept safe
above the sky barrier. These structures, with names forming anagrams of their spiritual
twins, highlight the interconnectedness and balance central to the world, where every light
has its shadow, our journey marks the complexities of everything and nothing between those extremes.
Absence of light and an atmosphere of pervasive darkness serve to hide the relics of a time buried
and forgotten long ago. The upheaval tore the land asunder, creating fissures that bleed a crimson
miasma, reflecting a world wounded by Ganondorf’s awakening, yet unveiling a treasure trove of
history undiscovered until now. Remnants of the past from the Zonai Mines to the majestic Spirit
Temple and the Ancient City of Lost Gorondia to wonders of Mineru's Construct Factory all forming
part of a greater story ripe for discovery. But the upheaval event was not refined to the
fissures below, but also the breach of the cloud barrier above, revealing the golden sky islands
above, more than reminiscent of the Sacred Realm long told in stories dating back to the Era of
Myth and Legend. The relationship between these 3 vertices of the world itself, that of the sky,
overworld and the depths, forms a complete whole that has, up until this point in time, remained
absent. The reveal completes the inverse nature of the depths and how the layers are connected,
best demonstrated by the Bargainer Statues, and how they relate to the Goddess Hylia, and other
facets that embody the game's themes of duality and unity. It’s a place of mystery and intrigue,
where the interconnected cycles of Hyrule promises more than a few surprises waiting beyond.
Chapter 2: The Nameless King Within the shadowed enclaves of the Depths, a
figure known as the Bargainer commands attention, shrouded in mystery and ambiguity. The choice
of name—or the absence thereof—speaks volumes, suggesting a being that transcends the usual
confines of identity and purpose within the Zelda lore. The game files contain one reference outside
the norm, the name Amos, which has Hebrew origins meaning “Carried by God”. The closest kanji is
the romaji: "eimosu" [is 永模 | pronounced ei-mo) – eludes to the eternal nature of the figure.
Referred to only by its function, the Bargainer's existence, and its dealings with Poes resonate
with the Faustian themes of bargaining with darker forces, a motif recurrent in the series' mythology
previous Zelda titles, such the Poe collector from Ocarina and Majora’s Mask to Jovani from Twilight
Princess. The Poe Collector arguably the closest in terms of the exchange, but again, we find this
theme of duality between the Collector in Ocarina - indulgent in collecting the malevolent Poes of
Hyrule Field as opposed to the more active role of the version in Majora’s Mask, providing useful
information to Link at certain junctures on the nature of spirits and comes across as protective
of the ghosts found in Ikana Canyon, home to the restless spirits unable to find peace. He charges
Link with helping the move to beyond and in this way, the role of the Poe Collector is aligned
to the same motive we hear from the Bargainer. Conversely, Jovani acts as the typical example of
the deal gone wrong, trapped in his golden prison, a warning of sorts of what we choose to consider
valuable against the liberties and freedoms taken for granted. It’s a curse brought about
by his wish for wealth that can only be remedied should Link choose to find and defeat
the Imp Poes as means to remedy his foolishness. Lastly, we have The Horned Statue found in both
BOTW and TOTK. Also trapped in the statuesque form he’s found in, we learn how firsthand the
childish posturing of the Horned Statue caused the Goddess to punish the creature, choosing to
bargain the forces of life and power for money, an affront to the spiritual blessings to such
a degree that he had not only been imprisoned, but summarily banished to various recesses,
even to live amongst the fish for a while, where even still, he admits to learning nothing
other than how to bide his time, waiting for another opportunity to strike another bargain.
In-game dialogue adds context and likely provides the answer to one mystery many have pondered
– specifically relating to the connections between the Demon Horned Statue and the role of
the Bargainer, one that comes into focus during the Questline - “A call from the Depths”.
Willed by the strange request from the Hylia Statue in the Temple of Time, we can destroy
a collection of boulders trapping a miniature iteration of the Bargainer underwater, who
then thanks Link before sending him on to the next sequence of events and his true form, the
gargantuan Bargainer found in the heart of the Great Abandoned Central Mine before becoming inert
from there on. The sequence implies that both the Goddess Hylia Statue and this smaller version
of the Bargainer were merely borrowed by the true form down below, seeking to restore the eyes
stolen from it, and as such, it appears the one uncovered under the Great Plateau was simply part
of that quest and nothing more. But considering the dialogue from the Horned Devil Statue,
including his claims of seeking ill-begotten bargain and being moved from Hateno village
to being trapped with the fish underwater and finally shifted yet again to the tunnel in Lookout
Landing it matches up with the same effigy we find here trapped underwater being used by the original
golem in the depths. It’s the closes answer I can find that explains the relationship between the
stories unfolding and why this effigy was cast underwater, and who was ultimately responsible.
Joining the dots reveals this submerged effigy to be the same one that entombed the Demon Horned
Statues’ soul in the time he spent submerged, and thus why that same effigy goes silent
after it performed the role intended - because the Demon Horned Statues essence had been
moved from this location to Lookout Landing, leaving the vessel empty overall, until it would
be used again in future by the larger Bargainer Statue from the Depths below.
Chapter 3: The Many Faced God Against the backdrop of a realm where light
scarcely penetrates, the golem-like Bargainer Statues loom large, their grandeur a reflection
of the power that thrives in the Depths, a stark contrast to the divine effigies
of Hylia that grace the brighter world above. This magnitude and their location at the
wellsprings suggests they had been considered greatly significant by the civilisation that once
called this place home, possibly pre-dating the Zonai and the era well before Rauru consolidated
the founding of the Kingdom where we know Hylia worship has come into full effect, proudly
reflected by Queen Sonia Herself. The scale of the sculptures precipitates the virtue of
power, unsurprising considering the environment within the depths – resplendent in swathes
of miasmic gloom living symbiotically with the monsters and creatures that dwell within,
fighting for survival amidst the scarce hints of sustenance that remain. In the metaphorical
belly of the underworld, a hellish landscape of nightmares and threats, no wonder the demon
tribe have always followed the powerful. Here, strewn across the treacherous landscape heaped
with gloom and remnants of life long forgotten, are the flickers of small embers of spirits who
remain lost amongst the darkness…as if seeking shelter and companionship, they appear to
coalesce in small groups, finding solace in numbers. In some ways, the Bargainer's
statues have become beacons for the lost, drawing in Poes—spirits untethered from the
cycle of life and death, existing beyond the simplistic binaries of good and evil, claiming:
“Poes are pitiful beings who have lost their way home and wander the depths of this
land. Good... Evil... That's the futile perspective of narrow-minded beings. There
is no such distinction in wandering spirits” The ends may be described as altruistic,
but the context and terminology of words like “pitiful” and “narrow-minded” additional to
the agnostic views of good and evil evoke a sense of scepticism. The feeling only heightened
by the physical depiction, clandestine in the dark shadows under a hooded robe, the face
revealing 4 eyes and what appears to be 2 noses in an expression alien to anything we might have
seen and dichotomous to the angelic depiction of Hylia. The dubious nature of the Bargainer is
reflected in the items offered up for trade – the primary outfits are that of Dark Link and the
Depths Set, tending to suggest an alignment with the forces of dark shadows, and as the player
uncovers the garb and gear iconic to hero’s past, the same items become tradeable with the Bargainer
alluding to the connections it has with the dead, further enhancing the mystique. Even
regular items for trade suggest a duality at play – the bomb flower conjures a
clash of destruction against beauty, the muddle buds offer a similar conflict between
the effect of confusion contrasting the beauty of their foliage and finally the puff-shrooms are
the literal smoke screen that obscures the clarity of those nearby - an effect secreted behind the
innocent mushroom like appearance it provokes. And so when you encounter one of the
larger varieties, the Cliffside Bargainer, and investigate a little further, the grotesque
discovery of a secondary face at the back hidden by the shadowy blankets of darkness surrounding
this gargantuan figure only adds more fuel to the philosophical fire at the core of this
mysterious being and the intentions behind the nature of the strange requests for Poes. I made
the immediate connection between this version of the Bargainer and the Mother Goddess Hylia
Statue above, notable as it stands proud in the Forgotten Temple, a place heavily associated
with Zelda’s origin story and now, in TOTK, the plight of Zelda and the Hylians who would
assume the mantle of the Kingdom in the wake of the Imprisoning War. Where it appeared as if the
Bargainer was facing outwardly north to nothing, this “other” face, was looking in the direction of
its counterpart Mother Goddess Statue, something that was not coincidental, all things considered.
The shape of the face itself, and whether it is or isn’t an intentional design, is debatable,
so I’ll leave it up to your interpretation as what you think is there. Personally, I had a very
immediate reaction – noticing an almost pig-like snout and harsh features immediately conjuring
thoughts of Dark Beast Ganon, a transformation seen in past games, but absent from the Ganondorf
we see in Tears of the Kingdom. At this point of my discovery and research, I wondered if, perhaps,
this being was the true counter to Hylia - Could the Bargainer be the true source behind the
backstory missing from Skyward Sword – after all, there had to be a reason behind Demises hatred
of the Gods that fuelled his rage and malice. Skyward Sword’s introduction suggesting more depth
to the war and story that brought about the events of that game begging to be told in a future title.
With this in mind, it was time to mine deeper and discover the devil in the detail.
Chapter 4: Secrets of the Deep As I’ve mentioned, you can find Bargainer
statues matching relevant Hylia Goddess statues both on the surface and Sky Islands.
There's one under each of the three Springs, one under each of the two Temple of Times and one
under the Forgotten Temple. It's entirely possible the Bargainer Statues are another product of the
Depths acting as a supernatural inversion of the surface which could represent the union of the
forces behind them both being part of as greater whole or even one in the same in the way the
game themes the concepts of cycles, connections, and rebirth, culminating in our role to establish
the balance by intervening when those forces are out of alignment. It’s interesting to note that
the text files also reveal this sense of balance and alignment amongst the 3 map layers, with the
quest surrounding “A Call from the Depths” given the Event label of “Connect_FirstIsland”, which
becomes less vague when you follow the thread of labels and naming conventions used by the
development team for similar situations. The same method, prefixed with the word “connect” are
used specifically referring to the Mazes found in Akkala, Gerudo Desert and Hebra regions, though
the latter specifically references Tabantha in place of Hebra. This set of challenges task
Link with traversing the 3 levels of the map, opening the respective gates and barriers,
and testing their skills in overcoming the challenges to prove their worth, relative to the
virtues of body, skill, and mind as they translate to the Ruler of Boars, Dragons and Owls. This
rings true to the established virtues of Power, Courage and Wisdom associated with the Triforce,
and translates into the characterisations of the Board, Dragon and Owl depicted in the Zonai ruins
across Hyrule, particularly in the Faron Region of the south. The Reward for this challenge
is the 3 pieces of the “Evil Spriit” set, the fit typically associated with Phantom Ganon
from games of old including the inspirational appearance in Ocarina of Time mentioned in
the last section of the video. Ironically, the combined set provides a bonus of stealth which
is associated with outfits you can obtain specific to both the Sheikah and Yiga clans, suggesting
a commonality across them whereby the source of inspiration comes from the knowledge of the
virtues synonymous with the Triforce, and how that manifest in the respective clan or person. The
challenge is literal in proving the players worth in demonstrating the virtues, and the balance
across the 3 is metaphorically connected to the 3 layers of the map, hence the event “connection”
is unified as part of the whole – this concept particular to the virtues, the 3 map
layers, the 3 deities, and this concept of the interplay between them all recuring in
a game where the Triforce is all but absent, spare the many references in architecture
and environment woven into the experience. These mazes are Zonai in origin, down to the
scripture used to outline the challenges and referencing the deified rulers of the
Triforce-like virtues and it’s important to reflect on the nature of the Ancient Relic
left by the Golden Goddesses as one agnostic to the intentions of the bearer. Similar to the
Bargainer, the Triforce doesn’t discern between good or bad, but is answerable only to the balance
of the virtues of power, courage and wisdom represented in the very world, life and order
that brought about the creation of Hyrule as well as those who may seek it. This concept is one that
separates Zelda for me as a fictional masterpiece, in providing a foundational force to things that
allows for a spectrum of interpretation well beyond the typical conceit of right and wrong
or good and bad that tend to underpin so many other stories from my younger days, and in turn,
allowing the characters and environments to tell a more grounded version that is relatable to the
real world. With the similar naming convention, the Event surrounding the quest “A call from the
Depths” becomes clearer from the perspective of the developers. The quest is one that involves
traversal and interaction with elements above and below Hyrule’s overworld, engaging the
player in challenges that test their courage, skills and puzzle solving skills to achieve an
outcome reflective of the wider forces intrinsic to Hyrule and Zelda overall, centred wholly
on this cryptic figure, seeking the same help from Link just like so many have done in the past.
Guided by the respective Bargainer variant nearby aided by the Zonai ruins and devices therein
to return the largest Bargainer Statue back to the complete state it once was. The task itself is
no easy feat, and requires a fair bit of effort, with the eyes themselves looking ethereal
and full of the same force-type energy at the heart of other variations such as the
Zonai batteries, Sheikah’s ancient energy and gloom. Upon completion, the Bargainer’s dialogue
provides an enticing hint at a larger mystery, and from here it only gets more detailed and
as we peel back the layers beneath. Commenting: “You have returned to me my eyes, the vessels of
my spirit. We can now speak properly. In ancient times, my eyes were stolen and sealed away. For
eons I have awaited one who would hear my voice and return them to me... And here you are.”
The Bargainer then offers Link his choice of Heart or Stamina container, a reward typically
exclusive to Hylia, and this helped alter my perspective on the Bargainer immensely. Here
was a figure able to wield the same level of influence and bestow the life force and energy
akin to the Goddess Hylia, yet cast in the depths, it had sought our help to restore the figure most
central to its presence in Hyrule, left without the four eyes so significant to the golem itself.
Whilst the eyes no doubt imply connections to the spiritual realms, and perhaps the 4-dimensional
plane of realities that underpin the various realms in Zelda games, a more literal need was
more visceral in the how it might apply here in the dark abyss of the depths. The Bargainer had
regaled a tale of ancient times past, where these eyes had been stolen, raising the greater question
as to who could possibly behind such an act and for what purpose? What was the motive of keeping
the Bargainer in the dark (pun intended) - clearly there was no allegiance to concepts of good
or bad as far as the Bargainer was concerned, which adds more mystique to a question I think
holds great significance beyond this title. It’s worth noting a similar request comes from the
Mother Goddess Statue I mentioned earlier, found heaped over on the floor of the Forgotten Temple,
requiring Link to aid the effigies located at the Springs of Power, Wisdom, and Courage to gather
the strength required to rectify her place and former glory in the Temple. Once more, the player
is rewarded with the gratitude of the Goddess, receiving an interesting reward, that rings
true to the origin story of Zelda and indeed that of the Master Sword itself. The very nature
of the events and similarities are beyond compare, implying the same connection in how both figures
represent immense power and mystique, yet remain culpable to the whims of those inhabiting the land
and their treatment of the gods themselves. We see both Divine depictions, Hylia and the Bargainer
are subject to an influence that requires you to intervene. This brings into play the next point
of reference, how does real world mythology and influence factor into our view of the Bargainer.
Chapter 5: The Janus Principle The most interesting part in researching this
figure and similar sources in religions, myths and legends of various time and viewpoints worldwide
is the sense of omnipresence and influence that is both revered yet mysteriously open to
interpretation, leading to often contradictory views behind the motivation and purpose within the
role they play and where they fit in the grander scheme. The Cliffside Statue symbolises the
opposing facets of the Bargainer, the core traits of duality and conflicting characterisations
amongst varying cultures and histories around the world that defy the typical labels that make
this exercise so challenging in the first place. Troublesome when you consider the challenge in
how dichotomous factions are created and idolised, The dilemma of how to interpret duality deified
is a contradictory exercise to begin with, and the forces acting to each end they embody are more
recognisable in terms of actions and consequences, making the Bargainer label one most befitting
when we consider the nature of death itself. Forces move through the world transitioning from
one state to another, from one plane to the next, whilst always changing, the underlying energy
remains, thus the cycle continues unabated, infinite, and endless. So too are the concepts
of time and space, so it makes sense that the energy at play across these planes is just as
primal – unable to rallied into one category over another, much like how Poes are bound
to neither concern of good nor evil. At this stage of the cycle, they are but spirits
seeking to move beyond this place to another, transient forces moving across time and space, and
as such, just as universally defined as those same principles. Time is a dimension relative only
to beginning and end, and space to extremes of where it starts and finishes, as are the
borders that define our perception of both. A bargain by nature can be beneficial or the
source of regret, coming down to the what’s at stake and the outcome it achieves from
the perspective of the incumbent. That is always going to be personal, and the simplest
application is the bargain we all make some day with death itself. It could be debated that when
our time comes, there is no bargain to be had, though the terms we meet it on could vary wildly –
from those who may welcome the next step in their journey on another plane of existence to others
who may fail to comprehend the engagement, failing to progress through the stages of grief to find
acceptance and move on, and this in turn could be the experience reflected in the same Poes found
across the Depths. Perhaps, akin to the stages of Grief so often associated with the nature of
loss, could Poes come about from the inability to accept the loss of oneself, lingering in the void
between hoping to bargain for a way out of the inevitable fate already decided. In denial, lost
and bound to something no longer possible, their writhing restlessness is the sense of confusion
from being unable to move forward or back, they comprise the same souls sought by the Bargainer
and characterised by the protective guardianship of the Poe Collector from Majora’s Mask. Both
recognise these spirits are lost in anguish and feel compelled to help them move on to the next
stage, whatever that may be. From this viewpoint, I can’t help but feel a kinship to the empathy
on display for the scared, lost souls who remain alone in the dark. By that definition, their role
is one of mercy and kindness, somewhat at odds with first impressions and judgements, and therein
a perfect fit for a Zelda game if ever I saw it. Worldwide, there are numerous reference
points, and examples ranging from Buddhist to Hindu origins and so many more, all threading
back to similar defining traits we see in this depiction of the Bargainer. And whilst they are
all insightful in so many ways, brevity provides exploration of just one and for me, the most
relevant was the figure of Janus. Originating from Roman Mythology and a character hard to
narrow down to one interpretation amongst many, Janus is best surmised in the nature of Duality,
on point as far as Zelda games go, but also the meta role I feel this character represents in the
series, sparking the involvement in TOTK’s story. Janus is described as the God of many things -
beginnings, gates, transitions, time, choices, duality, doorways, passages, and endings, residing
at the limits of Earth, the metaphysical extremity of Heaven’s Gate. Whilst there are many
definitions around, one from Britannica seems to ring true, describing Janus as:
“As a god of transitions, he had functions pertaining to birth and to journeys and exchange…
concerned with travelling, trading and shipping.” Intrinsic to the concepts of beginnings and
journeys, including the month of January as it pertains to the beginning of the calendar,
Janus is afforded that rare elasticity in spiritual terms of also being considered important
in the endings just as much as the journey itself, often connected to gateways of change
where one cycles end gives way to a new beginning, like the cessation of war.
That universality applied to cycles leads to one interpretation of Janus to culminate the
very nature of chaos incarnate. Although he lacks the typical Greek equivalent, the name Janus
itself may find its connection in the origin of the name itself, for the Greek term “genesis”,
as it refers to a new beginning or rebirth. With one face looking to the past,
and the other looking to the future, Janus has also been referred to as the origin
of time and progenitor of the path it takes, responsible for connecting ends and beginnings,
and making it possible for reality to exist in both past and present. Quoting one source, it’s
said Jupiter himself can move back and forth across time because of Janus’ working, affording
those who traverse time the very ability to do so, and it’s this reference we can instantly apply
to the story beats of Tears of the Kingdom. Zelda blips to the Ancient Past in the opening
sequence, and the game unfold to tell the story of the connection between her and Link, the deeds
of the Zonai, and restoration of the Master Sword, all centralised around this foundational
relationship between the past and present. The upheaval, chasms, sky barrier and islands
opening up and falling to the earth below – all of these things and so much more that happens comes
as a result of the actions of Zelda and Link, which occur in different points of time, bind
the fabric of reality in a singular moment, enabling the impossible events that make the story
so very engaging, but also are designed to explain how it fits into the wider chronology. Just as the
Bargainer appears to have been deified long ago in the far distant eras of Ancient Hyrule and long
since all but forgotten, so too was Janus a God forming the 1st pantheon of worship, the primal
titans of divinity, who would lose relevance in the wake of progress, changes and developments
that come with time and civilised culture. Within Zelda, perhaps the Gods of old remain tied
to their role within the universe, even if their deeds go unseen. We see on the surface the spirt
guardians such as the Great Fairies lament the days of devout worship which begs the question as
to what happens to similar beings on the surface when all memory is gone and their time fades to
the blackness. The Bargainer, naturally anchored to the cycle itself, remains servant to the gates
of the heavens and the path between the realms of time and space, but the same cannot be said for
others. The example of the Great Leviathans and Guardian Spirits of old comes to mind, as
relics of an ancient past long forgotten, could this simply be another sad tale that belies
the mature themes so typical of Zelda as a series? What becomes of the WindFish when the dreams are
long forgotten? The Depths contains within it reaches the remains to echo the Great ones above
and below, as if time itself had collapsed in on their worlds within worlds across the planes
of reality, bringing an end to one cycle, in turn birthing the beginning of a new reality
altogether. As if the sky islands today may fall to become the overworld of tomorrow, eventually
sinking to become the depths of future’s end, giving way to a new incarnation, a rebirth brought
about from untold heroes and legends seeking to save Hyrule by sending their hopes Skyward much
like legends of times long gone. Regardless, the Bargainer, like Janus, retains relevance
across all beginnings and endings, and so the role of this entity applies universally to the themes
of cycles and balance, of birth and rebirth, that remain central to the narrative of TOTK,
and the interconnected nature of the series. But Janus is more than that, he’s like the
Swiss army knife of gods and references with a few other choice examples relative to the
Bargainer and other facets within TOTK. Some of the more notable examples include Finance as
a “Minter of coins”– ironically arising from his duality and faces looking in opposite directions,
reinforcing the context of trade and bargaining. And this certainly has application in relation
to the Bargainer, and the role he plays. In the discipline of science, there’s a reference to
the “Janus particle” – one which can represent both beneficial and toxic effects which is easily
translatable in the association when we consider the Bargainer in the context of the gloom laden
depths it resides. It allows a benefit to the souls who need to transition; however, it exists
in the underworld where there’s definitely toxic effects that are related to the miasma and the
gloom within. Then we can move beyond that to other disciplines, ones more structured such
as programming and process. For the nerds out there like myself who appreciate mathematical and
technical applications, Janus is a name also used in programming – both “concurrent constraint” and
“time-reversible languages” reflecting the duality of the name in terms of practical sequencing and
problem solving. The last one is more than curious in how it performs deterministic computations
in both forward and backward directions. Chapter 6: Recall
The concept is extremely relevant to real-world disciplines including
cryptography, reverse-engineering solutions, and modelling, and the field of Quantum Computing.
Quantum algorithms are inherently reversible, making reversible programming languages like
Janus potential candidates for development of complex quantum algorithms, where operations are
often reversed as part of the computation process. This has relevance to both the development
and programming of Tears of the Kingdom, but also implies amore direct meaning when
it comes to the story and series overall. Let’s imagine you have a fictional world
of fantasy and magic, telling stories spanning ages and eras from myth and legend
to more modern events, and alternate worlds, full of magic and wonder. Taking the example of
the Timeline represented in Zelda Encyclopedia, now imagine this as a story captured within
a book. This book contains within it the same power of the Golden Goddesses who created the
world, the life and laws that would guide Hyrule, all encompassed within the Golden Triforce
itself. Within this book, powerful relics like the Triforce and the Master Sword allow the
adventures to move both forward and backwards. When you read it forwards, you learn how the story
goes, and when you read it backwards, everything happens in reverse, so everything goes back to the
start. Reversible Computing is like this magical tomb – the book of Hyrule. In a normal computer,
when you do something, it's hard to undo it exactly the way it was done. But with reversible
computing, every time the computer does something, it remembers how to undo it too. So it can go back
to the beginning just like it never did anything. This way of doing and undoing things can be
immensely helpful in computers to make sure they don’t make mistakes or waste energy.
It’s like being able to fix a mistake in your drawing by just tracing your steps back.
In Zelda, this concept, of things going forward and back, and the event sequencing is a massive
part of how the various adventures fit into the larger fiction, chronology, and connections
across the universe. This discovery has an iterative nature on the “Hands of Time”
focused on the theme of connections that underpin the development and narrative of Tears
of the Kingdom – specifically how Fi could be likened to the Greek principal of the same name,
and how the Golden spiral of light that called to Link and Zelda, and pivotal to the Master Sword
traversing the gulf off time and space between them can be likened to similar including the
Golden Ratio, a variant of the Fibonacci sequence. Put simply, the theory helped to explain Fi’s
role in Hylia’s plan to counter the inevitability of the all powerful calamitous nature of Chaos
embodied in villains like Demise and Ganondorf, through creating Fi, as the spirit of the Master
Sword, imbued with the golden powers to cross time and space, and unite the Bloodline of the Goddess
and her Chosen Knight when Hyrule needs it most. The consistent nature of these core principles of
chaos and order, time, and space, represented in myth and legend as well as modern scientific,
mathematical, and technical disciplines and references has, for my mind, gone beyond being a
coincidence to something very deliberately imbued into the design of the games. It only makes
sense for the developers to find inspiration in universal themes of myth and legend, to
imbue those aspects of philosophy in artistic depictions, and the language of programming
bringing the experience to life. The applications of these principles form the real-life efforts
and collaboration that seamlessly act to create the gameplay magic we experience from being
able to move in 3d space, to innovations such as the physics and chemical engines driving
the unique mechanics behind both Breath of the Wild and Tears of the Kingdom. Nintendo only
recently won awards for this very achievement by the GDC only days prior to this script
coming together, and this theme of harmonic convergence from influence to innovation is yet
another layer to the depth of immersion on offer when appreciating the wider application of
a Zelda game as to how it can be valued on multiple layers and from unique perspectives.
If you aren’t convinced of the connection, then I’d simply suggest the iconic power of
“Recall” provided by Zelda to Link is likely the most direct correlation of influence to
actualisation you’ll find of any theory going. If the Bargainer does indeed embody the influence
of those concepts found in the various meanings of Janus, particularly how it relates to time,
both past and present and the connections between worlds that is so important to this story,
could it also be evidenced in the relationship to the series itself, a game with an extensive
history, and a whole world of people, from developers to fans who have one eye on the past
and another on the present, all focused around this singular piece of interactive fiction. The
Bargainer could represent us all in that extent, and as such, this odd character with no name, an
odd face, and cryptic in nature – whom I met with scepticism reminded me again of a core learning
in Zelda that holds true amongst the many games of generations young and old – not to jump to
conclusions or judgement, and simply translate something into the binary perceptions of good and
evil, especially when basing that on the obvious appearance that might lead you astray. Come full
circle, I now view this bizarre, hooded giant with 4 eyes and a weird expression as something more,
lacking better words, misunderstood and relatable. Almost like the character representing the fan
collective, in how we are sometimes the odd ones out, feeling forgotten, odd-looking, unusual and
off putting, a loner in the dark, and the one who time and time gets judged by others who know very
little about the things they criticise. In this light, The Bargainer could mean so much more
than first impressions suggest, with relevance to the multi-faceted appeal of the series and
universal language that seems to unite people across the world, regardless of their differences
and point of reference. An all-encompassing characterisation of Zelda in terms of its
history and future and everything in between. There was so much more I discovered along the way,
and whilst I could go on forever about factors and references in game and out, I hope this gives you
enough to provide a different spin, and I’m keen to hear your own take on this mysterious figure
and the role it plays in Tears of the Kingdom. Do you think it hides dark intentions, or something
else entirely. Better yet, do you think it might make a return in future titles or will it be a one
off hinged on the storyline of this game? I’d love to hear more, so let me know in the comments.
Chapter 7: The Bargainer Defined Thank you for watching, and as always, I hope
you enjoyed the video and views on offer. This was intended to be an interim video, with 3 others
scripted and, in the works, taking far longer than expected, averaging a minimum of an hour each,
I thought I’d touch on some minor observations that came up in the live streams to share my
appreciation of their meaning. As of recording, it looks like I managed to blow that out to an
hour, so I find myself once again apologetic for the delays in getting these out, and also thankful
for the endless support and inspiration I get from you all, it remains the driving factor behind why
I do the channel, and means the world on the many long nights spent researching and compiling the
love I have for this series into something I can share with like-minded fans. I can’t tell you how
much material I’ve got to cover in terms of lore, discoveries, and secrets that I feel represent
a connected and beautifully crafted series, with Tears of the Kingdom acting to achieve so
much more in terms of story overall and how this truly is one connected endeavour carefully
planned and executed with answers for those who seek them out. The answers are there in
my experience, and I’m looking forward to covering those discoveries and stories in future,
with literally no end in sight. Scary to say, I think there’s enough on TOTK alone to keep me
well and truly busy til the next game, so if you like unique takes that are passionately researched
and considered, you’ve come to the right place. If you can’t tell, I really love this series,
and it means so much more to me than just the game. It’s about everything it stands for
and how it relates to us on a personal level, connecting us from places across the globe,
with people sharing the passion of creativity and adventure across generations and borders that
so typically act to keep us apart. I think there’s something magical about how this one thing,
this Legend, and the world it represents, brings us together under a common banner,
and I’m humbled and privileged to contribute whatever small amount of positivity I can to
that shared experience. Once again, thank you all so much for helping me achieve that goal.
As always, please be good to yourselves, and keep being amazing. We’ll see
you next time, here on GameSmiths.
