On Stables
Author’s Note: my goal with this article is to get you to see the stable as a fragment of something larger: the tenacity and connection of a humanity scattered and searching to piece itself together once again.
"So what'll it be?"
"So what'll it be?"
The network of stables peppered across Hyrule, easily overlooked and seemingly unimportant, stands as both a symbol and a testament: it is one of the only indications of the vitality of the Hylian civilization and a witness to all that has come before it. The last ragged elements of humanity take shelter in these canvas sanctuaries against all the forces of the world, and these waypoints therefore contain the continuance of the Hylian people. While the major races of Hyrule all have their individual cities safeguarded against the darkness, the Hylians have only a few battered communities — Hateno, Lurelin, and Tarrey Town among them — huddled in the corners of the world. The rest is wilderness but for the stables. They are the centers of communication and the transmission of knowledge for all travelers, and they serve as havens for the weary and wayward. [1] They are gathering places for sidequests and travelers’ errands, serving as guild-esque meetinghouses wherein people can request help or leave gossip. Echoing their modest size, these stables are humble and unassuming in their goals, focusing on the smaller, day-to-day issues of Hyrule. They are the balance to what Link is doing in his efforts to save the land — they are keeping Hyrule sane (while Link is working to make it safe) for a future time in which life can again bloom with possibilities. [2] And like Hrothgar’s Hall in the tale of Beowulf, they serve as beacons of light in a world that has largely gone dark. Interestingly, and fortunate for the innkeepers, these stables are places that monsters never seem to bother; due to the nearby presence of armed travelers or something unknown, these lodges are some of the safest places in Hyrule. [3] Yet protecting them from the elements, as with any settlement on the frontier of things, requires both money and time, and much of the stables’ income is garnered from registering and boarding horses.
Horses get their fullest treatment in Breath of the Wild. [4] Herds of them dot the land, from icy tundra to temperate meadow, and each horse is able to be ridden and domesticated based upon the player’s skill. But, of course, husbandry is occasionally a difficult matter. Horses need to be tamed, and they drain Link’s stamina greatly during their initial training. Proper relationships take time to build, and the player can offer caresses and food to this end; in return, horses will show affection in their own ways, turning their faces toward you and whinnying softly. It is safe to say that horses have never had a better instantiation than in Breath of the Wild. Yet, with this newfound realism, we must also face its darker side: horses can be injured, and they can die. And one of the strangest and most curious beings in Hyrule has this niche as his domain. Malanya Spring can be found near the Highland Stable in southern Faron close to the Lake of the Horse God. It is here that Malanya, once rescued by Link, attends to the needs of horses throughout Hyrule. He can heal injured horses and revive those that have died, although any damage to one of his equine children tends to evoke a rather horrifying remonstration. As the developers say, “His appearance may be startling, but he will not harm anyone who cares for horses, though he has a strange sense of humor on the subject.” This god himself is largely composed of flesh and cloth, and, ringed in a deep purple as he is, his appearance is more than a bit disturbing. The developers continue: “He doesn’t have an actual body and should instead appear to be held together with some kind of cursed magic. The bones should be modeled after a human spine and are floating.” [5] The designers were successful in their goals for this entity, creating something that is wholly unnerving and otherwordly. But like plenty of mythological figures, unpleasant faces can hide benign intent.
The Horse God is not present solely in his spring, however. His form is at the foundation of each and every stable — a tattered, patchwork horse head that looms over each pavilion and announces his existence. This effigy is likely meant as a direct connection to Malanya, though whether it is built in homage, awe, or disquietude remains to be uncovered. This is perhaps the mechanism by which the Horse God gathers information on the treatment of his children. It could also begin to explain why monsters dare not tread near these places.
Living in such close proximity to horses, and basing one’s livelihood around them, means that both the image and habit of the horse play themselves out in human dress and architecture in Hyrule’s stables. And while the innkeeps all have a vaguely nomadic look about them, shaped in part by their unique hats (featuring a looped ponytail of horsehair) and rustic garb, it is the architecture which speaks to their lifestyle most ardently. [6] If we look to nomadic lifestyles as the basis for the architecture as well as the clothing of these innkeepers, the world presents many options from the Sami lávvu to the Uralic chum, and from the North American tipi to the Mongolian yurt. The similarities run strong: most of the above structures are covered (partially or completely) with either animal hides or felt, like the Hyrulean structures which are sheltered behind both woven cloth and felt; they all have frames built of wood, largely bound by ropes or ribbons; and they all taper to points, though of different slopes. Yet these stables are distinctly different in form, but for the yurt, and even this comparison is stretched in many ways — for yurts are circular while these stables are not, and they have an additional pitch in the roof which the yurt does not. These main structural differences are the most critical, and we need not mention the other, more cosmetic, disparities.
Kirghiz shifting felt tent at Gumbaz-Ötek Ruins of desert Cathay, personal narrative of explorations in Central Asia and Westernmost China by Aurel Stein, volume 1, 1912. Image in the Public Domain.
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Construction of a yurt's frame; notice the lattice-work walls and the roof-poles meeting at the crown above. Image credit: Jaan Künnap [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)] Construction image
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Yurts, like all nomadic dwellings, must first and foremost be portable at the same time that they are strong; to that end, wood and skins are largely used as fortifications against the elements. Their basic structure, much unlike the simple post-and-lintel structure of the stables, is in the form of an angled latticework of wood which makes up the drum of the yurt. This latticework is bound in tension-bands which rein in the force of the expanding bands of wood. From there, bent ribs (correlating to beams or rafters) support what later becomes the ceiling, and there is usually a crown through which temperature and smoke are controlled. Normally, yurts are self-supporting and require no interior posts, though larger ceremonial yurts occasionally contain interior columns to support the crown. To weigh down the structure and hold it together, a rock is occasionally hung from sticks that are laid out over the space of the crown. These crisscrossing pieces of wood can form the shanyrak, a symbol that has been commemorated across Central Asia from the flag of Kyrgyzstan to the official emblem of Kazakhstan. This shanyrak symbol embodies home, family, and domestic tranquility.
The flag of Kyrgyzstan and the official emblem of Kazakhstan, both with the shanyrak. These images are in the Public Domain.
The Hyrulean stable, while it may take slight hints of influence from the yurt, is more different than alike, and, we must remember, these are not nomadic structures insofar as we can tell. They seem to have taken their design from somewhere else, and this place is far removed from the Mongolian steppes. Oddly enough, and this was something hard for me to unsee after I had realized it, there are key similarities to a far more recent structure: the traditional tent of the American “big top” circus. [7] The most obvious similarity resides in color: all of the stables are divided into twelve slivers stemming from a central pole which supports the building; these triangles alternate from red to white all around the tent pole, much like a circus tent (though some tents of course vary these colors). And although the colors atop these stables are more faded, the kinship is almost inarguable. Furthermore, the secondary pitch of the roof is quite similar to the pitch of a circus tent, giving it a very distinctive profile. But there the similarities largely end, and we are left to discuss things unique to Zelda and to these critical shelters which so play with our imagination.
As has been said, the basic construction of the stable is parceled out in twelve “bays” formed between the wooden poles that hold the building together. Cloth fabric forms the walls, and decorative elements hang between the upper parts of these poles, all bound in place by rope and ribbon. By analyzing one bay, we analyze the majority, as nine of the twelve angled surfaces of the structure are made in the same way; the other three comprise two entryways and the business counter. Each bay is framed by two wooden poles that have been driven into the ground and encircled with rope which holds the cloth to the wooden frame of the tent. A strip of fabric runs the length of the building, hugging close to the ground, decorated with small blue circles. These are echoed above each bay in a design that dips much like a widow’s peak over a rougher cloth of dark brown. Above that are the primary decorative elements of these stables, and these are supported by smaller poles that stem from the main poles of the structure. Real horseshoes are hung from these poles, and the cloth-art that is stretched between all these interweaving poles depicts one of two images, which are repeated around the entire structure. The images appear to be painted on or dyed into the fabric, as they are considerably faded. Yet, they are still clear enough to show meaning.
The first image depicts a man calling for a horse which is running away from him on a field of green and yellow. A perfect circle of a golden sun hangs in the sky above. In the other piece, a radiating sun cuts through a blue sky overlooking a much more confusing scene: what appears to be a terrified horse mounted by an unknown rider, a figure who has his fist raised in the air. What exactly this image depicts is unknown, though in both images the horse dominates the scene. In terms of the three remaining bays, two of them form doorways over which the cloth doors have been tied up by belts. The “doors” are of a thick blue cloth, and even when raining or snowing do not seem to be lowered. Finally, the counter is framed by two horses shaped in profile. And these are very rough-shod. Only their heads and front legs are visible, and the latter are attached in a rather crude manner. They are painted white with several bands of geometric designs in light blue and burnt orange. Their heads are raised to the sky and their eyes are the most curious of all, seemingly gemstones or pieces of metal cut into pyramids or diamonds. Each mouth carries a small lantern, gently calling guests inside on dark nights.
The first image depicts a man calling for a horse which is running away from him on a field of green and yellow. A perfect circle of a golden sun hangs in the sky above. In the other piece, a radiating sun cuts through a blue sky overlooking a much more confusing scene: what appears to be a terrified horse mounted by an unknown rider, a figure who has his fist raised in the air. What exactly this image depicts is unknown, though in both images the horse dominates the scene. In terms of the three remaining bays, two of them form doorways over which the cloth doors have been tied up by belts. The “doors” are of a thick blue cloth, and even when raining or snowing do not seem to be lowered. Finally, the counter is framed by two horses shaped in profile. And these are very rough-shod. Only their heads and front legs are visible, and the latter are attached in a rather crude manner. They are painted white with several bands of geometric designs in light blue and burnt orange. Their heads are raised to the sky and their eyes are the most curious of all, seemingly gemstones or pieces of metal cut into pyramids or diamonds. Each mouth carries a small lantern, gently calling guests inside on dark nights.
Above: the two scenes which alternate over each of the twelve bays. Also notice the embellishments upon the cloth and the horseshoes hung above.
Right: One of the two doorways into the stable and one of the horses that mark the service desk. The inside is the picture of quietude. Upon entering we find that these structures are actually slightly raised above the ground (likely for many reasons having to do with temperature, humidity, etc.), and the interior is filled with warm colors and textures. Flags, lanterns, individually-made beds, rustic tables and stools — all give the impression of a home away from home, which is, indeed, exactly what these places are. Posters are hung upon the wall, advertising various things, but otherwise the decorations consist in simple designs from the geometric bands on the blankets to the abstracted horses upon the awnings over the beds. The most interesting feature of these places are their service desks, which are loaded up with books, baskets, vases, and other such items. All around, though, we see a warm glow cast upon dark woods and warm, earthy textures.
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While all stables in Hyrule share the same basic structure, and while they all have similar interior setups, each stable has a distinct outer layout. Because their environs are so disparate, each stable requires a different way of interacting with the world: some are enclosed in fences and ringed with trees, while others are completely open to the elements; some have pens for livestock while others tend only to horses; some are absolutely surrounded by every conceivable farm good (from hay-bales to troughs) while others are relatively bare, keeping their goods indoors. Yet these implements, should the stables wish for them, all seem to come from the same source, binding all the stables together in a deeply-felt continuity of design and ambiance. Like the materials of Tarrey Town, these are all standard goods which make the stable feel like a stable. And this proves to be the critical thing — it is the creation of a pan-Hyrulean “home” which serves as a surrogate when the real thing is, as so often happens, left behind. The stable has become far more than a simple place to shelter one’s horse, or an inn where one comes to rest: it has taken on an almost archetypal parental role, especially for the Hylians whose better days, for all they know, are behind them.
Notes and Works Cited:
[1] "It's pretty clear that the stables in this world, this wild world, are places where human beings congregate. People — of all races, really — come here, and as you see, I'm just talking to this guy. There's a lot you can learn about the world and a lot that you might need to do in the world when you interact with all the people in the stables." —Nate Bihldorff (Nintendo Treehouse Live with Nintendo Switch)
“There are a lot of people using the stable[s] as a base, and traveling in the world, so it’s kind of interesting to see that you can collect a lot of different kinds of information here.” — Eiji Aonuma (Nintendo Treehouse Live with Nintendo Switch)
“Horses are a key element in travel and trade for the Hylians.” (A bit on the nose, perhaps!)
White, Keaton C. The Legend of Zelda, Breath of the Wild: Creating a Champion. Dark Horse Books, 2018, page 160.
[2] Stables charge money both for shelter and for boarding horses, though it is inarguable that this money goes to good use: keeping a network of shelters across Hyrule and also assisting the stables in their conservation efforts.
"So what'll it be? [Register horse.] Gotcha. You sure this is the one? [Yes.] Not a problem. We charge a registration fee to help support our conservation efforts. The fee also gets you a locally made saddle and bridle for your horse. The fee is 20 rupees. Is that OK? [Yes.] Thanks. Please enter a name for your horse." — Embry, Breath of the Wild
[3] Something that continually intrigues me is that each stable has a nearby Ancient Shrine. And while this makes good sense from the standpoint of game design, it leaves us wondering about the in-game significance. Yet regardless of whether this was planned or happenstance, it is certainly helpful for the Hero on his quest.
[4] In addition to normal horses — dappled, white, grey, brown — there exist also horses that are singular in Hyrule. These are eerie horses like the Stalhorse, and horses of myth, like the White Horse: a royal horse that is said to be a descendant of Princess Zelda’s horse from a century past. There is also the Giant Horse, a massive black horse with a red mane found in the Taobab Grassland. (One could also mention that it is possible to ride bears, deer, Lynels, and even the Lord of the Mountain. [And that stupid motorcycle.])
[5] White, Keaton C. The Legend of Zelda, Breath of the Wild: Creating a Champion. Dark Horse Books, 2018, page 141.
[6] “The employees of the stables that connect all parts of Hyrule can be distinguished by their uniquely shaped hats and garb suited to their nomadic lifestyle.” Ibid., 99.
[7] These tents likely stem from the Tent Chautauquas which were a part of the Chautauqua Movement of the late 19th century which held sway across parts of the United States. These traveling tented events held such things as lectures, comedic routines, and religious sermons.
[1] "It's pretty clear that the stables in this world, this wild world, are places where human beings congregate. People — of all races, really — come here, and as you see, I'm just talking to this guy. There's a lot you can learn about the world and a lot that you might need to do in the world when you interact with all the people in the stables." —Nate Bihldorff (Nintendo Treehouse Live with Nintendo Switch)
“There are a lot of people using the stable[s] as a base, and traveling in the world, so it’s kind of interesting to see that you can collect a lot of different kinds of information here.” — Eiji Aonuma (Nintendo Treehouse Live with Nintendo Switch)
“Horses are a key element in travel and trade for the Hylians.” (A bit on the nose, perhaps!)
White, Keaton C. The Legend of Zelda, Breath of the Wild: Creating a Champion. Dark Horse Books, 2018, page 160.
[2] Stables charge money both for shelter and for boarding horses, though it is inarguable that this money goes to good use: keeping a network of shelters across Hyrule and also assisting the stables in their conservation efforts.
"So what'll it be? [Register horse.] Gotcha. You sure this is the one? [Yes.] Not a problem. We charge a registration fee to help support our conservation efforts. The fee also gets you a locally made saddle and bridle for your horse. The fee is 20 rupees. Is that OK? [Yes.] Thanks. Please enter a name for your horse." — Embry, Breath of the Wild
[3] Something that continually intrigues me is that each stable has a nearby Ancient Shrine. And while this makes good sense from the standpoint of game design, it leaves us wondering about the in-game significance. Yet regardless of whether this was planned or happenstance, it is certainly helpful for the Hero on his quest.
[4] In addition to normal horses — dappled, white, grey, brown — there exist also horses that are singular in Hyrule. These are eerie horses like the Stalhorse, and horses of myth, like the White Horse: a royal horse that is said to be a descendant of Princess Zelda’s horse from a century past. There is also the Giant Horse, a massive black horse with a red mane found in the Taobab Grassland. (One could also mention that it is possible to ride bears, deer, Lynels, and even the Lord of the Mountain. [And that stupid motorcycle.])
[5] White, Keaton C. The Legend of Zelda, Breath of the Wild: Creating a Champion. Dark Horse Books, 2018, page 141.
[6] “The employees of the stables that connect all parts of Hyrule can be distinguished by their uniquely shaped hats and garb suited to their nomadic lifestyle.” Ibid., 99.
[7] These tents likely stem from the Tent Chautauquas which were a part of the Chautauqua Movement of the late 19th century which held sway across parts of the United States. These traveling tented events held such things as lectures, comedic routines, and religious sermons.