Monday, June 11, 2018

ATTENTION READERS

The new rant, updated on every 8th, 18th, and 28th of the month, is right below this post. Enjoy! But before you do, I have a quick announcement...


Saturday, February 18, 2017

Guest Rant: Bravely Second's Sidquests' Failed Potential

Phew! Thinking up slightly amusing Valentine messages and slapping them on pictures of RPG stuff really took it out of me. I couldn't possibly make another rant so soon after that ordeal. Luckily, I don't have to! Today, my generous reader and friend Humza has provided me with another fine guest rant. I get to take a ranting breather, and you folks get to read something good for once. Everyone wins!

Disclaimer: As before, I don't own Humza's words, and they don't necessarily reflect my own opinions and observations. In fact, since I haven't played either of the Bravely games, it's a hard certainty that they don't. But who knows, they might someday. Time will tell.



Bravely Second’s Sidequests’ Failed Potential

Humza
November 28, 2016



I thought of writing about the sidequests from Bravely Second a while ago, but I thought it would be appropriate to submit something sooner rather than later since it shares some thematic relevance with the GrandLethal16’s submission considering how choice is a significant (maybe even the central) component of Bravely Second’s sidequests.

The basic premise is shared between all of the sidequests in Bravely Second: there are two parties (usually the asterisk holders from Bravely Default) that are in conflict, and they appoint Edea as a mediator (since she’s the daughter of the Grand Marshal and is expected to succeed her father as Eternia’s leader, which requires solving conflicts like this) to judge which side is morally superior.

The first sidequest that is available revolves around a conflict between Jackal and DeRosa, who argue about what the Wellspring Gem (which functions as a source of water) should be used for. Jackal wants to use it to sustain the people of the oasis as it traditionally has (a case that is made more compelling considering that there is currently a water shortage), while DeRosa wants to use the gem to produce somnial energy from water (which is similar to nuclear power, in its ability to produce immense amount of energy, but holds the destructive power to annihilate entire cities; DeRosa hopes that the power would help attain world peace since any aggressing country has the threat of being wiped out by other countries with the energy).

Ignoring logical errors on DeRosa’s part, this is a variation of the well-known trolley problem: would you rather save the people of the oasis at the expense of preventing any wars, or is their sacrificing a necessity for preventing even more lives from being lost?

At the same point in the story that the sidequest is made available, a city is enveloped by a wind spell cast by Norzem; those within it cannot leave and those outside it cannot enter the city. Norzem’s intent is to destroy the flying castle above the city, which also requires murdering the people inside the city. This could be interpreted as another variation of the trolley problem since the people of Ancheim would die, but many more lives would be saved as a result. This ties the sidequest neatly into the plot since both have a common theme that connects them.

The problem with Bravely Second’s sidequests is that none of the others follow suit in establishing a thematic connection to the plot. This might seem like nit-picking, but most of the other sidequests seem like short stories that the plot does not benefit from having (the game did set up these expectations itself, so it would be reasonable to expect the game to deliver on them). This is still quite good compared to most RPGs’ sidequests, which don’t provide much emotional investment to the player, but adding thematic relevance would likely make the side quests more memorable since there’s more significance attached to it (and it would also erase the feeling of disappointment from people that interpreted the first sidequest as I did, but it’s probable most others would not have cared or noticed the relevance while playing for enjoyment).

I’m aware that there would be some problems in tying each sidequest to the plot, but I think these problems would not outweigh the added benefits, and that many of them could be dealt with in some way.

The main problem is that the sidequests would need to be rewritten to some extent (or perhaps scrapped entirely), but I do not see this as a problem since some of the sidequests do not present an interesting moral problem (does anyone care about Gho summoning Amaterasu or continuing his current job, or who gets Arca Pellar’s lost song when there’s no clear positive or negative consequences on either side?) and those sidequests would likely be improved or replaced with better ones with such a rewrite, and most of the better sidequests in the game could be tied to the plot without losing any significant details. For example, the conflict between Ominas and Artemia could be moved to the point in the story where Revenant tries to avenge Geist since both involve the potential loss of a few innocent lives at the expense of [removing] a threat to more lives (I guess the writer likes trolley problems since this is another variation, albeit with the opposite outcome).

Another problem with the proposed improvement could be that the choice loses value because the plot would have reflected the “canon” choice that the player should have made, but a sidequest wouldn’t need to reflect a choice the party makes in order to establish a connection with the plot. Also, the main narrative purpose of the sidequests is to help Edea develop as a leader for Eternia (which is shown in the final sidequest) when the Grand Marshal retires, but there’s already a “best” or “canon” choice for Edea’s final choice*, which already makes it seem like the other individual choices don’t matter since the overall ending doesn’t matter (and you could make a case that the choices already have little significance since the localisation seems to have erased the bad consequences from the ending of each side quest).

I don’t know how something like this might be received on the blog since it reads more like feedback that one would send to a developer (it looks like Square Enix takes feedback seriously, at least for this series, so that might not be entirely worthless), but I’d be interested to see if others feel similarly or disagree.











*I wanted to add this as a note since it’s a significant spoiler (I tried to be vague about aspects of the plot beyond the beginning) and a spoiler warning wouldn’t flow well above (although I’d argue this criticism doesn’t really flow well in general...). For the final sidequest, Edea has the choice to use a sword or a shield to symbolise whether she rules with submission from her citizens or to protect them, and she would be judged depending on what she equipped. The decision treated as canon is if Edea were to get both the sword and the shield, but equip neither of them.

Wednesday, February 8, 2017

General RPG Valentines 1

Howdy folks! It’s February! And that means that Valentine’s Day is right around the corner, the holiday all about love, joyous romance, and blowing your wallet to hell for the sake of appearances, because fuck me if we can have even a single goddamn holiday that our toxic level of capitalism doesn’t make into a cheap, crass cash grab.

Is there someone special in your life? Do you have a La Pucelle Tactics’s Priere-level disability that makes you utterly incapable of doing something so fucking simple as honestly communicating your affection to that someone special? Well, no worries, friends, The RPGenius has got you covered. Below are 20 RPG valentines guaranteed to win the heart of whomever you hand (well, copy-paste) them to! Or at least get him/her to look at you funny. But that’s still kinda like your senpai noticing you, right? Enjoy!













































But hey, don’t think I’ve forgotten about you, sourpusses! Are you the sort of person who feels the need to take a holiday about romantic love as a personal attack? No worries, cuz The RPGenius has got you covered, too! Here are a few RPG anti-valentines to help you blacken someone’s day...or, as previously noted, just make them look at you funny. Ironically enjoy!















Oh, and yes, the number in this rant’s title does indeed mean that this is gonna be a yearly thing. My only regret is that it took me this long to think of this.

Saturday, January 28, 2017

Mass Effect 2's Krogan Rite of Passage Symbolism

I’ve been looking back on the greatest science fiction epic of our age lately, and appreciating once more its skillful writing, artful lore and themes, and rich and engaging characters. Ah, Mass Effect...it truly is a magnificent specimen of the space opera, one of gaming’s finest works of storytelling.

Well, until Bioware violently murdered it during its last 5 minutes.

But we won’t get into that again. For now, though, let’s rewind the series a bit, back to a moment of Mass Effect 2 that I think deserves a little extra appreciation: the Krogan Rite of Passage.

This is a point in the game during which Shepard must, to earn his teammate’s loyalty, take Grunt to the homeworld of the krogan to engage in a cultural tradition of battle which will cement Grunt’s place as a krogan. Shepard, Grunt, and the party member of your choice go to a ceremonial battleground, call forth a few waves of enemies to fight, and then have to deal with a hostile krogan asshole who wants to use Grunt for political power while openly treating him as a freak. It’s straightforward, but it’s also a notable moment in the game, because each part of this trial is thoughtful and symbolic of the Krogan people.

The first part of the rite involves fighting a pack of varren, the vicious, fish-lizard-canine things frequently used as attack dogs by mercenaries in the series, while a voice talks of how the krogan mastered their lethal planet. The symbolism here is fairly obvious: varren are native to the krogan homeworld of Tuchanka, so the rite-taker is proving himself a true krogan by mastering the deadly beasts of his homeworld, as his ancestors did. The next part of the trial replaces the varren with man-sized hostile insects, while the voice goes on to talk of the way the krogan were uplifted to defeat the rachni and save the galaxy. The symbolism here is, again, pretty simple and straightforward: the rachni were huge, insect-like creatures, so in this part of the rite, Grunt is symbolically proving that he can overcome the enemies of the krogans’ past by defeating giant insect monsters as his people once did.

The third and supposedly final part of the rite has some pretty cool symbolism. The voice speaks again, this time of the current difficulty that the krogan people face: the genophage, a genetic monstrosity inflicted upon the species by the other council races which causes only 1 in 1000 births to succeed. The genophage is an unconquerable enemy, against which the only victory the krogan race can hope for is basic survival. Once this speech is finished, Shepard and Grunt are attacked by a thresher maw, a titanic, acid-spitting worm that players of Mass Effect 1 know is better engaged with heavily armored, heavily armed vehicles rather than on foot. A timer is started for this battle--the goal is not to kill the monster, simply to abide its wrath. Once again, you get the symbolism of actually fighting against the great nemesis of the krogan race, but this time, it’s not seen as a fight that can be overcome, rather just a simple battle for survival. The genophage is something beyond the krogans’ ability to confront and defeat, and so they must find a way to live with it, bear its harm and fury as a species without going extinct. How neat to have this part of the rite symbolized by a trial of survival against the seemingly unbeatable thresher maw.

Now, what I’ve been saying so far is probably not news to you. The Mass Effect fan community was always ferociously devoted, so chances are good that you heard someone talk about the symbolism of the Krogan Rite of Passage on a forum or chatboard or something at one point or another. That, or you noticed it yourself when you played the game; it’s pretty simple, though effective, as symbolism goes. But, what I haven’t seen many people notice about this mission in the game is that the symbolism of this rite actually goes deeper, in 2 distinct ways:


Way the First: The supposedly final part of the trial, the battle against the thresher maw? It CAN be won. Powerful and deadly though the beast is, it’s possible for Grunt and Shepard to kill the gargantuan worm, a feat which is noted by some krogan bystanders as having not occurred since Wrex, Shepard’s original krogan buddy from the first Mass Effect and current leader of krogan Clan Urdnot, underwent the rite.

Now, you might think, at first, that this actually weakens the strength of the rite’s symbolism. After all, if the thresher maw is supposed to symbolize the genophage, it really should be an adversary that cannot be beaten, only endured, right? That makes sense. But...think about this key fact: the only individuals who have defeated the thresher maw in recent times have been Shepard and Grunt, and Wrex.

Shepard, Grunt, and Wrex.

Wrex: the krogan whose uncommon wisdom and drive are, during ME2 and 3, bringing the krogan race back together and forcing it to think in the long term about survival. Wrex is the leader that can bring respect and honor back to the krogan, give his race a real chance at uniting and working toward a future, rather than continuing to splinter and fight themselves to death.

Grunt: a krogan bred to be a super soldier, an unparallelled specimen of his race’s strength, ferocity, and determination. Grunt is the exemplar of what his creator, Okeer, saw as the necessary next step for the krogan race.

And Shepard: the human being who, in Mass Effect 3, assuming that he isn’t a complete fucking asshole, makes possible the curing of the genophage.

So essentially, the ones who defeat the thresher maw in the Rite of Passage, the individuals who symbolically kill the genophage, and thus symbolically kill the concept of the extinction that the krogan race brought on itself, are the individual who represents the intellectual, social, spiritual hope of the krogan people, the individual who physically represents the future of the krogan people, and the individual who will be responsible for the end of the actual genophage. The icons of the krogans’ future are the ones in this rite to take down the symbol of the krogans’ demise--that’s a really cool moment of symbolism and foreshadowing!


Way the Second: I keep saying that the Rite of Passage is “supposedly” finished after the thresher maw part because after the actual rite has ended, there’s a final part of the mission. A krogan clan leader named Uvenk shows up once the rite is over to offer Grunt the opportunity to join his clan. Until now, Uvenk has dismissed Grunt as a freak at best, an abomination at worst, refusing to believe him to be true krogan because he was created, rather than naturally born. Even in his offer, Uvenk is disrespectful to Grunt, being clear that this is just a move for political power, and saying that even as the shiny mascot of Uvenk’s clan, Grunt would still not be allowed certain rights of citizenship, such as mating opportunities. Naturally, Grunt says no to this offer, in the same way that Grunt says no to anything: with his gun. A battle ensues against Uvenk and his henchmen, and it’s only after Shepard and Grunt emerge victorious that the mission ends.

Now, because this isn’t an actual part of the Krogan Rite of Passage, no one really pays too much attention to this spat with Uvenk...but I actually think that this, too, is meant to be a symbolic struggle. See, the rite is all about symbolically overcoming the nemeses of the krogan, the obstacles that they had to and have to overcome in order to survive. The first was the dangers of their planet, the second was the rachni that they were uplifted by the Council races to defeat, the third is the genophage. Yet, there is, truly, 1 more foe to the krogan, the most dangerous threat to their race’s existence by far:

The krogan themselves.

The krogan culture is violent, warlike, and self-destructive. They waged nuclear war and destroyed their planet. They refused to discipline themselves and began a war with the Council races that ended in their being cursed with the genophage. And after that, instead of banding together to ensure that the nigh-complete destruction of their fertility did not ensure the end of their species, the krogan divided into warring clans and sold themselves out as mercenaries, throwing themselves into violence and death even as the genophage made it impossible to replace their numbers. Krogan like Wrex, who see that unification and cooperation are the only way to save their species, are rare indeed.

Now, I’m not saying that the krogan are inherently violent brutes. The existence of Wrex is proof enough that this is not true, and Bakara informs us in Mass Effect 3 that they once had a real, viable culture. This self-destructive society of the krogran is something that has grown far more from their history than their nature, much the same as our own self-destructive and foolish culture of hypermasculinity which we subject the males of our society to.

But if a culture of self-destructive pride and violence is not intrinsically a part of krogan nature, it is, at least, a deeply-entrenched part of their history, and it is the origin of the extinction that the race faces during the events of the Mass Effect trilogy.

So, the battle against Uvenk is actually a final, and probably the most important, piece of symbolism. Uvenk resists Wrex’s attempts to unite the clans. He is set in the traditional mindset of the krogan, one of powerlust, thirst for battle, and self-important pomposity. He spits upon what is new and different, as symbolized by Grunt, yet at the same time wants to use it to his own barbaric ends--he sees the utility of the new only in terms of how it can benefit his self-important old ways, treating it without respect. It is much akin to a major theme of the Mass Effect universe which the krogan as a whole symbolize--the danger of being advanced to a place of technology and society that one is not ready for.

And so, Uvenk is a symbol of the greatest foe that the krogan have: their own selfish, short-sighted, vainglorious, violent culture. Though not an official part of the Krogan Rite of Passage, Uvenk is perhaps the most important component to this ritual of battle against the krogans’ enemies.

The Mass Effect series really is something fantastic for so many reasons, and you really see it in moments like these, where great and layered writing is both easily accessible, and also deep enough to offer rewarding insights for contemplating it at length. No damn wonder I loved this trilogy so much.



Oh also this.

Wednesday, January 18, 2017

Celestian Tales 1's Downloadable Content

I reviewed Celestian Tales: Old North a little while ago, and was overall pretty positive about the game. It was a Kickstarter RPG which I backed, and I’m pleased with the result and encourage you to try it out some time. Ekuator Games is at work on its continuation, and I look forward to that, but in the meantime, they’ve released an add-on for the game, called Howl of the Ravager. Well, I do DLC rants for the big developers, so I may as well do them for the little guys, too.

Howl of the Ravager is a prequel story to the game, which focuses on the early days of the knighthood of Severin Leroux, who plays a major part in the main game’s plot. It also touches on several other secondary characters of the main game, namely the king, his wife-to-be, and Niena, mother-to-be of 1 of the main game’s protagonists (the best 1, for that matter). As such, Howl of the Ravager provides a great opportunity to expand upon a significant but inadequately explored character of the game, build the Celestian Tales lore, and answer a major question of the original game: why the hell Severin acts as he does at the game’s end.

Unfortunately...well, Howl of the Ravager doesn’t really live up to much of its promise. I mean, it does develop the game’s setting somewhat, but its focus is on a part of the lore (large, sapient tree entities and their relation to the Old North) that doesn’t really have any relevance to the game proper, so while there’s nothing wrong with the lore-building, it doesn’t feel terribly significant, either. And that’s about all that can really be said in a positive way for this in terms of expectations. The king and queen-to-be are okay, but what can be learned from them that can’t already be gleaned from the main game isn’t all that interesting. Likewise, Ylianne’s mother Niena has her character developed, but it turns out that she didn’t really have much of a personality in the past; the entirety of her development as a character in Howl of the Ravager doesn’t hold a candle to the single conversation she has with Ylianne in the main game. The identity of Ylianne’s father is revealed, but it turns out that it’s not especially interesting.

Most disappointing is definitely the main character (sort of) of this DLC, Severin himself. He’s just absolutely wooden. What little real character development he receives is shaky at best--it’s left rather ambiguous how much of his ambitions and frustrations and such are really him, and how much are just the result of the influence of the magical sword he’s using. His relationship with the king is explored a little, but not any further than you could already determine from the main game. I guess Severin’s connection to the queen-to-be is new and somewhat interesting, so there is that, but that’s not a whole lot to ride on. Most frustrating to me is that the question of why Severin acts as he does at the end of the main game is still completely nebulous. Howl of the Ravager brings up the possibility that he might have been heavily under the sword’s influence, but it’s impossible to say that for sure, so all this game presents is a vague possibility of an answer to why Severin is so out of character in Celestian Tales 1’s final moments, rather than any hard facts.

Taken on its own instead of by expectations of expanding on one’s knowledge of the main game, Howl of the Ravager is...okay. Niena and Severin aren’t interesting characters, but they’re not bad ones, either, I suppose, and they do well enough as mouthpieces for lore development and plot points. The DLC’s story is fine, even fairly interesting at times. I’d say I enjoyed it overall, and I have a certain fondness for Celestian Tales 1, so learning more about its world and history was rewarding for me.

I really wish they’d done better with Pierre, though. His character is supposed to be the moderate, diplomatic voice of reason to counterbalance Severin, and this is usually a character type that I appreciate, but Pierre mostly just comes off as a wishy-washy milquetoast. And his romance with Niena is...well, it’s just crap. It’s one of those annoying love stories where attraction just seems to happen with the flip of a switch; one moment Niena is (with complete justification) put off by Pierre’s clumsy interest and advances, the next moment, she’s considering the question of whether a love between an elf and a human can be made to work. It’s made worse by the fact that the sudden about-turn only happens during a period in which she’s forcing herself to lead Pierre on a bit, at Severin’s request, in the interest of giving Pierre a reason to get his head in the game for their world-saving mission. So the point at which feigned interest becomes real suffers from being immediate and coming out of nowhere, yet is also vague enough that you can’t even pin down when it happens, so you’re left wondering for a while what’s going on as Niena starts showing earnest interest even though you thought she’s just supposed to be pretending. It’s weird, and it doesn’t work. And the final nail in the coffin is just the fact that they have absolutely no chemistry whatsoever, probably in no small part due to Pierre having an overall unappealing personality. So yeah, Pierre is a major problem with this DLC, being that a lot of its story depends on his character (more so than the supposed protagonist Severin, really) and his romance.

So, what’s the verdict, for any of you who have played Celestian Tales 1 and want to know whether they should purchase the DLC? Well...it’s not terrible. Despite its flaws and that it doesn’t really accomplish what the main game needed it to, it’s still a decent story and a decent exploration of the Celestian Tales lore. If you played Celestian Tales: Old North and didn’t really care for it, this isn’t going to change your mind, but if you enjoyed the game as I did, you’ll probably find some enjoyment in Howl of the Ravager. If it were any more than $5, I’d be hesitant to recommend it, but at less than the price of a sandwich, it’s a fair purchase. You can purchase it at GOG or Steam if you’re interested.

Sunday, January 8, 2017

General RPGs' Since We're Not Related It'll Be Okay Syndrome

Happy New Year, all! I've finally gotten around to this. Before we begin though, quick question. Reader and buddy Ecclesiastes tells me that the Patreon button over to the right there doesn't show up for him. Now, I would not be particularly shocked if I never get a single Patron pledge, given that this blog has less widespread exposure than the majority of first grade art assignments, but it would be defeating the purpose of having a Patreon to begin with if I didn't just check: can the rest of you see the hopping little Patreon moogle there? If he's not showing up for any of you, let me know, and I'll see about fixing it. Of course, considering that my technical knowledge rivals that of a squirrel's, who knows whether that'll help.

Anyway! On to the first rant of 2017. Time to set the bar low for the rest of the year's rants!



Have you ever noticed that the RPG genre is really, consistently, very inordinately fond of romantic relationships between adopted brothers and sisters? I mean, to the point that it’s basically a storytelling cliche for the genre. Seriously, if your protagonist and his/her sister/brother have been raised together in the same household by the same parents for most/all of their lives, but are not, in fact, blood-related, then it is RPG law that one or both of them want to bone the other. It is really, really weird. And common. So uncomfortably common, that I have been using a term for a while now to describe it: Since We’re Not Related It’ll Be Okay Syndrome.

Before we get into any proper detail about this phenomenon, I should note that, unlike my other Syndrome terms for RPG storytelling diseases, I have appropriated this term from someone else. “Since We’re Not Related, It’ll Be Okay” is the song title for a wildly amusing and uncomfortable fan-created song from the wildly amusing and uncomfortable My Little Pony: Friendship is Witchcraft abridged series. It makes, in fact, a great video prop for this rant, so before we continue, how about you click the link below and we’ll be pretty much on the same page for what this rant’s all about:

Since We’re Not Related, It’ll Be Okay

I do so love Friendship is Witchcraft. It truly is the perfect blend of subtle humor, blatant humor, referential humor, abstract humor, and glorious, glorious uncomfortable humor.

Anyway, we’re on the same page now, yes? Adopted sibling romance is one of those things that’s technically not wrong, but just so damn squicky. To be a brother or sister is not just a physical, hereditary fact, it’s also a mindset. Family is a connection of emotion and spirit as much as, perhaps even more than, blood relations. Like it or not, logical or not, the simple fact is that when you spend most or all of your childhood being raised in the same home, by the same parents, equally as those parents’ children, you are siblings, regardless of whose vaginas you happened to fall out of. And that makes the fact that every damn JRPG protagonist who’s got an adopted sister or brother desires, or is desired by, them really fucking weird.

What is accomplished by this plot device, exactly? Think about, say, Lunar 1, the RPG in which I first began to notice this trend. What is accomplished by having Luna be Alex’s adopted sister? Well, it gives her mysterious origins, first of all, which is an absolute must for the plot-central magical damsel-in-distress schtick. And it establishes a long shared history between both Luna and Alex, which makes it convenient for the writers, since this way their horribly inferior talents at creating and maintaining a romance between the 2 can lean on their vague, offscreen lifetime together rather than have to actually show some concrete examples of chemistry between Alex and Luna, or what draws them together, or what they like about each other, or even just 1 single real, honest conversation between them that isn’t entirely 1-sided.

Okay, so this does accomplish a few things, narratively, for Alex and Luna. So let me rephrase: what is accomplished by having Luna be Alex’s adopted sister, which couldn’t have been easily accomplished otherwise? Mysterious origins for your plot-centric magical girl ain’t exactly a hard thing to accomplish. Magical mystery girls fall out of the sky--and I do mean that both figuratively and literally, just look at Breath of Fire 5--all the damn time in RPGs. Hell, Lufia from Lufia 1 actually just fucking walks onscreen as a kid, and that’s all there was to it!* Deadbeat Master Dyne could have just as easily delivered baby Luna to be adopted by the folks nextdoor, and her origins would have been no less unknown and mysterious. And you don’t even have to sacrifice the lazy convenience of shared history that way--childhood friends is a common element in RPG romances.

So yeah, this approach to character relationships generally doesn’t actually accomplish anything that couldn’t be exactly as easily accomplished in other ways. It doesn’t even do anything unique if a personal conflict about sibling love vs. romantic love is what you want to show! And that’s for 2 reasons. First, you can accomplish the angle of conflicting feelings of sibling love and romantic love without even a situation where the obvious answer should be sibling love. Take The Legend of Dragoon, for example. Dart and Shana are childhood friends, and Shana is in love with Dart. For a while in the game, though, Dart isn’t going for it, because he sees her as a sister, not a love interest. They were NOT adopted siblings, but it’s still fully believable that a lifelong friendship would have evoked familial feelings in Dart, even if it led to romantic feelings in Shana. And both of those results are understandable and believable! Whereas if they’d been raised in the same household, specifically as siblings, then Shana’s interest in Dart would have been much less believable, not to mention pretty off-putting.

...Well, more off-putting than Shana’s clingy chattering stupidity is already, I mean. Jesus, I can’t believe I just used her and Dart’s relationship as a positive example. See what you make me do, Since We’re Not Related It’ll Be Okay Syndrome!?

The second reason that this strange narrative decision doesn’t do anything unique for the possibility of a sibling love vs. romantic love conflict is that THEY NEVER USE IT FOR THIS! And that’s actually the first of my real, major problems with this cliche: it’s just thrown in so casually that it’s like it’s not even there. It seems like the writers’ reflex, unquestioned and unconscious. Like having the protagonist be a sword-user. Of the many RPGs that employ love interests who are also adopted siblings, almost none of them even acknowledge this connection! No one, least of all Alex or Luna themselves, gives even a passing mention to the fact that he and she were raised by the same mother and father in the same household all their lives. Asahi and Nanashi in Shin Megami Tensei 4-2** are both orphans, taken in and raised by the same man, and while he seems to have a more parental relationship with Asahi, it’s clear that the guy acts as and sees himself as parental guardian to both of the kids. Asahi and Nanashi are non-related siblings, beyond debate, yet not even the slightest acknowledgement of this is made in any regard connecting to Asahi’s clear, demonstrable romantic love for Nanashi. Nothing is made of this connection, so why have it in the first place? If making the love interest an adopted sibling does not accomplish anything that an equally simple alternative could, and if you’re not going to use it for anything anyway, then why bother with it over and over again in RPGs?

Of course, slightly hypocritically, my other major problem with this cliche is, well, when it DOES amount to something in the plot, and that something makes things really, really uncomfortable. You take Legend of Heroes 6-1, for example. The fact that Estelle and Joshua were raised as brother and sister since Joshua was mysteriously adopted (there is no such thing as a non-mysterious adoption in RPGs) when they were 11 actually IS brought up in regards to their unspoken romantic interest in each other, and IS present and utilized, unlike pretty much every other example I can think of. And given that they have only lived together as family for 5 years rather than all 16 years of their lives, you’d think this would be an example of adopted sibling love that I wouldn’t have a problem with, right?

Except that unlike the norm for this story decision, Estelle and Joshua actually act like siblings. The way they interact with one another, understand each other, share memories of home life, view their father and household dynamics...they are a perfect example of a sibling relationship. And that’s actually pretty rare for an RPG, I should note--on the off-chance that major story-important siblings aren’t long-lost and battling one another as hero and villain, siblings in RPGs rarely have a compelling, believable family dynamic. It usually winds up being a case of the game constantly telling you they’re siblings, than convincingly showing it to you. But Estelle and Joshua really create a genuine brother-sister dynamic like you rarely see in the genre! Which is why it’s extremely uncomfortable to have Estelle begin feeling and getting emotionally constipated over an inexplicable and honestly completely phony-feeling attraction to Joshua. Uncomfortable, and so damn frustrating, because an authentic, interesting, engaging relationship of siblinghood, so annoyingly uncommon in RPGs (and honestly, most other forms of media), is being forced out in favor of an unwelcome, inferior romantic relationship. I hope that when I play Legend of Heroes 6-2 and return to Estelle and Joshua, things’ll get a little more convincing, but taken at face value from LoH6-1, I am not not impressed.

Other moments where the already vaguely uncomfortable Since We’re Not Related It’ll Be Okay Syndrome gets way worse: Shin Megami Tensei 4-2, again. See, Nanashi is the reincarnation of a plot-important guy named Akira. And supposedly (I haven’t found conclusive evidence of this, but I’ve been told by multiple hardcore SMT fans), a part of the official art book for SMT4-2 that was not translated for the English release indicates that Asahi is a reincarnation of...Akira’s sister. Thanks, Atlus. Asahi wanting a VIP pass to inside her adopted brother’s pants wasn’t off-putting enough. You had to multiply the factors of Almost Incest by a power of Reincarnation.*** And the other moment: Fire Emblem 14, having Corrin hook up with any of her/his Hoshidan siblings. As I noted in a previous rant, unless you yourself have outside knowledge of the game’s lore, you go into an S Rank conversation--that’s synonymous with a confession of love, in the FE series--believing that Corrin is actually, legitimately related to her/his Hoshidan family. Corrin only finds out that the brother/sister that she/he is hot for isn’t her/his family by blood during the same conversation. The Hoshidan royalty romantic options in FE14 are Since We’re Not Related It’ll Be Okay...And Damn Is That Ever A Lucky Coincidence Syndrome.

Now, before we finish up with this rant, I do want to make something very clear: I am not automatically against the concept of adopted siblings falling in love. I’m open-minded enough that if a love story actually does really work, I’ll totally be on board for it, and this has happened with considerably more questionable pairings than this (for example, if you recall, I have mentioned that the Xenogears romance between Bart and Margie, while not especially interesting, is nonetheless better than any others in the game (definitely including the main romantic drivel between Fei and Elly), and Margie is Bart’s underage cousin). In that Fire Emblem 14 rant I mentioned earlier, I said unambiguously that I think the best romance, out of the over 300 possible ones in the game, is between Camilla and Corrin, who are adopted siblings. Camilla just really sells the audience on her complete and total adoration of Corrin, and Corrin’s return of affections is quite genuine, as well. And it’s pretty much the exact opposite of the problems I’ve spoken of so far with this plot device: Corrin’s being the adopted sister/brother of both the Nohrian and Hoshidan royal families is a vital part of the story of FE14 in that she has important ties to both sides of the conflict, and it affects her/his personality and characterization, so her position as Camilla’s non-blood-related sister provides important parts to both her character and the plot that couldn’t have been achieved through a simple alternative. The connection isn’t inexplicably ignored; Corrin’s sisterhood/brotherhood to all the game’s royals is a constantly relevant relationship (and with none more so than Camilla, for that matter). And the awkward parts of this romantic interest are put forth in the S Rank conversation, and maturely addressed in a way that makes it a lot easier to accept, namely when Camilla points out that since they’ve apparently both always loved one another in ways that go beyond familial, their union now should be looked at more as childhood sweethearts who have finally grown old enough to be together. Camilla and Corrin’s love for one another is executed well, and while I can’t deny that there’re parts of it that are weird and even perhaps a little unhealthy, that’s more related to the characters themselves (Camilla’s adoration is genuine and even heartwarming, but it is also, let’s face it, really obsessive) than the situation they’re in.

Sadly, though, Camilla and Corrin are the exception to how Since We’re Not Related It’ll Be Okay Syndrome works. Ultimately, these adopted brother-sister romance situations generally could be accomplished just as well (if not better!) without the non-blood family connection, they usually don’t even address the situation to start with, and on the off-chance that they do, it turns out to be detrimental and uncomfortable if it's not handled skilfully enough.

And even if every single 1 of these cases were as compelling, true, and acceptably executed as Camilla and Corrin, it would still be really weird and a bit distressing that this theme is just so damn common. Out of over 300 RPGs I’ve played, I can only immediately think of 2 examples in which a protagonist and his/her non-biological sibling have no romantic interest in each other: the protagonist and Duncan in Shadowrun: Hong Kong, and Kairu and Aurora from the exceptionally obscure Black Sigil: Blade of the Exiled. Besides those 2 examples, it’s just some sort of unspoken understanding in RPGs that there’s going to be some sort of romantic connection between a protagonist and his/her adopted sibling...and that’s a really weird and uncomfortable norm to set.















* Although I’m not sure I should be bringing Lufia up here as an alternative example, because I think, when you consider her to any great degree, that she’s actually another example of Since We’re Not Related It’ll Be Okay Syndrome, herself. I mean, let’s consider it: the only adult figure in her life seems to be the innkeeper she meets on the day she just wanders the hell onscreen, and the innkeeper’s familiarity with Lufia later implies, I believe, that he became her parental figure. But when you consider the protagonist of the game, who Neverland Company very frustratingly went out of their way to keep unnamed...well, to my recollection, neither his father Jeros nor his mother Nameless Faceless Female are ever seen or heard from. In their absence, the only other adult who appears to have any guiding influence on the guy is...the innkeeper. So there we go. Another example.

Correct me if I’m wrong, by the way. It has been, happily, over a decade since I played that crappy game, so even my memory might not be reliable. But I’m pretty sure that what I’ve said is true.


** Proof, by the way, that it’s not just bad and/or obscure RPGs in which this cliche happens. Even genuinely excellent, huge RPG series apparently cannot escape.


*** Just in case that wasn’t weird enough for you, Asahi’s outfit coloring is designed to reference Pascal from the first Shin Megami Tensei (and this connection is further hinted at by the fact that Pascal is 1 of the hunter names Asahi considers taking on as her own). For those not in the know, SMT1’s Pascal was the protagonist’s pet dog. So Nanashi’s primary love interest is his adopted sister, the reincarnation of his past life’s outright biological sister, AND the spiritual semi-reincarnation of Megaten Dogmeat.

Still a more psychologically balanced romantic choice than Toki, though. Which in itself might just add to its disturbing factor.

Sunday, December 18, 2016

Annual Summary 2016

Thanks a ton for reading this over, Ecclesiastes, I appreciate it greatly!



Sweet Jesus, I have been doing this for 10 years.

...Well. Wow. Um. Here are the RPGs I played this year.


AeternoBlade
Ash
Code of Princess
Dex
Dragon Fantasy 1
Dragon Fantasy 2
Fallout 4
Fire Emblem 14
Infinite Dunamis
Justice Chronicles
Moon Hunters
Pier Solar and the Great Architects
Shin Megami Tensei 4-2
Shin Megami Tensei: Persona Q
Shining Force: Sword of Hajya
Valkyria Chronicles 1
Whisper of a Rose
Witch + Hero 2


Not a huge number, to be sure, but considering that I was finishing a graduate program, working as a student teacher for 4 months, working part time while both of those things were going on, and the fact that Fallout 4 is a game that takes up literal hundreds of hours, I think I did well. I also split my time with a lot of other non-RPG things, too.

Things like playing the non-RPGs Bloody Vampires, Cave Story, and the Shantae series. Things like experiencing the DLC for Pillars of Eternity (okay plot, good characters), and the extended edition’s post-game content for Shadowrun: Hong Kong (solid stuff). Things like watching Daredevil and Kimmy Schmidt’s second seasons, Gortimer Gibbons’s Life on Normal Street, and a few seasons of Are You Being Served?, and keeping up with My Little Pony: Friendship is Magic, Brooklyn 99, Adam Ruins Everything, and, of course, the utterly and truly amazing Steven Universe. Things like rewatching the recent Doctor Who, The Legend of Korra, Robotech’s first season, and Rurouni Kenshin’s first 2 seasons as I showed them to my mother. And finally, things like replaying Undertale and Mass Effect 3 to show them to my sister.

Oh, yeah, and sometimes I ranted here, too. There was that.

So, normally, this is the point where I kinda just give a general outline of how the year went for me, RPG-wise, but, well, that just seems like it’s not all that interesting, and this rant’s already gonna be long enough, so...let’s just skip to the (theoretically) fun part: the lists!



RPG Moments of Interest in 2016:

1. I gotta say, the character creator in Fallout 4 is just really damn impressive. The level of detail and options for customizing your character is incredible. More than maybe any other level of game design, comparing where we are today to where we were 10 years ago with character creator systems shows an incredible level of advancement in our gaming.

2. Shin Megami Tensei: Persona Q is my first time hearing SMTP4 protagonist’s Yu’s voice to any significant degree (didn’t play SMTP4 Arena, you see), and I find it interesting that he shares a voice actor with SMTP4’s antagonist Adachi. No real thoughts on that, just find it an interesting point.

3. In 1 of those weird coincidences (like that year I played 2 completely unrelated RPGs in which Rasputin was a major villain), I actually played 2 totally separate RPGs this year (Fallout 4 and Dex) in which the protagonist is nicknamed Blue.

4. I finally got around to playing Valkyria Chronicles 1, which multiple friends of mine have urged me to do for years. This is largely thanks to reader Humza’s generosity--thanks again, buddy! It was good. Pretty neat to see Skies of Arcadia’s Vyse and Aika again, even just in odd cameo roles.

5. This year I played Dragon Fantasy 1, and thus got to see what it would be like if a Dragon Quest game (one without an 8 in its title, that is) was actually kind of fun.

6. I experienced Pier Solar and the Great Architects this year. It’s an indie RPG created, from what I’ve read, by a forum community of 16-bit gamers which call themselves Watermelon, and is, to date, the very last game created for the Sega Genesis, having been published in 2010. In much the same way that Kung Fury, released in 2015, is the ultimate 80s movie, Watermelon has basically created the most quintessential Sega Genesis RPG you’ll ever find in its approach, structure, feel, and style. Of course, anyone with an accurate memory of how well the Genesis actually functioned with its RPGs will realize that’s not a 100% positive thing. Nonetheless, if you’re ever missing the good old days of 16-bit RPGs and have exhausted the library of games actually released for the 1990s consoles, Pier Solar and the Great Architects is what you’ve been waiting for.

7. I think I encountered the most powerful RPG character of all time this year. Seriously, I’m kinda drawing a blank on who in the RPG world would ever be able to defeat Freyja of AeternoBlade. I plan to do a very small rant (stop scoffing, it could happen) about why she's so unstoppable some time in the future, so I won't go into detail here, but against even the hardest hitters of the RPG world, and heaven knows SquareEnix has done its best to make RPG characters as a whole into the most over-the-top ultra-powered combat gods imaginable, Freyja would come out on top, and probably unscathed. Crazy how such an obscure little RPG wound up creating one of the most powerful fictional characters ever to exist, particularly when it doesn't even seem like that was really their intention.

8. You know what’s kind of interesting? For all the questioning of and potential defiance against God that the Shin Megami Tensei series is filled with, there are only, as of now, 2 games in the SMT series in which you can actually fight and kill God: Shin Megami Tensei 2, and the new Shin Megami Tensei 4: Apocalypse (which shall henceforth be known as Shin Megami Tensei 4-2). And what’s interesting about that is that each time it’s happened, it’s been in a direct sequel. SMT2 is a direct sequel to the original Shin Megami Tensei, and SMT4-2 is a sequel (mostly; it’s complicated) to Shin Megami Tensei 4. Probably a coincidence, but who knows...given that it’s Shin Megami Tensei we’re talking about, there might be some intended meaning to that.

9. Applause to Bethesda for going the extra mile by naming the protagonist's son Shaun. As any fellow resident of the Commonwealth of Massachusetts who happens to be reading this knows, this state strictly enforces a law requiring that at least 1 out of every 5 male children residing here must be named some variation of "Sean". Fallout 4's developers really went all out to sell the authenticity of the game's setting!


Best Prequel/Sequel of 2016:
Winner: Shin Megami Tensei 4-2
There was actually a good amount of competition here this year, which hasn’t happened for a little while. In the end, I give it to SMT4-2, because it builds off of the plot of SMT4-1 very naturally, expanding its main and especially side characters well to evolve the plot and purpose of SMT4-1--which honestly is a little subpar for the series and doesn’t tread new ground enough--to become a better story that has a better purpose told by a more memorable cast. SMT4-2 doesn’t just stand as a solid sequel/continuation (whatever you’d call it; it’s complicated) and as a solid game in its own right, it also retroactively betters SMT4-1 a little by association.

Runners-Up: Dragon Fantasy 2; Fallout 4; Shin Megami Tensei: Persona Q
Dragon Fantasy 2 nearly perfectly executes itself--as DF1 was a part parody, part homage to some of the biggest 8-bit RPGs, DF2 is a part parody, part homage to some of the biggest 16-bit RPGs, and not just that, it expands the world of the first Dragon Fantasy exactly as much as the SNES generation expanded on the NES generation of RPGs. DF2 has more dialogue, more involved characters, a bigger plot, and retroactively adds lore to its series. It actually reminds me just a little of the way Arc the Lad 2 heavily expanded on Arc the Lad 1, although those came out in the 32-bit era and beyond. The developers of Dragon Fantasy 2 pulled off what they wanted to do flawlessly, and if SMT4-2 hadn’t actually made its predecessor better by association, then Dragon Fantasy 2 would’ve won this category. I look forward to Dragon Fantasy 3, which is going to take the next step and hits the Playstation 1 era.

Fallout 4 is a great RPG and another strong entry to a strong series. There’s not much to say about it as a sequel--it follows Fallout: New Vegas and more importantly Fallout 3 just fine, taking what it needs from them and going forward. I mean, I guess I’m still sad that Fallout 3’s Brotherhood of Steel became a self-important load of shortsighted racists, but it’s believable enough as it’s presented, so I can’t complain. As for Shin Megami Tensei: Persona Q, it’s, well, it’s 75% Persona fanservice, but in its last quarter it takes a serious left turn and becomes something truly moving and great, so as a sequel to SMTP4 and (more strongly given the meaning of life element) SMTP3, it’s solid.


Biggest Disappointment of 2016:
Loser: Whisper of a Rose
Yes, yes, I know that traditionally we do the joke-that’s-not-really-a-joke about how Mass Effect 3’s ending is still the most disappointing thing ever, even years after the fact, but...well, now that the fans have provided a real ending for the Mass Effect franchise, I’m ready to finally, really move on...

...to new disappointments! Like Whisper of a Rose. Jeez I wish I could like this game. It’s got good and interesting ideas, it’s got issues not often touched on in RPGs, and what it wants to communicate seems to be worthwhile (I think). But damn does it ever just fall flat on its face and not manage to deliver on any of its promise. I’ll be going into the details of Whisper of a Rose in a rant some time soon, but for now, just know that it’s sincerely disappointing.

I hate it when I have to rag on an Indie RPG. Makes me feel like a damn bully.

Almost as Bad: Code of Princess; Fire Emblem 14
Code of Princess is funny and lighthearted, but just...not quite enough, or maybe not in the right way. It just doesn’t really go anywhere, and it’s not quite funny enough to get by on its humor alone. Funny, but...forced, I guess. Like the writers are trying too hard to do what Nippon Ichi does effortlessly. As for Fire Emblem 14...well, it’s a fine Fire Emblem, and I don’t really have any huge problem with it, but the extremely limited amount of homosexuality is still a big enough disappointment that I think it deserves a place here. More detailed thoughts on this can be found in my previous rant on the subject.


Best Finale of 2016:
Winner: Shin Megami Tensei: Persona Q
Man, I did not see the latter quarter of SMTPQ coming. I mean, I knew there was something more to the plot for most of the game as I went through, but...Shin Megami Tensei: Persona Q goes from a rather unimpressive, though fun, RPG about having the casts of SMTP3 and 4 team up and just having a good time with that idea, to a deeply emotionally gripping tale of what worth a life can have about 75% of the way through, and it is a fast, HARD plot twist and change in tone. The questions it raises, and the pathos of the characters involved, are just excellent stuff, and the ending to this game wound up making me weep. In public.

Runners-Up: Fallout 4; Shin Megami Tensei 4-2; Valkyria Chronicles 1
Valkyria Chronicles 1’s finale is solid; there’s not much to really say about it beyond that they close the game well. Same with Fallout 4, really--it’s big, it’s impressive, it makes you stop and reflect on yet another grand story of the post apocalyptic world that you’ve taken part in...everything you expect from the series. Well, not everything, actually...the game does lack a definitive ending narration, which IS a real problem, making it probably the weakest ending of the Fallout series, and I sure as hell hope that they don’t pull that again. Come on, Bethesda, is it THAT hard to follow Fallout tradition and give us some ending clips for important people and places, tell us what happens to them in the future because of our endings? Nonetheless, it’s still a strong finish to a great RPG. And lastly, SMT4-2 kicks up its thematic philosophies a notch in its finale (provided you’re not an asshat who sided with the hypocritical Dagda instead of your friends). The final battle against YHVH is really well-done, a battle of philosophy and humanity’s purpose and progression as much as it is of actual physical conflict, and the use of Flynn’s team was a pleasant surprise, better tying the first Shin Megami Tensei 4 into its new conclusion. The ending subsequently does a good job of both focusing on its own cast and themes, while including its predecessor’s characters and ideas so well that I actually found myself in SMT4-2’s ending caring about Jonathan, Walter, and Isabeau’s connection, which SMT4-1 sure as hell couldn’t manage to accomplish. So yeah, good job with that, Atlus.


Worst RPG of 2016:
Loser: Whisper of a Rose
Look...Whisper of a Rose has high ambitions, and I respect it for that. But that’s all that I can say about the game that’s positive (well, that, and it also has a lot of really good songs). I’m not going to go into detail here--as I said, that’s coming up in its own rant soon. But unfortunately, this was not an auspicious first step for Indie developer Roseportal Games, and rather than get me excited to play more of their works and make me look forward all the more to the Shipbreakers game that I helped Kickstart, now I find myself uninterested in their other games and concerned about whether my money has been well pledged.

Almost as Bad: N/A
You know what’s cool about 2016? I only played a single game this year that I’d consider bad! And honestly, Whisper of a Rose isn’t even all that terrible; most other years, it’d be easily outclassed by worse stinkers. So that’s cool.


Most Creative of 2016:
Winner: Moon Hunters
Oh, hey, I finally got that Native American setting RPG I wanted. Well, mostly. Moon Hunters gets props for having a theme and setting based on tribal culture and lore, but it’s also very creative with how it handles itself. See, it’s a randomized roguelike RPG. Now, I just can’t stand roguelikes, and I’m not usually a fan of randomized dungeons, but Moon Hunters actually brings the idea together. Every game you play in it is different--the map changes, the ‘dungeons’, so to speak, change, and the characters you come across change. Yet this actually comes together perfectly in terms of plot, because the game is all about a single, legendary event of multiple cultures’ past, passed on orally in legends that change with each telling. The randomization element of gameplay that keeps the game different and thus fresh each time is actually accounted for and a strong part of the story!

Beyond that, the way it’s handled is just great. You really feel just like you’re playing through some tribe’s legends, and each time you restart (the game’s only like an hour and a half long, but it encourages multiple playthroughs in having different endings and many more events and characters than you could find in a single, or even half a dozen, playthroughs), you’ll experience more little side plots and figures of the game’s mythos that feel authentically like they’re parts of a long and involved legend. Moon Hunters is an extremely creative game; I am well pleased that I could help back it.

Runners-Up: AeternoBlade; Pier Solar and the Great Architects; Whisper of a Rose
Look, just because Whisper of a Rose can’t make anything worthwhile of all its interesting ideas and starting points, that doesn’t mean that those concepts aren’t still creative. AeternoBlade is an interesting story of time travel, vengeance, redemption, and human spirit that transcends time, and while there’s nothing that stands out too greatly about it, as a whole it comes together as a pretty creative venture. Lastly, while Pier Solar and the Great Architects does seem generic as an RPG for a while, its end game introduces a few very interesting plot points regarding the Pier Solar and the true history of the game’s world that are neat and different.


Best Romance of 2016:
Winner: Aigis and Minato (Shin Megami Tensei: Persona Q...and, well, Shin Megami Tensei: Persona 3, essentially)
There’s really only a single place in the game in which romantic stuff comes into play, but as always, the love and devotion that Aigis has for Minato is compelling. This isn’t a powerful and excellent romance in SMTPQ itself, but it’s powerful and excellent inasmuch that the love between Aigis and Minato here is an additional part added to the whole that is their love in SMT Persona 3...a revisiting of something really beautiful.

Runners-Up: Alicia x Welkin (Valkyria Chronicles 1); Camilla x Corrin (Fire Emblem 14); Selena x Subaki (Fire Emblem 14)
Alicia and Welkin are a pretty by-the-numbers JRPG protagonist x main girl couple, but they do have a good chemistry, and you can see and believe in their deepening interest for one another. It works. As for the FE14 couples...I’ll refer you to my previous rant on these characters. Suffice to say, Subaki provides a support for Selena (who is one of the deeper characters of FE13 and 14) to really grow as a person, and Camilla’s love for Corrin, for all its unsettling weirdness, is undeniably, inspiringly, overwhelmingly genuine.


Best Voice Acting of 2016:
Winner: Fallout 4
What is there to say? It’s Fallout. Almost everyone’s vocal work is on point, and the game goes out of its way to go a step further and include a lot of variations on Massachusetts accents in its NPCs, which, y’know, is pretty essential when a huge focus of your game is to examine American culture, and the particular setting of that culture is the Commonwealth of Massachusetts. Serious props go out to the voice actress for Nora the female protagonist, who really adds a lot of character to her role and perfectly balances the levity of sarcastic responses, the genuine goodness of morally upstanding responses, and the pain, confusion, and exhaustion that Nora carries in her search for her child (and after the search is over, for that matter; some of the lines during her conversation with Father on the roof in Cambridge are hauntingly well-done). The actor for Nate is highly competent, too, don’t get me wrong, and in a lot of other games he’d be a highlight...but if you play Fallout 4 without Courtenay Taylor voicing your protagonist, you’re just doing yourself a disservice. Big props also to Stephen Russell for his role as Nick Valentine, because I never, EVER will get tired of listening to a well-cast hardboiled detective, and he does a damn fine job with the role. But really, the game’s full of great performances. Deacon, Strong, Piper, Shaun, Tinker Tom, Hancock, Codsworth, Travis (especially before he gets his confidence), Curie, Kellogg, even a lot of little NPCs like the baseball vendor and Clem, they’re all great. With a game that has as much nuance to its emotion and ideas being expressed in its dialogue as Fallout 4 possesses, you need an incredible level of vocal talent in your whole cast to make it all work, and Fallout 4 brings that.

...Okay, fine, there is Preston’s “babe” problem. Look, no game is perfect.

Runners-Up: Shin Megami Tensei 4-2; Shin Megami Tensei: Persona Q; Valkyria Chronicles 1
VC1 matches its characters to its actors and actresses well, and they do their part well to draw you into the game’s story and cast. The same is true of SMT4-2--everyone’s on point and bring you into the game with personality granted almost as much by their voices as by their actual words.* And lastly, well, the voice acting for both Shin Megami Tensei: Persona 3 and 4 was excellent through and through, so small wonder that SMTPQ, whose cast is 90% characters from those titles, is terrifically voice acted. I do so love hearing Elizabeth’s whimsical musings and Theo-abusing demands.


Funniest of 2016:
Winner: Dragon Fantasy 2
Dragon Fantasy 2 is an enjoyable little tongue-in-cheek homage to 16-bit RPGs that stays amusing throughout. That’s all there is to say, really. It’s not a laugh-a-minute sort of game, but it’s pretty consistently fun.

Runners-Up: Code of Princess; Dragon Fantasy 1; Witch + Hero 2
Witch + Hero 2 continues the same vague but lighthearted humor as its predecessor, and it works fine. Dragon Fantasy 1 is built on the same humor as DF2, it’s just a little less frequent as a natural result of having a less dialogue-heavy story. And lastly, while I did criticize Code of Princess for the fact that it’s just not quite up to par for the tone it’s trying to take, there’s still a good few chuckles to be had with it.


Best Villain of 2016:
Winner: Father (Fallout 4)
Honestly, it’s a tough call who’s the best this year; all the contenders here are competent and have their strengths. In the end, though, it’s Father who is the best. He has depth as a callously misguided person, and his connection to Nora/Nate, and Nora/Nate’s entire purpose for braving the dangers of the Commonwealth, provides great drama to the game’s final conflict.

Runners-Up: Bethina (Pier Solar and the Great Architects); Krishna (Shin Megami Tensei 4-2); Vernia (AeternoBlade)
Vernia’s a good counterpart and juxtaposition to Freyja, and embodies AeternoBlade’s plot’s purpose very well. Bethina is interesting, and in some ways, not even as much a villain as the game’s protagonists are, though I can’t really say any more without spoiling certain things. As for Krishna...well, he’s got a decent villain schtick, but he’s not all that deep, honestly. At the same time, though, he’s got a charismatic villainous bearing, he’s smart and good at plotting, and he sells himself as a smug thinks-he-knows-best evil-doer. And honestly, sometimes that’s all it really takes to fill the role well.


Best Character of 2016:
Winner: Rei (Shin Megami Tensei: Persona Q)
I cannot tell you any detail of why Rei is here. Go play the game if you want to know. Sorry. But hey, it’s a good RPG; you should play it anyway.

Runners-Up: Forrest (Fire Emblem 14); Nora/Nate (Fallout 4); Zahua (Pillars of Eternity)
Zahua’s here because I experienced Pillars of Eternity’s DLC this year, and he, a DLC character, has a notable personality and a strong level of characterization. Forrest is a solid character whose wisdom and quietly friendly forbearance is really great, and I’d say he has the most depth of character out of the entirety of FE14’s cast. And it is really, really nice to see a JRPG treat a crossdresser character as something other than a cheap punchline. Lastly, the potential for character in Nora and Nate from Fallout 4 is really excellent, with the way their issues and loss stay with them and affect their decisions, and the way they react to this strange new--and yet in many ways sadly all too familiar--world around them. This is the first time that the Fallout series has had a protagonist who, while still very much in the player’s control, has a distinct origin of personality and a definable mentality which can be explored. And frankly, in spite of some players’ complaints about this, I think that this is a huge benefit to the integrity and power of the game’s story and purpose, and I really hope that future installments of the Fallout series will do the same. Look, player choice is great, open-ended approaches to RPGs can work fine, but the quality, integrity, and strength of the story and narration still comes first. The power and pathos of Fallout 4 greatly benefitted from having a more concrete protagonist than its predecessors possessed, and that makes it a positive.


Best Game of 2016:
Winner: Fallout 4
This probably isn’t a huge surprise. Fallout 4 isn’t the best of its series--Fallout 3 is still better, and maybe New Vegas and 1, as well--and it has its problems (for example, the Synth issue that the game is focused on is interesting, but in the end, a little outside the right sci-fi range for the series). But it’s still a damn fine RPG. It’s got a great cast of memorable and varied characters, a gripping story, compelling emotion, solid and thoughtful themes, and, like all Fallouts, it invites us to look at ourselves and our culture through its involvement of, spotlight on, and analysis of the history, people, trends, and common culture of the United States of America. It’s a fun, engaging, yet dark and telling look at ourselves, a grand and emotionally poignant adventure, and an invitation to appreciate and contemplate where humanity and society is and should be headed. Damn fine work again, Bethesda.

Runners-Up: Shin Megami Tensei 4-2; Shin Megami Tensei: Persona Q; Valkyria Chronicles 1
It’s a happy thing when it’s hard for me to pick the best of the year. I played many worthwhile titles this year that I would recommend, and Dex, Moon Hunters, and Pier Solar and the Great Architects are all good contenders for this category. Nonetheless...SMT4-2 is just a worthwhile, good RPG from start to finish, and while some fans have (correctly) noted that it’s in some ways closer to a Persona game than a title from the main numbered SMT games...well, that’s not really a bad thing, when the Persona flavor works and makes for a quality story. SMTPQ may only be a mildly positive game for its first 2/3, but once it does finally kick its story up, it is really, REALLY powerful stuff. Lastly, Valkyria Chronicles 1...it’s just a solid, well-made JRPG, intelligent, well-written, emotional, and containing a likable and interesting cast.


List Changes:
Greatest RPGs: Mass Effect 3 (with MEHEM) has been added to the Honorable Mention; Fragile Dreams: Farewell Ruins of the Moon has been removed. Sorry, you piece of atmospheric, after-apocalypse artistry.
Most Annoying Characters: Still Teddie, just with the addition of SMT Persona Q to the list of games he’s from. New game, same fucking idiot.
Greatest Romances: Still Aigis and Minato, just with the addition of SMT Persona Q to the list of games they’re from. It’s tiny and optional, but still heartwarming and lovely.
Greatest Swords: The Aeterno Blade has been added (to the number 1 spot, in fact); the Elsydeon has been removed. Sorry, you memory-marked metallic murderer of the millennial monster.



And that’s it for 2016. Guys, gals, everything over to the side of that, thank you so very much for reading. I’ve had a lot of fun these past 10 years writing these rants, and I hope you’ve had some fun reading them. I’m looking forward to 2017, in which I have a great many more RPGs to experience (and 1 of them looks to be Tides of Numenara, which you know I’m just absolutely giddy about!), and I hope it’ll be a good year for all of us. Thanks for your time, your comments, your guest rants, and your support. Happy holidays to you all, and I’ll see you in the new year with more pointless babbling. Cheers!











* It IS a bit of a shame that Laura Bailey didn’t return to her role as Nozomi. I have absolutely adored Bailey’s performances ever since the ill-fated dub of Kodocha. But Karen Strassman, also known for her role as Aigis in the SMT Persona series, does a high quality job, one which I have no complaints whatsoever about.

Thursday, December 8, 2016

Fire Emblem 14's Children

Howdy, folks. Before we get started, I'd like to just point out, in case you have somehow missed it, the button on the right there. That fun little dancing moogle button which my sister was kind enough to make for me is a link to my new Patreon page. Late to the party as always, I now have an account at Patreon through which you can, if you so choose, support my terrible ranting addiction! But I do want to make something clear: whether I get a single pledge or a thousand (odds are closer to the former than the latter, methinks), it will not have any impact on the frequency or quality of this rant blog. I didn't set up this Patreon account so I could hold something over your heads as a way to coerce you into giving me money. I've simply decided that if there actually is anyone out there who for some reason likes my rants so much that they think I deserve to be compensated for my time and effort, I'm going to give them the chance to put their money where my mouth is.

That sounded more clever in my head.

Anyway, bottom line: I would love it if you like my rants enough that you feel that they're worth a buck or 2 a month. But I don't hold any kind of expectation that you should do so, and I'm not going to push it any more than having the button and mentioning it this one time. Either way, the rants continue as they would have. And on that note...let today's ranting commence.



The way children are handled in Fire Emblem Fates is dumb.

Really dumb.

Massively dumb.

I don’t even know why I’m making a rant on this. Because we all know that it’s dumb. And we all know why. And many, many people have pointed out the ways in which this situation is dumb. But what the hell, you’re here and I’m short on rant ideas. Let’s do this.

Alright, so quick recap for anyone who doesn’t know, which is probably no one because anyone who doesn’t know this wouldn’t be reading a rant about this game anyway, but it just wouldn’t be an RPGenius rant if at least half of it weren’t superfluous garbage. In Fire Emblem 14, you can pair off a massively large number of characters with each other. There’s over 300 possible romances in this game, and the majority take place between the first generation characters (those that become available to join your party naturally through the story’s course). Some are good, a few are really good, some are bad, some are just fucking terrible, and at least half of them are spontaneous and don’t really make much sense. Well, what do you expect? The writers had to come up with over 300 love confession scenes, for Medusa’s sake. Most RPGs can’t even manage a single decent romance. On the whole, I think the writers did a lot better than one could ever reasonably expect.

Well, except with Jakob. Fuck Jakob.

Anyway. So you hook these characters up, they get married (these folks just jump right into matrimony in this game, lemme tell you; marriage proposals are like handshakes in Fire Emblem 14), and they have a kid (or 2, if the couple involves Azura or female Corrin). At this point, the game informs you that since war times aren’t good times for child-raising, the characters decided to send their little bundle of joy to a place in the Deeprealms, a bunch of little mini-dimensions “strewn across the astral plane.” Also, time passes much faster in the Deeprealms, so the children grow up super fast by the standards of the regular Fire Emblem 14 dimension. According to the Fire Emblem Wiki, “a matter of weeks” in the regular dimension is enough for the children to mature into young adults. At this point, you’re given a side-mission, in which, through varying circumstances, it’s decided that Junior is gonna join your team, since he/she is by this point more or less as much a capable adult as his/her parents. Hell, in some cases, like Rhajat and probably whoever ends up being Elise’s kid, the child is actually older than at least 1 of his/her parents.

If you didn’t stare at the screen and say, “What?” at least once during that last paragraph, there may be something wrong with you.

Alright, so, now that we’re all caught up on how this system works...what the hell? What nonsensical crap IS this?

Look, I get why Nintendo wanted there to be children characters in the game. The company’s following the high that was Fire Emblem 13’s success, and one of the things that people liked about that game was that there were characters in it that were the sons and daughters of the plot-natural party members you hooked up. With FE13 being the first, to my knowledge, Fire Emblem that really hit on a widespread audience outside of Japan, not to mention being very popular in Japan itself, they didn’t want to risk losing this audience they’d been courting for years with previously mild success at best. Understandable.

But understandable does not necessarily mean acceptable.

In Fire Emblem 13, the idea of having child characters worked, because the plot was set up to sustain it. FE13 is a story about a hero going back in time to save her world by helping her parents and their allies to stop an evil that, in her timeline, they had fallen to. Children traveling back in time to help their parents save their world is already a natural part of the plot in Fire Emblem 13. The story automatically accommodates the idea of the child of the couple who just got together showing up as an adult ready to join the party and do their part.

This idea also worked in the game it originated from, Fire Emblem 4, because, again, FE4 was set up to accommodate it. FE4’s story was multi-generational; the second half of the game takes place years and years after the first, and you take control of the children of the first half’s heroes (or a group of unrelated freedom-fighters, if you didn’t pair off the characters in the first half). Again, you’ve got a case where the story of the game is specifically designed that children characters are a legitimate part of it.

Fire Emblem 14 just ain’t set up that way. FE14’s plot happens in a straight shoot, start to finish in a normal RPG’s time frame, and there’s no time-traveling involved. There’s just nothing you can reasonably do to include children of the game’s main cast who are born during the course of the game’s events. So if you’re gonna jam these kids in there, you’ve gotta stretch.

Oh, man, do you have to stretch.

So let’s roll through this 1 thing at a time. First of all, it’s just not a good thing overall, from a general viewpoint of story structure. Multiple dimensions linked together across an astral plane is not the kind of story element you just throw in on a damn whim! Yeah, I know that the multi-dimensional thing already exists in Fire Emblem 14 peripherally (Selena, Odin, and Laslow are “secretly” (it’s not that well-kept a secret) characters from Fire Emblem 13, called from their own world to save this one), but there’s a BIG difference between having 3 characters secretly knowing there are other worlds and other civilizations of people out there, and establishing as a matter of basic knowledge for the entire cast that there are numerous other worlds beyond their own. Everyone just takes this in stride? 1 day, everyone’s concerned about their little feudal Euro- or Japanese-styled kingdoms as the center of their existence, and the next, they know that other worlds exist and that there’s life and other civilizations in them, and no one bats an eye? Sees it as a handy place to stash their kids and nothing else?

No, no, of course, it makes perfect sense. Nintendo’s figured it out. The reason we advance our scientific knowledge in the hopes of reaching new worlds? The reason we conjure every imaginable scenario about our first exposure to alien life? The reason humanity looks up at the night sky, and wonders? We’re all just searching for the perfect daycare.

To get into the more tangible details of why this is ridiculous...let’s look at the time frame of this situation. You may want to skip this paragraph for the next if you just want to get to the answer without my rambling. We start out with 2 characters getting to know each other and having conversations with one another. There are ways to increase characters’ affinity a little outside of battle, but for the most part, characters become closer as they do stuff together in battle. So from the beginning of these 2 noticing the other exists, until the moment they get married, you’re looking at...let’s be completely insane and say that they have their support conversations and fall in love over the course of a few days. The stars have aligned to make it so that they each go up an affinity rank after each battle, so they only need to be in 4 battles, and miraculously, all 4 of these battles take place over the course of like 3 days, even though most battles in the game take place in locations scattered around the game’s world that would require a lot of travel time to get to. These 2 hook up after knowing each other for a few days, because they’re idiots, and decide to get married. Let’s now suppose that this is the barest bones wedding possible, even though that’s thoroughly insane to assume of a great number of individuals in the cast (Laslow, Charlotte, any of the royal siblings, Odin, Selena, the list goes on). You’re looking at, I dunno, a couple days for the FE14 version of a town hall wedding to go through when they’re already busy with the events of the plot going on. The marriage happens, the honeymoon happens, and there’s now a bun in the oven. Human pregnancy lasts about 9 months. No, I’m not going to assume that every child character in this game was a preemie; I’m already being more than lenient. So, 9 months later, the baby pops out. Let’s say that we give the birthing process and the process of the kid and mother getting their wind back just a single day. Hey, these are RPG characters, they’re built extremely tough. Now let’s say that it takes another day to move the kid to the Deeprealms, under the assumption that the parents have already set up the living accommodations for their progeny ahead of time. Finally, let’s assume that it takes no more than 4 weeks in the regular world for an entire childhood’s worth of years to pass in the Deeprealms.

So, essentially, if we assume an absolutely ludicrous breakneck pace from the beginning of the parents’ conversations to the point where the baby’s all grown up and ready to kick ass, we’re talking about a time frame of over 10 months. How long is Fire Emblem 14 even supposed to be? What time frame does this game take place within? Because the story events don’t give any sort of impression of 10 months’ worth of time passing between Chapter 6 (which is the earliest you can start working on hooking characters up) and the game’s conclusion. Not to mention that many, many of the characters in this game join you much later than Chapter 6, so you’re not even working with the full time frame of the game’s plot, which, again, I doubt spans 10 months to start with! And let’s not forget, that 10 months I’m giving is honestly a fallacy anyway. Even at the speedy pace at which people fall in love and get hitched in FE14, it’d be much more reasonable to say that the process takes at least a full year. That just seems way, way longer than the game’s story actually takes.

And as a sharp reader by the name of Dominique Marino points out, that's still not the end of the scheduling problem with this concept. To quote Dominique, "...even with the assumptions you made, a year is still way off. That, or literally every marriage happened at the same time, and the kids were all conceived within a month or so of each other. Basically, we´d not only have to assume that some of those parents are idiots who´d marry instantly and get pregnant within days, we´d have to believe that the whole of the army was in mating season and was busy fathering children like rabbits. Which also means that all the women were unable to fight for about 9 months, and yet we could use all of them in battle at any time. Heck, even if we assume that the pregnant dames sit out the battles until they give birth, if all of them are pregnant at once, that would severely weaken the army´s forces, making you question the wisdom of the army´s leaders even further." So yeah, either we have to assume an absolutely preposterous notion of half the force all needing to take maternal leave at the exact same time, or we have to believe that FE14's events somehow stretch themselves out over...I dunno, at least 2 years, considering all the child characters possible. Either way, this situation gets dumber and more unlikely by the second. Thanks for the insight, DM!

The difference between time flow in the dimensions is a stumbling block, too. Most of the time, yes, the dialogue involving child characters is mindful of the circumstances regarding the kid’s upbringing--parent could only visit, not stay around, the period of the kid’s childhood took only a matter of weeks in the main world, etc. But there are times in the support conversations between parent and child that just don’t really mesh with this situation. Like I say, most of the time, the child character remembers that his/her parents were usually not around and only speaks of their presence in the sense of memories, but there are also a few conversations where it seems like the writers forgot this, and the impression you get from the dialogue is that the parent had a more permanent part of the kid’s childhood.

Much weirder, though, is the parent characters’ side of this, at times. There are some conversations between parent and child in which the parent is extremely nostalgic when remembering moments of their kid’s childhood, and how the child used to be when he/she was younger. But for the parent, these memories are only weeks old! I mean, I guess I can understand having a little regretful nostalgia about how fast your kid grew up, particularly when we’re talking about a growing up period of like 2 months at the most, but when they talk this way, it sounds just like it would if it had been a normal span of years between the moment they’re remembering and the present. It’s never like, “I remember back when you were little like it was just yesterday...actually, it really was just yesterday, I guess. Man, I feel like we’ve really missed out on something important from this whole Deeprealms situation!” It’s just like, “Oh, remember when you were little and did cute things as a kid? I do. Memories, memories...” as though these things didn’t just happen last week for the parent.

Another oddity of conversation occurs with with some of the princes’ kids. A significant amount of Shiro and Siegbert’s character development revolves around their position as heirs to their fathers’ thrones, and both they and Forrest and Kiragi are heirs to their fathers’ powerful magic weapons, a point which is mentioned more than once. This would make sense under normal circumstances, but again, the whole thing with the sped-up time of the Deeprealms makes it really weird. I mean, thanks to the Deeprealms, Shiro, Siegbert, Forrest, and Kiragi are all close to their fathers’ age, right? I wouldn’t say that any of the sons are a full 10 years younger than their fathers once they’ve left the Deeprealms and joined the FE14 party. So the question of succession of thrones and heirlooms is a bit off here.

I mean, if, say, Ryoma gets assassinated when he’s 35, no problem, his throne and weapon pass to Shiro who’s probably like 30 at that point and Shiro gets to be the lightning katana king of Hoshido for the rest of his life. So that’s fine. But what happens if all the first generation princes live full, healthy lives? By the time any of them die of old age, their children are going to be elderly, as well! If Xander lives until he’s 70 before he dies, that means Siegbert only finally inherits his father’s title and sword in his early to mid 60s! Siegbert’s been preparing all his life to rule and live up to his father’s legacy, but there’s a very good chance that the first chance he’ll ever get to claim his birthright and fulfill his reason for existence, he’ll be only a few years away from his own natural demise! Hell, with a situation like this, it wouldn’t be strange for some of the fathers to outlive their sons--I sure as hell wouldn’t bet on Shiro’s lifestyle habits being as good as Ryoma’s, so barring an outside force killing Ryoma off, Shiro’s probably gonna kick the bucket before his old man. So yeah, just another way that this Deeprealms nonsense throws off character development and interrelationships as you think about it.

The whole reason given for this is silly, too. I mean, yeah, I can understand the characters of the game wanting to send their children somewhere safe to avoid the dangers of war. That’s reasonable. But they don’t need the Deeprealms for that! The party of FE14 already HAS an extra-dimensional safe haven where the fighting couldn’t reach their child: the castle headquarters for the army! Yeah, the base of operations for Corrin’s force is situated in a little pocket of its own on the astral plane, as far as I remember; it’s not actually a part of the world that FE14 takes place on. There’s no need to send the kids elsewhere. The castle already has all the defensive benefits of being in another dimension that the Deeprealms have. On top of that, it’s, y’know...a CASTLE. Filled with the members of Corrin’s army, and a handy baby dragon guardian, along with, potentially, some other defenses you can set up. The kids would actually be safer at the castle HQ than in the Deeprealms! Yes, the castle does get attacked by some of the Faceless 3 times during the game’s course, but it’s filled with defenders who are prepared to engage these enemies. Half of the side chapters that recruit the child characters to your party involve them being attacked by dangerous enemies within their Deeprealms, anyway. Why not keep the kids somewhere with better fortifications and more defenders, then?

How long were the children characters supposed to stay in the Deeprealms, anyway? I mean, what would Corrin’s merry band of deadbeat parents have done if the game’s events really had taken a long, long time to conclude? If FE14’s conflict had gone on for a couple years, was the plan to just keep the children in the Deeprealms, letting them live out their lives with nothing but intermittent visits from parents who would by then be far younger than the children? Would some of them have lived and died never knowing the world they were born of, the lives they were meant to lead, the family and friends they could have had? Some of the parents have to be convinced during the child recruitment sidequests to let their kids join Corrin’s army even when those kids are now able-bodied warriors, so there’s a real possibility that at least some of the parents really were intending to keep their kids in the Deeprealms indefinitely if the regular world remained unsafe. The more you think about it, the more messed up it seems.

Speaking of messed up, Azura and Female Corrin’s actions are kinda fucked up with this whole situation. With most couples, there’s a single child resulting from the union, but in any relationship involving Azura or Female Corrin, there are 2 children: the child of the father character, and then Shigure (Azura’s son) or Kana (Female Corrin’s son). These kids are sent into the Deeprealms, same as all the others, but they’re actually separated from their sibling! Shigure will be sent to a different dimension than his brother/sister, and the same is true of Kana. What the hell? These kids aren’t already going to be lonely and miss their family enough as it is, apparently, so Azura and Corrin decide that they’re also going to be isolated from their sibling! The 1 person in the universe who could share in the child’s pain at being only able to see his/her parents during intermittent interdimensional visits, and they have to separated from him, too! Is the marginal assurance of extra safety if you split your kids up and put them in different hiding places REALLY worth forcing siblings apart, particularly in these circumstances!? How much safer from worldly dangers do Azura and Corrin need their kids to be than a single separate dimension?*

It’s really deplorable on Corrin’s end, too. I mean, think about how important the Nohr siblings were to Corrin as she grew up, how much they meant to her and how much happiness they gave her as she was kept otherwise isolated in a castle all her life. Corrin has enjoyed and appreciates the happiness of the bond between siblings more than most. She knows how vitally important it is for a lonely child to have siblings for love and support. And yet, she separates Kana from his brother/sister! He’s kept separated from his family, tended to by servants in an isolated location for his entire childhood...Corrin is putting Kana in the exact same position that she was in all her life, a position that she hated, that was hurtful, and she’s denying her son the only comfort that made the same situation bearable for her!

Yeah, there are a myriad of reasons why this issue of children and Deeprealms in Fire Emblem 14 just doesn’t work. It’s dumb, it opens small plot holes, it gets kinda disturbing at times, a lot of it just doesn’t make sense, and it involves some very uncharacteristically poor decisions on the part of Azura and Corrin as parents. People are right: this is a flaw in the game.

...

...Sigh. But, I would be remiss if I didn’t say, in spite of everything wrong with the system, that I can’t find it in me to hate this aspect of Fire Emblem 14 too much.

Look. It’s stupid, it’s unnecessary, it makes no sense, it puts a lot of characters in a bad light. There’s a seemingly limitless number of problems with how children characters were handled in the game. But...there is a very sizable redeeming factor, too. One that doesn’t seem to get raised very often when people discuss and diss this aspect of the game.

The children themselves.

A lot of this game’s most likable characters are the ones in the second generation. Selkie and Mitama are a goddamn hoot; I cannot get enough of Selkie’s antics, and Mitama has a special place in my heart for being as lazy as I want to be. I find the antics of Velouria and Ophelia to be more enjoyable than their fathers’ shenanigans. Dwyer, Rhajat, Sophie, and Soleil are all fun, likable characters, and I can’t help but find Nina’s fangirlish ways amusing. And Forrest...well, Forrest is pretty much just the best character in the game. Everything he does and says is great, and damn if it’s not a breath of fresh air to see a crossdressing character in an RPG treated as something more than a cheap punchline.

I’m not saying all the children characters are good, mind you. Shiro is a waste of space, Midori and Siegbert are pretty blah, and Kiragi mostly just annoys me. But if you weigh the first generation characters against the second generation, I think, pound for pound, you get a cast with more appealing and vibrant personalities from the kids. The first generation still has the advantage of character depth (for the most part, at least, although there’s precious few who can compete with Forrest on that front), but if you cut the children out of the game, you’d be losing a lot. You’d be losing fun, engaging characters, you’d be losing a really great character in Forrest, and you’d be losing some really strong support conversations between some of the parents and their children, including 1 of the game’s best moments--Selena’s interactions with her daughter (if she married Subaki) Caeldori, which are just absolutely lovely for Selena’s character.

Also Dwyer shows his dad Jakob up at being a butler, and to me, getting to see Jakob be the one feeling belittled for once is worth just about fucking anything.

Now, you can make the argument that a lot of these people didn’t need to be children characters. It wouldn’t have been difficult at all for Rhajat or Ignatius, for example, to have just been outright characters in the game. This is a fair point. But there’s still a lot of character development for several of the kids that really requires them to be children of the game’s primary cast, such as with Forrest, Velouria, and Shigure. They really do have to be second generation characters; their connections with their parents are simply too big a part of their character depth.

Are these children characters good enough that they make up for the deficit to the game caused by the means through which they exist within it? Well...it’s hard to say. There are, as I’ve gone over, a LOT of problems with the way second generation characters are forced into Fire Emblem 14. At the same time, I don’t think the game would have been as enjoyable without Selkie running amok, nor as intelligent without Forrest’s wisdom and quiet forbearance, nor as emotionally strong without Caeldori present to help Selena come to terms with parts of herself and reach a better place. In the end, for me, the positives that the children characters bring to the table are enough that I overlook the utterly ridiculous, poorly written method through which they’re brought into the game.

But for Pyrrhon’s sake, Nintendo, next time, please try a little goddamn harder to insert characters into your game in a way that makes some sense. Or recognize when the plot just doesn’t allow for it. Come fucking ON, guys.












* I focus on Corrin and Azura, but it’s worth noting that, technically, every first generation male of the cast is guilty of this exact same crime (with the exception of Corrin-only male partners like Izana, since they have no child beyond Kana). I mean, Corrin and Azura aren’t the only parent of their multiple children. Their husbands, whoever they wind up being, presumably agreed to this plan of sibling separation.