#the current penacony arc is so so good i lost my mind every 10 minutes. also best utilisation of an 'op' character in a gacha story ive see

[ominous-horse-noises]

as someone who fell off of genshin for similar reasons (gameplay loop became meaningless busywork way too quickly, the story became too self-referential and unfocused, etc.), i also want to add that i feel like the writers wrote themselves into a corner from the start with the traveler.

the traveler's motivations are kind of counterintuitive to the interests of players. from lumine's (the twin i played) perspective, she wants as little interaction with this world as possible, and thus any story conflict she's drawn into has to be kind of against her will. sure, lumine can make connections with the characters, but genshin isnt really written well enough to express a lot of those relationships as organic and a meaningful obstacle to her objective of grabbing her twin and leaving teyvat. there are exceptions (xiao, for instance, has actually been built up to have a close bond with the traveler specifically), but overall, the writing strongly implies that if it wasnt useful for her to be helping others, she would have stopped by now.

full admission, i stopped playing soon after sumeru dropped- partly because i had gotten bored with the gameplay, and partly because a lot of the new mechanics and puzzles introduced were too dense to parse easily. however, from streamers i watch who've played up to fontaine, there seems to have been an overarching arc of the traveler's good nature being taken advantage of so often and for so long that they're starting to become embittered over having to lend a hand at all in all threads of the plot- because the writers keep having characters (usually the archons or similarly high ranking members in each nation's society) promise them progress and then go 'teehee guess i can't help you after all' in a cycle that feels a little like the writers taunting the players themselves.

now, i say this is counterintuitive to the players because the players WANT to linger in the world. they want to get to know all the characters, they want to explore every inch of the map for puzzles and chests, they want to do all the quests, they want to understand the lore. so now the story is caught between inventing more and more grating reasons why the traveler has to get involved with the narrative of the world against their will, the characters seem more and more like assholes for being able to provide nothing useful in return (bc as op accurately pinpointed, the writers keep holding their story cards tight to their chests), and the traveler becomes more exhausted and cynical about doing the things that the player is playing the game to do. its basically a running joke in the fandom at this point.

the difference between botw having a similar 'racing to save someone dear to the protagonist but getting involved in the minutiae of an open world' and genshin is that botw is VERY clear why link can't just grab a few overpowered allies and run straight for the castle. in genshin, because the story is so bloated and yet underdeveloped, the player doesn't get a real sense of the scope of the danger beyond cryptic allusion and other characters just saying so.

and the tragic thing is hoyo knows this is, objectively, a bad set up to tell a story like this from, because the first thing they did with the protagonist of honkai: star rail (i have complaints about the storytelling from the second world, but overall, the writing is head and shoulders above genshin by every metric) is give them no past and stick them on a crew of people who are literal do-gooders. amnesia is a cheap writing trick for player avatars, but it ends up working because the avatar is put with a group of people whose whole motivation is to travel and help others, which gives them an easy and plausible reason to get involved in conflicts of both A plot and C/D plot importance.

so. uh. in short, writing a protagonist whose express purpose is to get out of the world the entire game takes place in as soon as possible punishes players who want to try and be immersed in the story and their avatar's goals with endless frustration.

i kinda really wanna see a big ol vent/rant from you about genshin now lol. I would read an essay

I'm not sure you understand the insanity you just unlocked in me but ok

genshin impact is probably the clearest modern example i can think of of capitalism absolutely eviscerating a creative project. For context, I started playing genshin in 2021, just after the 1.4 update. it was venti's first rerun/the first windblume festival if that means something to you. and I really genuinely thought that it might have had something special. It was a gacha that didn't FEEL like a gacha, which was a huge feat to me.

it began with a very simple story pitch--you, the protagonist, are one of a set of twin siblings traveling through space. you come upon a seemingly unassuming world and your attempts to continue your journey are suddenly stopped by a mysterious, all-powerful figure. you are separated from your sibling and wake up alone on the shores of this planet you were attempting to leave together. throughout that opening cutscene and scattered through the world and your character's dialog there are implications that all is not as it seems, that your character is something unique to this world and that they possess powers and abilities that you've yet to unlock. You are told that you must travel the seven nations of this world in order to find your sibling, which is great--a simple, zelda-like objective which drives the player to explore the secondary narratives of the world. none of this is bad on the surface. in fact i'd argue it's pretty good. there's a ton that can be done with these story bones. even at launch the map and combat system were full of potential as well.

Note: for ease of reading, i'm going to label the different storylines of the game now. A-plot refers to the central objective of the entire game; the find-your-sibling plot and everything that encompasses, including the abyss order/dain, the heavenly principles, the fake sky, etc. B-plot refers to the secondary objective present in each new nation, usually meeting the archon and/or solving a problem for the archon. (A and B-plots will occasionally intersect.) C-plot refers to any story, location, or background information which remains in permanent gameplay but which isn't directly related to the A or B-plots, such as dragonspine, the chasm, enkanomiya, etc. D-plot refers to any story, location, or background information which is confined to limited-time events and does NOT remain in permanent gameplay, regardless of its connection or lack thereof to the A and B-plots, such as the golden apple archipelago, the infamous albedo/dragonspine event, the infamous kaeya/diluc event, etc. Lore as i will refer to it in this post refers to any information which is present in permanent gameplay but which is not directly told to the player within the A or B-plot story quests and objectives, including books, weapon, artifact, and item descriptions, world quest dialog and puzzles, etc.

So now we're in mid-2021, there are two nations' worth of B-plot story quests released in full, and we've run into our first problem, which is that the game isn't finished yet. I don't have any actual information about how the game was/is written, but based on what i've observed over the past few years, my best guess is that the A-plot has been fully written since the beginning, at least in some form. there were very early-game events and information pertaining to the A-plot that would take years to see any actual payoff in the main story quests (kaeya's origin story, the 1.3 scaramouche fake-sky drop, the flowers in lumine's hair, etc.) but those kinds of A-plot story easter eggs very quickly dropped off when the game absolutely EXPLODED during the pandemic.

this sudden burst in popularity was the true beginning of the end for genshin, i think, because suddenly they had a HUGE fanbase that desperately wanted more content faster than they could pump out new A-plot or even B-plot story quests. one of the most pervasive complaints about the game when I began playing in 2021 was that there was nothing to do between story quests. update 1.4 (which was the update I started playing at) was important in that it was the first time since genshin's release over a year before that players recieved any new A-plot, in the form of the archon quest We Will Be Reunited, also known as the quest with the most fucking misleading name of all time. you'll never guess what doesn't fucking happen during this quest. anyways. we were a year into gameplay, two nations out of seven released and a third on the not-so-distant horizon, and it seemed obvious that players were owed some sort of A-plot payoff. and that's very much what WWBR was advertised as, from the quest's name to the banners full of art of the twins staring wistfully at each other. The thing is, what i'm describing as A-plot payoff was actually. not really A-plot payoff at all. WWBR was the reveal that the protagonist's sibling was working with the abyss order, and that the abyss order was connected somehow to Khaenri'ah, which at this point casual players would only have known about from THAT QUEST and MAYBE kaeya's character descriptions if they were diligent enough to get him to friendship level 10 (which, btw there is no indication that you should do to get important context about the story of the game, because kaeya is a 4-star starter character and the only character in the entire game that actually has genuinely important story hidden in his character descriptions.) So what I'm calling A-plot payoff felt at the time a lot less like A-plot payoff than it did like an abyss sibling cameo in an attempt to satiate everyone who was begging for more story. We actually gained almost net 0 information. this is very quickly going to become a pattern.

As I've already alluded to, the motives behind this writing decision are transparently obvious. Genshin is a free gacha game which relies on a consistently active and engaged userbase to make its money. With fans getting restless about the lack of engaging story at the time and a new, very ambitious B-plot quest gearing up for release that would require major support from that fan base in order to remain profitable, the writers were backed into a corner. they HAD to throw the fans some sort of bone in order to keep them engaged with the A-plot, since it was originally pitched as the driving force for the story as a whole, but they were also clearly not at a stage of the writing process where it was prudent to give the player any REAL information about the A-plot. This is how we ended up with a 10-second abyss sibling cameo and an offhanded mention of Khaenri'ah, a nation whose plot-relevance was at that point still basically unknown.

The real problem is, WWBR worked. at least, it worked as intended at the time. It satiated story-focused fans in the interlude between B-plot nations, as hyv was gearing up to release inazuma, which required a lot of time in preparation. WWBR was followed almost immediately by the C-plot golden apple archipelago in 1.6, widely regarded as one of the better events of version 1. GAA was memorable especially because it was the first event that involved an entirely new, limited-time-only map, meaning the event had much more longevity than the standard events players were used to. This is, imo, most likely the update combination that led to the standard formula which hyv uses for its quests and events nowadays. the back-to-back release of WWBR and GAA satisfied both fans who wanted A-plot story AND silenced criticisms about the game lacking endgame playability, which at the time must have seemed like a goldmine to writers desperate for a solution to their content-to-fanbase ratio problem.

From here, genshin started following a standard method of release for their next three nations--inazuma, sumeru, and fontaine. the formula generally went as follows: one major version update (usually version x.0) containing a major map update which included all B-plot relevant locations in the new nation, and the first chapter of the B-plot story quest relevant to that nation. this would then be followed by 2-3 version updates which would each contain the next chapter in the nation's B-plot story quest, sequentially. After the nation's B-plot quest ended, during the downtime in which the next nation's story and map would be finalized, subsequent updates would be largely C-plot, and would contain minor expansions of the map to increase endgame playability via exploration and world quests. This is how we ended up with updates like the chasm, the several extra islands in inazuma, and the quite frankly ridiculously large sumeru map, as well as the offloaded maps like enkanomiya and the sea of bygone eras. with the possible exception of the chasm, none of these areas are A OR B-plot relevant. hyv has realized that artificially inflating the map makes their game technically more engaging during the downtime between nations. However, this comes at a price. While the scenery and set design of the game remains consistently beautiful, the actual, mechanical gameplay that populates that scenery very quickly became mind-numbingly boring if not borderline unplayable. While the 1.0 questlines were not perfect, there was at least an emphasis on the player actually DOING things. 1.0 B-plot quests would have you going to mini-dungeon temples and completing challenges which would acclimate you to the combat system while also serving narrative purpose. There were quests that required you to navigate open-world dungeons. Because your characters were lower-level, combat challenges that arose during these quests were CHALLENGES, rather than two-second buttonmashing segments. By the time we get to sumeru, though, both B-plot AND C-plot quests have become little more than moving your character from location to location and tapping through (usually unvoiced) dialog. there's no GAMEPLAY in the quests anymore, because gameplay isn't what makes money. What DOES make money is giving players 300 hidden chests to find in an open-world map segment, each of which gives them 1/80th of a gacha pull. And so the story suffers and the map gets bigger.

Along with the map expansions, downtime between nations usually also nets us one A-plot quest, usually involving the character dainslief, who was the driver of the initial WWBR quest. This is the second half of hyv's magical formula for keeping fans happy between major releases. the A-plot quests will, as a general rule, give players either very little new information or no new information at all, but will dress up the delivery in such a way that it ALMOST feels as though the protagonist has moved forward somehow. the most recent example of this writing style, the 4.7 quest bedtime story, amounts to about an hour and a half of gameplay and, while it DOES contain a segment in which the protagonist finally actually has a conversation with their sibling, that conversation literally begins with the line "I have so many questions, but for some reason I don't want to ask them right now," ensuring that the sibling will not actually be required to give away any plot-relevant information whatsoever, and the quest ends with the protagonist FORGETTING THAT THE CONVERSATION EVER HAPPENED IN THE FIRST PLACE.

As I think I mentioned before, the cardinal problem of genshin impact's writing is that fans want answers faster than the writers are prepared to give them. I don't doubt that there's a game bible or relevant equivalent somewhere within hyv which contains the explanations we are currently lacking in regards to the A-plot. the game is consistent enough in its storytelling for me to believe that this isn't all just being made up as we go along. But I'm also certain that a lot of the late-game A and B-plot that is planned (especially if the Khaenri'ah is truly planned to be the 8th nation of the game) hinges on the player knowing very little about the A-plot. this would be fine if genshin was a standard single-release video game that players could work through at their own pace, but it isn't. it's unfinished, and each nation in the game releases months to years after the last, leaving the writers to scramble to fill in the gameplay gaps and players struggling to remember plot-relevant information when it's brought up literal years after they last heard it mentioned. Not only does the time between updates leave players frustrated about the lack of A-plot, it makes the A-plot harder to understand when it is brought up, because the writers are required to throw in so much dense C and D-plot just to keep engagement high enough to make the game profitable in its downtime. we joke about the insane convolution of genshin's lore, but that is first and foremost a byproduct of its financial model. the game requires engaement to be profitable, and adding lore for players to look into drives up engagement. The fact that having so much story with so little plot relevance muddies the waters and makes the A and B-plot stories considerably harder to understand doesn't matter as long as money is being made.

I want to take a quick detour here to talk about the release of sumeru specifically, because this is when I really began to clock the fact that genshin was declining. on paper, racial sensitivity issues aside (Not that they're not important, but i'm doing this deep dive from a storytelling and game design point of view, nothing else. that's a whole can of worms i don't have time to get into here) sumeru was a really promising addition to the game. The new B-plot quest which was set to drop in 3.0 was highly anticipated for several reasons. Two fan-favorite characters (kaeya and scaramouche) were expected to play major roles, because of earlier C and B-plot quests, and much of the nation's scenery that was teased in trailers and promotional content appeared to tie into the A-plot. the most exciting draw about sumeru and version 3.0, though, was the major update to the combat system.

Arguably genshin impact's most interesting feature upon release was its combat system. The map was basically a botw clone at that point, and the story quests, while decently engaging, were rough around the edges to say the least. What genshin DID have going for it was a unique real-time combat system that rewarded strategy and quick thinking.

Genshin's combat system is elemental, and on release there were 6 elemental affiliations: anemo (wind), cryo (ice), pyro (fire), hydro (water), geo (rock), and electro (electricity.) in a sort of pokemon-like system, certain elements were weak to other ones, but more importantly, certain combinations of elements could drastically boost combat stats. Players got to construct four-slot teams of characters, each with an elemental affiliation and certain "skills" which would match their element, and you were encouraged to use the interactions of these elements to build teams. very quickly, a huge community formed dedicated to optimizing teams and tiering characters. People would even make a game out of building teams specifically to do high-level damage with "bad" characters or characters who weren't designed to be damage drivers (my 100k jean burst was an incredible moment fr.) this was, of course, also a picture-perfect driver for the gacha aspect of the game, which was how players obtained new characters.

Pre-3.0, combat was... well i won't say it was balanced, but there was no elemental reaction that had any MAJOR advantage over the others. when you actually ran the numbers, i believe vaporize was the best reaction in terms of damage output, with the best team being raiden national with kazuha for EM buffs. but a well-built freeze or melt team could do similar numbers, or even better numbers depending on your artifact rolls. (ayaka permafreeze you will always be my #1.) Despite a steady stream of new characters with each update, characters from the earliest version of the game like xingqiu and xiangling were still topping the charts in terms of usefulness and versatility in teambuilding. However, as early as 1.0, players had been teased that a major update to the combat system was planned. There was a seventh element, dendro (plants) which pre-3.0 only existed as an elemental affiliation for menial enemies. there were no playable dendro characters, and the only elemental reaction that existed relating to it was very low-level and not particularly useful in combat.

Originally, dendro was projected to be added to the combat system somewhere in version 2, but its release was delayed substantially, meaning it came out along with its affiliated nation, sumeru. And as soon as it came out, it basically broke the combat system. I assume that the scaling they ended up going with may have been out of fear that players would be hesitant to integrate a new element into their pre-established team builds, and thus they may have been worried about sales on their dendro character banners, and i assume that the fact that 3 elements are required to get the highest-level reaction was an attempt to make the meta more balanced in the face of that scaling, but, well... it didn't work. At this point, the genshin impact combat meta is basically "if you're not using hyperbloom what the fuck are you doing." there's basically no reaction in the game that comes close to it in terms of both damage and ease of use. you are not going to beat a hyperbloom team with anything other than a better-built hyperbloom team. combat is now very heavily skewed in the direction of dendro, meaning that if you DON'T want to use a dendro team, you're going to be doing significantly lower numbers. And since enemies are added with each update, post-3.0 combat becomes difficult and annoying if you don't have a hyperbloom team on-hand.

The major gripe i have with dendro isn't even the scaling, though. I mentioned offhand earlier that the 1.0 B-plot questline had a section which taught you the basics of the combat system via mini-dungeons. These mini-dungeons, of course, taught you the version of the system that existed pre-3.0, so there's no tutorial for dendro reactions. Rather than integrating the tutorial into the story and world like they did in their early quests, upon playing 3.0 for the first time players were given a popup that explained, very wordily, how dendro reactions worked. there was no opportunity to test these reactions in an environment without consequences--if you wanted to try them you'd have to remember the relevant information, build yourself a team, find an enemy to try them on, and just hope you got it right. This lack of integration is something i began to notice more and more with genshin as it progressed, especially in sumeru. where in mondstadt and liyue open-world puzzles would be explained to you by an npc or via environmental context clues, in sumeru you'd be stopped while exploring every two seconds by a popup explaining some puzzle or another which, of course, you wouldn't read, because you didn't want to do the puzzle right that minute anyway, and then by the time you DID want to do that puzzle you'd have no in-game way of figuring out how to do it. The puzzle popups may seem like a small thing, but it's one of the clearest examples in the game to me of the fact that the player experience is so clearly not being prioritized here. the game doesn't even TRY to be immersive anymore. they have no qualms about pulling you out of the story to read a paragraph about how the puzzle works. they don't care how your character, in-universe, is supposed to have acquired that information. they don't care why your character, in-universe, is doing the puzzle in the first place. because they know the reason YOU are doing the puzzle, which is to unlock a hidden chest that gives you 1/80th of a gacha pull.

That was not "a quick detour" was it lmfao. ok anyways. back to the story. Now i want to talk about D-plot, meaning limited event stories, and lore as i defined it earlier, meaning contextual details not present in quests or playable story. This is where i think genshin's story becomes completely inaccessible.

Already, we've covered the fact that in order to consume the very basic story, players have to be willing to wait years between A and B-plot quest releases, punctuated by irrelevant map expansions and interlude quests. I mentioned before that genshin's incompleteness is one of the major problems of its story. the fact that players have to wait years, remembering plot-relevant information that they have no way of knowing will even BE plot-relevant, for the payoff of these narratives is frustrating at best and actively malicious at worst. But in theory, there should be an obvious way to circumvent this. One could just wait until the game IS completely finished to play the whole thing. Sort of like buying a game in early access but waiting until it's actually finished to play it all the way through. that's theoretically possible. but, as i have been hammering home this whole time, genshin is a free game, and therefore genshin relies entirely on a consistently engaging fanbase in order to remain profitable. if genshin does not have a base of players who are willing to log in every day, or at the very least once every update, the game's financial model collapses on itself. therefore, genshin puts on limited-time events. this is a standard in gacha games, as a way to keep the fans consistently engaging. What is not standard, however, is the way that genshin uses these events as vessels for its story. about 19 out of 20 limited events in genshin impact will be useless menial bullshit with no effect on the story or really even the player aside from maybe making you fucking angry. 1 out of those 20, though, will be innocuously named, with nothing in the banner or event description to indicate that it's special in any way, but it will contain serious A or B-plot relevant information that exists nowhere else in the game. My personal favorite example is the infamous 1.3 scaramouche appearance, in which he showed up, told the protagonist that the sky was fake, and then immediately fucked off again. Scaramouche did not show up again until at least 2.0, and the fake sky wasn't so much as MENTIONED again until 3.2, almost TWO YEARS LATER. but there are others, such as the (almost equally infamous) albedo doppelganger event in which a major character's loyalties are called into question, or the event where major biographical information is revealed about kaeya, the only playable character with major known connections to the A-plot and Khaenri'ah. With all of these events, once the event period ends, the information contained within them vanishes from the game completely. there's no way to replay old events that you've missed, even sans rewards, so if you miss a plot-relevant event the ONLY way to catch up on that story is through word of mouth. again, this is a transparent way to keep genshin's userbase engaged during downtime between B-plot quests; if you don't log in and play every event, how will you know if you've missed something important? You might not be able to fully understand the future story if you miss out on the D-plot now!

The D-plot problem is something that I think could, in theory, be circumvented by dedicated record-keeping. if the wiki had anything resembling an easily accessible event database that marked story-relevant events and contained summaries or gameplay videos, at the very least you wouldn't have to fear being completely lost on the off chance that a random throwaway line in an event from fucking 1.3 becomes plot-relevant. but hyv obviously doesn't want that, because it undermines their financial model, and the sheer number of events and the amount of rerunning of irrelevant events they do makes the task of recording and categorizing them all daunting if not impossible.

Then, of course, there's lore. this is arguably what genshin is infamous for in certain circles of the internet. You know that unraveled video where bdg reads every book in skyrim? if you tried to do that with genshin the video would probably be about 10 hours long. and it's not just books; genshin hides (potentially) plot-relevant information in weapon and artifact descriptions, in random hidden world quests, in character bios... the list goes on. and 9 times out of 10, the information is essentially written in code. Plot-relevant characters will have multiple names, or the relevant information will refer to them as vaguely as possible, presumably to further the "mystery" and encourage theorizing among fans. but the sheer amount of information like this that exists within the game makes it all but impossible to determine what is plot-relevant and what isn't. For a topical example, the most recent A-plot quest bedtime story mentions the name Rhinedottir in connection with events in Khaenri'ah, suddenly making that name A-plot relevant. Rhinedottir is an alternate name for the character Gold, whose existence you would only have known of before this point if you'd unlocked and read the character Albedo's character bios. (Albedo is a limited-run character who hasn't been available since november 2022, btw.) the only other information about Rhinedottir permanently available in the game comes from the description of the weapon Festering Desire, which was only obtainable from a limited event back in 2020, anyway. So basically, if you wanted ANY context for that remark, you'd have to have been playing the game since AT LEAST 2022, AND you'd have to have taken the time to go over your weapon and character descriptions with a fine-toothed comb. keep in mind that as of right now (june 2024) there are 85 playable characters in this game, each with 10 unique unlockable character bio sections, and over 150 weapons, each with their own unique descriptions, not to mention over 50 artifact sets, each with 5 unique artifacts, which all have their own unique descriptions as well. there are also 51 different collections of books which contain written lore as well. the idea that any player could keep up with all this, or that anyone could even sift through it all to pick out the important things that they NEED to keep up with, is insane, especially when the game makes a point of withholding crucial plot information from its players within the A and B-plot quests. this amount of written lore only exists, again, to drive up engagement in the hopes of subsequently driving up profit. Even if the average player isn't reading and absorbing all this information, the fact that it's there coupled with the fact that the writers consistently refuse to reveal anything beyond surface-level A-plot information means that there's basically ENDLESS theory fodder. and THAT means that people will be posting their theories and talking with each other and getting into arguments. it means "genshin impact" trends on twitter. it means engagement, and engagement means money.

basically what it comes back to is that everything is so transparently money over player experience with this game. I think what we're witnessing with genshin is what i would call an end-stage gacha game--a gacha game that's gone on a little too long and gotten a little too popular, and so the veil has started to slip a little more than usual. Gachas work primarily because they operate by toeing the line between what is fun to play and what is a predatory mechanic. As long as the actual gameplay remains engaging and rewarding, players can ignore the unsavory business practices underneath. At this point, genshin has swerved too hard into the money-hungriness and is still hoping that they can use their old tried-and-true engagement farming methods to remain popular regardless. currently, it seems like those methods are still working, unfortunately. Like I said in the post that prompted this, i really can't wait for the hyv writer NDAs to expire 10 or so years down the line, because I can only imagine what an insane shitshow writing for this game must be. I want to see the tell-all articles. I want carnage.

That being said, I played genshin impact religiously from 2020 to 2023. I loved the game. Despite myself, I am still really, REALLY interested in the A-plot. I want to know what's going on with the protagonist and their sibling; where they came from, what happened to them, what the heavenly principles are, what role celestia plays in all of this. I want to know Kaeya's full backstory, what role Khaenri'ah plays in the overarching story, and what happened to it in the past. but I don't really have any faith that I ever will, because I know that as long as keeping their fans in the dark and stringing them along remains profitable, that's what hyv will continue to do.

Do I think genshin impact is unsalvagable? in its current state, yes. If I was given the ability to turn back time and convince a bunch of executives of the profitability of this venture, I would change almost nothing about the story of genshin and completely rework the mechanics of its release. I would make it a series of single-release self-contained games rather than a constantly-updating gacha. Each game would be one B-plot quest, or one nation, eight games in all, preferably released once every year. Removing the gacha mechanic, players would be given access to a certain pool of characters to build teams at the start of each game, and then periodically unlock new characters as the story progressed. for example, if you were playing the inazuma game, you'd start out with only your protag, and after progressing to a certain point in the story you'd get a pool of inazuma 4-stars to teambuild with freely. Then, as the story progressed and you met plot-relevant inazuman 5-stars you'd add them to your pool. I'd change basically nothing about the combat system except for a properly integrated introduction of dendro when it makes its appearance in sumeru. Once you completed the story in that nation, you could move onto the next game in the series if it was out, or if it wasn't, you could continue to explore the open world while waiting for the next release. Would this be as profitable as the gacha model? probably not, but what it WOULD do is allow for much more consistent pacing and writing, with the added bonus of not making your userbase feel like you'd shoot them in the head for their pocket change.