#to convince people that a change in narrative not just storywise

[tamelee]

First of all, hi, how have you been? :)

So there is this Sasusaku account on Twitter who loves to use novels to defend their ship. I know, nothing new.

But this person recently made a thread to debunk the idea that novels are not canon, and their thesis was that every work published by Shueisha is canon because they have ownership of Naruto; therefore, saying the novels are not canon is the same as saying the Naruto manga isn't canon either (according to them).

I know you have talked about this before, so I apologize if this ask comes off as repetitive and/or annoying, but I was just interested in knowing your opinion since you know more about these topics, so feel free to ignore this ask if you want to!

Have a nice day ^^

Hi! Doing alright thank you ^^! 

“every work published by Shueisha is canon because they have ownership of Naruto; therefore, saying the novels are not canon is the same as saying the Naruto manga isn't canon either”

Oh yes, of course. 

Which means that aside from the novels that retcon the original, the… 

Random, OOC storylines in games 

Third-party interpretations, subjectively written data-books or fan-books

Merch, promotional art and other marketing material 

Filler episodes/Movies

Dash generation Manga or whatever 

Sasuke- and Lee’s chibi-adventures Manga

etc—

...are also all canon.

[click to enlarge]

Because "Shueisha published it".

Please make it make sense.

“But this person recently made a thread to debunk the idea that novels are not canon, and their thesis was that every work published by Shueisha is canon because they have ownership of Naruto; therefore, saying the novels are not canon is the same as saying the Naruto manga isn't canon either ”

No.

This is an incredibly flawed argument, because it’s already a non-negotiable fact that the Naruto Manga is canon. It just is. No question about it whatsoever.  

CANON=

The Naruto Manga is the authoritative framework that is the source material. This holds things like the rules, core elements of the story like: characters, themes, messages, the author’s intent etc- And fundamental canon holds the most significance of all within a franchise and provides consistency to the fictional universe in case publishing companies decide to expand on it.. 

By nature its intent is to reflect the original author’s vision; the Naruto Manga = Kishimoto’s vision. 

And everything that doesn’t align with it is simply not canon. 

Therefore the only thing left to argue about is whether legal “ownership” by itself can determine whether something is canon or not. But that isn’t how you measure it alone because it ignores actual canon. I mean yeah, who would’ve thought you’d have to look at canon in order to determine whether something is canon??? 🤯 Wild, huh?

So no: you can’t and that’s not how it works.  

Everything Shueisha decides or publishes through their distributors is official. 

It is official because they are copyright-holders and own the intellectual property (IP) at large which has many different aspects to it. They do own most of them in order to manage it all.

But not everything that is official is canon.

These are two entirely different things.

In fact, the only thing they themselves consider to truly be part of the ‘official’ timeline (which would establish ‘canon’ if it wasn’t such a retcon either) on the official site is Brt. It’s technically canon because chapter 700 exists, though it still makes no sense as it doesn’t stack up against the other 699 chapters and it still means nothing in terms of actual storytelling. Alas:

And even if they did claim ‘canon’, it’s only as significant as the source makes it out to be. Not the amount of profit they can make because they are legally allowed to exploit the work as much as possible through distributions, adaptations, translations, trademarks at JPO and handing out licenses left and right to third-party organizations (‘Namco Bandai’ for example) which then get their own rights or having entire licensing devisions handle individual IP regarding characters (yes your little blorbo is intellectual property) who manage it in terms of advertisements, marketing/promotion and merchandising (think about these pop-up shops), like: ShoPro

*Shueisha used to be owned by Shogakukan if I’m not mistaken and then separated at some point

It’s a business. And an insanely large one at that. They own so much more than you’d think, it’s a HUGE company (2nd largest publisher in Japan I believe) that doesn’t only own multiple magazines like Shonen Jump and its Manga, they also published the ‘weekly playboy’ and publishes things like many (light/erotic/graphic) novels and nsfw picture-books/manga etc. They will do anything as a business to make sure to profit commercially as is legally permitted within the established contract that varies per published IP and which they’re incredibly tight-lipped about. 

In the case of Naruto’s franchise, information that came after the Manga constantly contradicts not just actual canon, but also each other. Contradictions can’t all be canon or equally as significant at the same time because it needs a source— which we have; the Naruto Manga. It’s what holds the most significance.

That’s how you measure whether something is actually canon or not. 

“… therefore, saying the novels are not canon is the same as saying the Naruto manga isn't canon either”

Besides, if this was true, then canon wouldn’t even exist. Jfc. 

And yes, you can expand on canon like I said. That’s the whole point. It indicates a framework that allows publishing companies to stay consistent and keep their audience happy if they care to do so. But consistency in story or consistency in business doesn’t mean the same thing because it's motivated by two entirely different motives. The willingness to sacrifice artistic work and its audience in order to profit from it financially literally kills creativity in the industry as well as opportunities and it gives them way too much power. The stuff that’s coming out lately is garbage and it’s mostly thanks to people pointing fingers at someone random with their eyes closed, unconcerned about the consequences, and grant them and the business the authority to decide whatever the hell they want about things that already exist— and it never improves. (I’m always free to rant more about it but yk.) 

Like the person you’ve quoted, the motive isn’t to actually convince people that their terrible novels are canon, it’s that canon should give a ship in this case some significance when there wasn’t in the first place. To "fix" something that didn't need any fixing. It has nothing to do with the actual story. 

But canon does because it just is.

Non-negotiable.

Oh! you have a nice day too🌷 I apologize for the rants ><

[arecomicsevengood]

Seeds

Before I read it, I had this idea I could write a review of Ann Nocenti and David Aja’s The Seeds for the Comics Journal, but the book just sucked too much. It had basically nothing going for it, or even decipherable as an advancing plot. One thing wrong with it is there’s this sort of conspiracy element, or this “no one believes the news” anymore element of it, but Nocenti didn’t want it to be about “fake news.” Donald Trump has rewired the narrative, so now entire types of subject matter feed into this propaganda machine simply by being addressed. Nocenti’s best work does not shy from topicality, addressing the currents in the cultural air, but this time the modern world feels too hot to handle.

I ordered the Daredevil: Typhoid’s Kiss trade paperback, reprinting a bunch of Nocenti’s work with the Typhoid Mary character from the nineties. The longest story in there is a miniseries with art by John Van Fleet. It’s partly about post-Tarantino video-store employees turned filmmakers kidnapping Typhoid Mary to use her as the subject of a documentary about serial killers and violent media. It’s also about Typhoid Mary working as a private detective trying to track down a killer of prostitutes, who the police don’t care about, and are maybe the actual killers of themselves. Storywise, it’s a pretty cool attempt to address real-world issues of the day within a pulp context.

Van Fleet’s art is pretty boring and bad in a way that’s distinctly ahead of its time. While the miniseries itself probably wouldn’t exist without the precedent of Elektra: Assassin a decade before, (a spinoff about a female Daredevil villain created by the writer during their run on Daredevil where that character defined their run) all the photoreference that’s probably actually just photo backgrounds run through filters sets a precedent for the Alex Maleev/Matt Hollingsworth Daredevil stuff to come a decade later. And it’s frequently annoying on a page design/panel background level. Like in terms of how the panel borders sort of default to grid shapes so there ends up being things that “read” as panels but that don’t actually do anything for pacing. It’s just fitting the narrative into regimented design choices.

This maybe only happens the once. But the art is also just super-stiff throughout, with a very chunky line that eliminates any real nuance. There’s a bunch of characters, but a lot of them are indistinguishable from one another, and that’s because the linework is about as muddy as the color palette — It kinda seems like he’s working with models and photo reference but also doesn’t have that many models to work with so he’s having them play multiple roles, but also his work basically seems more like photoshop filters than actual drawing? There’s a bunch of stuff that I think sucks, basically. But you can also draw a direct line from what Van Fleet is doing in Typhoid to what Aja does in The Seeds. All these choices that are meant to be classy and dignifed, a move away from the excess of superhero comics. The covers of Typhoid are just portraits of the main character, interchangeable from one issue to the next, which was a move that again, was ahead of its time: This is what so many Marvel covers in the 2000s looked like, the Tim Bradstreet Punisher covers probably being the go-to example. It’s pretty dull but it’s nice they’re not super-sexualized.

While the choices arguably suit the subject matter in Typhoid, which is at least partly about movies, in The Seeds, the story doesn’t really make any sense because the visuals seem so steeped in unreality. The premise is that a tabloid has photographed an alien, proving aliens are real. There is really nothing within the context of the story that explains why the news outlet would have enough gravitas to be convincing and have this be an actual news story. And the book is drawn in Photoshop, which is itself a photo-editing software, so the “reality” of the book is defined by the very medium that people recognize as why images can’t be trusted. This contributes a level of irony that could maybe be worked with if the book itself wasn’t so ugly and dull. The whole thing looks like some Banksy bullshit. Outside of word balloons, text appears in the large all-caps typeface of image macros. I don’t have scans of The Seeds because I gave my copy away on account of there not being any reason to keep it around.

The book is beyond dated at the time of its release. Partly this is due to the speed the cultural conversation has been moving for the past five years.  It’s been a difficult time period to work on a work of fiction about the news, certainly, and not only has the comic been a long time in the making, the writer has also been away from making comics for decades now. If the authors had been able to make this as a serialized monthly comic, it might’ve stumbled into timeliness, or the predictive, but as it is, the reading experience feels like a bunch of different, disparate ideas that do not really cohere into a narrative. Leaving aside how the book seems to emerge from a general cultural gestalt of the the 1990s, when The X-Files and Weekly World News were objects of discussion, every major plot point or news story chosen for thematic resonance is approximately fifteen years old. I believe 2005 was when I started to hear about colony collapse disorder. This bee metaphor has been lapped by a Honey Nut Cheerios campaign at this point. (A few years back, boxes of cereal came with seeds of wildflowers you/children could plant.)

Darin Morgan’s episode of The X-Files revival “The Mengele Effect” ably addresses all the issues with how cynicism and conspiracy theories feel different now, all the issues that Nocenti seems terrified of and hopes the audience doesn’t think of when reading her humorless X-Files throwback comic. That episode’s great.  Much of The Seeds seems like it was better done in the decidedly not-great Transmetropolitian. There’s something so dated and sad about this comic’s idea of a cool journalist protagonist: People barely smoke cigarettes anymore! I know no one wants to draw people vaping, but the imagery this book wishes meant “cool, urban, woman” reads as nostalgic affectation in 2021. That so much of the commercial landscapes of our cities has been replaced by vape shops was one of the biggest clues we were already living in a dystopia three years ago.

Nocenti, when she was working regularly, got to be a pretty effective writer for having a monthly deadline wherein she could speak on the issues of the day as they were happening. In the absence of a regular gig, this rare chance to speak her mind gets hampered by how much there is to talk about, and how complicated it all is. If it’s too complicated to address in an ongoing superhero comic, a one-off graphic novel with vaguely commercial ambitions turns out to be a worse space for it. It’s so much sadder than anything in this dream-of-the-nineties comic that the authors were given the grace to make something only under the conditions that doom it to failure. Real people made this work of fiction, and I don’t know what the fuck they’re even talking about, and that’s a more complicated narrative than the journalists in this comic who… stumble upon a story and then need to take to back because it’s too important or something? I don’t understand what this comic is about. It’s clearly gesturing at being about a bunch of different things, but what they get from being in juxtaposition with one another, I don’t know.

In interviews in advance of the release of The Seeds, Nocenti talked about how this was the first time she got to make a comic that didn’t have to have fight scenes or conflict in it. But reading Typhoid it’s clear how conflict ties the story’s disparate threads together. But also while reading Typhoid I kept on thinking about how visually, the Steve Lightle shit that preceded it is so much cooler! Here he is, bifurcating a page so two narrative threads can be told with different approaches to stoytelling:

People sometimes talk about how crazy it is that Nocenti started her Daredevil run immediately following up the Miller/Mazzucchelli Born Again run with a fill-in drawn by Barry Windsor-Smith. But I don’t think anyone has pointed out that, since these Typhoid Mary team-up comics appeared in Marvel Comics Presents, she’s basically following up Barry Windsor-Smith’s Weapon X, and Steve Lightle is totally capable of doing that! Even if these comics are kinda whatever narratively, Nocenti comes up with dense enough narratives to give him shit to do. She’s a good writer within the context of the harsh strictures of early nineties mainstream comics. Which I know seems like a harsh diss! But being a writer that makes work that consistently gives a comics artist something interesting to do is a difficult job that many people are just not interested in doing for various reasons, so it should be recognized when it’s attempted and accomplished.

It’s also interesting that the whole visual approach where both Steve Lightle and Barry Windsor-Smith shine is dependent on flat color. The changes in storytelling made to accommodate the shifts in visual language in full-color mainstream comics didn’t really benefit anyone, and now needs to be outsmarted. In The Seeds, we’ve got this pretty dull reading experience that superficially in its two-color print job and nine-panel grid, looks like it might be influenced by Mazzucchelli’s work in Rubber Blanket and City Of Glass. And we’ve got a black and white Barry Windsor-Smith comic coming out from Fantagraphics in a few weeks that I really hope blows it out of the water.

[thesummonerofaskr]

Salt 3: Fire Emblem Fates, the Story

Post under the read more

I decided to go ahead and make this since I am currently sick, agitated, and ready to rant about something. I've poked fun at Fates' narrative or outright insulted it before, but I've never said anything about why it's bad. Why is that? Well that would probably be because most Fire Emblem fans are expected to hate Fates' story at this point and so saying that you hate it is just a given. But you know what? I can do better then that. I've done it twice already, so why not? Now to be fair, I will admit I'm a bit spoiled. My first Fire Emblem game was Path of Radiance, a Fire Emblem game considered to have one of the best stories in the series this side of Genealogy of the Holy War. So when I went in and played Awakening, with its fun-yet-busted gameplay and yet still flawed narrative, I was slightly disappointed. I still love Awakening and how it helped save the series, but I'm not above saying it could've been better. Still, when Fates, or rather "if," was announced, I couldn't help but fall in love with the premise. Two families, two different storylines, and a choice to make on which side you would follow? The ability to customize your own personal fortress? It sounded like a dream come true. But then the game to the States and... it crushed sales. You know why Fates gets all the seasonal units in Heroes alongside Awakening? It's because those games sold well, so of course they're going to get more attention whether we like it or not. However, Fates did disappoint... a lot... with the execution of its narrative. I feel like we all convinced ourselves that this was going to be the best game ever only to get something sub-par, which to the hyped up fan can end up being the worst thing ever. Where did Fates fail and how can it be improved? Well that's what I'd like to explore.

Prologue: If It Ain't Broke, Don't Fix It

Fates may not have been the best game in the world, but it certainly wasn't the worst. If you ask some people in the fandom about Fates, they'll get onto their high horse and tell you that everything about Fates was horrible, there wasn't a single redeeming factor, and it single-handedly ruined the entire franchise to such a degree that it took Echoes being made to save it. (And if I ever get around to beating Echoes, I'm sure I could make a rant on how little fun I've been having with it, to the point where I can't beat it.) Those people are... exaggerating. So before we jump into the negativity, I'll offer some positives. For starters, much as with Awakening, I found myself getting attached to a good majority of the characters. Sure there were exceptions (Niles and Hayato), but there always are and that doesn't necessarily make the characters bad for the purpose they were created. Secondly, the village customization was everything I hoped it would be. Yes, I did enjoy playing around with the My Castle feature. I've always been a bit of a world builder, driving my interest in RTS games like Age of Empires and the original Warcraft, and even a small little thing like this got me thinking on how to make my castle pretty. Gameplay mechanics introduced in Awakening were fixed. Pair Up mechanics were no longer broken and allowed you to be more strategic regarding both offensive and defensive measure. Archers and Knights were made not only useful, but amazing, and so characters you wouldn't have used in other games suddenly becomes amazing in this one. Personal skills now exist and even a few of those aforementioned people will turn around and say they would bring personal skills back for future installments. The music... why would people even hate the soundtrack? It was absolutely beautiful. As a sucker for both Japanese and Celtic music, I can certainly say there was not a track in this game that I despised. And I know that some people like how battles get their own music in other games before Awakening, but I've never been fond of that. It feels like I don't get to hear enough of the music in game before it switches over to Battle and back, again and again, until the Enemy Phase... Thanks Echoes. Also, dagger weapons... I hope those return next game to be honest. I don't expect there to be a duality like in Fates, but I do hope there's at least some manner of throwing debuff weapon.

Perhaps this wasn't the most eloquently written paragraph in the history of the world, but I did want to at least start off on a high note... now let's delve into the topic at hand, shall we?

Chapter 1: Pre-Determined Destiny

One of the first issues with Fire Emblem Fates was how it was advertised versus how it was shipped. One of the things we saw leading up to the game's release was how there was going to be a choice between which side you wanted to affiliate with. Would you stand with your blood family, the Kingdom or Hoshido, or the family that raised you, the Kingdom of Nohr? It was a question that actually got a lot of people both excited and competetive, a light battle that I'd only seen in the Warcraft fandom, though not nearly as tense and hostile as Alliance vs. Horde to be fair. But then tragedy immediately struck when it was revealed that to make your choice, you had to purchase the right game for it, split between Birthright and Conquest. That's one hell of a way to make this seeming question lose its meaning. The first five chapters are spent introducing you to both Nohr and Hoshido and by Chapter 6 you're supposed to make your decision based on what you know and how you feel, but that will only work if you had purchased the Special Edition of Fates or, more realistically, if you'd ended up paying the extra $20 to put the other side on your 3DS digitally. Otherwise you'll end up with a 50% chance on whether you now want to side with the kingdom you bought ther version for still or if you'll end up like "wait no I actually want to side with the others," but you can't because this is the version of the game you paid for, kiddo.

It stank of greed to a lot of people and there were even comparisons made to Pokemon as a result. Now to be fair, these comparisons are still completely incorrect. Birthright and Conquest, and the third story released later in Revelations, do in fact tell different stories. There's more major differences in the narrative then which units you get. But it overall came up to $80 in total. Couldn't you have just put Birthright and Conquest on the same cartridge and then made Revelations cost $40 on its own then? Well no, that still would've pissed people off and for good reason. I feel bad for cartridge owners who wanted the game. I heard there was a way to get both on cartridge for $60, but I bought all my Fates content digitally, so I cannot confirm. There's no real way to improve this because it was on Nintendo's marketing for giving the illusion that the choice came in game, not immediately based on version.

Chapter 2: The Avatar of Salt

Honestly self-insert characters are the worst. In a game like The Legend of Zelda, it works because the story takes a backseat to gameplay and Link doesn't need to be anything more then the silent hero who will save the day and bring peace to Hyrule no matter what the challenges are that come to test him. Fire Emblem doesn't get that luxury. Being a tactical RPG that weaves both story and gameplay together as important as the other, it needs characters that can serve to further the narrative while still being interesting and enjoyable. None should be more so then the main character of the game, especially if they're a major talker in the story. RPGs like Suikoden and Persona can get away with not having the main character say much because the focus goes into secondary characters more so then the primary one and so you can enjoy them more extensively, watching them interact amongst each other as well, but Fire Emblem doesn't often bring secondary characters into the main narrative and usually reserves their development and storyline importance for supports to look into. Awakening and Fates are especially guilty of this, with the former utilizing mainly Chrom, the Avatar, Frederick, and Lissa over anyone else. In Fates, it would be the Avatar, Azura, and the royals. So it is important that these characters at least be able to carry the story well enough and... they don't always. But Awakening gets some leeway in that its self insert Robin, while plot integral enough to be a flaw on Awakening's story, is not the main character. That would actually be Chrom. Fates' Avatar, Corrin, serves as both the self insert... and the main character. It goes about as well as you expect.

Many consider Corrin to be the worst lord in the series, more so then even Roy, Eliwood, and Gaiden!Alm before Echoes turned him into a good boy. A lot of this is because of how static Corrin is. In the first five chapters, Corrin is given some leeway because they are still sheltered and naive. They were raised by the Nohrian royals, who are not complete monsters like their father, and so of course they would be horrified at the thought of executing prisoners for fun. After being kidnapped by Hoshido and shown around, they would of course expect to die, be confused by their circumstances, and only after a horrific traumatic effect bringing back their memories ends up disturbed by what happened to them. These five chapters were better storywise then the rest of the game by far because after choosing their side and going through an admittedly heartfelt battle... they seem to just settle in and end up a static character. Whether it's the justified avenger in Birthright or the suffering deceiver in Conquest, they never really show any change in their character. There's no major development for them as they have to stay in a certain role that is easy to insert themself into, even though in some cases they also fail in this.

Revelations is the worst in this regard. Corrin keeps their naivete to the very end. This gets them into a lot of trouble with a certain character who ends up betraying the group, yet this behavior is never called out on. In fact, their overtrusting nature is commended and encouraged, which I suppose is natural considering the fact that they were manipulated by both Hoshido and Nohr in their own right. Obviously Nohr was manipulating Corrin into believe they were of Nohrian decent, but Hoshido, or rather... only Ryoma, never bothered to let Corrin know the truth that they were adopted. I suppose they would want Corrin to remain the same way. It gives them further leeway over Corrin in the future.

I know there are people who like Corrin the way they are, especially the female Corrin, though how much of that is between her looks and the fact that one out of all six voices has the best performance in Chapter 5's cutscene and it's her default voice I don't know, but if I had to change the story without removing Corrin in order to preserve the original premise of choosing one of your two families, I would definitely have Corrin "mature" throughout each path in a different way. In Birthright, I would have them start off as bitter towards Garon for what happened to Mikoto, but still not hating Nohr and so being angry at characters like Hinoka, Takumi, and Oboro for their constant racist tendencies. As they progress, however, they see what Nohr has done to their people and so they feel that Nohr would be much more prosperous under Hoshidan rule. On the other side, Conquest's Corrin would still want to change Nohr from the inside and that would be the ultimate goal regardless, but going into Hoshido, they would notice all of these goods, all this food and luxury, that Hoshido's been hoarding to itself. They might think conquering Hoshido would be good for Nohr in more ways then one and so feel less sympathetic when going through the battles. Revelations' Corrin is such an enigma that I feel like the game would need to be drawn out longer to justify everything that happened in it. Corrin gets both families working together half way in, so I guess they would feel that being the same would work out. I guess you can't win them all.

Chapter 3: Black and White, for what is Gray and Grey?

Whenever you play a Fire Emblem game, you usually see multiple perspectives. The enemy's side has good people in it and so you might be inclined to sympathize with them to a degree while the good guys still have to deal with issues of internal corruption and strife. Tellius did a good job with this as there were people within Daein who could not stand Ashnard's rule despite being forced to follow him, such as Jill's father, while Begnion had its internal corruption in spades between the massive racism against Laguz that allowed slave trafficking to progress as far as it did, especially in the hands of senators like Oliver. Radiant Dawn furthered this by having Daein in such a state of suffering to Begnion after the war in the first game that our heroine Micaiah is leading a revolution within. Even Awakening did this to a small degree in its first third with the character Mustafa, a Plegian general who had been touched by Emmeryn's words after her death, offered to shelter Chrom and the Ylisseans if they surrendered, and who allowed his men to leave if they so desired because of how hard they found it to fight with the knowledge of what they'd done, though none of them ended up leaving after his compassion and so chose to fight and die for him.

You'd think with Fates' premise, it would be the perfect Gray on Grey story, with both Hoshido and Nohr having its goods and bads. Unfortunately that is not the case. In many aspects, it looks incredibly like Hoshido did nothing wrong and does nothing wrong ever while Nohr is essentially Nazi Germany. Hoshido wanted to stay out of a war. They even have a barrier around the country that makes enemy soldiers lose the will to fight, keeping everything seemingly peaceful. What a bloody MacGuffin that barrier is, but hey, the Nohrians found a way to combat it by calling upon the Faceless, soulless creatures that can rampage villages even in the barriers, though they are so monstrous they can even kill the mages that summoned them if not properly controlled. I wonder who the baddies are in this situation.

For starters, Hoshdio's food hoarding needs to be addressed by the Nohrian royals as a reason for Nohr to invade. Nohr's conditions as a practically barren wasteland where food cannot easily grow also needs to be brought up. Hoshido also needs an equivalent to Hans and Iago. Some might point out Kotaro, but he is not actually a part of Hoshido and so does not count. Even if they cannot be as bad as the aforementioned two, they need to be a driving force of antagonism that can make Hoshido at least look less then perfect. Perhaps their racism against Nohrians can make Oboro look like an equal opportunist. Or maybe they act nice on the outside, but are secretly plotting to usurp Mikoto and take the throne for themselves. Speaking of which...

Chapter 4: The Father, the Mother, and the Holy Spirit

What are the similarities between Mikoto and Garon? You might say that there is no simlarity, that both could not be more different in any single manner. But after Chapter 5 and in Revelations, there are two simlarities between the two. They also share these simlarities with Sumeragi. Both are dead and possessed by Anankos. This causes Mikoto be removed from the story and it is the reason why Garon is an old tyrannical cunt more one-dimensional then the inability to conceive the horizontal and vertical. These characters are nothing more then wasted potential. The former gives Corrin their memories of Hoshido back with her death and the latter is a walking giant with a sign pointing at him in neon letters saying "I'm basically Ivan the Terrible in Fire Emblem!" Certainly there must be ways to make better use of them, yes?

The first step is avoiding that anime urge to kill off Mikoto. That's right... don't have her die. Instead, let her remain the driving force for Hoshido as she is injured so much she cannot keep the barrier up, but otherwise remains alive. You might argue that this wouldn't be fair to Nohr as Garon is already the way he is and that it goes against the pre-determined ending of both Ryoma and Xander being made the kings of each country respectively, but it would also allow us to build up Mikoto more then just this "perfect messiah" figure in a similar vein to Emmeryn and maybe even make her more memorable as a character. Now in Revelations, she might get killed and brought back just because it is what it is in that damn story, but in Birthright, there's a chance for her to grow as a leader when she learns of how Nohr has been suffering and so does not hesitate in offering diplomacy when Leo is instated as King. In Conquest, we could see her being the driving force for Ryoma to be as uncharacteristically desperate to get Corrin back as he turns out to be, encouraging him to do whatever it takes, even if it means forsaking his honor. Sounds rather ruthless, I know, but hell hath no fury like a mother scorned after all.

But what about Garon? Well Garon's issue is that he has no traits outside of being evil. What he used to be like is all told in supports. And we all know that "show, don't tell" is the golden rule of writing, so why is Garon nothing but evil when an Anankos possessed Mikoto is able to act kind and loving? My proposal is that Garon is shown to have a more loving side. For instance, what if he actually expressed happiness that Azura was brought back as opposed to... brushing her off? It would be heavily out of character to how we know him now, but it would definitely fit the descriptions of him as a loving father we've been told by Xander, Camilla, and Leo. It would also make putting him down all the more sad in Conquest when we're revealed to his true form, building onto the whole "tragedy" feel that it's supposed to have all the way through as opposed to this cathartic break until possessed Takumi. "But then why would he be evil? Why would he want to conquer Hoshido?" If diplomacy failed and Garon was pushed to that point in life, he might've kept his new perspective on conquering in death. He has men like Hans and Iago around to give him the results he needs and they could be seen as the ones manipulating him into doing evil, except Corrin and Azura know the truth thanks to that crystal ball. All I'm saying is that making Garon less of a twat would give Nohr that push it needs to be more reasonable a pick. As opposed to picking it because your brothers are hot... oh, and about that...

Chapter 5: Genealogy of the Holy Fate

And now the Jugdral fans will tear me apart for that joke. Time to jump into the triggering topic of incest. Now I'm going to go ahead and make this section mercifully short, even if it still requires a trigger warning, but what I am going to say is that these supports were an utter mistake. For starters, on Hoshido's side, you initially believe you're blood related to them. Why is Mikoto writing letters to everyone but Ryoma on the off chance that they fall in love with their middle sibling? What kind of mother does that? That's just stupid. And even though Ryoma knows the truth, he should still see Corrin as a sister regardless. They're in-laws. Are you kidding me? On the Nohrian side of things, they may not have ever been blood related, but Corrin was raised there for so long that them developing any feelings for the Nohrian siblings is even closer to developing feelings for an actual brother and sister then it would be for Hoshido's side.

It's amazing that the actual incestuous couple is more understandable then the pseudo-ones. Corrin and Azura together were a very popular pair when they were first revealed in the same vein of Chrom and Robin being a popular pair. Two main characters, very close together, it all ends up working out in that manner. The problem is that Revelations drops in one line something that isn't stated in any support conversations, world building lines, or any part of the story apart from that one line, that one sentence of dialogue from a dying Mikoto that killed an entire ship. "Azura's mother and I are sisters." Corrin and Azura barely knew each other as they were raised in entirely different kingdoms. They were perfect strangers until Mikoto stated this. Now they're first cousins and so the once beloved ship is so problematic that your previous posts praising it are probably getting you anon hate even now unless you delete them.

The solution to this is obvious. Remove the ability to S-Rank them. Add in a few more characters if you need to, but no more Azzurrin, Corriander, Corryoma, Camillin, Hinokin, Takurrin, Correo, Sakurrin, and Corrlise... no more weird ship names in general to be honest.

Chapter 6: We Must Go Deeper

I love the children units of Genealogy and Awakening. I feel they bring in some neat personalities in the latter's case and in the former's case continue the story in a way that was never done before. However, Fates' case is... horrible. Just simply horrible. In an attempt to recapture some of the glory from Awakening's use of the children, without understanding why it worked in Awakening the way it did, the children units in Fates are literally child soldiers aged up to a proper age in Fates' equivalent of Hyperbolic Time Chambers. Sure they weren't intended to be, either in-universe or from the perspective of the writers, but that's sure what they look like when their presence is entirely optional, has no bearing on the stories whatsoever, and their existence is justified with one of the worst concepts I ever seen... the Deeprealms.

The Deeprealms as a construct are disgusting and unncessary. Their existence and the unit's use of them is actually harmful to the likeability of every single character in the game. They essentially place their own children in these pocket dimensions to be raised away from the horrors of their war without considering the ramifications of doing such a thing. It worked in Genealogy because they had no parallel dimensions to store their children in, having them sent to other lands away from where the fighting would be and them only growing after years of development proper. It worked in Awakening because the kids came from the future and so had already been through a world without their parents because of how Awakening's story functions. In Fates, however, they tried to combine the two and what we get are children who grow up with abandonment issues because that's essentially what their parents did. They abandoned the kids in worlds that have time streams that run slower then "the real world's" and caused them to age exponentially quicker from their perspective as a result. From this, we get Rhajat being older then her own father, Velouria being expected to break away from her parents despite barely getting to spend time with them and becoming obsessive to the point of... see the above chapter, Percy hating his father and considering him a villain, Asugi wanting to escape his identity as the next Saizo, and various other examples. Sure some of the kids continue to love their families like Midori, Soleil, Ophelia, Caeldori, and Selkie, but you'd still have to question if said families deserve it.

As much as we make like these characters, it would overall be better if they did not exist at all. It would cease being a stain on the first gen characters. If they had to exist, there could be DLC for them as opposed to them being in the base game.

Chapter 7: The Vallite Expedition

Valla's story is the worst story of the three. Conquest can still be enjoyable. Birthright is cliche, but simple. Revelations, however, is a story that utterly suffers from its incompetence. The characters are all swift to join Corrin's side due to the "chapter limit" that the games consistently hold themselves to, the Hoshidan and Nohrian conflict is explained to be the machinations of a bigger threat to life itself, and everything that we know from the previous two games no longer manages to be an issue because now there's something bigger we can blame. Revelations is to Fates what the end of Mists of Pandaria was to Warcraft and Anankos is essentially this game's Garrosh Hellscream. Why even worry about moral relativity, economic issues, and the bonds of family when it was all a dragon's fault?

Valla boasts bad writing from beginning to end and culminates in an asspull of epic proportions. It's true you see Anankos name dropped in Conquest, as well as get to see Valla proper, but neither of these needed to really be in the game. Anankos didn't need to be a thing. And if he did, then he needed more development or needed to be mentioned by Garon more. After all, Anankos is a very important character. He's Corrin's father for fuck's sake. Sadly Valla couldn't get any world building at all though because of a coincidental curse that kills anyone who name drops it. Really makes building it up into a proper threat difficult, doesn't it? It's a world you can't talk about unless you go there. So when you go there, you have no idea what to make of it because you've never heard about it before. And then you can't tell your friends or family about it because it'll kill you if you do, which means Corrin has to convince a bunch of people to jump into a bottomless canyon without name dropping it, except they're totally prepared to name drop it and die... only for said people to say they'll trust Corrin entirely.

Between that, Corrin being encouraged to remain trusting to the point of insanity, Anthony existing, the sentence that made a popular ship incestuous... I'm not sure there's even a way to save Valla. It pisses all over the premise that got people excited for Fates to begin with, that these two families who have good reasons for going to war want you to join only one of them to fight the other. Why do that when you can have both and fight against a big evil dragon?

ENDGAME: The Path is filled with Legos

I am by no means a professional writer. I've considered multiple ways to salvage Fire Emblem Fates' story. I've seen people say there is no way to salvage it and that it should burn. I've seen people state the only way to save it is to remove Corrin from it and make it more like Radiant Dawn with the two kingdoms being playable and having their own tales. I've seen people state the game is fine as it is already and that not too many changes need to made except removing the Deeprealms. I've seen people not mess with the story and only mention how much they hate the weapons now that they're unbreakable thanks to the stat issues on them. Fates is a game with many opinions on it because of how controversial it is. I suppose one could argue that this is a good thing. Fates will always have people talking about it. Even if it's mostly critique and anger, it's still publicity that'll get people looking at it. And if they find that they do in fact like what they see, that's another Fates fan added to the pool, which is not a bad thing.

For better or worse, Awakening saved the franchise and Fates made it popular. You can argue that this sucks because the S-Support and children somehow "makes it a dating sim." I take it as another chance, a potential to see more stories utilizing the Fire Emblem formula, and it's not like this salvation turned out to be for the worst. We got Heroes, which is currently going through some turbulent times and yet is still one of the best gacha games made. We got Warriors, which may be surrounded by controversy concerning its roster and yet is still a fun experience. We got Echoes, which I may not have personally enjoyed, but I've seen a lot of people happy for it and stating it has one of the best stories in the franchise. And we have Fire Emblem 16 coming out for the Switch at some point.

Fates' story is... problematic. It's very irritating as you expected a manga writer to do better then what he did. But I suppose if it didn't exist at all, things would've been for the worst. So I still love Fates. I still respect what it did for the series. Just... not enough to not make this post.

[postgamecontent]

The Legend of Oasis: SEGA Saturn Spotlight #2

Original Release Date: April 26, 1996

Original Hardware: SEGA Saturn

Developer/Publisher: Ancient/SEGA

During SEGA's tenure as a console manufacturer, they often found themselves trying to counter-program the biggest hits on rival consoles, often to mixed results. For every Streets of Rage and Sonic the Hedgehog, there was an Eternal Champions and Kid Chameleon. Not that those games were without merit, but they weren't up to the task of convincing people they didn't need Street Fighter 2 and Super Mario World. One game SEGA was constantly trying to find an answer for was The Legend of Zelda. It makes sense, as it has always been one of Nintendo's top brands, a real system-seller any hardware company would dream of having in their line-up. SEGA developed and/or published a bunch of great action-RPGs and action-adventure games, but none of them fared well enough in the market to fit SEGA's needs.

The most successful of the lot was probably Beyond Oasis, a 1994 SEGA Genesis title developed by Ancient. It's a gorgeous top-down action-adventure game with a nice mix of surprisingly deep combat and interesting puzzles. Its Arabian Nights feel capitalized nicely on the wave of popularity for such settings in the wake of Disney's Aladdin, while also helping it feel distinct from the countless games in the genre that adopted more generic Western fantasy stylings. Unlike most of SEGA's other efforts in this respect, Beyond Oasis didn't look like it was desperately chasing Zelda. It had its own style and flair, something I'm sure the audience picked up on.

As usual, let's give a brief overview of the game's developer. Ancient was founded in 1990 by Tomo Koshiro, the mother of famed video game composer Yuzo Koshiro. After working with SEGA on the soundtrack for Revenge of Shinobi, Yuzo Koshiro pitched the idea of developing games to SEGA. The company had big ambitions for their upcoming Genesis game Sonic the Hedgehog, and wanted a version of the game for their other active hardware platforms, the Master System and Game Gear. Either SEGA was thin on choices or Koshiro's charm convinced them, as they ended up assigning the job of developing the 8-bit Sonic to a 22-year-old musician. Yuzo Koshiro needed a company to make a contract with SEGA, however, and thus Ancient was born. Mainly a family affair, Ancient not only counts Yuzo Koshiro's mother among its tiny staff, but also his sister, Ayano.

Ancient's name pops up frequently in game credits, but mostly due to Yuzo's work as a composer. Still, they've managed to put out a number of games over the years. Besides the subject of this article and its predecessor, Ancient also worked on games like Streets of Rage 2, Robotrek, Car Battler Joe, and the superb Gotta Protectors. Ancient's small size has helped it survive some very hostile periods in the gaming business and should ensure that we will be seeing their name appear in games for a long time to come. To be honest, I find most of Ancient's games to be a little bland. They're never bad, mind you, but aside from the music, they seem to be missing a certain spark. Nevertheless, they developed one of the greatest beat-em-ups in gaming history, so I'm willing to forgive many of Ancient's shortcomings.

Before I go any further, I'm going to dedicate a paragraph to names. I'm using the American titles for both of these games, but they went by different names in each major region. In Japan, the first game was The Story of Thor: Heir of the Light. In Europe, they went for a straight translation and called it The Story of Thor: A Successor of The Light. I'm not sure why SEGA of America felt the need to rename it Beyond Oasis, but it might have been to avoid confusion with Marvel's version of Thor. At the time he was barely known outside of America, and even in America, best-known for being the superhero the kid from Adventures in Babysitting was imitating. Still, better safe than sorry. Anyway, the second game's title in Japan was Thor: The Legend of the Spirit King. In Europe, it was The Story of Thor 2. In America, SEGA kept the Oasis connection going with the title The Legend of Oasis. And now we're all confused!

After the success of Beyond Oasis, Ancient decided to follow it up for their next project. In the early stages, the game's title was Legend of Thor, and it was planned to release on SEGA's ill-fated 32X add-on for the Genesis. I can't even begin to imagine why. Fortunately, they soon scrapped that idea and got to work on making something for the SEGA Saturn instead. The Saturn was something of a 2D powerhouse, which meant that as good as Beyond Oasis had looked, the follow-up would really be able to turn some heads. Or at least, it might have if the majority of the active gaming population at the time hadn't gone ga-ga for polygons. Timing is everything, I suppose.

In any case, the development of The Legend of Oasis was relatively painless compared to some other Saturn projects, and the game shipped more-or-less on schedule in early 1996 in Japan and late 1996 in the rest of the world. Sadly, like most Saturn games, The Legend of Oasis didn't sell very well worldwide. With much of the success of Beyond Oasis coming from outside of Japan, the Saturn's weak status overseas did no favors to games like this one. Oasis was really swimming against the current, too. As I've mentioned, 2D games were not seen in a very good light during the 32-bit generation of consoles, which is funny because they've certainly aged better than the blocky polygonal graphics of most of that era's 3D games.

Looking past the visuals, it's perhaps less surprising that The Legend of Oasis didn't hit as big as its predecessor. On a fundamental level, it's just too similar to the first game. The majority of the powers you earn are the same and tend to be applied in similar ways. There's one new weapon, but it's not a very exciting one. Playing the game feels like you're going through the same motions from Beyond Oasis, but without any of the shiny novelty that helped that game stand out. It's not bad, and it's just loose enough with its physics and level designs that you can cobble together some really interesting solutions to problems. But there is a genuine been-there, done-that feeling to the game that never quite goes away.

A prequel to the first game, it has the main character doing basically the same things that the character in the original did. This time around, our hero is given the Gold Armlet rather than just finding it, but you'll need to go around and collect each of the spirits one-by-one just the same. Each spirit has an assortment of abilities you can use to solve puzzles or to help in more general situations. While there are some new abilities and applications for the returning spirits, you'll find yourself using them in familiar ways. The Zelda games have shown that returning items can work, but you really have to be clever about making the puzzles feel unique and interesting if you take that route. The Legend of Oasis also adds a couple of totally new spirits, but they're mainly used to solve specific puzzles. They're weird-looking keys, in other words.

The steady balance between action and puzzles has been disturbed somewhat, too. The Legend of Oasis tilts more in the direction of the puzzle-solving and platforming at the expense of combat. For all of the moves that hero Leon has at his disposal, you can get through most battles with his basic jump kick. It even works well on many of the bosses. The command-based, Street Fighter-style special moves make a return, but they're not all that useful beyond using them to knock down specific obstacles and such.

Like the first game, The Legend of Oasis is pretty easy once you know how to solve the puzzles, and even those aren't too tough. I'm of two minds when it comes to the platforming. While it's not as rough as Dark Savior, the camera perspective makes some of the jumps a real pain. Worse still, if you fall down, you usually land in another location. You then need to make your way back to wherever you were, which is a tremendous waste of time for misjudging the depth of a platform. On the other hand, I like that you can cheat a lot of the platforming with your various moves and the objects in the environment. It's very organic, especially for a game of this era.

Another balance disturbed is that between the dungeons and the overworld. You spend very little time outside of dungeons in The Legend of Oasis, and there's not a lot to discover in those rare moments. I can't put my finger on why, exactly, but it makes the game feel more artificial and claustrophobic compared to its Genesis fore bearer. Some changes are for the better, however. In Beyond Oasis, every weapon you could get had a limited number of uses before it would break. Weapon-breaking systems are always controversial, and it's an especially big gamble if the game isn't transparent about how close the item in question is to being broken. You don't have to worry about that in this game, as your weapons will survive any number of uses. It could be argued that The Legend of Oasis doesn't need anything to make it easier than it already is, but there are right ways and wrong ways of adding challenge to a game. Kudos to Ancient for realizing that their previous weapon system was one of the wrong ones.

Storywise, the game is fine. Nothing great, and Leon is as blank a slate as you're ever going to see in a game. But it does have some twists and turns, and being a prequel, there are certain things it needs to explain to set up the state that the world is in during the events of Beyond Oasis. It handles those aspects fairly well, even if you'll probably see them coming from a mile away. So yes, it's alright. Unlike Dark Savior, the narrative here isn't good enough to excuse the game's flaws, but then again, it has fewer of those to wallpaper over. Rather than being a complex beast of mixed qualities, The Legend of Oasis is just flat, solid, and largely unexciting. It rarely embarrasses itself, but in pursuit of that inoffensiveness, it never really tries for anything interesting, either.

If there's one place where it does rise above expectations, it's in the presentation. The art and character design by Ayano Koshiro is excellent, and the game does a fantastic job of presenting her work. Things sometimes get a little pixelated when scaling occurs, but that's reasonable, I think. Yuzo Koshiro's soundtrack is quite unusual, however. His music often steals the show in games, but here it's almost understated. The soundtrack is frequently quiet, even going to silence at times. The classic Kojiro riffs are nowhere to be found. Yet it's oddly compelling, this mysterious soundtrack that sounds very little like Koshiro's other work.

I guess what it comes down to is this: the Oasis series was too young to be coasting along like this game does. Had the brand been well-established, no one would blink an eye at a lore-expanding retread like The Legend of Oasis, but Ancient really needed to do something more exciting to properly take advantage of the momentum built by the first game. The Legend of Oasis is a decent enough game, and if you like action-RPGs or Zelda-style games, I'd certainly encourage you to give it a go. But I think even if the Saturn were in a better place, even if 2D graphics weren't at their lowest period in terms of public perception, The Legend of Oasis probably wouldn't have made much of a splash. It's just too safe. That's not something you can say about a lot of Saturn RPGs, but here we are.

The Oasis series would never be seen again after this, though Beyond Oasis has enjoyed a healthy retirement via re-releases on various Genesis collections and through Nintendo's Virtual Console service. Unfortunately, The Legend of Oasis seems relegated to the bins of history, like almost every Saturn exclusive. Maybe one day SEGA will give the system some love in their frequent trips to the retro re-release well, and if they do, I could see The Legend of Oasis being a welcome part of that.

Previous: Dark Savior

Next: Shining the Holy Ark

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