There is no longer a single original idea or, at least, that is what the thinkers of postmodernity affirm.
In capitalist realism Mark Fisher writes that the works of the twentieth century follow two fundamental patterns: either they limit themselves to speaking and describing the most immediate present-the mystery of Glass Onion is a good example of this-or one and another are based on pre-existing creations, limiting, then, to represent the past.
In the fantasy, and especially within the majority subgenres, we see repeated example of these two trends and from the works of medieval pseudo atmosphere inspired by Tolkien, to the different surrender to Lovecraft within the urban fantasy, it is impossible to escape from the sensation
that known worlds attract creators more than those who hide in their own imagination.
And although these thinkers limit themselves to talking about the West when they say that capitalism has standardized and absorbed to our own creative essence, this reflection can also be well-adjusted to the evolution of JRPG as a genre.
Because although, paradoxically, those games that escape from the traditional formula are very celebrated (the yakuza sagas or person may well serve to illustrate this), the titles that put their audience in the center, those created specifically for fans
They remain stiffly within some very limited tropes that confirm one of Terry Eagle ton’s most widespread ideas: «There is no sphere exempt from the influence of the market, and even less in art or culture.
All cultural artifact becomes merchandise ».
A genre is created and is based through its most popular works.
However revolutionary it is a fiction, it will not be really influential if it does not reach enough people or does not do so properly.
In cultural works, but especially in video games, a groundbreaking title (in economic terms) generates a tsunami of similar works because much of them-even outside the triple A-only develop under readings based on marketing and the hope of achieving the
Monetary success (market recognition, as Eagle ton says).
The approaches and tropes are repeated and again within the JRPG because the stories that contain them have historically worked well at the sales level.
And now comes feedback, since if these stories continue to sell very well it is because the public is familiar with them and consuming them and recognizing them demands very little effort.
I do not try to say that resorting to tropes or archetypes is something by negative default, but it must be admitted that the use of these easily digestible elements remains impact to the work and points to the audience that this is an issue in which it should not deepen.
Therefore, if our entire narrative is based on these solutions, the final result will not weigh anything.
It will arrive and leave our mind without leaving any trace.
Not even a minimum of grounds.
The leading character of Fire Emblem: Engage is a millinery magical dragon.
Also, a small deity and an important member of royalty.
He has woken up with Amnesia after having slept for more than a thousand years and, consequently, the world he knew (but does not remember) has definitely been left behind.
Our Avatar in Fire Emblem: Engage is, in summary, a compendium of stereotypes with so many default qualities that, being so familiar, do not seek to invite us to think or manage to provide the character with singularity.
But far from simply a silent or unified avatar in which the player can project, the main engage character exists for two reasons related to development and, therefore, oblivious to the narrative demands of the game.
On the one hand, that the protagonist has been asleep for a thousand years, it is not necessary to build different previous relationships with other characters that affect the player’s freedom.
When our central character arouses only one of his contemporaries is alive and the games barely have time to describe his dynamics.
But make our avatar, in addition to being alone, suffer from amnesia, open the door to introduce detailed and direct explanations of the world around us and its history that would sound redundant or paternalistic towards other characters.
Here it is not written for the character but for the player who listens just behind him.
And it only works because we have seen it before.
Because it is a copy, of a copy, of a copy.
Even the lower characteristics of the protagonist, its dual nature as a deity and as a member of royalty, fulfill a utilitarian role without any expressive background.
Its main function is to make clear to the player that although we now have limited combat skills we will be able to awaken a huge (and fun) power.
It also helps prevent developers from working organic dynamics among the characters and providing the protagonist of a true personality.
Because here we are actually the head of all and many of the units that accompany us in battle have to swear loyalty for who we are and not for what we can really do.
In the same way (and except for a small nuance that we know in the end) our enemies hate us instinctively for our nature and not for the reality of our interactions within the game.
And if these types of transparent and lazy characters do not bother us-just a few months we found an identical one within Midnight Sun-it is simply for familiarity.
Because this is something that happens in video games.
Because we have already experienced it.
The laziness in the engage narrative extends to its objectives, lore and conception of the world.
What puts us in the game is so much a mission that surpasses us-our destiny, saving the world (again)-as a personal revenge for an affront that, in this case, is not exactly the total annihilation of our village
But it could well be.
And after starting to walk, because it could not be otherwise we have to collect a series of objects before our enemy does, we travel a series of different kingdoms from each other but totally equal to other kingdoms that we have visited before in others
lives.
In other stories.
Taking into account that one of the most interesting combat mechanics in the Fire Emblem saga is the real possibility of losing units if they fall during important battles, working with stereotypes remains emotional impact to the strategy.
In comparison, Three Houses made us put our preferences regarding strategy, our personal affinity with the secondary character and the nature of it within the history we are experiencing.
The decision, therefore, weighed much more.
What was on the board was much more than a simple doll.
Like the rest of the titles within the saga, Fire Emblem: Engage has a satisfactory combat system for the newcomer and deep for the usual fan that is reinforced here with the existence of the fusion, a superstate system with a
Temporary limit that we will have to use only at the right time.
In conjunction with its excellent animations and designs that dispense with textures to gain dynamism and expressiveness, fighting in Fire Emblem had never been so spectacular.
However, everything that surrounds these battles is failed in one way or another.
The format of the chapters ends up feeling crowded, and neither the exploration nor the minions manage to make their interesting universe.
Because there are no original ideas but in engagement this is more evident than ever.
And the worst is not just that as JRPG does not contribute anything, it is the certainty that, as a product of a creative process, it does not seek to contribute.
[Narrative: 3 gameplay: 7 Visual section: 8]
