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Fire Emblem: Genealogy of the Holy War: Difference between revisions
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Fire Emblem: Genealogy of the Holy War (view source)
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When he was writing the scenario of ''Genealogy'', one of Kaga's primary aims was to produce a large-scale historical drama where the world undergoes great change over a period of time and, in his words, "the history [is] the protagonist".<ref name="guidebook" /> As part of this, Kaga also wished to convey how many historical events and behaviours are unpalatable by modern standards (citing [[Andorey|patricide]] and [[Julius|incest]] as examples) as a key theme and, to a lesser extent, how people's mistakes ended up changing the world.<ref>{{Cite web|published=1999-01 (trans. 2013-02-22)|retrieved=2015-02-24|title=Kaga Interviews (Page 3/Q1)|url=http://fe-according-to-japan.tumblr.com/post/43745736161/kaga-interviews-page-3-q1|site=Fire Emblem (according to Japan)|author=[[Shouzou Kaga|Kaga, S.]]; trans. Amielleon}}</ref> In this, he was determined not to whitewash history and sought to present a medieval drama reflective of the true nature of the era,<ref name="amielleon=2">{{Cite web|published=1999-01 (trans. 2013-03-21)|retrieved=2015-02-24|title=Kaga Interviews (Page 3/Q2)|url=http://fe-according-to-japan.tumblr.com/post/45919406893/kaga-interviews-p3-q2|site=Fire Emblem (according to Japan)|author=[[Shouzou Kaga|Kaga, S.]]; trans. Amielleon}}</ref> and to present both the heroes and the villains as fighting for their own justice to emphasize the dangers posed by branding a conflict a "holy war" on either side.<ref name="amielleon=3">{{Cite web|published=1999-01 (trans. 2014-10-01)|retrieved=2015-02-24|title=Kaga Interviews (P3~4/Q4)|url=http://fe-according-to-japan.tumblr.com/post/72922768226/kaga-interviews-p3-4-q4|site=Fire Emblem (according to Japan)|author=[[Shouzou Kaga|Kaga, S.]]; trans. Amielleon}}</ref> | When he was writing the scenario of ''Genealogy'', one of Kaga's primary aims was to produce a large-scale historical drama where the world undergoes great change over a period of time and, in his words, "the history [is] the protagonist".<ref name="guidebook" /> As part of this, Kaga also wished to convey how many historical events and behaviours are unpalatable by modern standards (citing [[Andorey|patricide]] and [[Julius|incest]] as examples) as a key theme and, to a lesser extent, how people's mistakes ended up changing the world.<ref>{{Cite web|published=1999-01 (trans. 2013-02-22)|retrieved=2015-02-24|title=Kaga Interviews (Page 3/Q1)|url=http://fe-according-to-japan.tumblr.com/post/43745736161/kaga-interviews-page-3-q1|site=Fire Emblem (according to Japan)|author=[[Shouzou Kaga|Kaga, S.]]; trans. Amielleon}}</ref> In this, he was determined not to whitewash history and sought to present a medieval drama reflective of the true nature of the era,<ref name="amielleon=2">{{Cite web|published=1999-01 (trans. 2013-03-21)|retrieved=2015-02-24|title=Kaga Interviews (Page 3/Q2)|url=http://fe-according-to-japan.tumblr.com/post/45919406893/kaga-interviews-p3-q2|site=Fire Emblem (according to Japan)|author=[[Shouzou Kaga|Kaga, S.]]; trans. Amielleon}}</ref> and to present both the heroes and the villains as fighting for their own justice to emphasize the dangers posed by branding a conflict a "holy war" on either side.<ref name="amielleon=3">{{Cite web|published=1999-01 (trans. 2014-10-01)|retrieved=2015-02-24|title=Kaga Interviews (P3~4/Q4)|url=http://fe-according-to-japan.tumblr.com/post/72922768226/kaga-interviews-p3-4-q4|site=Fire Emblem (according to Japan)|author=[[Shouzou Kaga|Kaga, S.]]; trans. Amielleon}}</ref> | ||
Many of the gameplay changes ''Genealogy'' engendered are claimed by Kaga to have been directly inspired by this scenario direction. The game's enormous maps were intended to change the impression delivered by prior games that the conflict was being fought on a small scale, instead emphasizing the game's events as a massive, world-sweeping conflict. The changes to the game's inventory and money systems, limiting the ability to swap items between units and giving each unit their own personal money supply, | Many of the gameplay changes ''Genealogy'' engendered are claimed by Kaga to have been directly inspired by this scenario direction. The game's enormous maps were intended to change the impression delivered by prior games that the conflict was being fought on a small scale, instead emphasizing the game's events as a massive, world-sweeping conflict. The changes to the game's inventory and money systems, limiting the ability to swap items between units and giving each unit their own personal money supply, were developed in a bid to balance out which units are used by players, discouraging dumping every resource into a small handful of units.<ref name="guidebook" /> | ||
Although the generational divide was a major element of the finished product in both gameplay and story, it was not part of the original concept that became ''Genealogy''. According to Narihiro, the idea of adding an element of romance was proposed partway through by Kaga based on the popularity of romance games at the time. The idea of inheritance based on variable parents, Narihiro suggests, also derives from Kaga's fondness for horse racing (probably by analogy with how retired champion race horses are used to breed more horses).<ref name="kantopia1" /> Once the second generation became part of the plan, Kaga planned ''Genealogy'' to be a three-part work, with a third segment following Seliph's story. Its intent was to directly confront and analyze the moral issues raised by the rest of the story and properly resolve loose threads. However, time constraints forced Intelligent Systems to cut this part entirely, with the game ending with Seliph's story.<ref name="amielleon=2" /> | Although the generational divide was a major element of the finished product in both gameplay and story, it was not part of the original concept that became ''Genealogy''. According to Narihiro, the idea of adding an element of romance was proposed partway through by Kaga based on the popularity of romance games at the time. The idea of inheritance based on variable parents, Narihiro suggests, also derives from Kaga's fondness for horse racing (probably by analogy with how retired champion race horses are used to breed more horses).<ref name="kantopia1" /> Once the second generation became part of the plan, Kaga planned ''Genealogy'' to be a three-part work, with a third segment following Seliph's story. Its intent was to directly confront and analyze the moral issues raised by the rest of the story and properly resolve loose threads. However, time constraints forced Intelligent Systems to cut this part entirely, with the game ending with Seliph's story.<ref name="amielleon=2" /> | ||
