![]() ![]() Whatever you decide in dialogue-as well as completing battles-will “strengthen Serenoa’s convictions,” but I honestly have no idea what this means, since the game literally says, these are invisible parameters, which is particularly confusing when you get the prompt during or after a battle. It felt very much to me like the scene was written to potentially take into account if the player chose Hyzante instead of Aesfrost and more so, made me feel like my choice to go there, which I wrestled with for 10 minutes, was pretty meaningless.Ĭombined with the dialogue sections are exploration sections which will allow you to survey your surroundings as well as gather useful information that can be used for dialogue prompts, or the aforementioned “Voting sections,” where crucial decisions are split between the party, and the player can choose to persuade members towards their decision. In a later scene, when the Archduke decides to invade Glenbrook, he greets Serenoa and his party as if it was the first time they had met-he doesn’t even call him by his name. After an early choice of where I was to visit either Aesfrost of Hyzante, I decided to go to Aesfrost and meet it’s Archduke-Serenoa’s fiancé’s brother-and get an understanding of the land. However, I’m not fully convinced this is true, as there was one moment when I noticed something strange in the dialogue. For starters, within the dialogue sequences, there will be moments where Serenoa can respond to certain questions with Liberty, Utility, or Morality with the way you respond potentially influencing the way characters act towards you later in the plot. ![]() However, when gameplay does happen, it’s a bit of a mixed bag. And while I’ll admit, as the game goes on, it does start to mix up the dialogue-to-gameplay ratio, it still feels pretty imbalanced at times. What felt even more bizarre is how the game tells you that Side Stories are optional, but then follows it up by saying they’ll disappear forever if you progress the story, so you’re strong-armed into sitting through the monotonous dialogue, lest you potentially miss something important. It makes the drawn-out dialogue far more noticeable and dry because, unlike Fire Emblem or Wargroove, there’s nothing in-between to break up the monotony and it’s not woven together cohesively. So, you’ll sit through a long dialogue sequence, just to be sent to the map in order to select the next. But unlike those aforementioned games, when missions appear on the map they don’t always involve gameplay. Much like Fire Emblem or Wargroove, the game has a world map with Main Story and Side Stories dotted on the map. What’s even stranger is how a lot of the story is structured. It’s got that very anime-esk style of story-telling where something that could be explained in one scene, needs two extra to go over, which makes it all the more frustrating to experience.Īlso, and this might just be a personal gripe but all the dialogue is written in 16th century English, which makes it even more roundabout and dry-when a simple line like “in any case, we’ll figure it out later,” is delivered like, “in any event, we shall make preparations on the morrow.” Truthfully, I found myself enjoying the dialogue much more when I switched to the Japanese voice option, as the characters actually sounded like there was emotion and depth to what they were saying. Furthermore, that’s probably about as much as I can remember because not only is there far too much exposition it’s delivered in the most dry, monotonically-read “voice acting,” possible that on more than one occasion, I found myself glazing over, and falling asleep in my chair.
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