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Aye, I'm sure it will (as Selphares implies). I'm not disappointed, but I think maybe it was a bit too soon to introduce a couple of the things we witness in this act, give the opening moments a bit longer to breath.
I red books where whole book is just one big tragedy. Things started to get bad after prologue and never stopped. Books like that is very hard to read, especially if you always empathize with main characters. And if it is a series of tragic books with no light insight... A lot of readers drop them because of emotional burnout.
Thats why authors in their heavy stories use humor and silly moments in the story, to get (emotional) reader/watcher/player not drop their story. Funny. Its sort of emotional gaslight strategy. So that author could keep up the lie of something good could happen to main characters in the end (if it is tragic).
These are people who left on a suicidal mission, the last in a long string of similiar failed expeditions, to at least pave the way for who will come after them, as Gustav reminds us every time he uses his Overcharge in battle.
They have accepted the idea of dying, but are shocked when facing the real brutality of it. It comes up in their conversations.
They are weighted by what is happening, it’s just at times buried in their natural disposition, especially since it’s a group of people who have long known each other. If you know you are likely going to die soon, might as well exorcise the tension and have some cheerful and affectionate banter with your companions, to feel alive and good.
The part that struck me weird is rather how they went RETREAT!1! at the beginning, totally amateurish both psychologically and tactically, but maybe that can also be put in perspective.
Anyway I like them being positive because it gives a glimpse of who they are in normal circumstances, adds to the story in a way.
And it’s a story about a magic painter in old France … some goofiness and mischief is to be expected.
Showing some beauty and good is actually needed to create attachment in the observer.
The characters need to possess something of value, like being wonderful people themselves or have an idyllic relationship, for the loss to be tragic.
See also Tolkien, he depicts a wonderful aspirational world and then points that the necessary destruction of the ring will bring an end to many beautiful things created with its power.
We know that even the happy end will bring loss, which resonates with the real life knowledge of the inexorably destructive power of time. I felt it was a powerful and haunting subtext at every step of the adventure.
I'm more referring to the Gestrals and everything that turn up. Again, keeping it light so that I don't spoil for anyone else, but I just find the whole bit to be...goofy.
The "magic painter" and "old France", while unrealistic, come across as more grounded. The opening of Act 1 plays into that. Then suddenly you find the atmosphere turns more into a JRPG.
Again, still enjoying it, and this is my own ignorance at play here.
She probably isn’t painting only death, given her land is beautiful, there are hints of empathy towards her that may be prescient, the light-seeking guy on an unknown mission, the “familiar” feeling flower-protecting boss … I’m hoping the story will merge everything in a reasonably coherent and emotionally satisfying picture.
Anyway I’m also really enjoying myself with the game 😃👍🏻
light and dark
expecting this game to be just 100% emo trash and no character even using gallows humor or trying to escape that feeling wherever possible is just unrealistic.
besides if everything was dark 100% of the time, the darker moments wouldn't hit as hard as they do.