- Nov 15, 2012
I understand people who criticize FROM games for their ambiguity are those most accustomed to videogames centering around them, their being the center of a linear tale (even if that world is a non-linear one.) FROM games are those in which the player is incidental. They are tasked with bringing themselves up to speed because FROM worlds don't care that you're in them or what you do in them; you have to make yourself a part of the larger narrative, and that begins by finding a thread and following it wherever it might lead you. Or not. That's the beauty.
Yeah, 5 games deep in about a chosen one resetting the world with the game playing out identically (minus build choices) sure sounds like non-linear and the PC isn't the main character.
I digress though, because I don't criticize FROM for the ambiguity, so much as the people that try and fill in that ambiguity with their own writing (whether that is good or bad) and then proclaim it is not ambiguity, but mastercrafted world building.
Given all the games tend to include an outcast or disassociated group, overthrowing an established order and tradition that has caused some kind of catastrophe, and often rebuilding the world by literally scorched earthing the "old way". I don't think the writing is unclear or lacking in substance. I'd refrain from deep analysis but since these themes are generally writ across much of JRPG space I suspect its specific to their culture, and the catastrophes are probably analogs to the the atomic bombs. The good endings being anarcho/nihilist probably speaks to an expression point that can only be expressed in the subtley because Japan is, to my knowledge, fairly heavily consertive and enmeshed in business.
Even if a sword WAS owned by Rannis second cousin once removed, who was eaten by a dragon who was then slain by an legless frogman who brought it to the Haligtree.... that doesn't add anything to this.