#feh book 6

[rainbowdonkee]

Title screen art for FEH Book 1-8

Which one is your favorite?

[folkvangr-art]

You've never been to Heaven,have you?

[apollo-just-ice]

MYTHIC ELM IS REAL!!! I am so happy about this!!!!

[the-blue-sandglass]

A mixed icon set from FEH Books 6-7!

Like/reblog if used!

[lovinuutoujours]

[book vi]

order of heroes : we have to do something about the villages being swallowed by darkness

kiran/summoner :

[somegurl8]

Hi fellow Tumblr users, here’s an image I haven’t been able to stop thinking about for the last week or two

Thank you for your time

[moe-broey]

Plushies..

Bonus sleepies

[something-in-red]

I'm so burnt out by FEH storytelling I really don't care what happens in book 9.

[fiery-emblems]

Book 8 is pretty neat so far, if a little bit bland (that's just cause it feels more like it fits more with the overarching aesthetic and plot of book 1 and 6 which are a little bland). I love Kozaki as a character designer so no surprise, I think the new characters look great.

I kind of wish we could get a mainline FE game that had a little more of the mystical feel that FEH has. The plot of the game is poo poo garbage but aesthetically FEH is really neat! Even book 7 had some really nice visuals despite the ugly characters. And the music for each book is usually pretty interesting, especially the last few which had that off beat kind of mystical feel.

They should make a really mage focused FE game with a bunch of cool shiny stuff and hire Kozaki to do more sleak designs.

[coderiderr]

love alfonse

[rainbowdonkee]

Full art for Bridal Embla - Closed Off Bride!

Artist: Vir

[oracleofire]

The worst part is that he's trying to come back to his gang and couldn't because of the plot, lol

I have no idea. All I know is that he vanished without a word.

[apollo-just-ice]

Gosh some Book 6 TT+ ideas because Elm’s dialogue has given me a lot to think on…

(This might be a bit disorganized but I’ve gotta ramble!!)

Elm talks about how he should’ve been dead, but somehow isn’t… this confused me for a bit, but his level 40 dialogue made things more clear.

It sounds like he *did* die during Book 6… at least briefly, before some mysterious power revived him. Elm talks about how it feels like someone’s manipulating him, which I presume will be a new oc we will meet in the TT+. While Elm does ponder if it could be Askr or Ash’s doing, neither of those possibilities seem to make much sense, so…

And secondly, one of Elm’s level up quotes: “I feel such power. It is Lady Embla’s… and another’s…”

This, combined with the fact that he has a skill called “New Opening”, makes it seem like this power could be Askr’s? I’m starting to wonder if my previous presumptions for this Tempest Trials were wrong, and instead of Ash and Elm taking over their liege’s domains, it’ll actually be the opposite?

That would actually be really cool, and I’d love to see them get attuned alts based off of each other!

I’m not sure what the plot would be, but it would be very interesting to see Ash and Elm have to learn about powers unfamiliar to them with each other’s help, and work together to save the day! I’m sure they will grow closer by the end of the story, and it will further solidify the newfound peace between the kingdoms of Askr and Embla.

I am so so very excited for the Book 6 TT+ now, so I do hope it delivers!!

[hulloitsdani]

hi dani fire emblem :) do you happen to have any thoughts on book 6 "I'm going to kill you too" scene?

Please, Dani fire emblem was my father. Just call me HulloIts.

As for the scene in question, oh man. It’s the “I’m going to kill you too” scene, what more can I add! I got some tweaks and reads on Letizia, but I feel like that scene speaks for itself. You don’t need me to tell you why it’s good— It’s one of the moments where feh’s writing really works.

Instead, I think what I can offer to the conversation is an analysis on Alfonse’s three gambit scenes and how they relate to each other. Because taken as a package, I find it fascinating how these scenes are treated by the narrative over time. Alfonse’s ability to pull these off is such a massive boon, but it’s been steadily growing into a delightful character flaw over the years.

Now, let’s back up. What do I mean by Alfonse’s gambit scenes? This is in reference to three scenes that have occurred throughout heroes: Alfonse calling Hel’s bluff in book 3, threatening Letizia in book 6, and his plot to cover for Ratatoskr in book 8. Also known as “Because it means that it is your life that will end in nine days’ time,” “I’m going to kill you too,” and “My saviors have arrived.” These scenes are defined by Alfonse risking everything on a charisma roll. There might not actually be any dice rolling, but that is certainly what it feels like. If he’s wrong about Hel’s curse, he’s dead. If he can’t convince Letizia of his ruthlessness, then he’s super dead and everyone’s screwed. If he doesn’t perfectly sell Hraesvelgr’s assassination attempt, then him AND Ratatoskr are, you guessed it, dead.

These are gambits— major risks with massive rewards. And what’s unique about Alfonse’s brand of it is that they occur on a social level. He’s not, for example, tactically sacrificing a hero for the chance of inflicting enough damage/debuffs so another can to land the kill. He’s not a tactician at the end of the day and has not been shown to be able to crunch those numbers that fast. Instead, he’s weaponizing everything he has gleaned about his enemies as people and staking his life on it.

Now, he does not do that without motive. For all of these scenes, he’s attempting to protect people while backed up into a corner. Using his encounter with Letizia as an example, she’s rather successfully forcing the Order’s hand into surrendering by sending innocent people to the Shadow Realm— I mean Embla’s domain. She’s working under the assumption that the Order, you know, cares about that type of thing. If Alfonse can successfully menace her into believing the opposite, even if for just a short time, it can give them the wiggle room to better position themselves and lessen the use of human shields as it would not longer be a tactical option. He’s protecting his friends and his people in one swoop at the expense of himself. Pulling that stunt with the lady who specializes in weaponizing information is a recipe for his future disaster, but that’s a loss he’d take in a heartbeat in order to keep everyone safe.

The same can be said about his encounter with Hel. He openly invites her to curse him, because in that nine day timeframe, he can ensure he drags Hel down with him. This is an infinitely better option for him than Hel slowly picking everyone off with her curse. Now, out of the three scenes, this one is notedly the most heroically coded and the most corned our protagonists are. We just spent an entire opening act witnessing the lethality and unavoidability of this curse. Of death herself. Alfonse, having had to spend that time accepting his own mortality, successfully weaponizes that acceptance against a cruel and power hungry death. That’s signifying a growth and change of his character. The success of that gambit permanently puts his own life on the gambling table. Which, in accordance to book 3’s themes of death, is a positive thing. But, as time goes on, this idea gains more nuance.

Which brings us back to Letizia. We are not narratively in Alfonse’s head when he pulls off this gambit. We understand the boy smiling in the face of death, because we have seen everything leading up to that point. We, comparably, do not initially understand the boy smiling as he says “I’m going to kill you too.” He has to explain himself afterwards. It’s very jarring as a result. Against a cruel god blinded by hubris, this gambit feels like overcoming against all odds. Against a mortal woman who successfully outsmarted him? It’s concerning to see that he has the capacity for that malice, even if it was not real. We didn’t have the context of Líf when Alfonse initially had that confrontation with Hel, but we do now. It colors all these more morally complex actions whether we want it to or not.

This brings me to the scene in book 8, which is by far the most interesting in my opinion. For the entire first half of that book, we are seeing the social manipulation game Alfonse excels at. He’s not the most friendly or personable, but he’s smart and good at pattern recognition. He knows the information his enemies have and successfully predicts their actions based on that. And he, unfortunately, correctly recognizes that Ratatoskr is coming under greater risk of being found out and getting potentially murdered on their behalf. If there is a mole, it’s going to be her. So he comes up with a scheme to ensure her safety via the best tool in his arsenal. Ole reliable, gambling his own life.

But, interestingly, this time he’s not simply trying to convince his enemies of his deception. No, the charisma check he has to pass here is deceiving his own allies. Against Letizia, keeping his friends out of the loop made a bit more sense. The narrative he was selling was that HE was the farce within the Order. His sister looking surprised at his “true nature” helped. That is not the case here. He kept his friends out of the loop to partially help sell the illusion that this assassination attempt was not planned, but mostly because they would not have allowed him to do this. They would not have approved of this overly dangerous plan, if the serious convincing required for Anna to let him go meet Veronica by himself is anything to go by. But this was the only way to ensure Ratatoskr’s safety, so he did it anyway. That is a fascinating character choice and I wish it caused more character conflict, but I suppose that’s what fanfiction and fanart are for.

Nonetheless, it’s fascinating how this behavior went from inciting a downright celebratory feeling to a more “what the hell is wrong with you?” reaction over time. The acceptance of his mortality in book three has straddled and then passed the line of overfamiliarity in book eight. This then pairs itself with his innate desire to protect those he cares about in ways that feel inevitable. If he doesn’t make that choice to put his life on the line, then it’s characters like Kiran experiencing the fallout. Or at least, that is how he perceives it after the events of seasons like book 5 and book 7. If their enemies are constantly trying to separate them, then maybe if he manually triggers it and puts the enemy focus on him instead, things will be better. The people he cares about won’t get hurt. It’s totally fine, he swears. He can take a hit.

[real-fire-emblem-takes]

Every day i am thankful feh doesnt hate book 6

.

[emblemxeno]

Eik wins but because Baldr wins both sides are doing the same thing um no? Baldr is any sexy booby oc in a sea while Eik is the rare male fanservice character in a sea of women, a lot of people rallied around to prove male fanservice sells too but now we have the straight men being all “let’s agree all fanservice is bad “and I JUST WANT YO SHAKE THEM you don’t get constantly sexualized in everything while men can just be themselves and get catered to in everything and it pisses me off they refuse to see it and didn’t have a problem until now and now its both are bad I’m so tired. And here’s the thing I’m a sex repulsed asexual so I don’t like it period (hate this world) but my god how does anyone not see the difference?

Sorry to vent I’m curious on your thoughts on this you have really good analysis on things like this

I think you're spot on in your take tbh.

Like, I'm not gonna police horny stuff, or even generalize that people only vote for horny reasons. Baldr is pretty appealing in different ways. Design is one of them, but personally I also have interest in how they adapt the Norse myth into it (because Norse mythology go crazy) and because the Ojou-sama haughty personality is hiliarious to me.

But to ignore "she's hot" being a factor would be a bit naive. She's in the same position as Gullveig, only known for a couple months yet having a popularity boom because of aesthetic, interest in their story, and probable meme potential. But also cuz hot.

As you say, FEH has had no shortage of hot or attractive women. Example: How FEH treats the mainline FE game women, what with the odd (or flat out incorrect) body proportions, poses that make no sense, costumes that are impractical, and blatant imbalance of men and women in the banners themselves.

Even removing them from the equation, we have had many female OCs be massively popular for reasons that are... easy to understand, to be nice about it.

To start, there's the fact that, until this current book, the only free OCs we've gotten were women.

Fjorm, besides having a canon crush on the summoner, has also weirdly been hit with the sex appeal beam recently, with Summer and Ice Festival. Personally I think Fjorm was whatever, but became ironically hiliarious because of her crashing Forging Bonds every time, but I would've easily thought Gunnthra, Laevatain and Laegjarn would've had that "sexy OC" position more often, aside from their swimsuit alts.

Ash, Reginn and Ratatoskr fall into the "cute and bumbling" appeal which is a prominent niche. Peony would seem like an odd case of not having many hornybait fans, but then you realize Plumeria and Triandra were also there, and then Freyja hit a massive popularity surge for her story and design, before getting a sexy swimsuit alt as well. Even then, Peony's still cute. Dagr and Nott hit the "muscle mommy" niche. And Loki and Thorr are sexy and have been somewhat omnipresent.

Eir would be the true oddball, because she's very beautiful with a compelling story, but kind of is not given a lot of stuff.

But the real big example is all of book 7. Not only is Seior kind of infamous for both her design and "create a child with me" line, almost all of the cast was a variant of her/related to her in some way. Then looking at the designs for Book 7 in general, and like... yeah.

Now, compare that to the male OCs we have gotten over the years. Alfonse hits some good notes, but he was criticized as pretty boring early on until Book 3 started him on his cutthroat trend. Bruno is very obviously hot, but always had to be written around rather than written for, until he was flat out killed off in Book 6. Plus his clothes bursting apart to show his bod was kind of played for laughs rather than drawn to be outright attractive.

I think Helbindi and Surtr are hot, but I'm very much an outlier. (There could also be an anti dark skin element to them and Bruno but there's not enough evidence for that)

Lif was treated better than the actual star OC of Book 3, but he's not known for sexy fanservice, he's known for cool factor and being a dark future for Alfonse. Freyr is handsome but killed off mid Book 4. Book 5 had Otr and Fafnir, the latter I like, but neither were winning beauty contests. Same for Elm. Then you get Njordr, the only new man in Book 7, with a design that's not to everyone's taste (I happen to like it), a motivation that's badly undercooked, and has not even been made playable.

Eik was really kind of the first outright "here, we made this to appeal to people who like Muscular Men", considering the fangirling FEH was doing in the midpoint channel. Coming after Book 7 which was the most egregious skew towards fanservice-y designs for the women, and it was a bit of a perfect storm. And while interest in him for his design alone happened ever since Book 8's reveal, the above average writing of Book 8 (for FEH standards) helped him surge even more, along with more fourth wall breaking "you're interested in my muscles?" lines from him.

So, contextually, as you say, it's not a fair comparison for Eik and Baldr, because Eik is 1) the first guy who's had fanservice backing and popularity growth fueling it through his Book's story and 2) he had an entire Book to gain fans anyway unlike Baldr and Gullveig.

And definitely, there's major room for a conversation about misogyny regarding how women in media often have to be made attractive and sexy while the men get to be weird creatures and oddly shaped. FEH doesn't really treat many of its women as more than things to sell to horny people, and Eik was the first example of a man doing it, which was so uncommon that he got a lot of fans just for being different.

I wish that wasn't the case, considering the fact that many characters who aren't the typical sexy women have been conistently popular. Look at Veronica and Sharena! Idk why IS still believes that there needs to be curvacious babes in order to sell well when there's evidence that good writing or feel good personalities do just as fine. Women shouldn't just be hit with the "Sexualize Button", I would think that's pretty patronizing and demeaning for irl women and fans of female characters.