#genshin momoyo

[quilfish-swan]

anyone else a big fan of the gendou ringo quest in genshin impact.

[image id: colored digital sketch of two genshin impact npcs standing back to back. the first is lyudochka snezhevna with a wide-eyed expression, in her fatui uniform and holding a knife behind her back. the second is momoyo in her shrine maiden outfit with her hands in her sleeves, looking sideways at lyudochka. the coloring is mostly red, with grayish brown shadows. /end id.]

[purpleheroine]

[stainedglassthreads]

I think one of the big reasons Genshin NPCs are perceived as so much more interesting than Genshin playable characters is... they’re ALLOWED to grow and change in radical ways. 

Ruu has an arc about realizing he’s dead, about finding peace and bringing it to Kapatcir, and then finally moving on. Zhiqiong struggles with her mundanity, her mortality, recklessly pushing its body far beyond its limits in a bid to be remembered. Jeht is lively and curious and friendly and gets quickly attached to Benben, but also struggles with her father’s past and the place she belongs. Neko sits idylly on her island, waiting for the day Hibiki, who died hundreds of years ago, will return to her. Gendou Ringo has a great hidden quest about being a Fatui Spy but wanting to live a normal life as a shrine maiden, being helped by a begrudging Momoyo, and there’s also Katarina and the Company of Fatui, hell, Enjou. 

They’re allowed to have full, lengthy arcs and to radically change their life situations. Gendou Ringo defects from the Fatui and becomes a Shrine Maiden. Katarina and Zhiqiong vanish and may be dead. The Company’s fate is uncertain, but not optimistic. Rana goes off adventuring with a Vision and Arana. Enjou reveals himself as part of the Abyss Order, Ruu leaves the world... 

I think the reason why the NPCs tend to be more interesting is because they’re allowed to have complete arcs. They’re allowed to be ‘retired’, to go off somewhere where the Traveller cannot follow. While the playables are all stuck in just... a limbo. Sometimes their development is tied to Archon Quests or Character quests, but only two out of the 64 playable characters (not counting the Traveller) get sequels to their character quests. And of those two, only Ei gets to make significant character development in her sequel. 

Amber, Kaeya, Diluc, Razor, Xinqiu, Lisa, Mona, Jean. They were some of the first characters to get Character Quests. Do they get sequels? Do they change radically and make life-altering decisions? No. Have we learned what Childe is doing, if he no longer remembers Scara to track him down? No. They’re all generally in the same places we left  them. With the same significant relationships. They appear in Events, and those Events can pair them up with characters we don’t usually meet for fun dynamics, or reveal previously unknown past info like Razor’s parents or Kaeya and Diluc’s letters. But the Rifthounds in Wolvendom don’t get followed up on, Kaeya and Diluc retain generally the same relationship. These things are interesting, but ultimately treated as skippable and will be summarized in the main quests. 

It’s not just that all the playable characters have to be considered ‘marketable’. They have to believably be in a place where the Traveller can ‘reach’ them, so they can still be rolled or show up in events. 

Take Dain and Scara, for example. Scara spent a long stint as an unplayable character. Dain still isn’t playable. Scara quickly won a lot of fans’ hearts, not just because he was allowed to act like something of a bastard, but before he became playable he showed up in four different regions for varying reasons. Then what’s the final thing Scara does before he officially becomes ‘playable’? Establish that he’s staying with Nahida now, allowing the Traveller a place to conveniently find him in future Archon Quests, and possibly a reason to show up in Sumeru-based temporary events. Likewise, Dain exclusively shows up for Archon Interludes, appearing and disappearing across the continent, being the one to seek out the Traveller, rather than allowing us to find him. Before becoming playable, both Scara and Dain are allowed to have their own quests, goals, and adventures separate from the Traveller, but upon being made playable Scara’s development is made to scale with the Traveller’s journey and progress. 

This is a little rambly and disorganized I expect, and I’m sure it’s not the only reason, but I think it’s a possible theory about why it’s like that. If the writers felt they were allowed to, say, have Thoma pack up and return to Mondstadt, that would be breaking the status quo, because he may not make it back for the next Irodori festival. If Razor decides it’s time to leave his Lupical and journey to track down the Abyss Order, that would be breaking the status quo, because now he can’t be there for Windblume. 

And boy do gacha games struggle with character development and the status quo. 

[oxtori]

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[kxmikomrade]

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Kim!!🍉CARRD

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[idcallmyselfhuman]

He finds out this person is an impostor for the Fatui and the first thing he chooses to do is fluster her lmao

[otverzhennyy]

@ragnfinder​ i'm not scared i'm Curious now & that's insufferable

Hahaha aaw that's sweet of you the tl;dr of it is that Genshin writing is very transparent on the political side it's praising, a political side I find highly detrimental to anyone but the 1%. It goes hand in hand with the Chinese propaganda in China and totalitarism (dictature) that's been going on over there. Genshin playable characters do imo extremely questionable things that are actively praised by the narrative, a lot in mundane interactions.

If you are *that* curious I can always talk on discord about several instances.

It goes from Ningguang using children as informant and not paying them despite being rich, then the narrative jokingly saying that with this free child labor the children “haha” did not do their homework and skipped lessons but Ningguang then praises that children “become more mature by working rather than going to school” ― it’s praise on the Chinese (but really it applies anywhere where that issue is present) child labor that you are being fine with only being paid in honor (and not salary) by such a powerful and cool person. It is played mundanely and for jokes, it normalizes it, and then we get a cute hangout CG of just that. Fantastic.

To Raiden Shogun only making grand political statements about how better Inazuma is without doing anything to make up for the physical, mental and emotional trauma she caused on the population. She makes a grand statement on the plane of Euthymia, and everyone is fine and the Tri-Commissions still have authority in Inazuma and are highly respected... and the commoners are fine with it, they don’t do anything. Not uprising, and Ei is overall seen by the narrative as a very good, caring person. She’s a protagonist, a main cast, when honestly if anything Momoyo and “Gendou Ringo” would be more proper underdog main characters for the region. A lot of people were surprised when Ei was discovered as being entirely forgiven for what happened, but that is the point of the narrative. It is praised that the governmental power cannot do anything wrong, it is intricately a political statement―which is something that most people don’t agree with thus why the dissonance that people find it so weird why this happened.

And it is exactly what happened with JK Rowling’s writing.

Both the Genshin and Joanne writing are radical centrism, alt right, whatever you wanna call it. They praise high people of power who rise above people their station through opportunities, but without ever doing anything about the status quo. Said status quo executed by corporations should never be changed or even questioned.

It is why we get so many dissonance in Genshin from writers like “Why doesn’t Ningguang give money to the people in Liyue that are, you know, committing suicide over debts”, “Why don’t the Knights do something about Eula’s ostracism”, “Why does Inazuma doesn’t become a democracy I thought this was gonna be the point of the whole antagonist overbearing Shogunat arc”.  All those questions go away the second you apply that the writers are radical centrists and praise the church of never questioning the higher authorities.

Oh ok sure so why am I so peeved about this ? Well that’s the thing. I like my politics in fantasy, I don’t like when it is praising things that I find really harmful IRL. The implications of such a radical stance in writing while never showing other sides to it thus making the praise and thought one-sided is just extremely tasteless to say the least as someone who greatly enjoys medias and the effect they have on people.

If you are lost and are wondering what I’m talking about, let’s put it this way:

>Let’s say you’re openly gay >Gays are ostracized through inherent homophobia in society >With hard work and by taking opportunities, you rise to the top of your society and being gay is now not a taboo for people who perceive you and you alone because you have so much power >However, you would not do anything to promote that other gay people are ostracized because you find that the status quo make sense and is a GOOD thing. And that the only reason you are not ostracized for being gay now is because YOU and YOU ALONE rose ABOVE your station. But it would never go through your mind that “Hey I could make life better for other gay people.”

And with the new Ayato quest that exactly keeps doing this, every update I’m, honestly? If we be real? At my worst I’m really fucking tired of this. I love novels, I love games, I love theatre, I love cinema, so I know how to compartmentalize, take some lose some, etc. but this downright grind my gears the wrong way. I do my best to make up for everything I love in this. Again it’s just like Harry Potter, I love the Wizarding World but the rest o o f . “Oh but just ignore it” yeah in some cases I can, but this is radical writing, it’s so praised through the simp writing for this ideology you cannot escape it. So I take the lore, the NPCs (that are very obviously not written by the same people, two departments: one for gacha characters to make money and the other are world building; thus the weird as hell dissonance that playables have no characterization and only expository dialogue are they are walking aesthetics and the NPCs have actual, tangible character arcs and growth.) and I play around with it.

That is actually something fun in roleplaying in Genshin (like Harry Potter lmao), it is the fun of exploring all those things, and I give an absolute gold medal at people who do the amazing writing of adapting their muse’s political stance to make the interactions really organic (as, again, in my rules, I’m canon compliant), and smooth those really bad radical edges.

This is also like. 1/10th of how long I can talk about this because I am. A. Big. Anthropology. Nerd.

If you read this so far, omg, er, thank you very much it feels good to be heard out even if you disagree no hard feelings. This is a softcore porn loli/shota heavy anime gacha game made by a billionaire Chinese corporation, at the end of the day it’s not Genshin it’s the whole industry. AND yes I have fun in Genshin, a lot of fun. I take the characters as their concept not their bad writing as much as I can, the combat is fun, the community is a LOT of fun (I made hopefully lifelong friends here I love you guys). Just that sometimes I have a bad day and it goes under my skin ok. It’s like if you’re in animal care and every update you see one puppy kicked and played for jokes and ok the whole update is not that but it’s EVERY. TIME.