#ii . i’ve come to burn your kingdom down ‚ 6 underground .

[wartorne]

ii .   tag drop   ,   writing .

[janetbrown711]

“I’ve got you. You’re safe” yakko to Wakko after there parents.... um yeah idk like nightmare in orphanage I hate myself

Yakko was eight years old, but somehow he already knew he had seen more than others should in a lifetime. 

Yakko had never liked the idea of war, but his father never failed to reassure him that it wouldn’t come to that. He said wars were better fought with words than death and destruction, and that their kingdom and castle were strong and nothing bad was ever going to happen to them. Yakko had believed him, but asked too many questions. His father had sent him off to play with his siblings. 

His mother had just set Dot down for bed. Wakko was playing in the playroom while Queen Angelina II sat and smiled at Wakko fondly. Yakko had complained when Wakko said he wanted to play with him. His mother scolded him softly, whispering that she’d give him a treat later if he and his brother got along. He had agreed to play, though he had been disagreeable most of the time, though the four-year-old didn’t seem to notice. 

There had been a loud crash, windows breaking. The Queen had jolted to life, having been practically asleep by then.

“What was that mummy?” Wakko tugged on his mother’s sleeve. 

“Yakko, watch over your brother. I’ll be back in a moment, I promise,” She smiled, but Yakko could see the panic and worry in her eyes. His mother hugged her boys tightly and kissed their foreheads. 

“I’ll be back in a moment, I’m just going to check on your father,” She had said, trying her best to hide the negative emotions behind her kind eyes. she turned to Yakko and grabbed his shoulders. 

“If anything should happen, I need you to grab Dot and exit the castle using the servant tunnels underground. Don’t stop until you reach Acme Falls, understood?” She asked. Yakko couldn’t say he really did; She was going to come back, right? Still, he nodded. A tension seemed to release from Angelina and she smiled again. 

She went to leave but stopped hugged the boys once more. 

“I love you boys so very, very much,” She said. She kissed their foreheads again and ran out into the unknown.

Yakko hadn’t liked that. There was another crash, and Yakko heard shouting and fighting. He felt Wakko cling to his arm and look up at him worriedly. 

“Is it okay?” Wakko asked. Yakko cringed. 

“I don’t know,” Yakko admitted. They waited and sat in there for what felt like an eternity. The noises didn’t go away and only got louder and closer. Yakko felt a sense of dread crawl up his spine. 

"I’m gonna check on mom,” Yakko decided impulsively. He hadn’t liked it. He hadn’t liked it one bit. 

“Mummy said not to split,” He pouted, then added- “I wanna see dadoo.” Yakko had wanted to refuse but knew his mother knew what was best and took him along. 

Yakko had only been with Wakko for an hour, and the castle changed into an entirely different place. Broken glass was on the floor, tapestries taken down, muddy footprints were upon the once spotless marble and carpets. Wakko gripped tighter on his arm, and even kept his tongue in his mouth. 

Yakko had heard voices down the hall: angry men. They had someone. The voice was female. They were coming closer, so Yakko panicked and grabbed Wakko and went into where the maids kept the cleaning supplies. Wakko had complained, but Yakko quickly shushed him as the voices got louder. 

“What are they saying?” Wakko asked. Yakko leaned against the door and shook his head. He hadn’t been able to hear from within the closet and the voices were getting farther away. He bit his lip. 

“I’ll be right back- I’m gonna get Dot,” Yakko said.

“Why? Mummy is gonna get Dot,” He frowned. Yakko didn’t have it in him to tell his little brother why he doubted. 

“Just... stay right here. Don’t move. I’ll be back, got it?” Yakko pointed to emphasize the seriousness. Wakko nodded. 

Yakko had crept out of the closet and saw a swarm of men with torches. They were shouting at someone. Yakko took a deep breath and tried to see who it was, but was struck frozen when he saw that they had his mother, just like he had dreaded. 

“I’m not telling you where they are.” Her face was bruised and her fur was disheveled and she was bleeding. Yakko wanted nothing more than to run and to protect her, but he couldn’t move. 

“We’ll find them either way, Angelina, so how about you tell us anyway? We already killed your husband, we can kill you just as easily,” One man pointed a gun right at her head. Yakko had felt the floor drop out from under him. 

Dad. 

Dad was... was...

No. He couldn’t think about that. He had to save his mom. He had to save her. Somehow. 

He looked around for something he could use as a weapon, a sword, a large piece of wood, something. Yakko knew he wasn’t strong, especially not strong enough to take on four adult men in armor. His mind scrambled to think. 

Unfortunately, he didn’t have to. He caught eye contact with his mother accidentally, and the man threatening her noticed and saw him immediately. 

“Seize the boy,” He ordered.

“Yakko, run.” Angelina ordered. Yakko came back to life and booked it down the opposite way. His heart pounded in his chest and wind roared in his ears as he heard shouts and the clanking of armor behind him. He turned a corner and heard his mother cry out in pain, shouting things at the man, and then-

A loud gunshot rang through the hall, and his mother’s voice was silenced.

Yakko felt a sharp pain followed by a wave of numbness overtake his body and he quickly began to cry, but his pace didn’t let up. His mind throbbed, as did his chest as he lifted his heavy legs as he ran. 

He did know one thing: He had to get Dot. But he couldn’t let the men find her or Wakko. 

After running for what felt like miles, he jumped under a table and the men continued running on, even after it was apparent they weren’t chasing anyone anymore. Yakko kept a hand over his mouth and didn’t move a muscle for what felt like an eternity and his mind did it’s best to avoid thinking about what had just happened. 

Gunshot. His mother’s cries. Her pleading-

No. 

He couldn’t think like that. He had to get his sibs. 

Eventually, the hall he was in fell utterly and painfully silent and Yakko ran with all his might back to the closet where Wakko was still waiting, thank god. 

“Yakko! You’re back!” Wakko threw his arms around his older brother and Yakko couldn’t help but hug him back. 

“We have to get Dot and then get out of here,” Yakko said. Wakko didn’t argue, but it was clear he didn’t get it and was scared. Yakko bit his lip, but couldn’t think of anything comforting. He grabbed his brother’s hand and together they walked back, gingerly stepping over torn curtains, broken glass, and other destroyed furniture. Yakko couldn’t get himself to look at the half-burned painting of their family. 

He could hear Dot crying by the time he reached the nursery. 

“Yakko, I want mummy,” Wakko pulled on Yakko’s pant leg as he approached his sister’s crib. 

“Mom can’t help anymore,” Yakko said as he picked up the crying infant and tried to soothe her. 

“Why? Where’s dadoo?” Wakko pressed. 

“I don’t know Wakko. We have to go,” Yakko half lied. It was true he didn’t know his father’s location, but...

“Why?” Wakko frowned. 

“Because we aren’t safe here. We have to go to Acme Falls,” Yakko said. 

“But that’s so far!” Wakko groaned. 

“Then we better get going.” Yakko snapped at him. Wakko froze before looking at the ground and muttering to himself. Yakko had sighed as Dot’s cries ceased. 

“We just... we have to go. It isn’t safe here and mom said we have to go Acme Falls,” Yakko explained. 

“I don’t wanna go. I want to see mummy and daddy...” Wakko sniffled. 

“We can’t Wak... We have to go,” Yakko felt tears threaten to spill, but he knew he didn’t have the time, and swallowed down the pain. 

“Come on... We have a long way to go,” He offered his free hand to Wakko and the four-year-old prince took it. 

The three of them successfully got to the bottom floor of the castle, and got to the servant's quarters without a hitch. They made their way through the dark and poorly lit tunnels leading to Acme Falls, and by the time they reached their so-called “safe place”, it was morning. Wakko had all but passed out the moment they sat down in an ally outside the bakery. Dot had been asleep almost the whole night. 

He still couldn’t get himself to cry. He couldn’t admit what had happened. Even when the townspeople recognized them as the royal children and wondered what happened. Even when the town crier had come the next day to announce that the kingdom and the castle had been overtaken. Even when a nice blonde lady had taken them to the orphanage and they explained to Wakko what had happened. He hadn’t cried. He still couldn’t believe it. 

That’s where he was now. It had been three days since the attack. Yakko was sitting up in his bed, still unable to sleep, his mind stuck replaying what had happened. Wakko was making attempts to sleep and Dot was in a crib next to Yakko’s bed. 

However, just like the previous nights, Wakko had shot away and began to cry. Yakko had been waiting for that, and immediately opened up his arms to his little brother, who hugged him and sobbed into his shoulder. 

“I’ve got you Wak, you’re safe,” He soothed.

“I-i want mu-mum-mummy and d-daddy,” Wakko cried. 

“I-i know Wak... I want them too,” Yakko bit back tears of his own. 

“A-are... are they really gone Yakko?” He asked, looking him in the eyes with his own, which were red and puffy and leaking with tears. Yakko couldn’t look away, no matter how hard he tried. He knew the answer, he had heard her cries and the gunshot. He knew. 

“Yes, Wak. They’re... they’re gone,” He answered truthfully, feeling tears finally begin to stream down his face. Once they began, they didn’t stop. Wakko’s hug tightened around him and the two brothers held each other until both of their tears had run out and reality had truly set in. 

Their parents were dead, their home destroyed, and they only had each other.

Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 Part 7 Part 8 Part 9 Part 10 Part 11

[way-down-meme-town]

Hadestown Act II Sentence Meme

Under the cut you will find 179 lyrics from the musical Hadestown to use for your roleplaying purposes! Have fun!

Our Lady of the Underground 1. “I don’t know about you, boys, but if you’re like me then hanging around this manhole is bringing you down.”

2. “Cabin fever is a-settin’ in. You’re stir crazy.”

3. “I can give you what it is you crave, a little something from the good old days.”

4. “I got the wind right here in a jar.”

5. “I got the rain on tap at the bar.”

6. “I got sunshine up on the shelf.”

7. “Our lady of the underground!”

8. “Wanna know my name? I’ll tell you my name.”

9. “Let me guess, it’s the little things you miss.”

10. “Maybe you’re looking for some stronger stuff.”

11. “I got a sight for the sorest eye. When was the last time you saw the sky?”

12. “Wipe away your tears. I know how you feel. I can see you’re blinded by the sadness of it all.”

13. “Look a little closer and there’s a crack in the wall.”

14. “You want the moon? Yeah, I got her too.”

15. “A little moonshine ain’t no sin.”

16. “Tell my husband to take his time!”

17. “What the boss don’t know, the boss don’t mind.”

  Way Down Hadestown (Reprise) 18. “The deal is signed?”

19. “I did what I had to do.”

20. “They cane hear, but they don’t care.”

21. “No one has a name down here.”

22. “They can look but they don’t see.”

23. “Your eyes will look that way someday.”

24. “You kissed your little life goodbye.”

25. “Hades laid his hands on you and gave you everlasting life.”

26. “Your place on the assembly line replaces all your memories.”

27. “What do you mean I’ll look like that?”

28. “That’s what it looks like to forget.”

29. “You see, it’s like I said before. A lot can happen behind closed doors.”

30. “A lot of souls have gotta die.”

31. “A lot of spirits gotta break, to make the underworld go round.”

  Flowers 32. “What I wanted was to fall asleep, close my eyes, and disappear like a petal on a stream, a feather on the air.”

33. “I trembled when he laid me out. You won’t feel a thing he said, when you go down.”

34. “Nothing gonna wake you now.”

35. “Dreams are sweet, until they’re not.”

36. “Men are kind, until they aren’t.”

37. “Flowers bloom until they rot and fall apart.”

38. “Is anybody listening? I open my mouth and nothing comes out.”

39. “Flowers. I remember fields of flowers.”

40. “I remember someone by my side, turned his face to mine, and then I turned away into the shade.”

41. “You, the one I left behind, if you ever walk this way, come and find me lying in the bed I made.”

  Come Home With Me (Reprise) 42. “I called your name before.”

43. “Whatever happened, I’m to blame.”

44. “How’d you get beyond the wall?”

45. “I sang a song so beautiful stones wept and they let me in. I can sing us home again.”

  Papers (Intro) 46. “I don’t’ think we’ve met before. You’re not from around here, son.”

47. “Don’t know who the hell you are, but I can tell you don’t belong.”

48. “Go back to where you came from. You’re on the wrong side of the fence.”

49. “This poor boy raised up his voice with his heart out on his sleeve.”

50. “I’m not goin’ back alone. I came to take her home!”

51. “Who the hell do you think you are? Who the hell you think you’re talkin’ to?”

52. “She couldn’t go anywhere even if she wanted to.”

53. “You’re not from around here, son. If you were, then you would know that everything and everyone in Hadestown I own.”

54. “I only buy what others choose to sell.”

55. “You didn’t know? She signed the deal herself and now she belongs to me.”

56. “Everybody gather round! Everybody look and see what becomes of trespassers with no respect for property.”

  Nothing Changes 57. “Why the struggle? Why the strain?”

58. “Why make trouble? Why make scenes?”

59. “Why go against the grain, why swim upstream?”

60. “It ain’t no use. You’re bound to lose.”

61. “What’s the purpose of a man? Just to turn his eyes away?”

62. “What’s the use of his backbone if he never stands upright?”

63. “Who are they to say what the truth is anyway?”

64. “The ones who tell the lies are the solemnest to swear.”

65. “The ones who load the dice always say the toss is fair.”

66. “The ones who deal the cards are the ones who take the tricks with their hands over their hearts while we play the game they fix.”

67. “The ones who speak the words always say it is the last.”

68. “No answer will be heard to the question no one asks.”

69. “I believe our answer matters more than anything they say.”

70. “I believe if there is still a will, then there is still a way.”

71. “I believe in us together more than anyone alone.”

72. “I believe that with each other, we are stronger than we know.”

73. “I believe that we are many. I believe that they are few, and it isn’t for the few to tell the many what is true.”

74. “Is it true? Is it true what they say?”

  How Long 75. “What are you afraid of? He’s just a boy in love.”

76. “Have a drink, why don’t you?”

77. “I’ve had enough. He loves that girl!”

78. “He has the kind of love for her that you and I once had.”

79. “The girl means nothing ot me.”

80. “All of the sorrow won’t fit in his chest. It just burns like a fire in the pit of his chest.”

81. “Nothing comes of wishing on stars.”

82. “Nothing comes of the songs people sing, however sorry they are.”

83. “Give them a piece, they’ll take it all.”

84. “Show them a crack, they’ll tear down the wall.”

85. “Lend them an ear and the kingdom will fall.”

86. “The kingdom will fall for a song.”

87. “What does he care for the logic of kings? The laws of your underworld?”

88. “It is only for love that he sings.”

89. “He sings for the love of a girl.”

90. “You and your pity don’t fit in my bed.”

91. “How long? Just as long as I am your wife.”

92. “It’s true the earth must die, but then the earth comes back to life and the sun must go on rising.”

  Chant (Reprise) 93. “Why do we turn away when our brother is bleeding?”

94. “Why do we build the wall and then call it freedom?”

95. “If we’re free, tell me why I can’t look in my brothers eye?”

96. “Young man, got to hand it to you. Guess you don’t scare easy, do ya?”

97. “It seems your song made quite a strong impression on my wife.”

98. “It takes more than singin’ songs to keep a woman in your arms.”

99. “Take it from a man no longer young if you want to hold a woman, hang a chain around her throat made of many carat gold.”

100. “If I raise my head, could I change my fate?”

101. “If I raise my voice, could I change the way it is?”

102. “Why do we turn away instead of standing with him?”

103. “Why are we digging our own graves for a living?”

104. “If we’re free, tell me why we can’t even stand upright?”

105. “If we’re free, tell me when we can stand with our fellow man?”

106. “Young man, I was young once too. Sang a song of love like you.”

107. “I too was left behind, turned on one too many times. Now I sing a different song.”

108. “You hear that heavy metal sound? The symphony of Hadestown.”

109. “Young man you can sing your ditty. I conduct the electric city.”

110. “Give me one more song before I send you to the great beyond where nobody can hear you singing.”

111. “Sing a song for me.”

112. “Make the king feel young again. Sing for an old man.”

  Epic III 113. “I know how it was because he was like me, a man in love with a woman.”

114. “You didn’t know how and you didn’t know why, but you know what you wanted to take her home.”

115. “You saw her alone there, against the sky. It was like she was someone you’d always known.”

116. “It was like you were holding the world when you held her, like yours were the arms that the whole world was in.”

117. “There were no words for the way that you felt so you opened your mouth and you started to sing.”

118. “What has become of the heart of that man now that the man is king?”

119. “What has become of the heart of that man now that he has everything?”

120. “The more he has, the more he holds. The greater the weight of the world on his shoulders.”

121. “See how he labors beneath the load? Afraid to look up and afraid to let go.”

122. “He’s grown so afraid that he’ll lose what he owns, but what he doesn’t know is that what he’s defending is already gone.”

123. “Where is the treasure inside of your chest?”

124. “Where is the man with his arms outstretched to the woman he loves with nothing to lose?”

  Epic III 125. “This poor boy brought the world back into tune is what he did.”

  Promises 126. “You take me home with you! Let’s go! Let’s go right now!”

127. “It’s a long road. It’s a long walk back into the cold and dark. Are you sure you wanna go?”

128. “I have no ring for your finger.”

129. “I have no bouquet table to lay.”

130. “I have no bed of feathers.”

131. “I can’t promise you fair sky above, can’t promise you kind road below, but I’ll walk beside you, love.”

132. “Don’t need no ring for my finger, just need a steady hand to hold.”

133. “Don’t promise me fair sky above. Don’t promise me kind road below. Just walk beside me, love.”

134. “He’ll let us go. Look at him, he can’t say no.”

135. “I don’t know where this road will end, but I’ll walk it with you hand in hand.”

  Word to the Wise 136. “Damned if you don’t, damned if you do. Whole damn nation’s watching you.”

137. “Men are fools, men are frail. Give them the rope and they’ll hang themselves.”

  His Kiss, The Riot 138. “With his kiss, the riot starts.”

139. “All my children came here poor, clamoring for bed and board. Now what do they clamor for? Freedom.”

140. “Have I made myself their lord just to fall upon the sword of some paupers minor chord?”

141. “Who will lead them? Who lays all our best-laid plans?”

142. “Who makes work for idle hands?”

143. “Only one thing to be done, let them go but let there be some term to be agreed upon, some condition.”

144. “Every coward seems courageous in the safety of a crowd.”

145. “Bravery can be contagious when the band is playing loud.”

146. “Nothing makes a man so bold as a woman’s smile and a hand to hold.”

  Wait For Me (Reprise, Intro) 147. “Well, the good news is he said that you can go.”

148. “You can walk, but it won’t be like you planned.”

149. “It’s a trial. Do you trust each other? Do you trust yourselves?”

150. “If you want to walk out of hell, you’re gonna have to prove it before gods and men.”

  Wait For Me (Reprise) 151. “The dog you really got to dread is the one that howl inside your head. It’s him whose howling drives men mad and a mind to its undoing.”

152. “Show the way so we can see.”

153. “Show the way the world could be.”

154. “If you can do it, so can she. If she can do it, so can we.”

155. “How about you and I? Are we gonna try again?”

156. “Who are you to lead her? Who are you to lead them?”

157. “Who are you to think that you can hold your head up higher than your fellow man?”

158. “Between your ears, behind your eyes, that is the path to Paradise. Likewise, the road to ruin.”

  Doubt Comes In 159. “Doubt comes in. The wind is changing.”

160. “Who am I? Where do I think I’m going?”

161. “Doubt comes in.”

162. “Who am I to think that she would follow me into the cold and dark again?”

163. “Are you listening? I am right here and I will be to the end.”

164. “The coldest night of the coldest year comes right before the spring.”

165. “Who am I against him?”

166. “Why would he let me win?”

167. “Who am I to think that he wouldn’t deceive me just to make me leave alone?”

168. “Is this a trap that’s being laid for me?”

169. “Is this a trick that’s being played on me?”

170. “I used to see the way the world could be, but now the way it is is all I see.”

171. “You are not alone. I am right behind you and I have been all along.”

  Road to Hell (Reprise) 172. “It’s an old song and this is how it ends.”

173. “Here’s the thing. To know how it ends and still begin to sing it again, as if it might turn out this time, I learned that from a friend of mine.”

174. “It’s a sad song, but we keep singing even so.”

  We Raise Our Cup 175. “Pour the wine and raise a cup.”

176. “Some birds sing when the sun shines bright, our praise is not for them, but the ones who sing in the dead of night. We raise our cups to them.”

177. “Wherever he is wandering alone upon the earth, let all our singing follow him and bring him comfort.”

178. “Some flowers bloom where the green grass grows, our praise is not for them, but the ones who bloom in the bitter snow.”

179. “We raise ‘em high and drink ‘em dry.”

[its-ness-ness]

Final Fantasy Games in One Timeline: Some Thoughts

Hi, my name’s Nessa, I have no social life, and I’ve been working on the above theory for going on two years now. I’ve seen some theories on some Final Fantasy games taking place in similar timelines, and a few even being on the same timeline. BUT if you’re interested in an attempt at squashing all of the mainstream games into just one (1) timeline, some handwritten folklore, and too many characters to keep track of, then come on in. These are the bare basics for now, because I haven’t gone in-depth with all of the games yet, and this is the first time I’ve put this theory out there. I openly welcome any critiques and comments you may throw my way! 

If you’re interested, here’s what I’ve thrown together:

IN GENERAL:

Though this is one cohesive timeline, I don’t have any exact dates to put on things. Whether it’s one hundred or ten years between games, I believe, depends on how far you’re willing to suspend your disbelief. (I mean, look at our own advances from the 1920s to the 1950s - completely different fashion, atmospheres, and developments.) That being said, this timeline does rely on the fact that the games would be close enough together to have their stories, ideas, and lessons passed on to the next game. How long that takes, though, is up to you. 

For everyone following along at home, we’re going to go in this order - 

1 / 5 / 3 / 2 / 4 / 9 / 12 / 6 / 15 / 13 / 10 / 7 / 8

Let’s start, then, beginning with:

FINAL FANTASY I (1):

How could we start this timeline with anything else? Of course, this game exists in our timeline here as more of a legend and creation myth than anything real. This is the basis for our world, whether it really happened or not, and in some parts of this world, I like to believe that the unnamed Warriors of Light may have even been worshipped as god-like figures.

V (5)

5 is, at least for me, where this timeline really starts. From what I gathered, 5 has more open space, uninhabited, and quite a bit of monster and nature-made ruin. Only the barest civilization would allow for this. The clothing and atmosphere both stay strictly fantasy, and as a result there isn’t much actual technology in the world yet. The job class system reflects a world relying on people and their natural skills; a place just beginning. Thus, this is where our world starts out.

III (3)

Like 5 before it, 3 holds a lot of the same fantasy elements, but we start experimenting with great technology and use of magic. The world has become a touch less wild, so to speak, and those rural fantasy elements have grown into patches of true civilization here and there. These people have seen evil defeated once before, and they’re stronger because of it.

II (2)

Our fantasy world has developed corruption, folks, and these comfortable palace landscapes now foster a rebellion. We’re starting to armor up our characters with more than just a tunic and a dream, and Firion and his friends have past heroes to look up to and inspire hope from. We see more refined magic use and more airships and metal works in this game. The kingdoms established have had time to prosper, and those in the rebellion have had time to form a secret coalition together against the Emperor.  (It should be noted that these first three games I know much less than those to follow, and may be swapped around in later drafts. For now, though, I feel like these fit nicely where they stand currently.)

IV (4)

We’ve hit advanced-fantasy in terms of aesthetic with this one. 4 holds much more tech than its predecessors, and we have boats, ships, and gliders. The crystals worshipped in past games’ lore still remain important to the story. Communication has advanced as well, and we see the first beginnings of other races - most notably, the Lunarians and the Gnomes underground. Those separate civilizations have had time to prosper over the past 3 games, and are now joining the narrative. This game uses advanced magic, and mages and summoners have been able to let their own cities prosper as well. We see more and more kingdoms and larger towns popping up than in previous games, and the world is doing well.

IX (9)

More steampunk technology is entering the picture now. While we remain high-fantasy, airship use has peaked, along with other daily mechanisms. The summoners from the last game are the same civilization that produced Garnet and Eiko, and the Lunarians from 4 are the ones who, upon going to sleep, built Garland to create their vessels - and, therefore, Kuja and Zidane. More animal species are developing in this game, as seen in most cities, and though the kingdoms are much, much larger than in 4, there are still parts of the world left untouched. Something about this fantasy still feels very rustic in comparison to the technology that will come later in this timeline, but most of what 9 presents feels very new in its own world. They have reached their peak development at their present state, and are still producing more and more. Magic use has disappeared from the public and become exclusive to summoners and the mages made by Kuja.

XII (12)

We’ve continued along the steampunk technology route, but we’ve gotten a little more urban now. Kingdoms are crowded enough to show the slums and underground cities that are a part of them now. We continue seeing different animal races in the present day, though they are less common and don’t receive the same rights and privileges as humans do, due to the royalty growing distinctly corrupt. Major magic use is no longer possible, though some simple spells are known exclusively on the battlefield. It’s not impossible to imagine that the royalty may in fact crack down on magicks sellers, in the way that witches were burned at the stake in our own time. Vayne, possibly loosely related to Alexandrian royalty, has the genetic potential to become a summoner, the power lost to most people in this time as the summoners are all but extinct. After the undoubtedly bad rep they gained by Kuja’s destructive magic use, they vanished into the separate world of the summons as a matter of safety. It’s this knowledge that he is so close to doing so and yet cannot that drives him near-mad with want in his drive for power.

VI (6)

High fantasy has now become cyberpunk, everyone. Technology went through the rough since the last game’s plot, and while we still feel very fantasy, we’re also starting to see more of that urban development in the kingdom areas. Magic is used only by the government and military (see: Celes and Terra both have good hands in magic versus the rest of the party), and summoners and their summons exist on the separate plane Terra comes from. Street rats and everyday people are the heroes of this installment, as in the last one, and the not-so-reformed royalty from last game have dipped more into forbidden science and forcibly enslaving soldiers. (That’ll come more into play later.) Vaan and Balthier partner up and initially form The Returners, which develops over time from sky pirate gang to resistance coalition. For one of the first times, we see a villain rise from a regular citizen who gained true god-like powers that the people of this world had never touched before. True destruction is tasted for the first time, but this is quickly remedied when things are set right.

XV (15)

Technology has developed and become more up-to-date here. Royalty still exists, but everything has become more smooth, refined, and modern. Upon Terra’s death, she sent a handful of summons to guard the world in her absence, thus creating the presence of the Six main summons in-game. She would go on to pass her secrets to one select person, an Oracle, who would hand that knowledge down over time and possess the secret to harnessing those summons, should the world ever need it. Hey, corrupt military government, good to see you’re still around, too. (That won’t go away for a while, trust me.) Magic use is still held only by royalty and the military here, and not in public life.

XIII (13)

After the death of the party from 15, Gareth Dysley enters the picture as a corrupt minister. The PSIICOM and Sanctum Guards are created, and the world develops from there. Technology gets more futuristic than ever before. We see government corruption taken to the highest degree. Fal’cie are mistaken for familiars of the original Six summons, and that’s why the public trusts them so much. (Here’s where things get a little strange, because I still have to revisit 13 and wrap my head around the events here. FOR NOW, the world we’ve been living on this entire timeline is Cocoon. Pulse is a separate planet in orbit that becomes victimized, rather than moving everyone from world one to another artificial planet. This may be subject to change.)  

X (10)

That whole the-government-lies thing sticks around to this fantasy. Zanarkand is the first city created by Cocoon citizens on Pulse, but is quickly destroyed by the emergence of Sin, a bitter creation by the dying Fal’cie (the false, artificial summons, if you will) in an attempt to exact revenge, and still produce the death count desired in 13 to see their initial Maker. The true summons, those present from the beginning and granted to the Oracle by Terra, still exist in the other plane of summons, and wait to be called upon by summoners. These summoners are trained by the church of Yevon in order to seemingly destroy Sin, though they themselves do not know the answer to its defeat. Since this game consists of civilization starting anew, we see less of the destroyed technology, and instead a fresh, mystical fantasy story as we begin again on Pulse, rather than the timeline on Cocoon above. When the pillar breaks and Cocoon finally crashes into Pulse, the Calm Lands are created.

VII (7)

The world re-adopts technology after the fall of Yevon, and advances much more quickly than they had before. They already have the tools and power available, and refine that now that people are allowed to develop. We spring into a second urban fantasy, which flourishes after the Shinra corporation develops a way to tap into the Farplane (now called the Lifestream, as harnessing it has put it in motion versus its stagnant state before.) For protection, SOLDIER is created based on renewed ideals of the Magitek Knights in 6, though the recklessly-tapping-into-science thing comes back to bite them in the ass. This game’s small, sleepy cities are the first rustic results of villages coming back together after the events of 10.

VIII (8)

Science has now gone through the roof. Esthar is the hub of futuristic science and technology, and the evidence of that is everywhere. Modern cars and trains are back, and magic use is allowed by SeeD students in a draw system (a more accessible update to the materia system used prior). Summons are technologically copied to allow all students access to their powers, though what happened to the origin of these powers is currently unknown. The cost of this copying system was that the summons (GFs) needed a way to root themselves to existence - thus tampering with student’s memories in an effort to plant themselves there. SeeD is a revamped SOLDIER program, and many towns in this game bear resemblances to towns in the last game. Time and space are now on the forefront of technology, and magic has taken a step back (in terms of relevance) in comparison. The heroes here pave the way for a brighter future, as this world advances, learns more, and betters itself.

And those are the basics!

I have plenty more revolving around the above timeline - how it’s connected, who goes where and does what, and the way that things develop. Should anyone be interested in more, I’d be more than happy to elaborate! 

[aristocate]

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