#the fact that these are his most arguably important relationships with other playable characters matters!!

[nameless-articles]

The Regional Differences of Nier (And Why the Western Version is Better)

Nier (2010) is one of countless games to change based on the region its released in. While the localization process is nothing interesting in the realm of video games, the extent to which Nier changes is quite immense. The significant difference between Nier Replicant, the Japanese Playstation 3 version, and Nier Gestalt, the Japanese Xbox and worldwide version, is the age of the main character (canonically and for the sake of this essay titular) and his relationship to Yonah. In the former, Nier is Yonah’s older brother, while in the latter he is Yonah’s father. There appears to be a twenty or so year difference between the two Niers, and in general this does little to affect the gameplay. Yoko Taro is on record as saying Replicant was the original premise, while Gestalt was an attempt to appeal to a wider audience, as they feared the younger protagonist would not mesh well with western players. While their fears weren’t misguided, this change has wider thematic implications that overall service the narrative better than if Nier had remained a brother.

While Gestalt is available in Japan, it’s important to note that it is the Xbox version. Japanese support was weak for the console, hence any user being hard-pressed to name several noteworthy Japanese made games that did not cater to the west in some fashion (at least overseas, because there were a surprising number of japanese only shoot-em-ups and rpgs exclusive to the Xbox). All to say, that even if this version was available in Japan, the developers didn’t make it with Japanese players in mind.

Yoko Taro is no stranger to challenging tropes in video games, and this is one of the surface reasons Nier’s age difference works between versions. Tropes vary depending on regional culture, so it is not too far-fetched to suggest a game challenging conventional game design and its tropes would change important/visible aspects of its game to challenge them. While a caring big brother is a common trope in the West, there are more instances of it in Japanese media (particularly games and other contemporary media). On the other hand, the caring father figure is a trope that, though it would not be amazingly popular in video games for another two years after Nier (thank you The Last of Us), is familiar to the average consumer. On a basic level, the big brother and father roles are functioning the same outside of a few script changes and different voice acting. Gameplay wise, brother Nier has a better excuse for not having the ability to wield greatswords and spears than father Nier, but this doesn’t amount to much beyond a jarring absence of those weapons in the first half of the western version. As the game goes on, there is a different importance placed on the character depending on their age and relationship, and the implications for the story are greater for father than they are brother.

Our expectations for these characters’ knowledge varies depending on how old they are; we would expect father Nier to be wiser, to know more about this world than we would for brother Nier. What we would chalk up to naivety for brother Nier is then considered willful ignorance if not outright manipulation for the older one. Brother Nier is a simpler character in this regard, because he’s young, and we can only despise what he does so much before realizing he didn’t know any better. Father Nier, on the other hand, is old enough that his lack of empathy provides stronger commentary for his character.

At the root of Nier (game) is the matter of perspective: what looks good for one character is disastrous and hostile for another. The game reveals this information towards the end of the first playthrough and all throughout the second. This information then informs the player’s perspective on both Nier’s behavior and what we presumed to be hostile acts. Let’s take a look at the cutscene after Emil destroys the Aerie. 

Emil is overcome with grief and sorrow because of the destruction his actions have caused. He seems genuinely concerned and remorseful after having destroyed the town, realizing all the innocent people that were surely killed in the process. Despite actions having consequences throughout the whole game, none of them up until that point have had that great of a change. From this point on, this area becomes more or less useless (and for those interested in grinding out upgrade materials, a sour sight as you wait until the next play through to grind for eggs). People to talk to, quests to complete, whatever you needed in that place is completely locked away for the rest of the play through. All that remains is a huge and empty pit.

How does Nier respond to Emil? He tells Emil, “But you saved our lives,” and goes on to explain how it was a case of them or the shades, that there was no other choice to take, and ends, almost like an order, by telling Emil, “Don’t look back.” Nier does not want Emil to think about the negative consequences of his actions, a running theme present throughout the story, usually used with regards to killing shades, where no matter how innocuous their behavior might seem, Nier will posit that there is no other choice but to exterminate each and every shade they encounter. Nier tells Emil this to keep him on his side, to influence the way Emil should see his monstrous actions. Nier needs him to believe in his cause, and there’s no room to question who’ve you hurt, or whether you are wrong.

Nier’s stubbornness persists throughout the whole game, culminating in the end where, despite knowing that the Shadowlord has just a noble a cause - in fact, probably a nobler cause considering he is the original Nier and his daughter is the original Yonah - Nier refuses to sympathize or stop himself from taking what he deserves. This isn’t to say that the Nier we play as the whole game is necessarily “the bad guy,” but that our entire notion of what it means to play “the bad guy” is entirely dependent on the perspective and player agency of that character.

It is much easier to view these enemies in simple terms as we are forced to do in the first play through, before we understand Kaine’s backstory and see how shades behave when they aren’t being murdered by the replicants. These are enemies, plain and simple. Though there are side quests and moments where this comes into question, for the majority of the main plot, up until the very end, we are meant to believe that our fight is the right thing to do. However, the second playthrough complicates this situation, and it starts to become less clear whether we should keep on going. However, Nier’s own persistent despite our own knowledge is what differentiates him from most other playable protagonists. While the player is able to make choices throughout the game, it is never during the most critical scenes (despite arguably the ending (though even then the Shadowlord must always be defeated)). Nier is stubborn and committed to the purpose he has set for himself until the very end.

Again, as a brother these actions come across just as stubborn, however this stubbornness is different from father Nier. We can look at Nier’s actions more critically when we accept that he’s consciously exerting himself and manipulating others to get the result he wants.

This becomes most clear during the battle with Devola and Popola. The sisters make the game’s point clear: Everyone has their own motives and desires driving them, and conflict happens when different characters with opposing purposes meet. It really is that simple. However, after Nier kills Devola, he tells Popola to stop. Popola responds with what might be the most powerful statement in the entire game. Her line, “Do you think I have the luxury to stop?” is particularly poignant because it invites the player to consider how important her role is and whether she could call it quits even if she wanted to. But most importantly, it makes the player question why we ourselves haven’t stopped. Why have we continued to play this game and kill these characters? Even if we separate ourselves from the characters and believe we only play to get to the end, what does this say about our behaviors and why we continue to play games at all. Why don’t we just stop? Before her phase in the battle begins, she exclaims, “No one ever stops!” She’s just as assured in what she’s about to do as Nier. While this article focuses on how Nier (the character) is changed between regions, it would be foolish not to include that this line, as it’s expressed in the English dub, does not exist in the original Japanese. In Japanese, Popola just exclaims that she’s going to kill you… Besides removing many of the implications that her English exclamation has, it really limits how deeply we can think about Devola and Popola. The English version gives a better sense of thematic ideas that have been present throughout.

The credit song for ending A works to this goal as well. Though the song is interesting for the way it explains how the world of Nier (the game) relates to Drakengard by giving the events shortly following that game’s ending, there are several lines that speak to the thematic points that I argue are made clearer in the English version. The chorus of the song goes, “Hidden so deep in veils of deceit, / Imprisoned in twisting spells - / Are we the plaything of fiends, or merely the dreams / That we're telling ourselves, telling ourselves?” While Devola acknowledges the reality of everyone having motives, she neglects to note how difficult it is to discover those motives; even Nier doesn’t find out until they tell him explicitly, and up until then everyone is certain the sisters are on the side of the replicants. These lines also acknowledge the unfounded nature of everyone’s motives and purpose. Do our duties come from a manipulative figure (as we see Nier doing to Emil) or do they come from something we hope is achievable (as we see in the side quest where the boy wants to escape his family of thieves). Are either of these better than the other?

The lines directly following the first chorus, “Strive till the phantoms are broken, / Fight till the battle is done,” refer to the end goal of these motives, which is to say, not necessarily to achieve those motives at all. If phantoms are taken to be haunting visages of the past, then we continue on until we forget about them. If we set out for war, all we can do is fight until there is nothing left to fight. Fighting until the battle is done is not the same as fighting until its won. The one referenced in the lyrics only wants the fight to be done, regardless of the results. Neither of these existences are spoken of with much reverence, more so with an acceptance that this is one framework through which we view actions in our lives. Further playthroughs build our understanding of everyone’s actions, but the game’s final ending being locked behind deleting the player’s save data asks us to question what these goals are worth (or they would, if consoles didn’t have cloud-saving and backup features).

While the song lyrics and final-ending mechanic are present in the Japanese version as well, that version of the game, primarily by having Nier portrayed as a younger character, doesn’t reinforce these larger thematic ideas as well as the English version, despite arguably having better voice acting. The English version feels like it has a more concentrated focus on these interactions because of the little things changed to appeal to a western audience. While most games don’t/wouldn’t benefit from a western localization, it’s interesting to encounter a game where such a release feels like a more tightly constructed work of art.

[gascon-en-exil]

The Top Ten Women of Fire Emblem (As Written by a Gay Man)

#1 - Micaiah

When we were separated during the war, you changed, Sothe. And I changed too. I want to protect Daein more than anything. Our people must be saved, and if I can help in that effort, I will.

Let it not be said that this was an obvious pick simply because Micaiah happens to be a lord, and one from my favorite game in the series moreover. Although I thought it appropriate to end this ranking with a lord I’m well aware that all the women who’ve fulfilled that role in FE (excluding Avatars for obvious reasons) have had to work against writers determined to screw them over in one way or another. There’s not much point therefore in me rehashing the many criticisms, valid or not, that have been leveled against Micaiah over the years. I’m instead going to be breaking down just why I think she works for me as well as she does, and how thoroughly she earns the distinction of being the least narratively compromised female lord in the franchise...for whatever that’s worth.

Revenge of the Jugdral Waifs

Parts of Tellius’s worldbuilding borrow extensively from Jugdral, some in more subtle ways than others. Micaiah is one of its more obvious allusions, as both her look and class design owe much to a group of female light magic users from those games who also exist outside the framework of the traditional clerical classes (some - or all? - of them even share their starting class name with the Japanese name of Micaiah’s third tier class). Deirdre, Julia, Linoan, and Sara are all women of high standing, and three of them are linked by blood to the dark Loptyrian cult not unlike Micaiah’s association with the “dark” goddess Yune. In spite of circumstances that ought to grant them significant plot relevance however all four of these characters are diminished by the narratives of the two games, either kept on the political sidelines in preference to a man or turned into barely-characterized damsels in distress. To paraphrase Markoftheasphodel, Deirdre and Julia in particular encapsulate the whole of Jugdral’s particular brand of misogyny - some of the most important and powerful characters in the setting reduced to tormented plot devices devoid of personality.

It’s probably a stretch to suggest that Micaiah was intentionally written as a means of redeeming these characters after the fact merely because she owes so much of her design to them. Still, that reading is certainly there. Micaiah assumes Julia’s role during Part 4, becoming the human vessel for Yune as Julia is inhabited by the spirit of Naga during the last chapter of FE4. While there’s no arguing that Micaiah drew the short straw when it came to gameplay power-ups from her resident deity, in return she is allowed substantially more screentime and agency even when she’s sharing her body with someone else. Certain characterization threads relative to Micaiah and not Yune, like vengeance against Numida and Lekain and the back story of Micaiah’s relationship with Sothe, are followed through to their conclusions only during Part 4. Also, while it’s Yune calling the shots as the army ascends the Tower of Guidance Micaiah is still an active participant, taking responsibility for awakening Yune before Dheghinsea and saving Lehran among other things. 

It’s a common criticism that Ike takes over the plot of Radiant Dawn from Micaiah, but the truth is that he’s sharing the endgame spotlight with Micaiah and Yune together. Ike is still the saga hero of Tellius - the Seliph equivalent - but Micaiah displays none of Julia’s blankness and passivity at any point. She’s unquestionably closer to being the deuterotagonist of Tellius than any Leif equivalent (Elincia, perhaps?). What’s more, while Linoan must cede her political relevance to Leif and Julia’s epilogue has her being little more than a support to her emperor brother, Micaiah gets to rule the kingdom she’s spent the game trying to save - while not invalidating the rule of her recently-discovered younger sister over her own country, incidentally - whereas Ike leaves the continent to have adventures and gay sex. In Jugdral the best most women can hope to be is support for their ruling husbands; in Tellius all three beorc nations have women ruling them by the end. Indeed, even compared with the other non-Avatar female lords that’s a huge step forward.

Conquest Needs to Take Notes: FE10′s Villain Campaign

This should really be a more controversial statement than it actually is: the Dawn Brigade chapters of FE10, especially those in Part 3, make for a better villain campaign than the entirety of FE14′s Conquest route.

It’s sad how that it isn’t really an exaggeration at all, and even more sad that FE10 doesn’t rely on narrative shortcuts to convey the idea that you’re temporarily playing as the bad guys like Conquest does. Daein isn’t draped entirely in black, and its antagonistic history as a nation saddled with a legacy of racism and Ashnard’s goals of conquest isn’t swept under the rug or left to be inferred only from Path of Radiance. The Daein of Radiant Dawn still displays its anti-laguz prejudice from the previous game, and there’s no indication that that prejudice doesn’t extend to members of the playable cast or that it’s something that will be quickly and cleanly done away with after the credits roll. Micaiah herself plays to the wishes of her racist followers when she has to in Part 3, and though she’s not rabidly bigoted like Jill is in FE9 before her character development she does have a personal interest in not making waves.

I’m not only talking about her ambivalence toward laguz as a Branded, either. One of Micaiah’s most defining traits is her patriotism. It’s a curious element of her character, based in her feelings toward her adopted homeland and willfully unconcerned with Daein’s racism even as it forces her to hide her Brand. It’s rather amusing that probably the most common criticism leveled against Micaiah is that she’s a Mary Sue blindingly adored in-universe, not just because the same could be said for Ike but because that’s exactly what she’s built up to be. If anything the mounting conflict between Ike’s loyal followers - technically the Gallian army and later Crimea and Sanaki’s forces, but they all join together under him - and the cult-ish adherents of “the Maiden of Dawn” deconstructs this accusation. Everyone in Daein may adore her and may have rallied around the Dawn Brigade in a bid to remove the Begnion occupation, but by Part 3 that fervor is shown to be clearly unhealthy and something that Lekain is able to manipulate to his advantage. 

It’s not just the alliance with Begnion that places the Dawn Brigade chapters in villain campaign territory, as Micaiah is forced to resort to increasingly underhanded tactics to satisfy the demands of the senate, from ambushes in the dark to outright war crimes. All the while she’s being ironically proclaimed by her soldiers a symbol of light and divine will, a stark contrast to Nohr’s shadowy branding. It’s a matter of opinion whether Lekain’s blood pact is more or less contrived than the various plot devices that keep Conquest Corrin in line during the invasion of Hoshido, but Micaiah is actually allowed to be genuinely antagonistic toward the armies she’s opposing, in large part because of her pronounced nationalism and the atmosphere of blind worship she’s allowed to grow around her. One of the most important elements of a well-written villain story is that the characters involved shouldn’t think of themselves as the villains unless they’re fully evil and are committed as such (which usually isn’t that interesting anyway). Conquest focuses too much on Corrin’s angst over the ruin of Hoshido and leaves the motivations of the Nohrians vague, whereas Daein in Part 3 carries both its legacy of bigotry and militarism from FE9 and the memory of its glorious uprising against foreign oppression from Part 1. It’s not hard at all to imagine the members of the Dawn Brigade and even the Daein military thinking themselves heroes of their own story, bolstered by a leader determined to do whatever is necessary to save her people.  

The Token(-ish) Het of Tellius

I would be remiss though if I didn’t talk about queer content at some point, because Tellius pretty much runs off the stuff. In that regard Micaiah is admittedly lacking; she has her auto-A support with Sothe and almost nothing else, and while exposition on their early relationship reveals that their bond is a quasi-incestuous one riddled with age issues it’s not in the same league as Nailah/Rafiel totally inverting gender roles, Haar/Jill almost literally robbing the cradle, or Elincia’s complex feelings for her two closest retainers. One can appreciate though that Micaiah/Sothe displays a certain symmetry with Ike/Soren, from parallels in their first meetings to the experiences of one member of each pairing being Branded to their roles at the heads of their respective armies (from a gameplay perspective note that Soren and Sothe stand beside their partners when faced as enemies in 3-13 and 3-E respectively). I might go so far as to say that these symmetries provide additional legitimacy to Ike/Soren as a paired ending, especially since they get their own exposition-laden base conversation in endgame.

Ooh, Shiny!

And ok, my bias in favor of light magic users is on display here too. I was hyped for Micaiah as soon as she appeared in promotional materials as a caster lord, the first and so far only purely magical unit to hold that title. Even notwithstanding the fact that Radiant Dawn is arguably the worst game in the series in which to be a magic user Micaiah has some serious issues as a unit, but at least when she sucks in-game she does so in manner completely distinguishable from the likes of Leif and Roy. She can be a staffbot (she can use Physic as soon as she promotes), she can nuke stuff with Thani and/or Wrath crits thanks to her nonexistent defenses, she can riskily play around her late promotions with Resolve (Easy only, please), and even at the end of the game when she’s probably still frail and will never be fast enough to double everything she’s still the best candidate for Rexaura just because the saints are even worse. I appreciate too that light magic got some much-needed statistical buffs compared to Path of Radiance, and we most likely have Micaiah to thank for that. Even if the game hates her she can make for a fun if challenging unit to use to her greatest potential.

...Now I want to play FE10 again.