#there’s an insane amount of just minor mistakes like writing ‘he’ instead of ‘she’ etc | Explore Tumblr Posts and Blogs

airgetlamhh · 3 years

Text

Thoughts on Lostbelt 3

So, Lostbelt 3.

Just came out, and this time I played it in good time. Hopefully that’ll continue! Spoilers ahead for Lostbelt 3, and also for Qin Shi Huang’s interlude which has yet to come to NA. I’ll mark that section specifically so people can skip over it.

You might remember that I did one of these for Lostbelt 2, and if you haven’t seen that you can find it here. These are freeform and have no real set structure, they’re just one big post for me to gather and explain all my thoughts about the story. I’ll talk about characters, themes, pacing, etc. as they occur to me, and so expect this to be fairly chonky.

Now, once again, I’m going to lay out the thesis statement ahead of time, so people can feel free to skip over or read as they please. I expect this will be somewhat more controversial than my opinion about Gotterdammerung.

Lostbelt 3, the Synchronized Intelligence Nation, is bad.

I had wondered how to start this, but over time my thoughts kept coming back to the pacing. There are sixteen chapters in the Lostbelt, and almost nothing of any consequence whatsoever happens for the first eight. We fight Akuta, she runs, we fight Akuta, she runs, we spent like eight battles fighting the beasts Koyanskaya let loose and they amount to nothing and have no plot relevance whatsoever, we fight Xiang Yu and then he runs, and then we fight Xiang Yu and Lanling and then we’re forced into a truce and then nothing happens until Spartacus leads the people of the Lostbelt to rebellion and Qin drops the meteor and the march to Xiangyang begins.

Nothing happens.

Obviously that’s an exaggeration, there some events. Qin examines the Shadow Border, we meet some of the characters, but that’s all, really. A solid half of the Lostbelt is almost entirely useless faffing about, and then it rams the accelerator so absolutely nothing has any time to land and we speedrun our way through it. To put it in perspective, it’s one chapter shorter than Gotterdammerung, which was already five chapters shorter than Anastasia, and it feels significantly shorter than Gotterdammerung too. I complained in my write-up of that that it felt like things just happened for no reason, but at least things happened. In comparison, half of Lostbelt 3 feels bereft of content, the only important events of which could be condensed into about three chapters tops.

It feels like it’s a mid-year 1 Singularity. We have detours to kill random beasts unrelated to the actual plot, we get interrupted by fights as we try to talk, we faff about for ages and then speedrun our way to the actual climax. By the end of the Lostbelt, I was left with a lingering sense of “Wait, is that it?”

Moving on from the pacing, I think I should probably address the characters next. This is likely to be the largest section, since so much of the issues in the Lostbelt come from the characters and it’s only by talking about the characters that I can really engage with the themes. I’ll start from the least relevant and work my way up, meaning that I’ll be addressing basically the entire conglomerate of characters that aren’t Qin, Yu, Xiang Yu, Spartacus, Liangyu or of course Jing Ke.

Red Hare and Chen Gong, they’re comedy, make no mistake. They’re there to add a bit of humor to scenes and it’s fine, they’re funny. It’s a mistake, in my opinion, to follow such a powerful scene as Spartacus saving the villagers and it inspiring them so much that the Lostbelt reconnects with the Throne of Heroes by having it result in nothing but comic relief, but they’re inoffensive.

Koyanskaya, she’s Koyanskaya. There’s a bit more hinting about her true nature here, but besides that she’s exactly the same. Nothing much happens besides that truly gratuitous torture scene that made me glad FGO’s story isn’t voiced, because it really was just deeply uncomfortable. I think that after two chapters and a prologue full of her being untouchable and smug and constantly ahead of everyone she did need to stumble a bit, but having her get punked by Shuwen and then gruesomely and gratuitously tortured while she screams and begs for help was completely unnecessary.

Han Xin and Li Shuwen, they’re fine. I’m not much of a fan of the whole stuff about Li Shuwen being so powerful as to stand up to four Servants, three of whom are meant to be insane powerhouses in their own right, but we’ll get to that in a bit. Han Xin when he’s allowed to just go apeshit at the end is one of the very few genuine delights about the Lostbelt, I really enjoyed him.

Lanling is a disappointment not because he’s badly written, but because he’s barely written. We start the Lostbelt to a flashback of his death and it sets us up to expect a bunch from him, but all that we really get is that he’s loyal to Yu. His only purpose in the story is to function as a connection for her outside of Xiang Yu, and boy howdy does this whole thing fail, we’ll get to that too. If he’d had more time, I expect he’d be quite good, but as it is he’s barely in the story and his only major character moment outside of Yu is when he tries assassinating Guda and admits he’s not really built for it.

Mordred and Nezha are there respectively to bounce off Spartacus and to reveal that Xiang Yu is based on her body respectively. That’s it. They vanish from the story for a good few chapters and I didn’t notice because Nezha becomes irrelevant as soon as you meet Xiang Yu and Mordred becomes irrelevant as soon as Spartacus died. You could remove both and the story would change not at all, and while I do think that Mordred’s role in giving Spartacus someone to bounce off of was nice and I enjoyed their interactions, introducing a whole character just to bounce off another means that when the other character is gone, the one you’ve introduced is just there. It’s insanely noticeable with Mordred.

Gordolf is a genuine delight. I think my honest favorite scene besides Spartacus’s in the chapter is when he and Guda have to decide who gets the only dose of antidote. Guda flat out telling them what hand they’d throw was perfectly in character but I genuinely adored Gordolf completely throwing the match and faking that it was an accident and that Guda got the antidote fair and square, after having it pointed out that he never once tried to lord it over Guda that he saved their life from the poison. When Guda forces him to drink it, Gordolf’s complete dedication to getting them the antidote and refusing to let Guda die because he’s the director and he is personally responsible for all their safety, that’s good stuff. I love Gordolf very very much, and I think that this Lostbelt really gives him some shining moments that emphasize why he’s so wonderful.

I think that is basically all the minor characters barring the village boy, who I will get to in a bit, but if you’re noticing a trend it’s that they’re mostly fine, inoffensive. Nothing stands out as truly genuinely very bad, but for the most part they’re all wasted potential. They exist to fulfil exactly one role, and then hang around long past their welcome in most cases, with Han Xin, Li Shuwen, and Lanling managing to avoid that, albeit in the first two more due to their overall lack of presence until the very end.

Now, Liangyu. Here’s where things start to break down a bit.

In this Lostbelt, Qin Liangyu is a warrior who distinguished herself enough to be frozen in Mt. Li, where Qin keeps their heroes to be used when necessary. Alongside Han Xin, she’s defrosted to handle the Chaldea threat. Her major point of focus in the chapter is engaging with the “Confucianism” that Chaldea represents. She’s the one who hears the poem first, she’s who reports it to Qin, she’s who steals the Shadow Border and who ends up confronting Chaldea first when they get to Xiangyang. When we finally get to hear her conviction, why she is so willing to fight for her home...

It’s revealed that Qin destroyed her village, her family. They had been inspired, not to rebel, but to simply seek to govern themselves and live as a nation outside of Qin’s domain. Qin’s response was to fire a meteor at their village. When the instigator escaped, he tried to do it again, and that was why Liangyu fights. To avoid the needless death and suffering that is guaranteed by opposing Qin.

No one is horrified by this. No one reacts to her blaming the victims for wanting a better life. No one points out that her loyalty comes entirely from a place of fear and loss, that Qin took away everything she held dear and then threatened to do it again and again and again. She fights because Qin would otherwise wipe out everyone, and this is heralded as splendid loyalty and honest devotion, despite the fact that it’s effectively the same logic as why someone might not resist their abusive partner. That is all Liangyu is meant to do, show us some kind of loyalty and validity to Qin’s path, and they even have Mashu lost for words when she is confronted. All to show us that true loyalty is submission, and that it’s a valid and good reason to fight, to be too scared of the tyrant above you wiping out everything if you don’t. Not something to oppose Qin for, but something to commend them for inspiring.

That reading, despite being a clearly obvious one, isn’t ever once entertained by the story. No one points out Qin’s tyranny as the starting point for Liangyu’s suffering, even though it clearly is. It’s not that it’s refuted, it just never once comes up, because the characters acknowledging it or challenging it would hurt the clumsy point it really wants to make.

As a digression, this Lostbelt is a step back for Mashu. Her climatic character moment in Part 1 is rejecting a world without suffering and having the purest conviction necessary to block Ars Almodel Salomonis, but now she’s shaken and starts thinking that maybe that was a mistake all because it was only a possible future she rejected with Goetia, instead of the actual people in front of her? I can’t see that as anything but a regression, considering it was a point that her conviction was able to overcome the most powerful attack in the series even as it destroyed her body to protect those behind her. It’s done almost entirely to make us question whether or not Qin has a point, and given that the answer to that is a resounding and obvious “no” all it ends up doing is taking a hammer to Mashu’s solidly built up character every time she responds to an obviously flawed argument with “...” to give it unearned validity.

Spartacus next. He is an honest to goodness genuine joy. There are a few bright spots in this Lostbelt and Spartacus is one of them. He is very well written, allowed to think and philosophize about the nature of rebellion and whether it’s needed, and his musings on why he rebelled and whether or not it was justified to rebel against Qin when their people smiled so innocently like he’d always hoped for was unironically fantastic character work. His sacrifice reigniting the will to ask for more inside the people to the point of connecting to the Throne once more is absolutely fantastic, and his interactions with Mordred are great too. I absolutely do not have a single bad thing to say about him, he’s just wonderful.

Jing Ke. She’s a delight. She is a constant denier of everything that Qin suggests, and she functions as a beacon of good sense in the chapter. Where others are falling prey to some nonsense writing that makes them wonder if they’re doing the right thing, Jing is constantly pointing out the horrible, horrible tyranny going on, and constantly reminding people that Qin is in fact, a monster. Her final moments, getting to trick Qin into downloading a virus, arguing against them on philosophical grounds and then mocking them when they’re surprised that she would use that as a chance to kill them, and the argument itself of humanity’s virtues being in its ability to communicate and progress even if they don’t have a certainty of peace ahead of them, all of it was great. I’m sad she died and never got a chance to see Guda again in the Lostbelt, but all in all, she was well written.

Xiang Yu and Yu Meiren. This is where things get really, truly, genuinely disappointing. As concepts, they’re really cool. Xiang Yu as a machine built from the body of a god with the ability to calculate and compute the future giving him an inhuman mindset is a really neat idea, as is Meiren being effectively a True Ancestor. Them finding love as two non-humans who understood each other where no one else did is good in theory.

In practice, Xiang Yu and Yu Meiren’s romance, the emotional core of the chapter, is without question the worst romance written in the Lostbelts thus far, and probably the worst romance in the game. It isn’t until chapter 13 of this 16 chapter game that we get any exploration of it at all beyond Meiren being devoted to Xiang Yu to the point that she completely cripples her own agency as an interesting and individual character to work entirely for Qin when they threaten Xiang Yu’s life, and the exploration we do get is just...explaining how Xiang Yu is a robot and how he lived in Panhuman History. No examination of their mutual feelings, just Meiren describing how her Xiang Yu lived.

This Lostbelt is not a reuniting of lovers long past. This is Meiren finding a man who shared an origin with her lover and devoting herself entirely to him, even though they aren’t the same person at all. This could have been an incredible hook!

Imagine if this Lostbelt looked at Meiren’s two thousand years of stagnation in mourning for Xiang Yu and her sole desire being to be reunited with him and then it gave her her wish. She betrayed her own history for the Lostbelt’s, because it gave her a chance to see her beloved again, but this Xiang Yu is not her Xiang Yu. He doesn’t even answer to the same name, doesn’t recognise her at all. Having thrown away everything that connected her to Panhuman History just to see her beloved again, she is now trapped in a world she doesn’t recognise with a man who isn’t her Xiang Yu, her sole connection being...Gao Changgong, a regular human from Panhuman History. The greatest of ironies, her only meaningful connection being one of the humans she hates, because she sacrificed everything for a man who doesn’t even know her name.

Lostbelt 3 is a story about stagnation and the dangers of easy ignorance, but Meiren’s story doesn’t engage with that central theme whatsoever. Hers is a story entirely about how she merely existed just to exist before she met Xiang Yu and after he died, and her only experience being happy was with him. A few short years in literal millennia of existence are all that she cares about, and indeed she doesn’t change even slightly over all those years. And despite this stagnation leading her to consign her own history to death, the history that her Xiang Yu is from and fought for, the story never once engages with that. She is, in fact, rewarded in the end by becoming a Heroic Spirit and getting reunited with her Xiang Yu.

And really, that’s what gets me. They have a perfect setup to tie into the theme of the Lostbelt, how an uncertain future of progression is sincerely better than a stagnant peace born of ignorance, and they don’t tie their Crypter into it nearly as well as LB1 or even LB2. Kadoc is obsessed with conflict and overcoming Guda to prove his own strength in a reflection of how Lostbelt 1 is a hellscape where might makes right, and Ophelia is stuck doing nothing but following her role without a choice in a reflection of Surtr existing only to fulfill his role, being capable only of destruction and incapable of changing that. In contrast...Meiren doesn’t engage with SIN’s theme of the worthiness of peace at the cost of stagnation at all, really.

I’m talking a lot about what she could be instead of what she is, because what she is is obsessed with Xiang Yu. Her sole concern in every single appearance besides her single moment of independent characterization with Gao on his deathbed is Xiang Yu. She sacrifices her initial independence to obey Qin for Xiang Yu’s sake, she fights for nothing more than Xiang Yu’s sake, she wants nothing more than to be with Xiang Yu forever, even if it’s not her Xiang Yu, even if it’s sacrificing the world her Xiang Yu fought for. She chooses the peace of stagnation and is never once punished or even questioned for it. She tells Lostbelt Xiang Yu about his history in her world, and then he tells her that he understands why her Xiang Yu loves her, and then decides on the spot that he loves her too. That’s it.

Every other existing romance that they play back into in Fate is one that they put effort into selling. I mean, just think about Sigurd and Bryn! Imagine if, instead of all the little touches and bits in the chapter where they go in hard on selling that Sigurd and Bryn are madly in love with each other, they just didn’t have that. Imagine if Kadoc and Anastasia barely interacted except for Kadoc telling Anastasia how her past went. It really feels like Urobuchi looked at Meiren and Xiang Yu’s existing famous romance and decided that he just didn’t need to sell it, even though it literally wasn’t the same people involved.

And to be clear, I understand the intention. Xiang Yu has an alien mindset because of his calculation of the future, and this alien mindset means that he does things that are hard to understand for us. But at the end of the day, Lostbelt Xiang Yu hears a single story about himself in Panhuman History and decides that it makes sense that, given everything he and Meiren experienced there, that they would fall in love. And then he chooses to fall in love too, in the span of a single conversation. That isn’t believable, but more to the point it isn’t satisfying. This isn’t a great reuniting of lovers, it’s Meiren telling a stranger how a hypothetical alternate timeline version of him lived and him deciding he loves her because of that one single story.

And the way this love is represented is...it’s kinda typical Urobuchi. Meiren’s tragedy is undersold and given second billing to talking about how tragic Xiang Yu’s life was and how bad it made her feel and how she wished she could have done something, while LB Xiang Yu ignores her plea to stay and to not fight anymore by declaring that he must fight for the Lostbelt because of his programming, not for her, and then after he’s defeated and Guda beats Qin he declares that he’s actually madly in love with Meiren and will ignore her stated wishes again to fight until he dies, whereupon he promptly talks about dying with regret for leaving Meiren behind and quotes the poem and everyone claps. This great romance begins by Meiren telling Xiang Yu about how sad his life was in her history, is defined solely by Xiang Yu doing anything he wants at any time while Meiren feels sad about it, and ends with Xiang Yu ignoring Meiren’s wishes to sacrifice himself for absolutely nothing and to have it later revealed he knew exactly how she would react to this and did it anyway.

It’s not that I don’t buy the romance, it’s that I can’t buy it. It’s every terrible romance you’ve seen in fiction before where there’s no chemistry to sell it but the author keeps telling you how perfect they are for each other, only in this case the author tells you how perfect Meiren and Panhistory Xiang Yu are for each other and then shrugs and decides that Lostbelt Xiang Yu is basically the same anyway so it works. And it really, really does not.

The Xiang Yu of Panhistory is somewhat interesting from what we hear in the chapter, but Lostbelt Xiang Yu is very bland and Yu Meiren is just a tragically wasted character. Instead of a story of being shaken out of stagnation and learning to grow and move forward, we get a story of stagnation being the good and right choice for her. Instead of a story of trying to make the past happen again instead of acknowledging that they are two different people who cannot simply pretend everything is as it was, we get a story where Lostbelt Xiang Yu decides it makes sense that an alternate universe version of himself would fall in love with Meiren, and then skips all the actual development to decide he’s madly in love with her too. Instead of a story of Meiren realizing that her closest connection for the longest time was a living human and that she can live for more than just the memory of a man long dead, we get Meiren’s character being solely, completely about Xiang Yu from beginning to end, and even later in Chaldea where she exists for nothing more than “haha married couple” jokes.

There is, to be clear, an attempt at relating this to the other theme of the chapter, humanity. Meiren and Xiang Yu are both discriminated against for their inhumanity, and it’s pointed out that they’re so fitting for each other because they, as non-humans, understood each other. I think this could have worked if it was given more emphasis, but as it stands it just kinda...isn’t. It, and they, take a backseat to Qin’s emphasis on this theme, so all this theme does for them is another justification as to why they are totally in love and why Urobuchi doesn’t have to write them actually being in love.

And then Xiang Yu dies, and Meiren goes crazy because her entire world and every facet of her character revolves around one man, and we have to kill her because he ignored her pleas and then died knowing he would die and knowing she would go crazy when he died. This, after spending the entire chapter from the first time we meet her being completely ineffective and failing at every turn, only becoming a threat once she devours her own Servant and even then only for a few minutes before she ceases to be relevant. Thanks, Urobuchi. Love it when you write women.

It’s a genuine disappointment, because you could do so much with Meiren and Lostbelt Xiang Yu bonding as themselves, not as Meiren from 2000 years ago and Xiang Yu from Panhistory, and with Meiren being able to honour her love without letting it chain her down to stagnation like it did in practice. But they don’t do any of that. They tell us that this great romance exists without putting in any of the work, and then expect it to work. And for me? It didn’t, at all. It is again, without a doubt the worst romance in this arc, and probably the worst romance in FGO.

Finally, Qin.

I think Qin is a fantastic villain. They are completely, utterly loathsome in every way, and the early chapters with Spartacus and Jing Ke around really highlight it. Spartacus’s musings about rebellion culminate in a reassurance that it is in fact right and just to rebel against the oppressor that is Qin despite the peace they offer, and Jing Ke consistently and constantly responds to all their justifications by pointing out what absolute drivel they are. It is a sincerely excellent setup for a Lostbelt King that isn’t a tragic case of someone trying to save what they can after a horrible accident, but one who in their arrogance created a hellscape that was pruned solely due to their own tyranny. Qin is the perfect balance of hypocritical and arrogant and cruel while being utterly convinced of their own perfection to make a fantastic villain to break out of the “tragic king after apocalypse” type we’d had for the first two Lostbelts, and has the perfect ingredients to a tie-in back to Goetia and how Goetia earned the title of “King of Humans” in their final moments.

But, unfortunately, the chapter starts softening up on them as it goes on. Where before, we had people calling them out for tyranny and obvious wrongdoing, by the end we have Holmes praising them for shouldering the difficult responsibility of humanity all by themselves and being the one we get on our Lostbelt CE, a spot reserved before for the inhabitants of the Lostbelt that we befriend. Because, ultimately, the Lostbelt doesn’t want to condemn Qin.

What Qin does is monstrous in the extreme, but by the end of the Lostbelt it feels like the game has forgotten that. Instead of pointing out the obvious problem in Liangyu’s loyalty being based on the certainty that Qin would murder everyone if she didn’t do it for them, Mashu and Guda have to just accept that it’s valid. Instead of reminding themselves of Spartacus and Jing Ke’s rejection of Qin as a tyrant, they praise them for taking over the responsibility of humanity. Instead of having the Lostbelt represented by the boy who dared to look up and dream of something more, it’s instead represented by Qin descending to live among humanity in their final days. Even Qin’s final act for Meiren has them claim without irony that they guide their people by the light of reason, when the entire chapter has been about how Qin uses threats of incredible violence to control everyone and how they had to conquer the world by force to enact this horrible regime, and no one points out the shocking hypocrisy in Qin claiming that they guide through reason instead of, you know. Giant meteors.

I didn’t name that boy, because the story doesn’t name that boy. In a story that is ostensibly about the horror of humanity being stripped of everything that makes them an individual and showing us that the spark and drive to be different and to learn and grow and change still exists even after over two thousand years of Qin trying to stamp it out, they don’t name the boy. This isn’t because names don’t exist in Qin’s empire, because explicitly the heroes are all named, and implicitly such a massive divergence would need to be highlighted in some way, so it’s not an intentional dehumanization which would actually fit.

Instead, despite this child being the first citizen who dares to enjoy a poem and who dares to step outside the boundaries of his village, despite him being proof positive that Qin’s tireless attempts at stamping out the human spirit are doomed to failure even after ruling the entire world for hundreds of years, despite him being inspired by Spartacus’s cry of rebellion against the tyranny of the world he was born in...he doesn’t have a name. And that really hurts the Lostbelt, I feel, because it just doesn’t take the time to even name our Lostbelt friend. He is, ultimately, not important. The symbol of the Lostbelt is Qin as the ultimate human, despite the entire point of the Lostbelt being that it’s a rejection of this concept, that Qin’s choice of becoming the one and only human is wrong and that the individuality of Panhistory is superior. Instead of enshrining the boy who dared to be different in the CE, pride of place is given to Qin.

That’s my biggest issue with Qin, really. We are given a perfect setup for Qin as a villain and indeed do reject their whole worldview and ideals and everything as being completely wrong, to the point that Holmes even rejects the idea that they are a human. In the final parts of the chapter, Holmes declares that the defense Qin dedicated themselves to is the domain of a god, and that despite their insistence that they did so as the only human and that they rejected becoming a god, ultimately they were deluding themselves, having simply taken on the role of a god while declaring themselves a human. This is the harshest condemnation that Qin ever gets and the final culmination of theme of humanity and what it really is that’s there throughout the Lostbelt, a complete and total rejection of the idea that one can do what Qin did and still claim to be human.

But instead of engaging with this, the story softens up on Qin by the end because it wants you to roll for them. It’s exactly what happened with Skadi, a solid character and path built up from the beginning and then swerving towards the end to make them more likeable. That Qin is the one on our Lostbelt CE and that it’s all about how Qin did their best to “shoulder the responsibility” for mankind instead of highlighting their tyranny is just kinda emblematic of how the story treats it once Jing Ke is gone, because when she’s not in the party people stop pointing out the obvious tyranny going on, and when she’s dead everyone starts acting like Qin is almost reasonable and that their path was a valid one that wasn’t so wrong, even though theirs was more right. It even completely ignores Koyanskaya pointing out that Qin loves humanity like an owner loves its pets, not as actual individuals, but this love is treated as completely valid thereafter instead of being a huge problem.

Big Big Spoilers For Qin’s Interlude Now, Skip Ahead To The Next Bolded Section If You Don’t Want To See Them

One of the reasons I’m so harsh on them for what could, in context, be seen as relatively minor softening up on Qin compared to the actual defeat we deal them is because of this Interlude. As a brief overview, Qin completely ignores the ending of their Lostbelt, which lasts for three months despite every other Lostbelt lasting a day at most before it vanishes and the implication of the final chapter being that it’s ending soon, returns to Epang Palace despite it having been destroyed and corrupted with a virus and despite having promised to live as a human on the ground with the rest of the world until the end, and then uses the data on the Shadow Border that somehow survived the virus and destruction of the palace to somehow construct a machine that allows them to create Singularities.

They then use this to create a bunch of Singularities related to “what-ifs” where they were a cruel king who ruled over Xiangyang and murdered all their subjects so they can piggyback on the Human Order instead of being destroyed with their Lostbelt and everyone in it, and then keeps the Singularities around as time bombs to destroy Panhistory like Goetia did if they ever feel like Guda might lose. When this is figured out, no one in the know bothers to tell Guda to protect their feelings, and no one intervenes in any way or challenges Qin in any regard besides telling them to believe in Guda.

This interlude turned Qin into the most loathsome character in the game for me. They declared they would put it all on the line challenging Guda and then lost and stepped aside, even helping to destroy the Tree of Fantasy, and even having Da Vinci praise their grace in stepping aside when it was clear that they had lost. But that didn’t happen.

Instead, Qin lied. Qin pulled the trigger on everyone in their entire world and then decided that they didn’t actually want to uphold their end of the bargain, so they abandoned the people they swore to live alongside until the end and constructed a scenario where they have the sole authority to destroy all of human history forever if they feel like it, something made possible only because author fiat dictated that they still had the data and the capacity to use it after the twofold destruction of the Epang Palace and only because author fiat dictated that their Lostbelt lasted for months after the Tree was destroyed when every other Lostbelt disappears after hours. And all this happens because fundamentally, they don’t want Qin to be wrong, and they don’t think Qin was wrong. They pay lip service to the idea, but the end result is that Qin is always meant to have a point, and that despite having people point out their obvious hypocrisy at ther start like Jing Ke, by the end of the Lostbelt and beyond you are meant to take them at face value as a Hard Enby Making Hard Decisions doing their best to save the entire world.

SPOILERS FOR THE INTERLUDE OVER, YOU’RE SAFE NOW

To begin the summary for Qin as a character, I’d like to point out Fate’s relationship with Great Man theory. This theory is, in brief, a suggestion that the course of history is largely influenced by exceptional individuals and leaders that exert their will on the world as a result of their own superb capabilities, such as being more intelligent, charismatic, powerful etc. than all other men around them. This is obviously a theory with a bunch of holes, but what’s interesting is that Fate has always engaged with this idea and has always refuted it conclusively.

In Fate, if you are a single human trying to save the world, you will fail. Kiritsugu’s chasing of the Grail and his ultimate failure because of his own flaws making it physically impossible for him to consider a path to salvation that didn’t involve killing is a rejection of Great Man theory. Shirou understanding that one single person cannot possibly save everyone in the world is a rejection of Great Man theory. Amakusa’s inability to save the world in any way besides erasing free will is a rejection of Great Man theory. Goetia’s decision to erase history and start again to make something better and his ultimate defeat is a massive rejection of Great Man theory. Zelretch, for all his insane power, is literally paralyzed by that selfsame power into not being able to do anything, while someone like Aoko who doesn’t think of anything but what’s right in front of her is actually able to accomplish things because she doesn’t try transcending the limits of what a human is capable of. It is one of the Nasuverse’s most consistent themes, that it is fundamentally wrong and doomed to fail if you ever attempt to impress your will on the entire world in a misguided attempt to save it.

And yet Qin simply doesn’t engage with that. Qin is Great Man theory distilled into a character, and by the end of the Lostbelt and beyond the game gives up on challenging that. They declare themselves as the ultimate human with the sole responsibility to administrate mankind and despite losing, the game respects them and their path and refuses to condemn them the same way that it condemned Ivan for doing all he could to save his people, even if it meant inflicting his own ideas on the entire human race. And that’s a consistent problem with the last two Lostbelts, but it sticks out more for Qin because Qin didn’t face an apocalypse. Qin brought the world to an end with their own two hands, but the game simply cannot keep up the condemnation as much as it should, because it wants you to like them and wants you to roll them and spend money to do so. And that’s where Qin falters for me. They’re a fantastic villain, but the game doesn’t let them be a villain, regardless of how much it clashes not just with FGO’s themes, but with one of the overarching ideas behind a lot of stuff in the Nasuverse as a whole.

I’ve basically talked about the thematics and the characters together in the last section, so this is just me talking about its construction as a story here as a short(er) final roundup.

It’s badly written, really. Like I mentioned earlier, basically nothing happens for about half the chapter and then the latter half puts the pedal to the metal and speedruns its way through everything. Nothing is given the time or dedication it needs besides Spartacus’s sacrifice in the chapter, I feel, and that works to its extreme detriment.

In terms of things that happen, it strained my sense of disbelief as bad or worse than Lostbelt 2 did. I knew it was going to be rough when Mordred, one of the Knights of the Round Table who was easily able to go toe-to-toe with Siegfried and stomp most people she fought in previous appearances, ends up firing her Noble Phantasm at Xiang Yu and doing no damage whatsoever despite being a direct hit, and then Xiang Yu ends up defeating a group of four Servants including powerhouses like Mordred and Spartacus without breaking a sweat and explicitly while holding back.

Now, I know what you’re thinking, that I’m starting to sound like some BLer who cares for nothing besides calculations and VS debates and whatnot, but that’s not what I’m about. I don’t care to argue whether my favorite Servant could beat Goku or not, partially because the answer is an obvious yes because they’re my favorite, but mostly because that’s just not really relevant for a story.

What is relevant, however, is the idea of suspension of disbelief. In telling a story, you don’t need to be realistic, but you need to be consistent. Having internal consistency is a vital part of selling your work to the audience, because if they start thinking that anything can happen at any time because the author wants it to happen, they can get pulled out of the story real quick. If you introduce someone as being Double God and being able to wipe the floor with every single one of the protagonists without breaking a sweat, you have to make sure that when or if they are defeated, their defeat is internally consistent. Either they lose their strength somehow, or the protagonists find some way to power up or change their tactics or do something different to defeat them next time they fight. When you pull a victory or defeat out of your ass without some kind of internal consistency, you had better make sure that you’ve got your themes on point, because if you’ve failed in making something internally consistent and you can’t justify the event happening because it fits perfectly with the themes of the work, then it takes people out real quick.

That’s where this Lostbelt falls down really hard in terms of story construction outside of its characters, because it has neither. Xiang Yu is introduced as an unstoppable murdermachine that we can only hold off temporarily or wait for him to retreat, even when that means devaluing our own Servants’ capabilities and making Mordred who is a Knight of the Round table look like a chump. But then later, Spartacus vaporizes a meteor with nothing but his Noble Phantasm, except Xiang Yu was just straight up too much for him, even though Xiang Yu is pretty much the greatest symbol of Qin’s oppression and its source, the incredible violence that they are willing and able to visit upon anyone at any time if they feel like it. Spartacus loses horribly to one symbol and then annihilates the other and it feels weird.

Later, we’re also introduced to Meiren being a True Ancestor with infinite mana who curses us so badly that we only survive with Koyanskaya’s aid. Even Koyanskaya is urging us to run and there’s explicitly nothing we can do to her. That’s fine! It’s a good setup for a really tough boss! But what it means is that now we have two people set up as completely unbeatable even with all the help we have, including Red Hare and Chen Gong. That’s an awkward setup that really needs a solid resolution, especially when the final battle with them is fighting both, together, while both are completely fresh and Chaldea has just fought their way through Xiangyang, defeating Liangyu, Han Xin and the royal guards, and Li Shuwen.

And the game doesn’t engage with it. We beat them both despite them both individually being able to wipe us out earlier in the chapter, and despite nothing having changed for us. If anything, they should have the advantage of conviction, or at least Xiang Yu should. But we beat them and Nezha gives some nonsense about how Xiang Yu lost because he never had any rivals to fight against, despite him having been used to conquer the world, and despite him having fought alongside the great heroes enshrined in Mt. Li during these conquests. Meiren isn’t even acknowledged, which isn’t much of a surprise, but it is disappointing. Despite her being held up as an insurmountable threat at first, she’s not even considered worth mentioning in favor of talking about Xiang Yu.

That problem continues along with Qin, who comes at us with a Grand class Saint Graph and whom we end up defeating all by ourselves, not as a battle of wills but flat out defeating them, even though we only have Mashu, Red Hare, Nezha, and Mordred who have all been exhausted fighting through all of Xiangyang. People are hyped up as insanely dangerous and then lose not because of the thematics and not because the story has constructed things so that their loss makes sense, but just because the author says it happens. All the battles are handled with in-game battles, which the game grew out of a long, long time ago. The difference between the climactic battles with Ivan and Surtr and the climactic battle with Qin in terms of actual writing is night and day, and the sole saving grace, that it is explicitly characterized as a conflict between the two philosophies and a battle of which one comes out on top, just isn’t enough to overcome the insane hype of being on par with a Grand that Qin gets for absolutely no reason. It devalues Grands and it made the victory against them feel unearned even with the idea that it’s a conflict of philosophies, which I usually eat up. To compare it to the great example of that in Fate, it feels like Shirou VS Archer, except instead of the point being that Archer cannot bring himself to fully deny Shirou’s ideals and is defeated by Shirou reminding him of their beauty even though he wields the power to crush Shirou instantly if he wanted, it’s like Shirou proved his point about ideals by beating Archer up fair and square. It just isn’t nearly as well written.

It isn’t all bad. Like I mentioned, Spartacus, Jing Ke, Gordolf, they were all genuine delights that I loved. The meteor, the assassination, those were both excellent scenes. But overall, the Lostbelt was half nothing happening and then the latter half made up of one or two cool moments with a hell of a lot of bad shit connecting them. Its theme of stagnation is indecisive and muddled because of Qin and Meiren, its theme of humanity has its conclusion ignored and conflicts with the overall idea of Great Men in the Nasuverse, its treatment of its female characters barring Jing is uncomfortable at best, and it tries to sell us a romance without putting in any of the actual legwork to make it believable.

I wish Lostbelt 3 had been better. I can see easy routes to make it better. But more than anything I wish that Meiren had been done better. She’s an immortal True Ancestor who has lived for thousands of years and seen the birth of modern humanity, living through so much of our history, and instead of having a story of learning how to break free of her stagnation she’s just obsessed with a male character who isn’t remotely as focused on her to the extent that every choice and decision she makes in the chapter is focused entirely around him. It’s just...uncomfortable.

For all the hooks she had as a character, Meiren is reduced to an accessory for her man, and I think that’s a crying shame.

#FGO #Fate/Grand Order #Fate Grand Order #cosmos in the lostbelt #Synchronized Intelligence Nation #SIN #lostbelt #FGO spoilers #Lostbelt 3 #Shi Huang Di #Qin Shi Huang #Xiang Yu

64 notes · View notes

aerltarg · 3 years

Note

2, 5, 6, 7, 8, 9, 10, 11, 12, 13, 26, 27 from ask game

2. Are there any popular fandom OTPs you only BroTP?

oh, it's actually hard to answer bc pretty often my otps can work as brotps for me as well. it also means that when i can't ship some characters they don't work for me as friends either. not to mention that in asoiaf i'm open to many ships, and if i'm not very passionate about some it's not a sign i can't see them in romantic light.

5. Has fandom ever ruined a pairing for you?

may i say any sansa ship? 😭 as well as sansa herself lmao. idk generally i can't ship characters i don't like because i'm just not interested. and it's not to say i don't like book!sansa (show!sansa is another case 💀), i just don't find her arc as intriguing and epic as arcs of some other characters. however, it's absolutely her obnoxious fandom's fault that i don't want to touch anything about her now, pairings including. sansaery? pass. sansan? i used to have a soft spot for them in my heart but now? nah. sansa x anyone? pls have mercy, she's already a fandom bicycle.

and jonsa ofc. i would never mind some crack ship as i do this one if not for their obnoxious stans that did way too much to list there right now. but this burning desire to persuade every rock on the street that your crack ship is canon will never stop being ridiculous lmao

also braime. tbh i used to low-key like them but some of their stans weirded my away lol. i get that not all of them are like that but still. it's generally my great pain when i see braime/brienne/jaime stans who are also dany/targ antis. every time i see them i cackle and run away as fast as i can crying from disappointment lmao. it's really a pity because i'm either very neutral or like in my own way all three of them.

6. Has fandom ever made you enjoy a pairing you previously hated?

jonrya it is! i never hated them, you know, but they never were more than siblings and brotp to me. however, later i encountered the deluded crack ship fandom that shall not be named and understood that if there is any possible romance for jon with any of his sisters-cousins we all know which one it will be lmao. also their stans are very sweet and i really like many of their takes on arya and jon! i generally love relationships of jon and arya very much so it wasn't that difficult in practice to see them in a quite different light.

7. Is there anything you used to like but can't stand now?

meta culture lmao. reading different analysis and interpretations of the text used to be very interesting to me (and still is tbh but in other fandoms) though asoiaf is a different case. imo many people aren't honest in their so called theories and analyses. i get that all of us are biased but some "meta writers'" denial of their own biases influence fandom in a bad way. it looks like too many people run to them to get answers to their questions about any minor detail as if they were grrm himself. yk instead of using their own reading comprehension lmao. you see how this meta culture ruined fandom just looking at the most delusional stans and shippers who spread their agenda by writing endless text posts full of nonsense and bullshit but styled as oh so intellectual and thoughtful analysis. it's insane how many people actually buy it and don't check canon accuracy of such claims themselves. it got to the ridiculous point when random people try to argue with you with some far-fetched embarrassing "theories" as if they were canon facts or quotes straight up from a fanfic because they read somewhere some other confused soul's post and got from a context that this quote is canon (despite the fact that it wasn't written in grrm's style at all but some people can't use their brains even if their lives depended on it it seems).

anyway it's become too long and rambly already so tldr. because of such "neutral unbiased" analyses i got the habit of fact checking almost everything i see in such posts. there's only a small amount of meta writers from targ/dany/jon/arya stans that i trust because i know by practice and following them for some time that they don't pull anything out of nowhere, back up everything they say with canon quotes, don't decontextualize anything and (that is the most important thing to me) are reasonable and open to discussion unlike so many bnfs nowadays.

8. Have you received anon hate? What about?

ah, not in this fandom yet, god bless! i think i'm not loud enough for the needed amount of time to deserve it lol. but since i'm not going anywhere soon maybe one day i will 😂

9. Most disliked character(s)? Why?

robert baratheon and tywin lannister, obviously. tbh it's pretty hard for me to hate any characters because you know. they're fictional lmao. just lines on paper, they can't hurt you. and even such dudes as tywin or robert don't get real distaste from me if they're written well enough. my problem with them lies not only in their canon crimes and shitty consequences of those but in fandom's (or at least some parts of it) unwillingness to acknowledge that they're canonically written as shitty, not as stan/pity/worship material. tywin isn't as clever as some think and robert is a coward outside of battlefield, not to mention some absolutely disgusting denial of his nature from targ antis only because the man happened to be the most vocal targ hater in-universe so these folks feel like he is their main book representative and whitewash him completely lmao

10. Most disliked arc? Why?

uugh idk even. i'm either low-key interested (or used to be at least so i can stay pretty neutral for the sake of nostalgia lol) or too indifferent to really care.

11. Is there an unpopular character you like that the fandom doesn't? Why?

all my faves have their own crowd of haters i'm afraid 😭 but let me say rhaegar. even among some dany/targ stans my man is so misunderstood lmao. it's not even his fault i dare say it's fanon about his half-imagined crimes that somehow got widespread to the unbelievable degree. and when i say they're half-imagined i'm being very generous actually. ofc he isn't perfect, no one in asoiaf is. and yes, he's a pre-series dead minor character but almost all little information about him is actually positive, not to mention the narrative itself that doesn't paint him as a villain or just a shitty dude. on the contrary, he's an idealized to some degree dead prince who could've been a good king (like some other historical targaryens, jacaerys, baelor breakspear, aemon son of jaehaerys, etc.), a mysterious yet tragic figure. i have much to say about why it's so popular to shit on him in fandom but yeah. his haters should send their complaints to grrm instead, no one forced the man to write him like that lol. and i mean that no one has to like him ofc. but it's misinterpretation of the text to claim he was intentionally written as a villain or smth by grrm.

12. Is there an unpopular arc that you like that the fandom doesn't? Why?

i don't know if it counts as unpopular but i would say tyrion's arc as a whole because i enjoy his character and like in my own way. i can get why some people don't like him but this man will always have his own place in my heart i must admit.

13. Unpopular opinion about XXX character?

is this unpopular tho?.. ok but renly wouldn't make a terrible king. i dare say he would be better than both robert and stannis. yes, he wasn't shown as perfect and i don't claim this. he wouldn't be the best or the most brilliant or the most just or noble. yet still better than his brothers. his flaws weren't anything other high lords didn't have, his mistakes weren't anything other lords and kings didn't do. in many ways he would make a better job than robert or stannis, too bad he died so early, even though i get why it was important for the narrative.

26. Most shippable character?

well generally for me it's the ones i love the most lol. jonerys/snowstorm is my never dying otp but i admit my sins, sometimes i just see dany with other characters (often from other fandoms pls don't @ me). however, since dany is THE fave of mine it means i would rather twist the other guy or girl to fit into the good match for her than twist her for another character in my new born crack ship lol. and i never stay for too long with the ships with which i feel they don't really fit and don't do justice for each other lol. maybe that's the reason i'm not much of a rare shipper / crack shipper afshdjdb

27. Least shippable character?

everyone i don't like? 😭 as i've said sansa for the reasons above lol. you can insert many others in her place lmao

#thanks for the ask!#.txt #mypost #ask game #anonymous #*answered

2 notes · View notes

thenameofthewind-documents · 5 years

Text

A LITERARY CRITICISM ESSAY

The Name of The Wind, A Feminist Literary Criticism

Patrick Rothfuss provides readers an intriguing high fantasy world in his debut novel, The Name of the Wind. The book is full of intellectual battle, demons and a numberless list of characters. Which was why, it was all the more disappointing when an author who writes like picasso paints couldn’t seem to handle any of his female characters properly. Instead of well developed heroines that the fantasy genre demands the closest the audience is shown is a woman, Denna, who seems to be written closer to that of a butterfly than a woman. The Name of the Wind is a beautifully written book about the struggles of poverty, loss of family, and loss of purpose with the underlying tone of good versus evil but lacks female characters, female characters development and female characters with strong personalities. In The Name of the Wind, females characters are unfortunately not characters they’re concepts and this is where the highly praised fantasy novel fails.

When reading through The Name of The Wind it becomes glaringly apparent that female characters are being used as foil characters for Kvothe to appear more noble then his rival, Ambrose or appear more powerful. The author’s intention probably was as harmless as wanting to showcase the protagonists wit and quick thinking, unfortunately the way he choose to do so made his female characters become objectified and only there to serve a purpose for the male characters. This is seen directly with Fela. Kvothe witness her being hit on by Ambrose, his advances are clearly unwanted and Kvothe steps in to ‘save’ her. He does this by interrupting the conversation while Fela sits there “ashamed by her predicament” (page 311). Kvothe is obviously angry about this, but Rothfuss chooses for Kvothe to verbal combat Ambrose, “God’s body, this isn’t a brothel, in case you haven’t notice, she’s a student not some brass nail you’ve paid to bang away at. If you’re going to force yourself on a woman, have the decency to do it in an alleyway. At least then she’d be justified screaming about it.” (page 312). That’s the most witty thing Kvothe could’ve said? A passage that implies sexual assault is okay because it’s out of sight? Prostitutes (which the audience later find out is one of limited ways girls can support themselves financially) are literally referred to as objects. Kvothe was supposed to appear more knightly then Ambrose but in reality all the author communicates was that some women are less than other depending on their sexual activities. Fela only appears in the book again when aiding Kvothe in the Archives or when she needs to be saved. Kvothe saves her from a fire, and then she offers to give him sexual favours in return. This interaction does nothing to further Fela’s 5character and only serves Kvothe and the author's intention of him being the hero of our story. In the end that’s all there ever was to Fela’s character. She’s pretty, nice and always there for Kvothe to save to highlight how kind, brave or handsome he is. The message is also seen in Denna, she’s barely a main character, mustly flutters in and out of Kvothe’s life and always shows up on the arms of different men. The author explains this is because of the world building. Women are put into very traditional gender roles, and because of this, they don’t have a lot of options for ways to financially survive in this type of world. In result she’s always is appearing with other men. Once again the author’s intention was probably to highlight Kvothe’s battle with poverty, not having the financial means to support Denna. However, once again the message is distorted and Denna (and women in large) are sexualized. The message the audience receives becomes that women are only worth what they can do for men. Tragically Denna and Fela are just two female characters whose only purpose is to serve Kvothe’s character development.

The theme of the novel is undoubtedly knowledge is power. Rothfuss communicates this through his plot conflicts. Kvothe always finds a way to talk or reason his way out of a hopeless situation. The characters that are most intelligent are put into a positive spotlight through admiration of the author’s tone. These characters always outshine the character which they face. What does this mean for female characters? With female characters Rothfuss uses intelligence to highlight the ‘better’ female characters and the female characters that get the most development. Most of the female characters in Rothfuss’s novel are pretty and flirtatious. However, the female characters that get the most development are the ones that are clever: Devi, Denna and Auri. Devi is a loan shark who use to attend the University. She is one of the only female characters to have other plot purposes other than to highlight Kvothe’s talents. Devi is probably the best written female character but she is a minor one, only appearing in the University arch of the book. Denna is Kvothe’s main love interest and is also cunning and intelligent, she matches Kvothe’s wordplay, street smarts and people skills. However, she is never given any plot purposes other than to survive (go from man to man) or to be Kvothe’s love interest. In the ending conflict there is an action scene but we never find out how she would have responded because she ends up passed out and relient on Kvothe to save the day. Auri used to be a university student who went insane from the use of Sympathy (magic), she is never described as pretty and is Kvothe’s only friend who is a girl. Once again she doesn’t really get her own story, only that she knows mysterious things about the University and shows them to Kvothe (that’s her plot purpose). The point is this, there are only three female characters in a novel with 722 pages that are written as intelligent, two of them are minor and one is as much as a main character as a female can be in this book. It is an insulting amount compared to all the intelligent male characters in the book: Ben, Kvothe’s father, Kvothe, Skarpi, Kilvin, Arwyl, Lorren, Elodin, etc. Some of these male characters are minor but also have stronger personality traits and goals that go beyond Kvothe. There are no female masters out of the nine that have political control over the University. Once again, Rothfuss sends a negative message; girls in general are not smart, therefore, aren’t powerful. This problem is linked directly from the mistake of making the world have such rigid traditional gender norms without allowing a subplot (at least) for female characters to defy those set norms as well as having one of the only girls at the University (Fela) be used by the author to enhance Kvothe’s character.

If you want to know what an author wants to communicate you should have to look no further than the language and tone in which they use. The language Rothfuss uses towards women in his book is abysmal. The readers needn’t look further than the first one hundred pages into the novel to realize there is a problem with how Rothfuss handles his females characters. The first example is an exchange between Kvothe’s father, mother, and Ben (Kvothe’s mentor). ‘“That’s a clever wife you’ve got there, Arl.” Ben spoke up, breaking the tension, “How much do you sell her for?” “I need her for work, unfortunately. But if you’re interested in a short-term rental, I’m sure we could arrange a reas-” There was a fleshy thump followed by a slightly pained chortle in my father’s Baritone.’ (page 92). The dialogue was supposed to inflict a humorous tone into the scene but this fails and only shows that the world in which they live women serve and are owned by men. They would serve a purpose if a subplot came into play, or a female character, that defied these attitudes but there isn’t. Therefore, it become an issue of the author writing women only to serve men. Rothfuss uses Kvothe's father to speak about women’s hands. “He gets them from his mother, delicate but strong. Perfect for scrubbing pots, eh woman?” (Page 94). What’s more telling is that Kvothe’s mother never reacts negatively to any of sexist quirks he makes, she just takes them in good humor. This type of flowery adjectives like delicate will be a continued theme throughout the book when it comes to girls. As well as a priority of appearance over development put into female characters. The final example, is how Kvothe talks about Denna. “As with all truly wild things, care is necessary in approaching them. Stealth is useless. Wild things recognize stealth for what it is, a lie and a trap. While wild things play games of stealth, and in doing so may even occasionally fall prey to stealth, they are never truly caught by it. So. With slow care rather than stealth we must approach the subject of a certain woman. Her wildness is of such degree, I fear approaching her too quickly even in a story. Should I move recklessly, I might startle even the idea of her into sudden flight.” If it wasn’t crystal clear before, it is now that Rothfuss writes his females character like they are two dimensional. The only thing giving them presents in the book is their interactions and appearances. Other than that, they are just aesthetic pleasing pictures to look at, concepts that he likes the idea of being in the story. Denna is implied to be a ‘wild thing.’ She is not a person, she is a thing. In the end, Rothfuss clearly uses sexist implication and objectification when writing his female characters.

In conclusion, Rothfuss fails as much as you can fail to write his female characters. They were two dimensional and observed, owned, and treated like objects in the thoughts, action and interaction with their male counterparts. Women are never given the opportunity to break the economic, social or political glass ceiling that exists in the high fantasy world. They are simply satisfied to have men in more powerful positions of society save them.They have no plot purpose other than to serve a foil character to Kvothe. The author through a lack of careless foresight, communicates dangerous messages for his wide audience to consume. Females not being powerful, always beautiful, always grateful for a man to save them, always kind and always helpless. These females character aren’t characters, they don’t have developed enough personalities to have flaws, they aren’t even developed enough to be called cookie cutter characters, they are simply an idea of what a female character is. The female characters in The Name of the Wind are undeveloped, missing personality traits and opportunities for character development while the audience experiences them through sexist language and objectification.

#literary essay #literary critique

7 notes · View notes