„I wanna get close to XY!“ → can't bother to read their dialogues as they talk about the same stuff all the time → avoiding any further interactions → not being able to explore any other traits → „Gosh, why do I know nothing about them?“ → „I wanna get close to XY“Īfter one in-game year and the effort to talk with anyone on a daily basis I can tell you more about Leon, who moved in not too long ago, than any of the above listed characters.īecause space is precious and steam reviews are limited to 8.000 characters I will keep the following issue relatively short. Instead of presenting fleshed out characters you are struck by some lame hyperboles. That's basically all you need to know about them. Clorica is sleepy, Porco is a fanatic foodie and Baldo likes his money. However some of the townsfolk got assigned one single character trait and from now on their whole personality revolves around it. Want me to spell it out for you? F – R – I – E – N – D - S Generally the game offers a nice selection of different personalities which makes sure that you will find at least a handful of people you are fond off.
Why are we doing this? Why are we forced to make such a heavy decision without being actually invested in these people? Should I give up my own life so easily after hearing a few sob stories and because it somehow somewhat is what heroines do? There is nearly zero insight provided how much we struggle with this decision besides some tears and worn-out phrases. You are barely connected to this town, the folks, Ventuswill, their history or their set of traditions and still you are willing to make a selfless sacrifice by staying behind and letting Leon return to freedom. Things work the way they do not because it makes sense but rather because it's desperately needed.Īnother example of the poorly timed writing is the ending of the first arc. Due to the inconvenient pace the development feels unnatural or even forced. Instead of providing actual conflicts and solving issues in a logical way the story gets pushed forwards at any sacrifice. Some may say it's harsh to dedicate a whole paragraph to a sequence which barely takes a few minutes, however I see it as an prime example what's off with the story-telling. Good for you as you only fall several meters, land on a magical dragon which rules the town and now you get to live with them! And as you are one hell of a poor bastard one of the enemies accidentally throws you over board. While you regain consciousness they demand to know where the rune is and get in a heated discussion if you actually lost your memory or just pretend to do so. It's not like they could manage to get up and catch you off-guard. Unluckily two enemies smuggled themselves on board of the airship and start a fightĪs you got nearly overpowered by these fellas it's only natural that you turn back and have to take this incredible vulnerable good into your own hands. In a universe, where the Hindenburg tragedy apparently didn't take place, our character has the honourable task to deliver the local goddess an item of sheer importance. Unfortunately RF4 didn't succeed in providing a nicely written story and as a result the players get left behind with a mediocre mess. Managing to capture the player's interest long enough to establish a decent environment where they can roam around freely is challenging. Unless you refer to already existing media everything needs to be build up from scratch. As I find it incredible hard myself to find the right words for starting a story I can understand the struggle that goes along with it. ARC 1 – everything seems possible with a pure heart and the power of friendship! A long time ago a fresh dude claimed: „He who is without sin can cast the first stone“.
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