Augestein

Yeah, I can agree with Recovery. If they were all learned at the start, it probably would have been better. Honestly, it would have been interesting to have different skills on the herons altogether. As it stands, I find that Reyson and Rafiel are leagues ahead of Leanne because of it. I get that. But it's just that having a bulky dancer is something that is nice. It's why even though I think Rafiel functions better, I still say Reyson is just as equal for durability. If you get hit by the massive AoE, Reyson is just durable enough to not die, unlike Rafiel. It's a serious thing to take into consideration when refreshing.

I care on the account that some of them like Ninian actually gets decent defense, res, speed and luck. This puts them in a way where you have a unit that can refresh other units and if you make a mistake, you don't have to start over. I'm not perfect, so I like it when a unit has something resembling durability and doesn't instantly die because you had a slight lapse in focus. And the heron skills can be useful. Bliss makes it to where the biorhythm goes to best, which results in more evade and hit (more emphasis on evasion) and +10% skill activation. That's pretty nice. It also has the added effect of starting the counter over if you finish a chapter with it. And Recovery certainly isn't a bad move either. Recover to full hp and cure status effects? Nice. The issue is that there's such a huge onslaught of units that can heal the move itself doesn't need to be used, and in most cases, you could probably refresh a healer, but really, having a utility unit like that isn't bad. Sorrow is about the only move they have that sucks, and that's primarily because Bliss exists and Sorrow doesn't have range.

Gaius x Nowi.

In a platformer being on a mount means that you have a larger hitbox and thus have a harder time dodging. I can see a person rolling across the ground, I can't see a person on a mount doing the same thing. In a platformer, I'd probably NOT want a mount by virtue that I'd have a huge hitbox, and I'd honestly have to have a reason to have such a giant disadvantage. Also, I'd expect turning around on a mount would also be slower than a person on foot as well. I don't know, I see mounts as a horrible thing in most games. Unless it's something like Mario where it's an extra jump, or invincibility to death on a mount unless you are crushed or fall off a cliff.

I don't think they will. It looks like Fire Emblem x Yggdra Union if anything.

Ugh... Olivia I'd be more fine with if she wasn't home to ambush spawns. I swear, if you didn't just play yesterday and remember the ambush spawns, Olivia is pretty annoying to use honestly.

Neat. I'll have to check that out.

I just checked something. And I was right to do so. Roy dying does not prompt a game over.

One thing I'll comment on that's weird: Roy doesn't have that satisfying "KKKKKKSHHHHHHHHH" when he kills an enemy and instead has the regular hit noise. It's disappointing. Also, Roy calls up the boss screen even when you have animations off on Chapter 1. It's weird.

Innes. It's Seto Kaiba in Fire Emblem form. What's not to like?

Legionwood comes to mind. The first version was pretty good. I've played a few other incomplete ones, but most of their names elude me.

I would, but Ch. 4 actually crashes for me without fail.

Yeah. That cavalier has some Silas stats in Revelations. Haha... Couldn't resist that pun. But yeah, turning Silas into a ninja effectively eliminates his biggest problem. Iffy speed. Takumi Swordmaster is amazing. It's a nice nod to the fact that he can fight with both. I like it.

I like them both. Bridgette looks like her armor is a bit too big for her though.

Yeah, I didn't comment on balance but Wolt... Needs help. Badly.

I'd take the +1 move from Boyd to be honest. I find that Boyd is fast durable enough against most things.

It's a typo, but there's quite a few typos, I'd worry about those later, there are a bunch of strange syntax right now.

Yeah, I was talking about when I updated the files, I missed the files. Not you. I didn't want to overwrite the save.

Resumed, and it seems fine. The update didn't update all of the files when I used replace.

Keeping a Fire Emblem comparison here, Mystic Quest is essentially playing "Lyn Mode" the game. If those are the reasons that you disliked FF6, you'll probably not really like MQ. Games like Secret of Mana, despite their lower scores, would probably be more your team. Either that, or Summon Knight. The GBA Summon Knight Swordcraft stories are simple but they are fun.

Alright, I kept going, I ignored the Diek / Roy conversation in chapter 2, and then got to chapter 3. There the game crashed upon visiting the church. I don't know if it's because I visited with Marcus, but nonetheless, it crashed there. Is there anywhere else you'd like me to report these? Or are you fine with here?

I can attest to this too. I've played both, and FF6 is definitely a cut above MQ. Also, I think MQ is hated more for what it stands for than anything else. Its creation really doesn't make much sense.

For me, I honestly take a sort of an exhaustive approach to writing anything that's more than a quick short story that's meant to make a point for someone than entertain. Here's what I do: establish concepts first and then expand upon them. Keep it as simple and basic as possible when you start out, and then broaden the scope of the world. For instance, you need to decide if the story is driven by the characters or events or even the world itself. From here , expand upon everything else to allow for ideas to be elaborated on. I'll start with an example: "Bob buys groceries for New Year's Celebration." From this one sentence, we have three components that we can definitely expand on. We have a character "Bob," and we have his action "buying groceries," and we have an event "New Year's Celebration." Now we have a story! But as it is now, it's not very interesting and the plot isn't there, so we need to expand on each component. So essentially what we need to do is make a list of characteristics for Bob, or at the very least, we need to figure out what led him to going to buy groceries. The easiest way I find to figure this out is by asking questions and answering them (that way, when you start writing longer and more complicated stories, you never have to "wing it" so to speak because you already gave the characters motivations for their actions, which means that you'll never have moments where you have characters behave nonsensically to move the plot along.) Why is he buying the groceries? Does he want to buy them? Where is he going to buy them? Let's answer these questions: Why is he buying the groceries? Bob is buying the groceries because it's New Year's and he plans on hosting a celebration for the party. Does he want to buy them? Under normal circumstances, Bob finds shopping a nuisance, but he can't throw a good party without shopping because he doesn't have enough snack foods. Where is he going to buy them? He's going to buy them from his local store: Cub Foods. It's the cheapest place that we can think of that has everything that he needs. It's also close enough to his home to quickly buy the produce. Okay, so we have a basic premise that just got expanded upon. We even managed to add some characteristics to Bob. We established that he doesn't particularly like shopping, but he's still the host of the party, which leads me to think that Bob either enjoying to host the party, or some event happened that caused Bob to have to host regardless of his opinion. We've also gave an actual place for Bob to go shopping. The next step is to expand upon those attributes until you have enough concepts to actually create a plot. IE, now that we've established that Bob is hosting, we've given him a motivation in the story. Now that we know that Bob dislikes shopping, we can understand that Bob really wants the party to happen , so much that he's willing to do something that he doesn't particularly enjoy doing to eventually partake in the activity -- either because he's forced to, or because he wants to (you decide). We've also brought a location into the world, and even felt that it was important to detail that the place is nearby. We can ask more questions upon those concepts until we have a story that's essentially writing itself. As all w'd be doing in this story is answering all of the questions that we've brought up from the initial premise. The same story could literally go anywhere from such a base premise. This is a good thing. I'm not going to go through the whole thing as I feel that doing that would be more of a tutorial or a blog sort of post and might come across as pretentious (as I've never actually officially released anything), but I hope you understand what I'm saying. We should also take note that we actually have a location in our hypothetical world -- remember, we don't need to establish the entire world around Bob, just enough to give the audience a grasp on comprehending the initial story we crafted. Don't get too hung up on trying to create a grand world unless this world brings upon a reason that Bob cannot buy groceries for the New Year's party. Keep that initial premise posted in your face at all moments. One of the biggest problems that a significant portion of writers have is that they realize that a good plot requires development and expansion of concepts, but they spend too much time explaining things rather than just moving the plot along. I find that taking an exhaustive approach is one of the better ways of working by virtue that you can stop expanding when you feel that you've appropriately described the situation of Bob buying groceries for New Year's. This does mean that for longer stories you'll have like a book of notes / lore for the story that might actually be longer than the book itself, but I find this is much easier than just writing the story as you go. When you do that, you'll often find contradictions throughout the story, characters being forgotten about throughout the story, or even worse, plot points just disappearing throughout the story. In terms of actually sitting down and writing the plot, the biggest thing I can say to you is this: write a synopsis first. That way, you know exactly how the plot is going to go for the story before you even start adding flair to the story or even dialogue exchanges between characters. When writing a story, I feel that there should never be a moment where I need to stop and *think* about how the plot should go or what a character should say. If I do, then I need to go back to the story board and tweak some things or review the concepts I made in the first place. However, I should add that sometimes characters evolve in different ways from how you originally planned, so don't be afraid to alter the plot if your characters start interacting in ways that you didn't originally conceive-- it happens. I've written a story where there was a subplot where a man and a woman were supposed to fall in love with each other towards the end, but the two had motivations that were so different from each other, and they spent so little time talking to each other that it didn't even make much sense for them to fall in love. Thus the subplot was inevitably thrown out. Sure, I could have done the "time skip" thing a lot of authors do, but I feel that time skips to make characters hook up with each other is lazy and forced.

No, I completely understand, you're essentially reading a story that exists in its own void, and as of now is nothing more than "fan fiction" really at this point. It's no longer a collection of something bigger, but rather a piece of history that's not even tangential to the movie plots that you were / and are still invested in. As a fan, I'd understand why you'd be less motivated to read them. They'll never be referenced in any of the newer material, and essentially have no purpose. I was pretty sad when I found out some of the things were purged. Although, with all of the crazy retcons, I understand why.

Started playing it, and I already ran into a bug. Talking to Roy with Diek caused the game to crash if you talk in Chapter 2.