|#1 by harleyquin|
2020-05-11 at 05:43
|< report >The conclusion to the Silverio series and the developer's last work now that it has ceased operations. It's a minor miracle the product even sees the light of day, however I can't help but wonder what might have been.|
The scene shifts to Canterbury, four years after the events in Vendetta and one year after the events in Trinity. The "true ends" of the previous works are considered canon; there are a lot of references to characters in the past two works. Unlike Trinity, this game cannot be fully enjoyed without playing the last two (the all-ages version will be out on Steam eventually and the bundle package for the franchise is available).
The premise this time is simpler than Vendetta and Trinity; the protagonist's goal is to slay the Four Gods who have ruled over Canterbury for a thousand years since the Great Catastrophe which birthed the second sun Amaterasu and wiped out half of Eurasia from Earth. The task is daunting, in addition to the few allies and resources the protagonist and allies possess the opposition has a thousand years of experience and the resources of an entire kingdom at their disposal to stop Ragnarok from taking place. The routes chosen determine how the struggle plays out; like Vendetta there is a recommended playing order to maximise the experience. Each heroine embodies the aspects of the Godslayer; Destiny (Angelica), Finality (Cecile) and Hope (Misaki).
Like the previous works before it, side characters are given a personality and background to flesh them out as something more than mere props to the main story. In addition to the four main antagonists, characters like Jace, Richard, William etc. have motivations of their own which are fleshed out over the different arcs. Jace in particular stands out as his raison d'etre is so over the top it leaves a distinct impression on franchise fans, just as his inspiration Valzelide did.
The third and final work of the series also fleshes out the series background, which is both good and bad. The good part is many questions which arose from the initial story exposition laid out in Vendetta are now answered in this work, the bad is the writing can be so overblown in some ways that it is impossible to make sense of what is being conveyed without referring back to the previous works and having a solid understanding of what is essentially a fantasy work mixing elements of science fiction and late medieval magic.
For the three heroines, there's no doubt Angelica's route suffers because her link with Ragna is the weakest of the three. Her route is important as it highlights Izana and the origin of her friendship with Patricia, but the writing does not convey the romance between Angelica and Ragna well compared to the other two heroines. Cecile's route reads better, but its conclusion is also incomplete. Misaki's route is the same as Vendetta's in the first game, as the main heroine hers also functions as the game's true end and has to be read last after Angelica's and Cecile's.
This game has fewer slice-of-life moments compared to Trinity, the theme of war and rebellion against the Gods makes it difficult to write scenarios for the main cast doing other things outside of plotting the next strike. Fans who didn't like the padding will be happy with this, I for one enjoyed the interactions between the main cast in Trinity and found the reduction in such scenes for this work less enjoyable.
Over the top battles mixed with philosophical arguments are a hallmark of Takahama Ryou's writing style. It's not fair to say he's apeing Masada of Dies Irae fame, although there are similarities between the two there's enough to differentiate between the two franchises. Sometimes the battles are dragged out unnecessarily, but the conclusions usually some surprise element which catches the losing party off-guard. Like his previous works, the powers exhibited by each character have their own encyclopedia entry in the extras menu.
Having finished the work, I still think the end product would have been different had light not ceased operations. Somehow there are parts of this work which feel like they were impacted because of the announcement mid-development that the studio was ceasing operations. I can't definitely say which parts were negatively impacted but the work as a whole gives the impression that there was more to offer but not included because of the studio shutting down. As the last work of a "chuuni" franchise in a shrinking Japan adult games industry, it's certainly not a work that can be dismissed as a cash grab for a briefly resurrected studio. It's a shame light won't be making any more games, but Takahama Ryou should have enough in his resume to get work from other studios or shift to the mainstream writing industry should he choose. The other production staff will get other opportunities as well if they haven't already, G Yuusuke being one of the fortunate ones who has already moved on from light's closure.Last modified on 2020-05-11 at 14:05
|#2 by diabloryuzaki|
2020-05-11 at 13:46
|< report >reading ragnarok alone almost same to read vendetta without sequel, "there is no clear world setting". the best character development in silverio saga is trinity but if we ask for perfection (ignoring character development) then ragnarok is the right answer. sadly, vendetta can't be more better than just a prologue or introduction game|
luckily, in ragnarok we have "a slight better ending" for heroine route except true route not like in trinity
|#3 by bestkatalyn|
2020-05-12 at 19:04
|< report >A miracle product indeed, I sure hope the devs got out of it at least as much as they invested. Sadly, somehow it feels like these kinds of stories that carry a lot more quality are not among the favorites in the medium, if you know what I mean.|
I loved it a lot, but as you said somehow it felt like it lacked something, just a little bit. But I am not sure what exactly. That is why I gave it 0.5 less points than Trinity (for now), although both are great for different reasons.
The conclusion felt like a mirror reflection of Vendetta, but the ending was certainly better. I am sure that part of it is that they wanted to leave a happier feeling behind since it's the final part of the Trilogy.
But I think the main reason the ending was better that in Vendetta is that the protagonists were characters that simply "deserved" more. Despite the fact that life dealt them a bad hand they were not salty about it and still kept a lot of hope, revenge not being end-all-be-all, but a necessary step in getting back their life. Which was a breath of fresh air when it comes to stories with revenge as their main premise.
Lastly, Trinity was great because it had the same general feel while having a lot of great characters and trope-twists that are very rare to see these days (who was the main villain again?). But it lacked actual romance in the main part (and by that I don't mean H-scenes).
Instead, Ragnarok delivered the strongest romantic and otherwise bond between the two main characters in the entire trilogy. And that while still maintaining deep friendships between characters as a central point (Richard) and a very interesting and "gray" main villain.Last modified on 2020-05-12 at 19:10
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