That alone elevates it above most video-game stories, and it's one I cherished experiencing. The characters stand by themselves, deeply flawed and deeply human. But even there, at least I can point it out as a problem with Sydney’s point of view. Some of the dialogue is a bit iffy, there are a few too many superfluous characters (mostly in the Crimson Guard) and I find Sydney’s take on what constitutes morality far too simplistic. I don’t consider the plot of Vagrant Story to be a perfect masterpiece. The story is incredibly dense and confusing, but no-one acts sporadically or inconsistently - and the tone signalled by the haunting music persists throughout the entire game. This includes the player character, Ashley - he has a troubled past, and doesn’t know the right thing to do. ![]() These characters are all deeply flawed individuals - some brutal, some cruel, some petty. The drama is all organically driven by the character’s conflict with one another. And I have severe problems with the main plot of Cave Story - It wavers drunkenly between cuteness and tragedy, and left me not caring about it one whit.īut with Vagrant Story, it's different. Policenauts, for all its excellent explanations of technology, unravels at the seams when considering social or political implications. When I’ve written about other game’s stories, they’re usually framed as criticisms. Almost all of the plot is told through natural dialogue between characters, and it feels like you’re watching an elaborate Shakespearian play. It drops you into the middle of a confusing, multi-factional conflict, with secret alliances and betrayals, and expects you to keep up. ![]() Vagrant Story uses one of my favourite techniques of storytelling - it features a complete lack of exposition. ![]() This article contains extensive SPOILERS for the entirety of Vagrant Story.
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