The person who he is planning to sacrifice? Why his nephew, Velvet’s little brother. Artorius bound this reincarnated soul of his dead wife to himself and has been waiting to make a sacrifice to an ancient god to unlock its power. It would have been a major tragedy for anyone, but then her soul was reincarnated into a malak, a spirit certain people can bind to themselves for magical powers (artes). During what was called the Scarlet Night years before, his wife died when daemons appeared. Velvet’s brother-in-law, a man the player meets in passing and then sees seemingly talking to the air next to him, has been making plans. What if everyone in the town was murdered?īut I’m getting ahead of myself. And the game is ready to make sure it doesn’t. But considering love, even jokingly, with another woman? Well, of course, this can’t happen. Yes, she cares about her little brother and even ventured into the woods to get special ingredients for him. In the rules of horror movies, this scene counts as a sin against Velvet. Pretty soon, though, Velvet has to run back to take care of her little brother, but she makes plans to see the woman again. Everyone’s all smiles and there is even talk of dating. It’s a time for gathering ingredients in the forest and planning meals. There was some tragedy in the past, sure, but things are looking better. Tales of Berseria opens on an idyllic village. “What if we were both girls and we kissed?” She becomes the “final” girl and ultimately the hero. Yet, there is always one girl left - the most virtuous. Basically, go against any implicit rules of 1950s Americana and the punishment is death. The greater the “sin,” the more gruesome their death. However, to get there, the girl must be “punished.” In fact, everyone must be punished. Through transitioning from victim into the story’s hero, the “final” girl in the movie, the one left after all others have been killed, becomes the focus of the story. It became known by the title given to it by Carol Clover in Men, Women, and Chain Saws: final girl. Her monstrous arm used to penetrate victims and consume their energy.Īlong with the phallic mother, there is another theme in 1980s horror movies. With this as a backdrop in my mind, I started playing Tales of Berseria was greeted with the female lead and her arm. It’s literally the plot of the fourth movie in the series, Alien Resurrection, as Ripley-as-mother is thematically set against the alien queen-as-mother. The “evil” mother versus the “caring” one. It’s a common theme from many movies in the late 1980s into early 1990s. It doesn’t “sit well” into the gender binary and, of course, kills people. The “phallic” mother is this kind of threat. It’s both female and has the ability to penetrate its victims. Think the alien from the titular Alien series of movies. What I remember most from those works was the idea of the phallic mother. I dug into abjection and was, for a brief window, even considering a future in film analysis and cultural critique. Books like Men, Women, and Chain Saws, Monstrous-Feminine, House of Psychotic Women, Powers of Horror helped me build up my theory knowledge. For a couple years, I read pretty voraciously across any theory and film books I could get. In what honestly feels like several lifetimes ago, I was interested in feminist film theory for the end of my Computer Science degree into the early part of my Masters degree. It’s a game with some good themes of horror, tragedy, and redemption often overshadowed by its JRPG presentation. I ended up playing through the whole thing, and doing a number of side quests. The fact it was both a JRPG and had a female lead character was worth trying out, even if I didn’t plan to finish it, I decided. I’ve played a large number of role-playing games and a fair number within the sub-genre of Japanese role-playing games. What caught my attention was the female lead. I didn’t know this games was a prequel to Tales of Zestiria, nor its placement as sixteenth in the series, when I first started playing it.
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