While I really don't want this discussion to derail into a debate about semantics, there is nothing false about Sleverin's use of the word 'retcon' as you attempt to invalidate his argument. Now, while it's plausible, I'd posit that it's still highly improbable that SE/Squaresoft/Square—in their earliest conceptions of their RPG franchise—initially intended for each standalone iteration to be cosmically tied to each other. No, it's much more likely that after decades of pumping out individual stories with similar themes and concepts, they decided to retroactively tie things together through pathways you yourself pointed out. This "looking back and making adjustments" to allow for a new form of unity between worlds fits the definition of retcon quite snugly.
"Retcon" and "canon" aren't mutually exclusive terms. In fact, the general point of retconning is to purposely force a new concept/event/story to become canon.The whole reason why I put those examples up is to show that it's entirely plausible for Final Fantasy characters to appear in a different game, and it'll still be canon and not a retcon.
It's a shoehorn because it is literally being forced into a plotline where it otherwise doesn't belong, much like, oh I dunno... having our characters suddenly high-five Shaquille O'Neal during the victory pose at the end of Brayflox's Longstop would be a shoehorn. Even if that's the only place in the entire game we'd ever see him (because we uh... we rescued him from a mud drake! Yeah, that works! The writers put it in, so it's canon!), would that hurt the core story of XIV? Not necessarily, but it sure would put some people off, wouldn't it? (You see, Shaq played a genie in the movie Kazaam, so we could just say that some kid 'wished' him into XIV, and because the developers made it happen, it's suddenly canon. Yes.)How is it a shoehorn? How does it hurt the core story of XIV?
I really hope I'm just misreading this.Considering we don't even know what the core story really is in XIV outside of snippets and some early level quests.
Positive reception in no way correlates with good or bad writing.Wait...are you calling the writing of IV: The After Years shoddy? Really? A game that's been well received by most critics?
Hennnnnce, retroactively adjusting their stories to force...? Continuity.Do you realize that these guys don't necessarily plan things out like this, right? They're not too worried about continuity snarls between their games because each game takes place in their own little world.
You're doing it yourself right here.Now, technology can be lost, history can be forgotten, it isn't that big of a stretch to surmise a reason why the people of VII have forgotten where they came from and how they got there, considering we don't know the time scale of between X and X-2 and VII.
I personally beg to differ. If the crossover of VII and X really is true, then in my eyes (and I'd wager a few other people's), the core ideas of those games are, in fact, hurt. Whether you choose to accept that or not doesn't negate that fact, and I'm again willing to bet that in this example, VII wasn't initially written with the intent that X (written several years later, mind you) will serve as some sort of L. Ron Hubbard-esque origin story. That came later; retroactively.The Core idea of VII and X aren't hurt at all, the games are still playable today as they were long ago, and I fail to see how crossover writing hurts the "core ideas" of these Final Fantasy games.





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Once again, critical acclaim and good writing need not be connected.


