Plot
The primary settings of the Fire Emblem series are commonly defined by the names of the continents on which the games are set. Aside from Archanea, Valencia, and Judgral, which are confirmed to be part of the same world, each continent is thought to exist in its own separate universe with its own incarnation of the Fire Emblem. Games set on the same continent are typically linked through the overarching storyline and character relationships. For example, Fire Emblem is a prequel to Fūin no Tsurugi, and some of the characters in these games are blood-related. There are currently seven continents:
- Archanea: Ankoku Ryū to Hikari no Tsurugi – Monshou no Nazo – Akaneia Senki – Shadow Dragon – Kakusei (renamed Iris)
- Valencia: Gaiden Kakusei (renamed Varm)
- Jugdral: Seisen no Keifu – Thracia 776
- Elibe: Fūin no Tsurugi – Rekka no Ken
- Magvel: Sacred Stones
- Tellius: Path of Radiance – Radiant Dawn
The eponymous "Fire Emblem" of the games is a plot device or item that has taken multiple forms throughout the series, changing with the setting. The original Fire Emblem was a shield. In the remake of the original game in Monshō no Nazo, the Fire Emblem can open chests, and in the second half of the game, it can be upgraded with five orbs to turn it into the Shield of Seals. In Seisen no Keifu, it does not appear, but it is mentioned as the family crest of a noble house by the person succeeding it. In Fūin no Tsurugi and Fire Emblem, the Fire Emblem is a gemstone required for a ceremony to recognize the heir to the kingdom of Bern, and was used to seal away a dragon. In The Sacred Stones, the Fire Emblem is one of the eponymous stones, which holds the spirit of a demon. In Path of Radiance and Radiant Dawn, it is a medallion containing the imprisoned spirit of a dark goddess, who can only be freed by a song called the Galdr of Release.
Read more about this topic: Fire Emblem
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)