Plot
The two protagonists, Rue and Mint, both desire the Relic for different reasons; Rue wanted to revive his dead friend Claire who was killed in a confrontation with Doll Master, while Mint, a princess, wanted to reclaim her right to the throne from her sister Maya.
Threads of Fate has a reasonably uncomplicated story and (save for its rather unexpected plot twist) harbors minimal surprise and suspense, with its greatest story pull being in its character interactions, aided by flawless localization.
The simplicity of the story makes its theme oddly obtuse, however. The game's storyline is based heavily on the distinction between immutable destiny and choice. This is most obvious in Rue's storyline, as he gives many speeches near the end of the game about fighting the will of his master and refusing to accept fate, but many of the more important characters also follow through on this theme.
Another example of this is Mint's destiny. Because she was thrown from her position, it cast her out of high fate. In response to this, she decided to write her own destiny by skipping the formality of ruling a kingdom and instead simply seeking to take over the world. Rod's fate, too, was written by his father Pleskin, and he expected to be the greatest swordsman of all time, capable of defeating his father, who held the title. Because Pleskin died, Rod was left to wallow in the despair of never being able to surpass his father's legacy until Lucine helped him realize that he needn't be tied by his assumed fate. He instead became a swordsmith-fighter-vagrant, determined to surpass his father's legacy in his own way, by becoming the greatest weapon crafter known to the world.
Read more about this topic: Threads Of Fate
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)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.”
—Woodrow Wilson (1856–1924)