What I'm wondering is whether this rather technical approach to writing - and an emphasis of plot and setpiece over character - is related to some of the shitty characterisation that goes on in Japanese media.Yeah. I think this is actually a component of the willingness to slot characters in for humor like that. Pyra has an extremely consistent character in serious moments (and her English voice actress is putting in work with the subtle nuances), but Japanese writing is more than willing to give characters a couple of quirks that're used entirely for one-off (or god help us recurring) gags exclusively for the purpose of levity. As long as it all the pieces that are being laid down come together and coalesce at the dramatic (or humorous) climax, anything goes. Xenoblade 2 is extremely, extremely indicative of this method despite the usual meticulous Takahashi plotting being overwhelmingly present, because while the internals of a given chapter might have serious drama, political intrigue, comedy literally on level with a children's show, weird anime faces and gags, and complete nonsense farcical humor spread across it, it always coalesces in an extremely potent capstone series of setpiece cutscenes, both action and dramatic, that close out the chapter and move the story forward. It's in those Big Moments where the writing and direction most heavily shine.
This structure is also a large part of why the game feels so much like it's from the PS2 era, lost in a time capsule.
Facepalming design notwithstanding, Ashe is absolutely one of Square's stronger characters, far moreso than Lightning, but her biggest moments generally revolve around conversations, not over-the-top action scenes. Contrast FF15, whose setpieces were like the Matrix and Dragonball Z did a fusion dance, and often came out of nowhere to the point of making no fucking sense...
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