The Legend of Heroes: Kuro no Kiseki Ⅱ -CRIMSON SiN-

先聊这作一些恶心人的地方：1.这作注水量惊人，大量脱流程的设计喝剧情，童话庭院除了战斗外远不如创之轨迹的梦幻回廊好玩，当然我觉得创之轨迹的梦幻回廊也是注水内容但质量高于本作的童话庭院。2.钓鱼概率比较迷，为了图鉴钓鱼运气不好的时候是真折磨。3.作为剧情为重要内容的RPG游戏，本作充斥着大量为了故事牺牲人物塑造的桥段，给人感觉就是编剧有点新点子不管适不适合先往里掺，然后再拉几个老面孔来演。4.falcom的轨迹系列从闪轨开始就在节省反派，这作在这方面的表现尤为突出，懒得设计新反派了就掏几个熟面孔来，然后用干涉认知的瞎扯解释下就送上场当BOSS用了。 接下来说说之所以还给好评的原因。终章挽回了对本作的大部分印象分还拉了很多情怀分，从空轨一路走来的老玩家在终章的体验是比较舒适的。终章牵绊剧情的质量是高于前几章主线，除了最终BOSS又拉熟面孔来鞭尸，其他也还好。 至于游戏玩法喝战斗方面比起黎之轨迹1就没什么改进，也没啥好说的。只有敌我行动条合一这个设计给个好评。

黎1無敵開局到黎2直接軟掉，時間回溯已經有那麼多優秀作品可以參考竟然寫成這樣。本作劇情不是在中風，就是在中風的路上，真的很可惜，不過結局方面個人認為收得還算不錯。但戰鬥方面無敵爽，後面還有黎1沒有的endgame內容，一周目就能刷全員神裝，雖然評價有點兩極，但我是不排斥刷裝的，還可以操控師姐跟蕾恩，整體上還是好玩的。

这是什么大份剧情我草，一堆二五仔和强行智商下线

The Legend of Heroes: Trails through Daybreak 1 and 2 is set in a fictional world, yet as a series first it explicitly introduces and names the White race, consistently portraying them across every narrative arc as anti-immigrant terrorists. The framing deliberately depicts a "moral" White person as someone who accepts the erasure of his own country and culture, suggesting that his only racial redemption comes from sacrificing his ethnic existence to benefit non-White races. Within the context of these games, any defence of a White person's own heritage is labelled as "White supremacy." Throughout this narrative, the game forces a simplistic dichotomy that positions immigrants as permanently innocent, while dismissing any normal grievances or anxieties regarding these demographic shifts as an innate malice of White people that the game communicates is expressed via ethnic terrorism. There is no healthy representation of diverse White peoples simply existing as human beings with a right to their own distinct cultures and homelands. This double standard is clearly highlighted through the historical character Sheena Dirke. The game celebrates a non-White actor playing her in an in-universe historical film, claiming that "race doesn't matter." However, the writing constantly contradicts this by emphasising how much race and heritage matter for every other group. The narrative ultimately frames cultural and demographic replacement as something beautiful and progressive when done to only one race, to prevent it from ever daring to be as human as everyone else. The underlying message of the series is that this specific group is only good when giving away its heritage and facing extinction. Dehumanising a group in this manner suggests the writers never viewed it as fully human to begin with. Given that this series is developed by a Japanese studio, the extreme nature of this narrative framing provides an unexpected perspective on regional viewpoints, making it easier to understand and sympathise with the historical geopolitical tensions held by neighbouring nations like China and Korea. Ultimately, framing the erasure of an entire race and all its unique ethno-racial cultures as a moral good reflects a deeply twisted worldview.

狗屎，一路从空轨打过来，我都怀疑这作是不是外包瞎几把做的，从剧情到战斗，全系列最烂，没有之一

好玩