Genealogy of the Holy War or FE4 without spoilers

Fire Emblem Genealogy of the Holy War introduced the concept of support conversations, the weapon trianglespecial skills, two generations/children characters, magic being split into different ranks like Fire/Thunder/Wind, Light and Dark, and very developed characters/villains.

Genealogy of the Holy War also had a few weird ideas that didn’t return. Like units couldn’t freely trade and had individual money. Units could only trade with others either in support partners, through a pawn shop(above), or specific events.

The other was broken weapons could always be repaired back to use in the pawn shop. This included Legendaries.

It was one of the most successful games in Japan, only falling behind Mystery of the Emblem and its remake for DS. 

Awakening took inspiration from Genealogy of the Holy War. One such example being Holy Blood featuring in the story of Awakening, but not the gameplay like Genealogy. 

Holy Blood being power originating from their ancestor drinking dragon blood manifesting in the form of a Mark, the full Mark usually only shows on the firstborn(hence Chrom gets it and not Lissa). While fully human and distinct from Manaketes, these humans have increased abilities and can usually wield special weapons. The full mark holder can also be possessed by the dragon of whom their mark owes its origin too.

The Grimleal in Awakening who worshipped Grima as a god and worked to create another human for  him to possess where almost identical to the Loptyrians of Genealogy who worshipped Loptyr as a god and worked to create another human for him to possess. They both used the Deadlords as mentioned earlier.

A big thing is Fire Emblem Genealogy of the Holy War two generations. The character above is the main character of the first generation, Celice/Serlis, while the characters behind are Sigurd and Deidre, the main character of first generation and his wife respectively.



Like Awakening, the mother determined the character, while the father determined the stat growths, skills, and supports/events. Unlike Awakening which used time travel, Genealogy used a time skip after what happened to the parents of the first Generation 1, I’ll avoid spoilers.

Only 2 potential parents remained in the second generations story and only one was still playable(guy in the pics above).


As you had to have units in the second generation and only the main character of first generation married by default, the intricate substitute character system existed. Basically say a Mother didn’t get married or died in G1, in her kids place would be a new character who fulfilled the same role her kid played in G2 but with a new personality and look.

Like despite both archers above fighting to support to finance their village , the regular one was somewhat arrogant, while the substitute was insecure about his lowbirth/lack of holy blood. They also had different supports and could get different weapons.

Final thing Awakening had from them is several of the Legendary Bloodlocked weapons like Mystletainn, and Naga Tome appeared as extras. The only ones that do not return as Extras are the Loptyr tome and the Valkyrie Staff. The Awakening versions are weaker then the FE4 originals and are not blood locked.


Reading through this post, it’s really interesting to see how similar FE4 and Awakening are alike to each other. It seems like a really good game and it’s not hard to see why it sold so well. Seeing as Awakening was slated to be the last game in the series if it didn’t sell well, I can understand why they took so many elements from it because it sold very well.

Watch on

Viola Concerto, Sz. 120 (1945)
I. Moderato
II. Adagio religioso - Allegretto
III. Allegro vivace

Yehudi Menuhin
New Philharmonia Orch.
Antal Doráti

Bartók began work on a concerto for the viola in early 1945 in response to a commission by the well-known Scottish violist William Primrose. To this end Bartók studied Berlioz’ Harold in Italy and corresponded with Primrose on the matter of certain technical and logistical questions.

By late summer rapidly deteriorating health had forced Bartók to abandon the project. The concerto was later completed from sketches by Tibor Serly, and the result, while controversial in terms of authenticity, has remained one of the great 20th century concertos for the instrument since its premiere by Primrose with the Minnesota Orchestra in 1950.