Fire Emblem: Fortune’s Weave, the 18th mainline entry in the series, begins with a surprising sci-fi prologue featuring laser pistols, giant laser turrets, and hints of artificial beings and crashed spaceships, a stark departure from its usual medieval fantasy setting. This early twist, teased in a recent Nintendo Direct, sets up a story that raises deep questions about religion and faith, though after the prologue, that sci-fi element barely reappears in the first 10 hours of gameplay. According to a hands-on preview by David Jenkins, Video Games Editor at Metro, this is the best Fire Emblem entry since the 3DS era, despite the familiar Saturday morning cartoon dialogue and thin character work.
Four Protagonists and a Time-Traveling Dove
The game’s structure revolves around four playable characters, each with a unique magic weapon tied to the central plot. Leda, a musician, can summon demons with her guitar; Queen Theodora has a magic arm destined to send her mad in 10 years; Cai, a Harry Potter-esque child, has a magic gem in his palm; and Dietrich, a handsome edgelord, wields a sword with a storied past. Unlike Fire Emblem: Three Houses, where players chose one of three characters and played their story start to finish, Fortune’s Weave allows players to flit between the four characters relatively easily. This is because the true protagonist, revealed in the Nintendo Direct, travels back in time as a dove to change the fates of these four heroes, who alone can save the world.
Set in the same universe as Three Houses, with references to the continent of Fódlan, the game is not a direct sequel, so prior knowledge isn’t required. However, it shares Three Houses’ semi-freeform nature and multiple character stories, which many fans loved but Jenkins was more critical of. The prologue and early chapters for each character are distinct, but eventually all roads lead to a capital city hosting a months-long fighting tournament, overseen by gods (mostly goddesses) portrayed as ordinary humans, with a clear Roman influence—these deities are not omnipotent but have their own machinations and vendettas.
Combat Depth and Weapon Degradation
The core combat remains turn-based on a grid-based map, outwardly simple but with vast tactical considerations. The traditional rock-paper-scissors weapon relationship is diminished; arrows are still effective against flying units, and some units are more vulnerable to magic, but the decisions are less black and white. Weapon degradation is more important than ever: using a weapon damages it slightly, and using a combat art for a more powerful move also degrades it. Each lead character has a unique magic move, ranging from debuffing enemies to area-of-effect attacks. The system reveals increasing depth as more class types unlock, and combat is notably snappy, with large-scale battles never dragging.
Permadeath, a series staple, is optional here. Characters never truly die—they still appear in cut scenes—but they are quietly removed from your roster if they fall in battle. Players can toggle permadeath on or off by replaying the prologue, which is short. Recruiting new allies is key, but it’s a bizarre process involving giving presents and raising renown to impress potential recruits. Many potential allies are already tied to other protagonists, making recruitment challenging except for a few token mercenaries. The game also flirts with a dating sim mechanic, similar to Three Houses, but holds back, opting for a sub-Persona style bond system between allies.
Free Time and Dungeon Exploration
Between battles, players are given several in-game weeks of free time to explore the world map, do sidequests, or train teammates. This structure allows unique abilities to shine, such as Queen Theodora’s option to recruit battalions of soldiers or Dietrich’s ability to detect hidden foes with his sword. Some story quests take place outside the capital and involve exploring third-person dungeons, a new feature where combat resolves in a Dragon Quest-style RPG battle, with both sides lining up politely. However, players can’t control which enemy to attack, and it always seems easy, though it might evolve later.
The game is packed with features, content, and plotlines, sometimes to its own detriment, as much is thrown at the player at once. Despite this, Jenkins found it enjoyable and engrossing, more so than 2023’s Fire Emblem Engage and 2019’s Three Houses. The tone is inconsistent, with low-level swearing and protagonists executing prisoners, then joking moments later, but the script could benefit from either full-on camp or embracing serious themes. The voice-acting is basic, with few actors covering many roles.
Fire Emblem: Fortune’s Weave is set for release on Nintendo Switch 2 on September 17, 2026, priced at £58.99, published by Nintendo and developed by Intelligent Systems. The preview covered up to Chapter 5 of Part I across all four characters, and Jenkins noted the game seems very long, with no clear indication of how many Parts exist. The final verdict: it’s a drastic change of pace that, while not without faults, offers a welcome surprise and a strong foundation for future installments.
