Tag Archives: Galapagos RPG

Death end re;Quest: Down the Rabbit Hole

Death end re;Quest, in keeping with the rest of Compile Heart’s Galapagos RPG project, is an ambitious and rather unusual affair from a narrative perspective.

The setup for the game is pure isekai, but almost immediately after actually starting the game for the first time, you’ll come to realise that there’s much more going on here — a really interesting blend of genres and styles that makes good use of its medium to tell a story and raise some intriguing questions.

Let’s take a closer look.

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Waifu Wednesday: Lucil Filarete

Death end re;Quest’s cast, like many other Compile Heart ensembles, is designed in such a way that pretty much everyone will find someone who appeals to them.

If you’re the type who likes the kind of girl who speaks in a wispy, seemingly emotionless, far-off voice, then you’ll probably get along with Lucil Filarete. If you like petite elf girls with honkin’ great boobies, you’ll probably also get along with Lucil Filarete.

In short, she’s a very appealing character for many, many reasons!

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Waifu Wednesday: Clea Glaive

Everyone’s sure to have a favourite from among Death end re;Quest’s all-female cast. And I imagine a popular choice will be Clea.

A great example of how the game sets and subverts expectation with regard to character tropes, Clea might initially seem like your common-or-garden ohohoho-ing ojou-sama, but over time it becomes abundantly clear that there’s more than meets the eye here.

Let’s take a closer look!

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Death end re;Quest: The Art of Fighting

One of the things Compile Heart’s Galapagos RPG project has been keen to do ever since its inception is experiment with mechanics, particularly when it comes to combat.

Death end re;Quest is an excellent example of this, featuring several layers of mechanics that keep things consistently interesting as you play through the main story and the optional side content. It’s also one of Compile Heart’s better balanced games to date, featuring a smooth incline in challenge factor rather than sudden, unexpected spikes.

Let’s take a closer look at how it all works.

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Waifu Wednesday: Shina Ninomiya

One of the more interesting things about Death end re;Quest, as we’ll discuss in more depth when we talk about its story in detail, is its dual-perspective narrative.

The “real world” unfolds from the perspective of main male protagonist Arata Mizunashi, while the “game” side of things is the domain of trapped director and lead heroine Shina Ninomiya, who initially has absolutely no recollection of how she found herself in a virtual reality game so realistic it’s difficult to distinguish from “reality”.

Shina is an excellent lead for the “in-game” side of things, for reasons that will become apparent shortly. Let’s take a closer look!

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Death end re;Quest: Where Does the Game End and the World Begin?

One of the most interesting things about Death end re;Quest is the fact that it gradually evolves over the course of its duration, with new mechanics and structural elements being continually introduced throughout the first distinct “part” of the game.

Today we’re going to take a look at part of the game’s overall mechanics and structure: specifically, the part of the experience that allows you to explore and advance the overall story. We won’t be discussing the narrative itself today — just how it’s presented and how the game hangs together.

It’s one of Compile Heart’s most interesting games, even before you’ve unlocked everything — so let’s take a closer look at one of its coolest aspects.

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Death end re;Quest: Introduction

Although Idea Factory and Compile Heart will likely always be known as “the Neptunia people” thanks to the success of their flagship franchise, this cult favourite collective has been becoming more and more adventurous and creative as the years have advanced.

A big part of this experimentation comes in the form of Compile Heart’s “Galapagos RPG” project. Originally set up in 2013 with the mission to “develop RPGs specifically for Japanese customers”, the intention behind the studio was to eschew the growing trend for Japanese developers to change their style in a specific attempt to court a wider Western audience, and instead to focus primarily on that core audience. This wouldn’t rule Galapagos games out of being localised, mind you — it just meant they’d be unapologetically Japanese.

Sounds good to me. And going by the strength of past games put out by the project — including Fairy Fencer F and Omega Quintet — it seems to be a winning formula for the studio. Let’s take a first look at their latest, and where it came from.

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