Tag Archives: PlayStation 3

Tales of Xillia 2: A Test of Character

One of the most important things for any party-based RPG to get right is that feeling of everyone having a place.

This can be handled in two different ways according to what kind of RPG we’re contemplating. Dungeon crawlers like Demon Gaze take a mechanics-focused approach in which every member of your party has an important role to play in combat, but outside dungeons they tend to fade into the background somewhat, with the player-controlled protagonist tending to take centre stage for important events.

Meanwhile, more story-centric RPGs emphasise the narrative trope of nakama, a Japanese term typically used to refer to the idea of true companionship — the idea of a group of characters who band together and become a substitute family for one another. They may not necessarily agree on everything, but they share common bonds that are usually strengthened by their shared hardships.

One of the things I liked most about the original Tales of Xillia was that it blended elements of both of these approaches. And its sequel, unsurprisingly, follows suit.

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Tales of Xillia 2: Some First Impressions

By popular (well, relatively speaking) request, it’s time for us to take a look at Tales of Xillia 2, the newest Western release in Bandai Namco’s long-running Tales of series.

I absolutely adored the original Tales of Xillia, as my original review over at my former stomping grounds of USgamer will attest. While the game had a few flaws here and there — most notably with some fairly bland environments in between the more lavishly detailed cities and villages you encountered in your journey around the game world — I came away from the experience thoroughly satisfied that it was one of the best Japanese role-playing games I had played for a long time.

Moreover, it was also one of the most inclusive JRPGs I’d had the pleasure of experiencing in recent memory, too. In other words, those who dislike the more fanservice-heavy direction some JRPGs have taken in the last couple of hardware generations could find plenty to enjoy in Tales of Xillia without having to worry about whether or not someone would walk in on them looking at anime panties. (Not that there’s anything inherently wrong with that in itself, either, mind you — but that’s a topic for a whole other day that we won’t get into for now.)

As such, then, I was unsurprised to witness a certain degree of dismay in the comments section of USgamer’s recent, post-Pete Tales of Xillia 2 review, in which reviewer Bob Mackey hammered the new game with a 2/5 rating: a stark contrast to the 5/5 I gave the original. I’m not here to criticise Mackey, his review or his approach to critiquing the game — different strokes for different folks and all that — but it will probably not surprise you, darling readers, to learn that my opinion on the early hours of Tales of Xillia 2 does not, so far, appear to coincide with Mackey’s take. In fact, I rather like it.

I like it so much, in fact, that I’m going to spend the next week picking at it a little piece at a time for your reading pleasure. And where better to start, then, than with my aforementioned first impressions of the new game?

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Eorzea Diaries: How to Build a World

Regardless of the type of overall game experience you’re going for in a massive, open-world game like an MMO — be it mechanic-centric or narrative-heavy — one of the most important things for the development team to get right is that feeling of “place” — of the virtual world feeling truly convincing.

This is something that Final Fantasy XIV’s predecessor Final Fantasy XI did very well, particularly within the main city-states, and it’s a tradition that A Realm Reborn continues with aplomb.

Worldbuilding is a far more complex matter than simply plonking some rocks and trees down at the side of pathways, however. It’s even more complex than the overall geometry of the environments that you explore over the course of the game — it’s a combination of things, all working together to make the virtual world as convincing as it possibly can be.

Let’s explore how A Realm Reborn handles this.

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Eorzea Diaries: The Hunt Begins

Final Fantasy XIV’s third major content patch Defenders of Eorzea is here at last, bringing with it some significant new story content, some great new dungeons and a bunch of new game features.

One of the most anticipated new features in Defenders of Eorzea was the new Hunt system, a Final Fantasy XII-inspired activity that tasked players with several things: tracking down daily Marks from among the regular enemies that wander the world; tracking down a single weekly Elite Mark in exchange for significant rewards; and taking on any other Elite Marks you happen to stumble across in your travels.

While a sound idea in principle, so far The Hunt has had a somewhat questionable introduction to the people of Eorzea, even going so far as to make quite a few people disappointed, upset or even angry.

Let’s look in a little more detail at what’s up with The Hunt.

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Eorzea Diaries: Countdown to 2.3

Final Fantasy XIV’s third major content patch, Defenders of Eorzea, is set to launch tomorrow, promising, among other things, an epic battle against iconic recurring Final Fantasy character Ramuh, the continuation of several narrative threads, plus a host of new game systems.

Square Enix has been gradually teasing the various new features over the last few weeks, culminating in the publication of the preliminary patch notes late last week. And while these patch notes don’t tell us absolutely everything about what to expect, they, along with the most recent Letter from the Producer direct from Naoki Yoshida, give us a pleasant preview of what the adventurers of Eorzea will be spending the next three months indulging in.

We took a preliminary look at what was coming in the new patch in the previous installment of Eorzea Diaries; let’s today take a look at some more specific details — plus some interesting tidbits of information that were quietly snuck into the patch notes having not really been mentioned prior to today.

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Atelier Rorona Plus: The Nicest Game You’ll Play This Summer

Ponder, if you will, the most common criticisms of the video games medium as a whole. The things that make people roll their eyes and exasperatedly say “videogames” (with no space); the things that inspire endless op-eds by well-known games journalists that ask that eternal question: why aren’t things any better?

Games, these critics say, are worryingly homogeneous; the domain of late-20s, early-30s, bestubbled, gruff-voiced male protagonists with a big chip on their shoulder and usually some sort of “dark past” (or, in the case of anti-heroes, a dark present) to overcome. Games are overly violent and show a poor attitude towards women; games are concerned more with chasing the gritty Hollywood blockbuster model than providing inclusive experiences for everyone to enjoy; games are rehashing the same old ideas over and over again, often on a yearly basis.

Now take a moment to consider Atelier Rorona Plus: The Alchemist of Arland. Or, indeed, the original Atelier Rorona that came out back in 2011. Or, for that matter, the Atelier series as a whole. Spot anything interesting?

That’s right; it’s a series that deftly addresses a significant number of these concerns about modern video games — and yet it’s one that passes a significant number of people by. If you’re not already “in on it,” chances are you won’t give it a second look. And that’s a real shame.

Let’s take a look at why.

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Eorzea Diaries: Defenders and Ninjas

When Final Fantasy XIV: A Realm Reborn launched last year, it was promised that the game would enjoy significant new content updates every three months — and it’s a promise that Naoki Yoshida and his team has kept.

Not only that, but between the three-monthly big patches — which tend to advance the game’s main story, introduce new dungeons and endgame encounters as well as numerous other bells and whistles — the FFXIV team has been generous in providing players with a bunch of smaller updates in between times, helping keep the game fresh and interesting as well as improving the general quality of life for everyone playing.

The last of these smaller patches to hit the game introduced a few little tweaks to gameplay as well as the enjoyable but infuriating collectathon that is the Sightseeing Log — a system that finally makes the weather in the game relevant, but which in the process will cause you to curse it on a regular basis — but now, as we approach July, we’re looking forward to the next major content update: patch 2.3, known as Defenders of Eorzea.

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Goddesses of Gamindustri: Noire

With the Western release of Vita title Hyperdimension Neptunia: Producing Perfection, a character-centric idol management game-cum-dating sim-cum-visual novel based on Compile Heart’s popular RPG series, I thought it high time we took a closer look at the game’s cast.

And, since Noire — also known as Black Heart — is indisputably my favorite member of the cast, I figured there was no better place to start. I’m not the only one who favours Noire, mind; such was her popularity in Japan that she recently got her own game: a Vita-based, Sting-co-developed strategy RPG spinoff of the Neptunia series that looks like being a lot of fun. There’s no news of a Western release of that game as yet, but in the meantime, we can enjoy hanging out with Noire (and her friends, I guess) in Producing Perfection.

But who, really, is Noire? Well, let’s ponder that.

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Eorzea Diaries: Those Who Play Together…

I’ve tried to get my “real life” friends into MMOs in the past. Lord knows, I’ve tried.

And, for a brief, blissful period in World of Warcraft’s early heyday, it was successful. We were all playing together, enjoying ourselves and having a blast. Then the inevitable happened: one of us started playing more than the others, and started steaming ahead. Then another person did the same. Eventually, we were left with something of a split group, unable to practically and productively play together because of our level disparity.

This is a common problem that has plagued MMOs since their inception, and different games have tackled it in different ways. (Some games haven’t tackled it at all, for that matter.) Final Fantasy XIV, for my money, handles it in a fairly elegant manner that helps ensure that all the content in the game remains relevant, regardless of whether you’ve just levelled up enough to try it for the first time, or you’re a level 50, item level 97 veteran who has run it hundreds of times to date.

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An Unavoidable Tragedy

We see a lot of comedy in games these days — it’s something which a number of creators in particular have proven themselves to be particularly good at — but not much in the way of tragedy.

Oh, sure, we have sad scenes that are designed to milk a few tears from those with less-than-stellar emotional constitutions (like me) but very few games that truly explore tragedy in the Shakespearean — or more accurately Aristotlean — sense. That is to say, very few games that have the balls to present a main character that is tragically flawed, makes mistakes and undergoes a significant reversal of fortune — either from good to bad, or bad to good.

The last place I expected to find an example of tragedy like this was in a game from Nippon Ichi Software, a company best-known for somewhat more light-hearted titles, but here we have The Witch and the Hundred Knight, a game that is a significant departure for the Disgaea developers in more ways than one.

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