es un JRPG muy divertido y hermoso, excede carisma un monton y el plot twist + como todo se une al final lo encontre muy goated. Es una experiencia inolvidable y muy entretenida de principio a fin 10/10
In absolute awe of the nearly raw, undercooked nature of this game. It's weird, it's ambitious, it fails on multiple fronts. It's an RPG Maker game before RPG Maker existed, a borderline avant-garde experiment from a time when you had to call a factory and physically manufacture cartridges to get a game on the shelf.
More than anything: the combat. It's different, that's for sure. It's easy to see what they were going for, the positioning, unit facing, action delays. And… most of it doesn't matter? Combat is trivial until the final chapter, moderately challenging at best from then on. Status effects are plentiful but largely irrelevant, action timing is so very odd. Sometimes opening a menu allows another character to go, sometimes a unit will take 7 active turns to unleash an underwhelming move. Opponents need to spend time to reorient, but you do not, despite the numerous enemy moves that change your facing. You have a plethora of abilities on each character, most of them meaningless. The non-linear nature means everything before the finale is the exact same difficulty. Everything is just… there. A pile of ideas.
So it's a good thing the rest works. Yasunori Mitsuda's boss theme rips right out of the speakers, gets you hyped every time even though you know you're in virtually no danger. Every character has their own musical identity, each era is sonically unique. The themes slowly reveal themselves, the plot hook setting in as the chapters move on. The different genres have different mechanics, the dialogue has different fonts. Different artists for every scenario, different takes on the same message, an ending that pulls it all together. You see the credits no less than nine separate times, and they never let you skip them, treating each as a proper endroll.
It's uneven, a mess, and a reminder that Squaresoft's RPGs were almost always full of the same odd choices and missteps. More so here, but it's easy to point out in almost every title of theirs from the era. They took risks and then polished the results, the flaws harder to see in the resultant sheen.
More than anything: the combat. It's different, that's for sure. It's easy to see what they were going for, the positioning, unit facing, action delays. And… most of it doesn't matter? Combat is trivial until the final chapter, moderately challenging at best from then on. Status effects are plentiful but largely irrelevant, action timing is so very odd. Sometimes opening a menu allows another character to go, sometimes a unit will take 7 active turns to unleash an underwhelming move. Opponents need to spend time to reorient, but you do not, despite the numerous enemy moves that change your facing. You have a plethora of abilities on each character, most of them meaningless. The non-linear nature means everything before the finale is the exact same difficulty. Everything is just… there. A pile of ideas.
So it's a good thing the rest works. Yasunori Mitsuda's boss theme rips right out of the speakers, gets you hyped every time even though you know you're in virtually no danger. Every character has their own musical identity, each era is sonically unique. The themes slowly reveal themselves, the plot hook setting in as the chapters move on. The different genres have different mechanics, the dialogue has different fonts. Different artists for every scenario, different takes on the same message, an ending that pulls it all together. You see the credits no less than nine separate times, and they never let you skip them, treating each as a proper endroll.
It's uneven, a mess, and a reminder that Squaresoft's RPGs were almost always full of the same odd choices and missteps. More so here, but it's easy to point out in almost every title of theirs from the era. They took risks and then polished the results, the flaws harder to see in the resultant sheen.