Don’t start laughing if you mess up once on the See-Saw game…otherwise it’s gonna probably throw everything off.
This game is making me laugh anytime I fuck up. So far it feels more lenient than the one on the DS but it’s still a ton of fun regardless. The visuals look super clean on my HDTV too. If you have 30 bucks to spare and you like Rhythm/music based games then I’d reccommend picking this up.
Difficulty starts picking up around the second row of games and trying to perfect a game is far more difficult when you’re being put on the spot. I might be able to hit every beat one time on a game but then when I have to come back to it to perfect it and get something I’ll fuck up one of the beats and have to start over. I’m having a hard time with the monkey and his tambourine. So far from reading impressions on Gaf people are having problems with the shrimp minigame and Catch of the day (unless they are one and the same). I haven’t gotten that far in yet but I’m already starting to mentally prepare myself.
A lot of people in the thread are also saying they are running to stores with limited quanities. I was the only one who preordered the game and we 3 extra walk-in copies. Seems like there’s more success on Amazon.
Edit:
I just finished playing the Badminton game…lmfao. That’s easily one of my favorites despite bombing that shit HORD.
New Last Story trailer focuses on mechanics.
[media=youtube]vnn1nl5bhGM[/media]
Damn I love me some customization. I already know I’ll play it twice just for different clothing styles. Hopefully there’s enough character persona development to match.
Hironobu Sakaguchi Interview.
Summary:
[details=Spoiler]- Sakaguchi had a desire to create a single detailed city filled with little touches
- the main character can bump his head on a sign post
- Sakaguchi says these are “density of minute details” that help to build up a believable game world
- Sakaguchi had a strong desire to create a new type of battle system
- he and the team went through a year of experimenting with various fighting styles
- the goal was “to create a new style of RPG” by using the ‘Gathering’ system
- use Gathering to draw the attention of any enemies
- example: distract a giant from attacking your squad mates to allow them to attack
- this allows players to “bring order to chaos or break up organised enemy groups with unpredictable attacks”
- Sakaguchi came up with the idea while surfing and watching waves
- Sakaguchi said his daughter asked him this question: “Lost Odyssey, Final Fantasy, The Last Story — why do all your games have the same name?”
- Sakaguchi says his next game will have a different sounding name
- Sakaguchi on collaborating with Uematsu: I give Mr Uematsu the story outline and he returns with two or three pieces of music. The only time I have rejected his music is for the first Final Fantasy and for The Last Story; as the game system changed, so I felt the music had to be different too. After I rejected him I didn’t hear from him for a month, and I thought it could be the end of our 25-year marriage, but he returned with music that perfectly fit the game world. His music is so influential and inspiring that I sometimes edit the game around music itself if it gives me an idea for a character or system.[/details]
[details=Spoiler]Last night Nintendo Life editor James Newton attended a presentation by Final Fantasy creator and The Last Story director Hironobu Sakaguchi at London’s BAFTA HQ. The famous developer reflected on his 25+ years of industry experience and his latest project, answering questions from the packed-out audience.
The night opened with an on-stage demonstration of The Last Story as Sakaguchi explained his desire to create a single detailed city — Lazulis — filled with little touches: the main character can bump his head on a sign post, for instance. Sakaguchi described this as a desire for “density of minute details” that help to build up a believable game world.
Leaving the city to take on one of the game’s real-time boss battles, Sakaguchi explained that The Last Story came from a desire to create a new kind of battle system, and that he and the team went through a year of experimenting with various fighting styles before landing on the one included in the game. His ultimate goal, he said, was “to create a new style of RPG” by implementing a new system called Gathering.
During the real-time battles, your AI team mates mostly do their own thing — though you can give them specific pointers — but as the main character you can use Gathering to draw the attention of any enemies. In one boss battle we saw this was used to distract a giant from attacking your squad mates to allow them to attack, before leading the monster onto a crumbling bridge and down to its doom. Sakaguchi believes the real-time battles and Gathering system are tightly interwoven, allowing the player to “bring order to chaos or break up organised enemy groups with unpredictable attacks”. The idea for the intriguing system came to Sakaguchi while waiting to catch a wave when surfing, and while at first the system meant players would get beaten over and over, trial and error put it right.
After the demonstration Sakaguchi opened up the floor to questions from the audience, telling tales of his early failures and his next production, a surfing game on iOS, apparently. When asked about the semantic parallels between Final Fantasy and The Last Story’s titles, Sakaguchi replied:
My daughter said to me: “Lost Odyssey, Final Fantasy, The Last Story — why do all your games have the same name?”, so my next game will definitely be called something different.
Sakaguchi also spoke on his long-standing creative collaboration with composer Nobuo Uematsu:
I give Mr Uematsu the story outline and he returns with two or three pieces of music. The only time I have rejected his music is for the first Final Fantasy and for The Last Story; as the game system changed, so I felt the music had to be different too.
After I rejected him I didn’t hear from him for a month, and I thought it could be the end of our 25-year marriage, but he returned with music that perfectly fit the game world. His music is so influential and inspiring that I sometimes edit the game around music itself if it gives me an idea for a character or system.
Upon leaving the stage Sakaguchi spent time meeting fans — some of whom had travelled from all over Europe — signing autographs and posing for photos. If you missed him at BAFTA, he’s attending the MCM Midlands Comic Con in Telford tomorrow.[/details]
The closer it gets to the 24th, the more insanely impatient I’m becoming.
Nintendo filed some patents for Wii U dealing with an HD/3D controller.
If they plan to do it it won’t be in the first versions of the pads. There’s also some other interesting patents that have been found
Got to sit down with Rhythm Heaven Fever finally and played for about 6-7 hours straight today. Was able to make my way through the first 6 rows of games.
I have to say this is easily one of my favorite games this generation. 9.5/10
so do I.
Oh dude, totally forgot about that game. Maybe it got held back for the Wii U? That would be boss if it did.
Xenoblade Chronicles - Story & Systems Trailer
[media=youtube]YlXG0mpw5BM[/media]
The Last Story has been confirmed for North America:
That’s big! From what I’ve seen, I’m not totally sold on Pandora’s Tower, so I’m excited to get the other 2 games that Rainfall was pushing.
About to start playing The Last Story.
Last time I was this excited for an RPG was Final Fantasy IX.
Give thoughts. I’m looking forward to this game later when it finally releases over here.
Got this game last week and the that game is easily my favorite little game. I was cracking up so hard the entire way through and i kept yelling Bum bum bum bum and my daughter heard me and says it all the time now and i just laugh so damn hard. Dont miss the last shot rally tho or the guy will talk mad shit hahaha. Its funny because i originally bought the game so my fiancee would hopefully want to play but that did not work too well as she didnt really pass the first few levels that well hahaha. Still a very fun game though.
According to whatI’m reading on GAF, GS is now offering a art book for preordering Xenoblade Chronicles with them. Nintendo.com isn’t offering any pre-order incentive which is…funny.
I wasn’t aware so I’ll have to check on that tomorrow.
I think it’s pitiful and lazy how many review sites are comparing this to Xenoblade. For the sake of illustration might be useful, but many are just making blatant value comparions summed up with a better-or-worse judgement. Its a disservice to the community, the industry and the art. I’m not interested in those kind of comparisons.
What I will say is that this game feels very lush and intuitive. It’s simple (not in terms of difficulty) but engaging. I haven’t felt such warmth and depth since the golden years of Squaresoft (R.I.P.). The Last Story feels like an artistic creation from someone who knows video games well, and how they can affect the player. I always consider je ne sais qouis to be a certain type of integrity or high level of refined attention that’s transmitted into an art. It’s mood that comes from the artist, if they’re capable of holding intent, attention, skill and so forth. It’s the essence of Blues, without the accompanying emotion. Sakaguchi knows what the fuck he’s doing, and this game shows it with a warm glow.
Uematsu does it too. Yoko Shimomura (Kindgom Hearts/Mario RPG/Street Fighter II), Koji Kondo (Mario/Zelda), Kenji Yamamoto (Metroid), Yasunori Mitsuda (Chrono series) are all damn fine composers, but none compare to Uematsu in my opinion. In The Last Story, much like all his games that I’ve played, his music is a force to be recognized. It never contrasts the game, but never just fades into the background either. It’s always either complimenting or enhancing the experience. There’s something different about his work on this game than others though. Sakaguchi pushed him more, and I think Uematsu works best under pressure, challenge and clear direction.
For those reasons and others, this is quickly becoming my favorite RPG of any console. I feel like it’s the spiritual successor to Final Fantasy IX, with some Yasumi Matsuno inspiration, but not in any obvious stylistic, thematic or mechanical way; just the essence that flows through it.
Yeah I’ve been getting the impression that some reviewers have been a little harsh on this game. Memorable characters, a solid battle system, great music…I guess I’m not the high-maintenance type when it comes to games pleasing me, but what more could you want? It might not be as good as Xenoblade, but Xenoblade is being called the best JRPG of this generation, so why even make the comparison?
Actually, I’m enjoying it far more than Xenoblade so far. But that’s just my opinion, and that was my point. The things that I read in most reviews as being important don’t mean shit to me at all most of the time. And the things that are very important to me don’t even get mentioned.
The worst thing about video game reviews isn’t necessarily that they make such useless better-versus-worse comparisons, but that they affect the way people look at, think about and relate to games. Reminds me of what’s been going on in the movie and especially music industries. People are being told what’s good and what’s not, and it affects the art itself. I can’t believe how fucking terrible all this garbage is that’s thrown out on the radio and TV, and how much people love it. I feel like a similar shift is happening with games.
It’s kinda like food I guess. If two restaurants make the exact same dish, then fuck yeah I’ll make a comparison, choose the better one, and forget about the other. But if they make two different dishes why the hell would I compare them in such a way? But I guess that kind of lame logic makes sense when you’re a shitty reviewer. It’s not like Mistwalker decided to make a version of Xenoblade. Even if they’re in the same genre, same system, it’s still apples and oranges.
Tekken Producer Talks Wii U
Harada discusses some ideas he’s had for the tablet controller and his latency worries being relieved.