Archives for category: RPGs

2B and 9S
I absolutely love NieR. It wasn’t always so; until a little over a year ago, it was one of those games that sat in my perpetual backlog, waiting to see if I’d ever get around to playing it. Friends had tried to convince me, telling me of its unique characters, its genre-hopping tendencies, or its wonderful soundtrack, but still it sat unloved on my shelf. And then, at E3 last year, there was a surprise. A sequel was coming, and it was being developed by Platinum Games! I saw friends celebrating this announcement the way I celebrated Shenmue 3‘s reveal and I knew that I had to pull my finger out and finally play the 2010 original. After doing so (and coming to realise that it’s one of the best games of its generation), I came to regard that E3 surprise as something of a dream project: Taro Yoko was back to direct, as was producer Yosuke Saito and composer Keiichi Okabe, and they were being joined by frigging Platinum Games and Akihiko Yoshida. Holy fucking shit.

And so here we are, a few months before release, and Square Enix have bestowed upon us a little Christmas present: a high-octane demo to take us through the festive period. If there’s one weakness the original NieR had, it was probably the functional but fairly uninspiring combat, so the idea of Platinum handling the fighting engine is cause to salivate, and there’s plenty of opportunity to try it out here. We’re let loose as android warrior 2B, as she fights aggressive robots through an otherwise abandoned factory, a rusty, dilapidated setting somewhat reminiscent of the first game’s junk heap dungeon, though the boss waiting for you at the end is much larger than P-33 (or Beepy to his friends).

Bullets!

Combat recalls Bayonetta at her balletic best, as 2B pirouettes around the arena with a pair of swords at her disposal. There’s a heavy and light attack for you to create combos from, with jump and heavy attack performing a wide-arcing launcher allowing you to continue your assault while airborne. Executing a heavy attack in mid-air will see 2B slam her sword heavily into the ground, while holding the button when stationary will charge up a short, brutal heavy combo. Of course, this being an action game, you’re going to need a dodge, and NieR Automata‘s might well be the best I’ve encountered in any action game, allowing you to not only nimbly evade enemy attacks but glide elegantly around the battlefield. It even has a touch of Bayonetta‘s witch time about it, with a perfectly timed dodge seeing 2B almost dissolving into thin air. It doesn’t slow down time, but it feels just as satisfying to pull off, and looks terribly flashy. But this isn’t just a straightforward action game, it’s a NieR game, and that means there’s going to be plenty of bullet hell sections, too. To aid you in this, you have a robotic pod that hovers above your head and sounds a lot like Mass Effect‘s Legion, effectively playing the part of Grimoire Weiss here and empowering you to shoot down enemy bullets. It’s definitely not anywhere near as charming as a floating magic book that sounds like Alan Rickman, though.

Reaching the end of the dungeon, there’s of course a massive boss to contend with, and even a touch of fighter jet/mecha action, and as you finally defeat the gargantuan construct, only to witness more of them rise from the depths of the ocean, it hits home just how much Automata feels like a perfect mix of Taro Yoko and Platinum; there was the worry that one would dilute the other, or both might only be able to operate at half strength, but it feels like everyone is firing on all cylinders and working together nicely. Though the demo is combat heavy – and as such we are yet to see the more expansive environments, genre-splicing madness and deeper RPG trappings you’d expect of a sequel to NieR – there’s a sense that you can feel the touches of everyone who has had their hands on this, whether it be the character action combat of Osaka’s finest, the perspective shifts and bullet hell sections that made NieR such an idiosyncratic gem, or the wonderful Akihiko Yoshida character designs and haunting soundtrack from Keiichi Okabe, this really is NieR x Platinum Games, and it seems like it’ll be everything I wanted, and everything that this particular collaboration promised. It’s almost as if it’s a game tailor-made for me: I can’t quite believe that the next great Platinum character action game is also going to be a NieR sequel. What a time to be alive.

Side-on

Now there are only two things to wonder about. Firstly is how well Platinum have kept to the structure of the original, which drew a fair bit of inspiration from the Legend of Zelda franchise; as much as I love Platinum’s games, I don’t want a NieR game to be a series of discreet missions (although, now I think of it, I’d love to see them have a stab at Drakengard somewhere down the line, too!). It also remains to be seen just how much Automata will tie into the original game, with this one apparently set more than eight thousand years after the events of NieR, with humans having fled to the moon, the earth having been overrun by hostile robots, and taken to sending androids like 2B to the surface to reclaim the land. We already know that a few characters will be returning in some fashion, so I’m hopeful that we’ll get some kind of insight into the immediate aftermath of the first game, where the world was left in a pretty sorry state. But then, when has Yoko ever done the expected thing and given us a direct sequel? Only time will tell.

NieR Automata releases on March 10th 2017. You can see a playthrough of the demo below.

regalia
Little more than two weeks before the release of Final Fantasy XV, Square Enix released the third and final demo for their ambitious open world adventure. First there was Episode Duscae, our first proper look at Final Fantasy XV that released more than 18 months ago, as a bonus for those purchasing Final Fantasy Type 0. Then, as the company held a lavish event this past March to announce the (now missed) original release date for the game, we were, ahem, ‘treated’ to the Platinum Demo. With each demo, there has been as much to complain about as there has been cause for celebration, but this time the good massively outweighs the bad; this latest taster, Judgment Disc, shows not only that the game has come along in leaps and bounds, but that the two months Hajime Tabata’s team bought themselves back in September have been wisely spent indeed.

Of course, before we get into the gameplay and technical details of Judgment Disc, it’s important to note that it is a Japan-only demo. As such, if you want to play it, you’ll need to either change your Xbox region to Japan, or create a Japanese PSN account. As there’s no English text or speech, you could also do with some working knowledge of spoken and written Japanese. I have neither, but managed to stumble through the demo regardless (though not without a couple of issues, as I’ll get into later).

Getting into the demo itself, the first thing you’ll note is that it both looks and performs much better than either of the previous releases; offering nice clean image quality and steady frame rates, Judgment Disc shows Final Fantasy XV looking and feeling better than it ever has before. It’s even noticeably improved from the Gold Master footage Square Enix made available in the days after the delay announcement, so there’s no doubt that pushing back the release was absolutely worth it. The chunk of the game we’re given picks up right from the start, with the unexplained (and somewhat bewildering) chapter 0 flash-forward giving way to the present day as Noctis and chums must push their broken down car along a sun-baked highway to Hammerhead, before moving onto Galdin Quay in hopes of catching a boat to Altissia so that the prince can make it to his wedding in time.

Before long, you’re set free and out into the sandy region of Leide, to hunt monsters as payment for your car repairs, and it becomes immediately obvious that the chunk of world we’re given to run around in is absolutely vast, the generous demo recalling memories of Panzer Dragoon Saga‘s entire first disc being given away on the cover of Sega Saturn Magazine back in May ’98 (I still have that disc!). Indeed, it’s a shame that this demo hasn’t been made available to everyone, such is the positive impression it leaves; few will have played the promising Episode Duscae, tethered as it was to first print purchases of Type 0, and Platinum Demo really wasn’t something that deserved to be most people’s first point of contact with the game. Granted, it’s easy enough to get your hands on Judgment Disc – especially on Xbox One – but the fact that all text and voice is in Japanese will be off-putting to some.

If there’s one concern I do have at the moment, it’s that, at this admittedly very early point in the game, I think I preferred the combat in Episode Duscae – well, certain aspects of it at least. The systems are broadly similar of course, with Noctis switching between four weapons, stringing together combos as he goes, all the while dodging enemy attacks with an MP-draining defense stance or a more traditional dodge-roll. What’s different here is that, rather than building your combo by placing weapons in specific spots, influencing when and how they’ll show up in your ongoing assault, you now have the ability to switch weapons in real-time, a change originally seen in the Platinum Demo. This is absolutely A Good Thing. What’s less welcome, however, is the absence of Duscae‘s weapon-specific Techniques. In that first demo, each weapon in Noctis’ armoury had a powerful ability attached to it – his Blood Sword, for instance, offered Drain Blade which, after a short wind-up would hit the enemy and transfer some of it’s vitality to Noctis, while his Dragon Lance would grant you access to that iconic Final Fantasy Jump command. While we’ve known about this change for a while – they were also missing from the adult Noctis battle at the end of Platinum Demo, for instance – it’s still a rather disappointing change, and can serve to make combat feel a little more one-note than it previously did; while the game still isn’t a case of ‘hold circle to win’, as many detractors would claim around Duscae‘s release, it does now feel a little closer to that than it previously did. That being said, these Techniques do have a replacement here, of a sort. They’ve been given to your allies.

Well, kind of. You see, above your weapon UI, there’s a green bar with a few notches along it that fills as you battle enemies. Attaining a notch on this metre allows you to perform a party attack, ordering one of your entourage to carry out a specific ability. For instance, Gladio, Noctis’ beefy bodyguard, will perform Tempest, a wide-sweeping sword attack that pulls enemies together and was last seen attached to Noctis’ Engine Blade in Duscae. Ignis and Prompto have their own abilities of course, with Prompto firing a piercing shot at the targeted enemy and Ignis throwing his daggers out to mark a number of enemies, which Noctis will then warp between. These actions are always enjoyable to use, and successfully landing one triggers a QTE which allows Noctis to follow up with a tap of a button. And while they are definitely an addition I like, as they make the otherwise-uncontrollable members of your party feel a bit more involved and under your control, I must question whether they had to come at the cost of Noctis’ own weapon techniques, which were, more often than not, a risk/reward mechanic in Duscae, as they needed both a long wind-up and a good chunk of MP. Without this mechanic, the rhythm of battle has changed from one where you’d constantly be looking for a bit of time and space to slip in a damaging technique to one where you just attack until you build enough meter to trigger a party member into action, which then takes you out of the fight for a few seconds. Again, it’s very early in the game at this point, and I’m sure there’ll be later additions to the core combat system that shake up that rhythm somewhat.

gladio

What’s a little more concerning is the somewhat unresponsive nature of your button presses. There’s a noticeable delay between pressing a button and having a command carried out; running through the world and jumping over obstacles will see you needing to press jump before you actually reach that obstacle, for instance. While this is something you’ll get used to fairly quickly, it’s exacerbated by the combat system’s reliance on animation priority, making it very easy to get stuck in the middle of a sword swing – especially with a slow weapon like the Engine Blade – and then take a hit despite holding down the defend button while you wait for the animation to finish. Animation priority alone would make the combat a little more ponderous, as you wait for an opening before committing to an attack (think The Witcher 2‘s sword combat) but marrying this to unresponsive button presses can and will cause frustration. Enemies are weak to specific weapons, so if you’re fighting a monster that requires you to use a heavy sword – like the crabs near Galdin Quay you can see in this article’s second video – you’ll probably end up getting knocked about before you land a hit. I’m hoping that the responsiveness will be improved for release (we will still be getting a day one patch, of course), but otherwise it’s something I’ll have to adapt to by playing much more cautiously, watching enemies for an opening rather than just wading in with a massive sword.

There is actually a mechanic in the battle system which seems to exist to give you a bit of breathing space, however: link attacks. Should you land a parry or a back attack while standing next to an ally, you might trigger a cool, cinematic co-operative attack with that party member. These segments always look fantastic – witness Gladio throwing Noctis into the air from the point of his sword, before the prince comes crashing down to earth with his spear – and like the aforementioned party actions, these also take you out of the action for a second or two. I can imagine that attempting to manoeuver yourself into a position to make link strikes happen as often as possible will be a big part of your combat strategy, giving enemies less of a chance to attack.

We got a brief look at magic usage in the Platinum Demo, and Judgment Disc gives us an opportunity to try out the game’s new spell-crafting system. Gathering magic is somewhat reminiscent of FFVIII‘s draw system, as throughout the world you’ll find naturally occurring deposits of elemental energy that you can absorb and then use to craft magic spells. Unfortunately, I couldn’t manage to wrap my head around the crafting mechanics, whereby you select an equippable magic bottle, an amount of elemental energy and then modifying items from your inventory to create spells with differing effects, such as a fire spell that will also poison your target. As I couldn’t read the text prompts, I had to settle for pressing all the buttons in hopes of making something happen but sadly, elemental mastery eluded me. It’s a system that should help add a few wrinkles to combat, and I can’t wait to get to grips with in the full game, but Judgment Disc does at least gift us a few uses of the base fire spell partway through the demo. Try not to throw it at your team mates. Or do, if you want to see them panic a bit, as magical friendly fire is a thing that exists in Final Fantasy XV.

Another aspect of the game that I look forward to finding out more about is sidequests. In the chunk of game offered here, you can take on hunts at local diners before heading out into the open world to exterminate troublesome mobs, but other than that side content seems a little thin on the ground. Again, not being able to understand the language puts me at a disadvantage here – for all I know, it’s possible to pick up additional quests simply by overhearing NPCs or reading in-game items – I’ll find out for sure when I have an English copy of the game. We’ve also seen some side content in the material Square Enix and various press outlets have put out in the last couple of months, it just remains to be seen how impactful that content will be; will it boil down to fetch quests and monster hunts, or is there something more interesting in there?

What is interesting is that we finally get to play with the Regalia this time. We came tantalisingly close in Episode Duscae, with the demo ending just as we were ready to get behind the wheel, but here we get to finally take our flash set of wheels for a spin. You can choose either to drive manually or let Ignis take control, and this mode is surprisingly enjoyable, as you’re left free to spin the camera around and enjoy the scenery, all the while listening to classic Final Fantasy tunes on the car radio. I can see myself driving all over just to enjoy some old school Uematsu magic, though if I have one piece of advice, it is this: do not forget to fill up on fuel!

Story remains my biggest interest, though. In a sense, I’m quite glad I can’t understand any of the text or dialogue in this demo – though I have seen all of this content in English, thanks to Square-Enix’s aggressive video policy post-delay, the language barrier has kept me from getting too interested in the goings-on of Noctis and his retinue, allowing me to focus solely on the gameplay. But this has always been one of the biggest draws for me in a Final Fantasy – following the narrative beats, getting to know the characters, and losing myself in the world – and having avoided all spoilers, I know just enough to be very interested in where things go from here. One thing I had been worried about was the absence of the imperial invasion of Insomnia – originally slated for the game and now only appearing in Kingsglaive – fearing that the events of the game might feel a bit disconnected from that really quite important story detail. Thankfully, the day one ‘Crown Update‘ will add scenes from the film (as well as the excellent Omen trailer) to flesh out the current state of the world, so that should help. As I mentioned in my Kingsglaive review, I am a little sad we’ll never see the Insomnia invasion in-game, but I’m ready to see where this version of the story takes us, and I can’t wait to join Noctis and crew on the road. After ten years of waiting, I can’t believe its merely days away.

bd
Blue Dragon is now backwards compatible on Xbox One.

Announced on Twitter today by Xbox Live’s Major Nelson, Blue Dragon has been a much-desired title for the console’s legacy support program and follows hot on the heels of Mistwalker’s other Xbox 360 exclusive jRPG Lost Odyssey, which hit Xbox One back compat a little over a month ago.

Like Lost Odyssey, Blue Dragon is a very traditionally-styled multi-disc Japanese RPG, though while Lost Odyssey hews closer to the Final Fantasy template, Blue Dragon feels more like that other juggernaut of the genre, Dragon Quest, right down to the designs by Akira Toriyama. Like Lost Odyssey and a few others, the game is currently disc-only as no digital version exists. Phil Spencer has commented that the BC are looking into making this possible, so we’ll have to wait and see if that happens. In the meantime, we can expect second hand prices to rise in response to the announcement.

This brings both of Mistwalker’s big Xbox exclusives to the current gen, both of which were part of Microsoft’s early push to try and make their console a success in Japan. The 360 saw a number of exclusive Japanese games in its early years, including Tales of Vesperia (which is absolutely the best jRPG of its generation and you should play it right now) and a few others, and it’s a shame that it’s a strategy that never really paid off. We’re certainly seeing the results of that now, as plenty of Japanese games are skipping the Xbox One, from smaller titles like the recently announced Danganronpa and Nonary collections all the way to larger publishers like Square Enix, who are skipping the console for games such as the upcoming NieR Automata.

No Automata :(

No Automata ;_;

I’d like to see Microsoft invest a bit more in Japanese games again – not necessarily to make inroads in Japan, because I don’t think anyone believes that’s even the remotest of possibilities now, but to diversify their line-up a bit. So far, we’ve only seen a collaboration with Yukio Futatsugi that resulted in a pale imitation of his cult favourite Panzer Dragoon series in Crimson Dragon, and the multi-team partnership that gave us ReCore, even if Keiji Inafune’s Comcept only really consulted while the US-based Armature handled development duties. Scalebound is yet to come, and I’m really looking forward to that, but I’d love to see Microsoft throw handfuls of cash at Hironobu Sakaguchi again to get something like Lost Odyssey made.

Still, one thing Microsoft do deserve massive amounts of kudos for is their support for backward compatibility. The catalogue grows every week, and in the last few months we’ve not only been given access to some big hitters, but others that weren’t performing quite so well have been updated to run even better than they did on native hardware. It feels like Team Xbox is really hitting its stride now with BC.

One of the Xbox 360’s most beloved titles has finally made its way to the current generation, as Mistwalker’s Lost Odyssey launches today for Xbox One’s backward compatibility programme.

Directed by ex-Squaresoft legend Hironobu Sakaguchi – the father of Final Fantasy – with music by fellow Final Fantasy icon Nobuo Uematsu, Lost Odyssey is something of a rare breed: a jRPG exclusive to a Microsoft platform. It stars the immortal warrior Kaim Argonar, who has wandered the world for a thousand years, yet remembers little of it thanks to a bout of jRPG amnesia. It’s an incredibly traditional example of the genre, complete with a turn-based battle system – albeit with a dynamic touch thanks to a timed ring-matching system – that many fans hold up as being truer to Final Fantasy‘s legacy than the last decade of titles in the series that effectively spawned it. Also of note are the ‘Thousand Years of Dreams’, lost memories of Kaim’s that you can find throughout the adventure which contain some of the best writing you’ll find in the genre.

LIRUM ;____;

Lirum!!! ;____;

Lost Odyssey has been one of the most wanted games for Microsoft’s backward compatibility programme since it was announced back at last year’s E3 conference, though the lack of support for multi-disc games (Lost Odyssey comes on four of them) held up its availability. Deus Ex: Human Revolution Director’s Cut was the first multi-disc game to launch for the programme earlier this year, so it had been assumed that it was simply a matter of time until Mistwalker’s game saw release.

Lost Odyssey will remain a strictly physical release, as a Games on Demand version does not exist on the Xbox storefront, so you’ll need a copy of the game if you wish to play it on your Xbox One. Inserting disc 1 will prompt a 22GB file to download and, according to a post on NeoGAF, the game is only playable with that first disc in the drive; discs 2, 3 or 4 simply will not work. While this sounds a bit odd, it also means you will no longer need to switch discs while playing, which can only be a good thing.

LO-Battle

Also announced for backward compatibility today are Disney’s Toy Story 3 and Guwange, a Muromachi Period-set vertical shoot ’em up from genre legends Cave. They come hot on the heels of the addition of Call of Duty 3, World at War and Sega’s Virtua Figher 5: Final Showdown and it’s excellent to see continued support with more big name, much-loved titles making the generational jump. There are now more than 250 Xbox 360 titles available to play on Microsoft’s current machine, and apart from the benefit to end users, it’s a great way to ensure some degree of preservation for games otherwise locked on old systems.

So, it’s official: Final Fantasy XV has been delayed. Rumours sprang up over the weekend, based on conversations with retail sources and backed up by photos of marketing materials, but yesterday director Hajime Tabata confirmed it to be true, with the long-in-development title being bumped from its original date of September 30th to November 29th.

In a video, which you can see below, Tabata explained that, while the game went gold a few days ago and the team had begun work on a day one patch, they had ultimately decided to push the release back to make sure these fixes could be pressed to the game discs that we’ll all be buying at retail. “Our objective with Final Fantasy XV was to deliver a Final Fantasy of the highest possible quality, to every single person who buys the game,” said Tabata, who went on to explain that, because not everyone who buys the game would be able to apply the patch, the team felt the best course of action was a short delay. Not only will the patch improve the game’s performance and overall polish, it will also contain “pretty substantial content,” added Tabata.

And so, we’ll be waiting a further two months to get our grubby mitts on the game. And while it might seem a ridiculous thing to say about a game that was announced ten years ago, it’s probably for the best they don’t rush this one out before it’s done. Not only are there a decade of fan expectations riding on it, but possibly the Final Fantasy brand itself, which has taken a bit of a battering in the wake of the Final Fantasy XIII trilogy and the disastrous launch of Final Fantasy XIV Online. While XIV 2.0 has seen an enormous turnaround to become a massive success, the brand is still in a bit of a precarious situation. Square Enix needs this one to be a hit.

Perhaps as some form of consolation, we have been treated to some new content to tide us over for a bit. First off, we now have the first twelve minutes of CGI tie-in movie Kingsglaive: Final Fantasy XV available to watch on YouTube. The film, which takes place just before the start of the game, begins with a scene-setting narration from Lunafreya Nox Fleuret, the princess of Tenebrae, who brings us up to speed on the state of the world, and the conflict between the magical nation of Lucis and the militaristic empire of Niflheim, who desire the crystal that powers Lucis’ prosperity. As a young Noctis visits Tenebrae with his father, the kingdom is attacked by Niflheim soldiers in an attempt on the Lucian royalty’s lives. Noctis and his father escape, but Tenebrae comes under imperial rule.

Later, we see a battle between Lucis’ Kingsglaive, an elite force of soldiers bestowed with the power of Lucis’ crystal, and the invading forces of Niflheim, made up of human and mechanical soldiers, as well as an assortment of quite horrific looking monsters, including enormous behemoths. There’s even a cameo from a ‘daemon’ that fans of Final Fantasy VII will recognise. It’s been a fair while since we’ve had a CGI film out of Square Enix, and it’s clear to see the upgrade from Advent Children; Kingsglaive simply looks photorealistic at times, especially where character faces are concerned. The editing can feel a little schizophrenic during action scenes, as if the director was on a days-long Red Bull binge, but it does serve to give this first huge battle a frantic feel, and it’s certainly a hell of a spectacle, as the two forces clash over an abandoned town on the edge of a huge, precipitous rock bridge.

Ultimately, this quick look at Kingsglaive: Final Fantasy XV isn’t going to sate your thirst for anything FFXV-related, as it’s likely to just leave you wanting more. At least the full film will be available to download in just two weeks’ time.

The second bit of new content has just been made available to coincide with the start of Gamescom in Cologne, where the game is playable from the start. Unsurprisingly, it’s a gameplay video from the very beginning of the game, and it runs for almost an hour. This footage has been taken from the gold master version mentioned in Tabata’s apology video, so we can get a look at how the game runs at this stage in development, before the addition of what would have been the day one patch. Fans who played last year’s Episode Duscae will feel immediately at home as, after a rather interesting bit of foreshadowing, the game begins with Noctis and his retinue arriving at the Hammerhead garage to get their broken down car fixed. Luckily, this time Cindy isn’t asking them to hunt down an enormous behemoth, and instead charges them with a bit of simple pest control to pay off their debt.

There are changes though. The party meet Cid almost immediately, and the Hammerhead itself isn’t actually in Duscae this time, but the neighbouring region of Leide. So if you’re sick of seeing the green fields and shimmering lakes of Duscae, at least now you can look at some parched, mountainous scrubland instead. Result? Throughout the fifty-minute clip, we get to see plenty of features of the game, taking in combat, quests, camping, driving, and even a smattering of cutscenes, though with some judicious editing to make sure we aren’t spoiled too much. The footage comes from the first three chapters, which Famitsu report took them 25 hours to get through, so we’re getting a pretty in-depth look at the early stages of the game here.

Final Fantasy XV looks to be in pretty great shape from this extended look, and though it’s a pain to see it delayed just as it was getting close enough to grasp, we can’t complain about a bit of extra time to polish it up to a pristine shine. And besides, after ten years, what’s a couple of extra months?

After months of teases and rumours, Square Enix have finally announced an HD remaster of PS2 RPG Final Fantasy XII.

First teased by conductor Arnie Roth at a Distant Worlds concert last August, and then again in a new Prima guide a month later, the Japanese publisher today confirmed the title in a two-minute trailer, below. Called Final Fantasy XII: The Zodiac Age, the new release is heading to PS4 in 2017 and will be based on the International Zodiac Job System version of the game, which has until now remained in Japan.

In addition to the changes to the license board and battle system, Square Enix is also promising a full 1080p remastering of all assets and cutscenes, a re-recorded soundtrack in 7.1 surround (including the ability to switch between the original and new soundtracks), and a host of quality of life improvements, such as auto-saves and shortened load times. We’re also promised “high definition voicing” so hopefully the slightly tinny delivery of the original release will be a thing of the past.

While the Final Fantasy fanbase is generally pretty divided when it comes to discussions around the best game in the franchise, Final Fantasy XII tends to be among the most divisive entries. Whether it’s the ‘offline MMO’ game structure, the more languid style of storytelling, or just plain old Vaan, there are plenty of series fans that just didn’t enjoy XII. Conversely, those that love the game really love it, often citing it as the best in the series. For my part, I played just 14 hours of it before giving up – I just couldn’t get into it. Because of that, I’ve been hoping for an HD remaster for a fair while so that I could give it another chance. I had really hoped for a Vita version though, and so far it looks like the game is only coming to the PS4. It’s understandable, but a touch disappointing nonetheless. Given Square’s recent PC strategy though, I wouldn’t be surprised to see it arrive on that platform some time after its PlayStation 4 release.

With E3 just a week away, we’re heading strongly into video game silly season, and with announcements like this, it seems the party’s getting started early. Here’s hoping we get a closer look at Final Fantasy XII: The Zodiac Age next week.

FFXV Leviathan
One of the most exciting announcements at last week’s Uncovered event was the news of a new playable demo for Final Fantasy XV. After the many thrills of the conference, it was an enticing thought that we’d be able to actually have a crack at the game shortly after.

Of course, we’ve had a decent look at the game already, or at least those of us who bought Final Fantasy Type 0 have. Last spring’s Episode Duscae was a nice little glimpse at how Square Enix expected their new game to play out, giving us a short, multi-part quest to follow and a fairly large expanse of land to traverse. The message was simple; here’s how the game plays, and here’s what you can expect the environments to be like. The message we get from Platinum Demo is much less clear.

We begin as Noctis, only it’s not the same slightly moody guy we might be used to. After some unexplained event (maybe that Marilith attack we see in the beginning of Brotherhood?), a young Noctis awakes in a sunlit glade. He’s greeted by an incredibly cute incarnation of recurring series summon Carbuncle who tells him – via text message, of course – that he’s stuck in a dream, and serves as our young protagonist’s guide as he runs, jumps and fights through a few short, linear environments. It’s an odd demo, to be sure, as Noctis travels towards the Royal Citadel in an attempt to wake up. Far removed from Episode Duscae‘s wide-open plains, Platinum Demo plunks our diminutive hero into three small areas where all he really has to do is find the exit.

Carbuncle

Beginning in that peaceful glade, we follow a forested path out into a rocky canyon, collecting some shining orbs along the way. These unlock strange metal plates embedded in the ground that, when stepped on, trigger various effects. We can change the time of day, watching the lighting adjust in real-time, or switch up the weather, going from bright sunshine to cloudy skies, and finally to a grey downpour. Other plates trigger very short cameo appearances from summons like Titan and Leviathan, while in the second area, in a scene surely inspired by 1989 classic Honey, I Shrunk the Kids, a tiny Noctis can transform into a pickup truck (yes, really) and drive around the table legs in a huge dining room, before climbing stacks of books to reach the exit on the tabletop.

Next, we find ourselves in the streets of Altissia, a striking city on the water, and while there’s still not much to do it’s nice to get a feel for what towns might be like in the full game. The chunk of the city we’re given to run around in is fairly small but dense, with plenty of stairways and alleys to search but again, our only objective is to find that exit, and to that end Carbuncle tells us to look for a long corridor (insert Final Fantasy XIII joke here). Of course, we have a few more of those transformation plates dotted about, and here they turn Noctis into one of three animals. No, I don’t know why, either. Stepping on a plate triggers a random transformation into either a crocodile thing, a buffalo thing, or a giraffe-antelope thing, and you can use these forms to rather clumsily attack the handful of enemies that litter the streets.

Noctis can of course fight through these three areas, but with only a toy sword and squeaky hammer to defend himself for the most part, it’s not the most engaging thing in the world. It effectively boils down to holding circle to win, with the occasional tap of square to evade. There are a handful of funny, childlike spells to find, such as ‘raindrops’, which pours a shower of neon sparks over the affected area, or Firework, which goes off like a firecracker and deals damage to nearby enemies, but there’s little here to set pulses racing.

The young Noctis gameplay is all rather lightweight and uninvolving, and it’s built on an odd premise, too. Really, this is a tech demo, built to show off the time of day and weather systems, while giving us a brief look at how magic and things like driving will work in the final game – both things that were conspicuous by their absence in Duscae. Tying it up in a strange dream narrative in environments that surely bare little-to-no resemblance to the wide open world map we’ll traverse in the full game is an incredibly bizarre choice; as someone who played Episode Duscae to death, it’s nice to get a sneak peek at some of those mechanics that were missing, but this is the demo that Square Enix have chosen to make available to everyone – it’s not behind a paywall that only the most dedicated fans would be willing to scale. If this was my first point of contact with the game, I have to think I’d be rather put off.

Thankfully, the final part of the demo is a little better. As Noctis reaches the Royal Citadel, he’s faced with an enormous Iron Giant that wishes to prevent him from waking up. Realising that he is in control of his dreams, Noctis promptly grows up, becoming the young man we all know, and we finally get the opportunity to properly get to grips with the battle system.

The first thing to note is that fighting has seen some changes since Episode Duscae. In that demo, you’d set different weapons in a series of slots, which would then determine where those weapons would appear in your combo, carried out by holding the attack button. While you’ll still be holding the attack button in Platinum Demo to effectively auto-combo, we now have real-time weapon switching, with weapons taking up the four direction slots on the d-pad, allowing us to tailor our combos and mix up attacks in a more pleasingly-manual way. Here, we have the Airstep Sword, new in this demo, that allows Noctis to use that iconic Warp technique – whether that’s to swiftly close distance or escape – and the Zweihander, a massive Buster Sword-alike that swings slower but deals more damage, and has a nifty charge attack. Look around the Citadel, and you can also find a couple more weapons, the Cross Shuriken and Hero’s Shield. The Shuriken in particular is good fun to use, allowing you to attack from range and start your combo from a distance, before, perhaps, warping in to continue your assault with one of Noctis’ swords, while the shield allows you to stagger opponents with a well-timed button press.

PLATINUM DEMO – FINAL FANTASY XV_20160406152443

As in Duscae, you can hold square to enter a defensive state or manually dodge-roll with a press of the button and a directional input. In Duscae, entering a defensive state allowed to you automatically dodge pretty much everything, at the expense of a rapidly-draining MP meter. Holding the button here doesn’t drain MP anymore, but that trade-off does mean that you no longer dodge everything – you’ll still get hit a fair bit if you only really on holding the button down, but it does allow you to parry certain enemy attacks. The way these are telegraphed has also changed since Duscae, and I preferred the system in that demo, where enemies would briefly flash and a discrete spider-sense-type icon would appear on-screen. Here, we get a huge red “DEFEND” sign pop up in the middle of the screen. I guess it’s easier to notice, but it doesn’t look great.

We also get to use Fire in this battle, and there are a handful of explosive barrels (yes, really) dotted around the battleground for you to blow up – luring the Iron Giant towards one of these before flinging a spell at it is always a good idea, engulfing the enormous boss in a massive fireball in the process. Magic feels good to wield, allowing you to aim and throw it exactly where you want it, but one complaint I do have is that any magic spells you have also need to be set in one of those four d-pad slots, meaning you then have less space for weapons. I would like to see one button – maybe L2? – act as a modifier; hold that and you’d get a second set of four d-pad slots, allowing you eight in total, for instance. Four slots for both weapons and magic just feels too limiting. Perhaps this will actually be the case in the full game, where we’ll have access to far more weapons and spells than we’re afforded here.

Overall, combat feels like one step forward and another one back; while the Armiger mode – essentially Noctis’ limit break, available when he’s at full MP – returns here, the weapon-specific Techniques that existed in the Duscae demo are completely gone in this build. They were an enjoyable wrinkle in Duscae‘s combat, offering a bit of a risk-reward mechanic as they could hit hard or siphon HP while leaving you open to retaliation if you missed. The fact they’re gone here, in a demo far closer to release, is rather concerning, even as the Platinum Demo combat offers its own advances. It’s a bizarre state of affairs.

Once you’ve defeated the Iron Giant, you can choose to respawn him and fight again, and it’s worth doing so to get a proper handle on the battle system. Combat isn’t explained all that well for newcomers, so you’d certainly be forgiven for thinking that combat boils down to holding circle until you win. There’s actually a reasonable amount of depth, even here, with only one character, a handful of weapons and one spell, but there’s no real reason to explore that depth except for your own curiosity. After slogging through three rather sedate areas as Young Noctis, I have to wonder how many people would bother – some would likely be glad it’s all over. A little direction would go a long way – this is supposed to be a demo to get people excited about the game, to show them some of the things that might excite them. If you don’t illustrate anything beyond the basics, the basics – like simply holding circle to combo – are all many players will see.

When all is said and done, it’s that sense of confusion that hangs over the Platinum Demo, and I can’t help but think Square Enix would have been better served sprucing up the existing Episode Duscae demo, perhaps by adding some new areas and quests, and updating the battle system to the one seen here in Platinum Demo. That would surely have been a better indication of the final game’s quality and structure than whatever this is. Again, those of us that played Duscae will appreciate the glimpses at towns, magic and driving, but newcomers – surely the focus now – are most likely going to be confused and a little bored. The Iron Giant fight at the end is obviously placed at the demo’s climax to get players excited to come back, but it seems a little too lightweight at first blush to really grab the attention. It’s something of a shame that this will be most people’s first experience of Final Fantasy XV, as the game is otherwise looking very impressive, and I personally can’t wait to play it. But this demo did little to make that wait any harder.