That's weird. Why'd they do it like that? The other games do it just fine where you switch from the equipment menu in the command list.
It can work if your game is from the PoV of a teenager or immature adult, or if a character is trying to look tough, but otherwise it reeks of the author's owb immaturity
Dont know. Maybe in a future patch they can change it back to how it was through.
The minds of Japanese UI/UX designers are an enigma.
Speaking of which, the main menus for DQ7R look god-awful in comparison to the original.
It's doubly ass backwards too because the DQ1-3 HD2D remakes JUST came out and they're still JUST THE SAME AS USUAL
I did this and it's still probably the most fucked up thing a JRPG had me do for an ultimate weapon. It was worth it though you could 1 shot like every boss afterwards because I had her sphere grid nearly maxxed out.
Really cool combat and nonstandard game design without falling to cliches (of that time). You pretty much have to use a guide to get the A ending, but that was the standard of that time, and it could have been far worse.
I'm pretty sure that JRPG designers in the 90s were in cahoots with the guide/magazine writers. Hell, in Yuji Horii's and Game Freak's case, the guide/magazine writers went into the gaming industry themselves.
Scenario C answers a good amount of questions about the story and the world and even where the FUCK Ken's dad ends up but it's all sequestered away in side content. Scenario C is advertised as a free roam mode but it's anything but if you take the calls and look at the requests board. Linda Cubed is already a pretty cryptic game, but the side content in Scenario C is even more cryptic to the point where it's the only part of the game where I'd recommend hunkering down and finding a guide. The only issue is that there's literally ONE English guide of the game and it's not even fully complete. It's close, but even the guy admits he didn't do everything involved. Most of the major "plot" answers happen in Eden which is halfway into Scenario C as well as the teleporter areas that require the teleporter idols which are fuckrare. My only complaints about Scenario C are as you mentioned, the power creep makes killing anything weak in endgame VERY HARD unless you have a net or a trap, and some are autistically cryptic to find. The only part I savescummed in the entire game was when I had to whale grind because you can literally only get one spawn per year and if it isn't both species, you're SOL.
It's a time loop. At some point in Scenario C you go to an abandoned shipyard where you see HUNDREDS of identical ships in order to find literally one animal. I always saw it as God fucking up and doing the same thing over and over again without ever realizing.
You are somehow meant to realize that Seal rating should be minimized, while also giving away Lucian despite him being the one character who knows the character's past, which is completely contradictory. Maybe ending B has some scene where he keeps you from a reveal which would justify giving him away to sequence break.
Looking at the Let's Play I saw how deep it goes and noped out, and needing a walkthrough just isn't worth it when you just repeat a checklist rather than explore freely. The only big reveal I read is a hologram with the dad that doesn't specify any real answers to what's happening. As for the time loop, it's pretty obvious from the original ending itself, my issue is that it isn't used to explain changes in circumstances between the scenarios why some things go catastrophically wrong. Or if there was a single mastermind behind everything's happening. Or what's the deal with Ken/Nek that they can seemingly survive nearly everything and can be used to cultivate clones. I also read some thing about Neo Kenya being the only planet where people can give birth(?) so post asteroid humanity goes extinct.
It's because of that. It had full voice acting and stories for the Einherjar as well. However, only a few standout ones are remembered and most of the Einherjar are useless.
Alright, might give it another shot, then. Sounds like the story and characters are more of a slow burn than what I'm used to, but as long as I know it's going somewhere good eventually, I can probably stick it out. Good to know the combat improves because having one attack per character made me feel like I was playing that awful Final Fantasy ATB mobile game. (Not Record Keeper)
I did notice Chaos gave me more of a challenge than the GBA one, but I could swear the damage ranges and status ailment rates were way more out-of-tune in the PR. Ah well. The other complaint I forgot to voice with it is the removal of the FF2 post game story, whatever it was called. Soul of Rebirth, iirc. I have a soft spot for FF2 even in spite of its idiosyncrasies and I really liked getting some closure with the character who died over the course of the story. Really a great way to add to the story without needing to change or detract from the story of the original.
Not simply minimized - you have to know the way different things will affect the seal rating to keep it low but not so low that you trigger the C ending. You also have to know about the various locations you absolutely must visit and when.
I fucking hated guides when they were mandatory, extremely easy to spoil yourself on plot progression and plot if you looked at the wrong place. One of the things that are good that went away, though probably today you can just feed it to ChatGPT so it could give you the cliff notes.
I'm fine with missables somewhat when there's indications in-game (even if it's just an NPC conversation) that give you some kind of hint. JRPGs of the 2000s were the worst though in this regard - I think it was Brionac in Tales of Vesperia that hinged entirely on seeing an event that required you to go back two towns immediately after finishing a certain town but before you started the next one. And I'm pretty sure there's literally nothing in the game pushing you to backtrack at that point at all.
Tales loved that bullshit of going backwards after every plot happening. But I was mainly salty about endings, yeah losing a sidequest was annoying but you usually don't have shortage of content, but the gulf in ending content can be massive and that was before you could just see the true ending on youtube.
I used to believe those types of quests were placed on purpose to help you come to realize not to get too involved with games and just go outside. After the xth time playing freaking Blitzball, maybe you'd look to the ceiling and wonder out loud "what the hell am I doing with my (very brief) life?"
I'm saying this as someone who hasn't started Metaphor yet, so maybe when i do start the game, i'll start understanding what you mean.
I think stories like this are fine to tell, but the issue is that modern writers (especially Japanese ones I've noticed) really struggle to understand the driving forces behind prejudice. Groups always have in-group and out-group preferences, but hardnosed systemic racism is something that emerges over a long period of time where historical events ossify the relationship between two groups. A story where a bunch of different groups randomly dislike each other just doesn't really make sense except in a Saturday morning cartoon.
Forewarning - there's no respeccing in Metaphor.
