Lost Odyssey – “The (Real) Final Fantasy”


Few “Final Fantasy” fans like the new course of the series, with Yasumi Matsuno’s different approach in “FFXII” and the growing number of uninspired series’ spin offs. Let’s face it, after Square and Enix merged, Square’s brands have been milked far beyond comprehension: in between remakes, spin-offs, special editions and sequels, SquareEnix has released several dozens of games in the past years. And though that has netted a steady flow of cash into the company, it has sprouted a wave of disbelief in the company’s standards by long-time fans. For all of the motives above, it is fair to say that FFXIII is the least expected episode in the series in many years. So, when word got out that after leaving Square, Hironobu Sakaguchi formed a new company named Mistwalker, expectations reached an all time high for the “Final Fantasy” hardcore fans. “Blue Dragon” came out, and those expectations faded: it featured an archaic battle system and a horribly childish script. So, “Lost Odyssey” was released with little fanfare: reviewers everywhere dismissed the game as mild effort to repeat the “Final Fantasy” formula once more, and the hardcore fan-base of the 360 wasn’t mildly interested in a classical JRPG. So, the question that needs answering is: how does “Lost Odyssey” stack up when compared with the “Final fantasy” legacy?


“Lost Odyssey” is the tale of Kaim Argonar, an immortal man that has lived for over a thousand years. It is set in a high fantasy scenario with sci-fi elements, in everything similar to that of “FFVIII”, where a number of political conflicts have engaged the world’s countries in a series of wars. Of course, the reason why the world is at war is rather simple: there is a powerful and somewhat mad wizard that wants to take over the world with his magic, and uses these conflicts to gain power; alas, nothing new on this front. Sakaguchi’s scenario is really poor, so much that it pains me to write so. The plot is so obvious and dull it hurts: in the first few hours it will be plainly obvious who the bad guys are and what they’re plotting, and what the good guys’ purpose is. No plot twists, no grand finale, no hidden meanings, no nothing. Yet, the old Sakaguchi charm still manages to creep up, with a cast of touching and funny characters giving the story a much needed interest. Jansen, a womanizer with the appetite for booze and prostitutes is delightfully funny; Seth, a cynical pirate that is Jansen’s complete opposite, picks on him throughout the game making them a great duo for any comedic act; and then there’s Sed, Seth’s son, an elderly pirate that still calls his mother “Momma”. The rest of the cast isn’t as interesting, and can seem mostly underdeveloped, especially, the main character Kaim, who is so “emo” it becomes annoying: all his dialogues can be resumed to a series of careless, dry, uninteresting one-liners. But that is where things get interesting…


As you might already know, “Lost Odyssey” features collaboration from (supposedly) famous Japanese writer Kiyoshi Shigematsu with the name of “A 1000 years of dreams”, a collection of memories belonging to Kaim’s one thousand years of living. These memories were translated to screen only using text, a few abstract images and sound, and of course, Uematsu’s riveting soundtrack. The result is, by far, the best narratives “Lost Odyssey” has to offer. Here, Kaim is portrayed as a real, multifaceted character, with proper feelings and personality, and his life-episodes are much more deep and emotionally provocative than anything Sakaguchi can come up with. They can be described as somewhat philosophical tales about war and peace, love and hate, life and death, but nothing I could ever write could transmit how powerful and well written they really are. After the first one, I was literally hooked to these pieces of literary magic, that managed to make me weep (yes, weep) every single time, due to the intensity of those vivid dramatic moments, made all the more touching thanks to Uematsu’s music. It’s so damn good, that if “Lost Odyssey” focused on these “1000 Years of Memories” instead of the silly “Madman wants to take over the world” plot, it would probably have the best JRPG story ever. It’s not that Sakaguchi’s plot doesn’t have its share of powerful emotional moments, it does, it’s just that there are a lot of silly clichéd subplots in between each one, and they lack the depth present in Shigematsu’s tales.

The gameplay, as would be expected from Sakaguchi, is the standard in classical turn-based RPG’s, i.e. nothing new here as well. And if it does feel dated and overused, one must admit that at least it’s well executed. Some things have been improved: the player is fairly rewarded for exploring the world; grinding is not an issue, thanks to the use of an experience system that grants levels with great speed; and very importantly, the tradition of obscure side-quests is gone, with most of the hidden secrets in the game only requiring a healthy amount of exploration and reasoning to find. So if you like to reminisce about classical “Final fantasies”, then the gameplay will surely make you happy with nostalgia. Nobuo Uematsu’s fully orchestrated score will also make you very happy, as it follows the spirit of the series, meaning its one hell of a soundtrack. And it’s completely original, which allowed Uematsu to go to new, unvisited places, instead of having to rearrange time and time again the same melodies. The result does bear some nostalgia, but also manages to go forward in creating new sounds and styles: expect everything from metal to erudite music to be present.


On the technical side, the game has its share of ups and downs. The art-direction is very good and translates well into the extremely detailed Unreal Engine, producing beautiful sets and characters. It isn’t, by any means, nothing that hasn’t been done before: most of the aesthetic is reminiscent of past “Final Fantasy” games, and the usual Japanese quirky silliness (like dresses that lack fabric in bosom and rear) is all too present to make the world’s environment feel believable. The fact that the game doesn’t run all that well, doesn’t help: there are many loading-screens and stuttering-cutscenes waiting players who want to get through to the end of the game. At least, the cutscenes and FMV are the best I’ve ever seen, with fast cut editing, dynamic directing (finally a game that masters the use of low and high-angle shots) and use of simultaneous multiple POVs (giving a comic-book feel similar to that of Ang Lee’s underappreciated “Hulk”). Apart from the simplistic lighting, the marvelous visual direction by Roy Sato (animator of “The Flight of the Osiris” from the “Animatrix” short stories) is highly commendable.


So, is “Lost Odyssey” a worthy successor of the “Final Fantasy” legacy? The answer is… yes. Though “Lost Odyssey” has many flaws, it fares remarkably well in upholding the series’ concepts and production values. Everything one would expect from a “Final Fantasy” is present. Yet, “Final Fantasy” has always been a series that, in each episode, went further in the genre and “Lost Odyssey” feels exactly the opposite: it tries to go back to the roots of the genre. At first, that might be a letdown, but after crying endless times from reading every “1000 Years of Memories” and watching the gorgeous cutscenes, you’ll understand what Sakaguchi is trying to say with his game: why go forward, when the dramatic potential of the genre is still underachieved? “Lost Odyssey” is Sakaguchi’s greatest masterpiece, a game so heartbreaking, profound and beautiful that it fully deserves the title of “The (real) Final Fantasy”.

Overall: 5/5

  1. Sceptic as I was, the review managed to tally up to something lucid and passionate: this is indeed a score based upon your personal view of the game and not an attempt at game reviewing in an allegedly neutral fashion – which I find to be ‘la grand illusion’ of modern-day videogame journalism.

    From what I can read here, the game manifests itself through two distinct layers: the popular JRPG where fans will surely find the same recurrent game style initiated in the 32-Bit era, in effect a reassuring notion for the owners of a non-Sony console; and the deeper and less explored gradation, of richly composed text where even Sakaguchi and associates dared not go further, otherwise they could risk doing a truly memorable game. Why aim for the high mark of ‘memorable’ if you can produce a solid sales generator? Throw any old rotten bait to the water and they’re sure to bite it. (This one, however, seems not so rotten as it did make you weep!)

    The less honourable side of the videogame industry, in a nutshell.

    Parabéns pelo excelente texto!

    • ruicraveirinha
    • April 6th, 2008

    First up, thanks for the comment and its encased compliment: it’s an honor (and I mean that) to have you reading my personal and somewhat mediocre game blog… yes, face it, I could never achieve your level of GREATNESS in the realm of video-game knowledge 😉

    Everything here is subjective and of course, is meant to be so. I’m happy you like it that way. I understand your issue with game journalism, and agree 100%. The sad thing is that game journalism is the way it is… because of its readers. They just don’t know what criticism is, and as a consequence end up mixing objectivity with well-informed analysis. One is completely impossible to attain when judging art (due to its subjective nature), whereas the other is the only way of approaching it (oh, don’t know if you’ve noticed, *games == art* here 😉 ). The reasons for this misinterpretation are many: from the journalist’s lack of artistic culture (in a broad sense of the words) to the nature of their audience (they’re still writing to pimpled teenagers I’m afraid), not forgetting that which is the biggest prejudice of the industry, the idea that video-games have to be “FUN” in order to be good (meaning that all should be analyzed according to a “FUN” scale). Cinema, animation and comics have all gone through a similar phase (though with different characteristics), and they all ended up evolving beyond it, so give it time and games should follow…

    Now, onto “Lost Odyssey”: yes the game has those two facets. Yet, you seem to think that Sakaguchi chose not to be as good as he can hypothetically be, in order to sell the game. Well, I’m not so sure of that, and I think that had you played the game, that would be all the more clear to you. Let me explain: it would be possible (and I dare say “relatively easy”) to make “Lost Odyssey” into a happy midterm between a groundbreaking work and the straightforward pseudo-sequel that it is. All that would be needed is some level of craft in writing a decent script (which Sakaguchi clearly lacks) and a bit more courage in its design choices (Sakaguchi has always been a classicist in that regard). With that taken care of, “LO” would definitely be the JRPG the Microsoft wanted it to be, and would sell like “Dragon Quests” ( = RPG slang for hot potatoes 😀 ).

    In my opinion, (and I know this sentence would upset a lot of people) everything that is good about “Lost Odyssey”, has little to do with Sakaguchi himself. It’s the people that surround him that make this an interesting game: Uematsu, Shigematsu and Sato. Don’t misunderstand me, I love Sakaguchi for his importance in the past, but I think that video-games, as a medium, art form and entertainment industry have grown far beyond his designing capabilities.

    But hey, that’s just me, you probably have “1000 years of reasons” to justify why I’m wrong… and I would like to hear every single one of them.

    P.S.: Sorry for the long post, got carried way 😀 If you enjoy it here, keep on spreading your wisdom.

    P.S.2: Love your blogs/sites/stuff/whatever!!

    P.S.3: “Silent Hill 2” is the perfect example of a good story (albeit being a David Lynch rip off, nonetheless)

  2. Thanks, but you think too much of me. In fact all I do is dedicate myself to the issues which most gamers find ignorable. You may have mistaken that for knowledge.

    I’ve studied art for the last years, and I find that the same tools used to approach art and art history is also useful when analysing videogames, in fact, remarkably nifty. I came to believe we can achieve consensus of what is major or what is not in art production, though of course that is irrelevant to the ‘self”: we are often drawn to that which resonates with our own sense of discrimination. I believe the very notion of sensivity, however, is protean and in every sense dependant on the level of knowledge supporting it. I’ve tried to apply axiomatic values of Kant’s philosphies to videogames in my blog, in a series of articles named ‘Axios’ (numerical value).

    Take a look here if you like: http://dieubussy.blogspot.com/2008/01/axios-01.html

    I agree with your view to some extent. Not only due to the FUN factor, video games are generally scrutinized as products and not as works or (opus, to use the Latin expression). I am one who disagrees, for instance, with the attribution of numerical values, as they tend to be narrow the scope of our own capacity to appreciate. I’m afraid the issue is more than intricate in order to establish comparisons between the growth of cinema or animation as distinguished arts, simply because videogames have surpassed both in the revenues they generate in little more than 30 years. When economy becomes a vital organ of the industry there remain meagre chances for intellectual or artistic values to ensue above income. You have a large movie-going audience who pays to see authorship in movies, or government financing great architects to express themselves using tax-payer’s money. In the videogame community, the larger portion of the players is mostly concerned about FUN, for their perspective of videogames is still, unfortunately, that of a hobby or the latest trend. The reason why a game on, say, old age would never work in this cynic milieu.

    Sakaguchi is an old-school game designer which, in his own turn, helped establish and consolidate the renowned RPG genre we know to this date. I don’t regard him as a classicist or a person who involuntarily got stuck in time in his own capsule of ideas and concepts. We must consider the question from all standpoints: Sakaguchi is a worker and he gets paid to create profitable games. It would seem to me (bear in mind I haven’t played the game) that Lost Odyssey is an example of such working environment where the producing half demanded the creative inflexibility of the inventive half.

    Thanks for your words; I don’t mind long comments at all. Also for your praising, my websites mean hard work, but as for their quality I’m in no position to judge.

    I also think Silent Hill 2 is reminiscent of some Lynch movies, although other powerful influences have also contributed to the final result, such as the movie Jacob’s Ladder among others. I hope you don’t interpret that as a misdemeanour. It’s part of the art process to acknowledge other’s work and draw stimulation from them!

    This was written in a sort of a rush, so forgive errors and omissions.

    • ruicraveirinha
    • April 6th, 2008

    If that isn’t knowledge, I don’t know what is. But that is too big of a discussion for this blog.

    Well I wish I could study art (and specially art history) such as yourself: my life’s greatest letdown comes from never having the courage to pursue such an endeavor. As such, most of my background is purely self taught, with the help of a few books of course, and comes mostly from my ongoing analysis of film and cinema.

    So, I have to admit not to have the slightest idea whatsoever what Kant though about art analysis (Sorry…). However, it is plain to me that you’re right: the quality of an art analysis is completely dependent on the information available to the observer (if I understood correctly). Taking the “SH2” example: few reviewers understood the narrative of the game either because they hadn’t seen any D.Lynch movie, or because they didn’t comprehend them (again for not knowing what his art stands for or where it comes from).

    To the issue of grades, though I understand your position, I have to disagree with it. Their purpose has never been to judge art on a scale, or to encompass all of the review’s information into a cold and somewhat abstract iconographic element (that is what players see in the grade, but it is far from being its purpose).

    I remember somewhat vaguely the reason “Cahiers” gave for posting grades: their idea was to make an artistic statement that could provoke the reader’s reaction (no matter how adverse it could be, and specially if it WAS adverse). It was a powerful means of inducing people to go to the cinema, if only to prove that DirectorX’s film wasn’t as good as “Cahiers” said it to be. It also sprouted debate, which was essential in spiking people’s interest in the review, their reviewers and the “magazine”. And it also served an educational purpose: it told people what was *good* or *bad*, and even if such a notion might seem ridiculous, it clearly leaded people into looking differently at popular and unpopular authors or artistic currents.

    To do all of the above for a wide audience of readers (back then you couldn’t write to niche “market”) with a subjective and open-to-interpretation text is, in my opinion, downright impossible. You can try, but only with some form of compromise to ensnare and seduce the reader, which ends up being difficult and cumbersome for the writer. A simple, objective number delivers, on that regard, much more impact. Its power is completely underrated. I mean, how many times did you not feel revolted with a bad grade given to a specific work you care for, or the happiness of reading a big glowing “A+” coming from a critic whose criteria you uphold. And none of this interferes with the actual review, that in many cases fails to harness such a power, or to be as concrete as to make you feel such a thing.

    As to Sakaguchi, I disagree heartily. He has not been a *worker* for many years… he was Executive producer at Square, come on… That is not a worker, that is someone with a great amount of power. He is, in every possible way a classicist, just look at his ideas in “FFIX”, clearly going back to the series’ roots after VI, VII and VIII had gone way beyond his early ideas, or “Blue Dragon”, which in mid-XXI century manages to be as classicist as the first game in the genre, “Dragon Quest”. From Amano’s classic art-style, to the consistent avoiding of reinvention of his games’ battle systems, he never seems to amaze me in his non-progressist thinking.

    Matsuno and Kitase, for example, broke many rules, and went much further than Sakaguchi in the past years (even if they did so upholding certain boundaries) and they were also workers, so that debunks your “worker” argumentation 😉 .

    SH2 and “Jacob’s ladder”: yes, it’s true, but “Jacob’s Ladder” was already inspired by early DL. Besides that, SH2 way is more than just inspired in DL, it’s story bears an uncanny similarity to Lost Highway’s synopsis, and it oozes David Lynchean cinematic codes:

    – The personification of ID (pyramid head);
    – The opposition between different personas living inside the same body and mind, one referring to the subconscious view of the observed, the other to the conscious perception of the “real” character (Mary and Maria);
    -The subjectivity and selectivity of memory and perception (James’ forgotten memories);
    -The surrealist tone and ambiance, resulting from the blend of industrial and horror sound effects, the weird camera angles, the visual noise, and all of the aesthetic elements of Lynch’s cinema… (too much to mention in such a small text);
    -The existence of allegoric characters symbolizing different facets of the observer (every character apart from Mary and Maria);
    – And the most important: the narrative occurring in a metaphysical space (usually of purgatory nature) like the road in Lost highway or the post-industrial revolution town in Eraserhead (in this case, Silent Hill itself).
    -etc, etc, etc, etc.

    NOTE TO SELF: I think I could write a small thesis on DL and his influences in SH2 if I had the time =).

    But I agree, there is no problem in borrowing from other artists. Though in a few years, I will change my mind about that issue. Because right now, game developers are still trying to find their “inner voice”, if you will, and as such, seems normal for them to seek inspiration in other means. There are few games (with solid artistic content) that don’t rely heavily on certain books or movies, a definite sign of the means’ (im)maturity. In a few years, “copying” Lynch, Tolkien, Spielberg or Brecht (the first four names that came into mind—- *freeeeeeaky*) will probably be seen as backwards thinking, as game directors manage to find ways to create original themes and “motifs”. Of course, originality is a misleading notion, but I think it is fair to say that it is mostly absent in mainstream games (as you know I have little knowledge of “Indie” projects).

    Well… longest post ever… as soon as I have more time I’ll reply the other post…

    Oh and Yes, you’re sites/stuff/blogs are REALLY good, and I wish you all the luck in your pursuit of free-lancing journalism.

    • ruicraveirinha
    • April 6th, 2008

    One more thing I forgot to write about: you say games have surpassed, economically, cinema and comics, and because of all that they will not follow their trend. True. But so did cinema 30-40 years after first appearing. I think you need to look back carefully at all the phenomena that occurred during the alleged Golden Age of cinema. At the time, cinema was regarded as a functional means of entertainment, similar to videogames, and was hugely popular, largely surpassing theater and Broadway productions in profit and popularity (just as games now surpass cinema).

    The studio management from that time is in everything similar to the way game companies today are managed, with authors being poorly paid and binded by contract to the company, the rightful owner of their intellectual properties. Workers were treated much like grunts and not as artistic creators: scripts were “built” in an conceptual assembly line, scenes were shot in predetermined sets, according to predetermined academic rules, with different directors, etc, etc… just how games are “built” today. Creativity was mostly absent, with the only true artistic works being a result of independent (usually European) authors (backed-up or not by American studios). Visionary movies were mostly commercial failures, etc, etc, etc. Get where I’m getting at?

    The works’ quality and concepts were extremely associated with a studio brand, instead of their rightful authors (again, like games, exception made for more prominent directors like Kojima, Miyamoto, Sakaguchi and a few more). Remember the WB logo? The eternal war between DC and Marvel? Games have Konami, Capcom, Sega and Nintendo: it’s exactly the same. As long as games are solely owned by a company, and not by their authors, it will be hard to create a much needed free-lance system, as the one in-vogue in all artistic media.

    Movies only started being regarded as an art form after the 2nd world war, when the studio system was leveled, and the authors emancipated themselves in America, as well as in Europe (though for different reasons). Before the end of that era, there were many mergers (a sign of the financial and economic bankruptcy of the business model), something that in the past two years we have also been living in the videogame industry.

    So I think there’s enough evidence that games will emancipate in the near future, just as cinema and other means have in the past. All that stands in the way of that marvelous moment is a change in the videogame production paradigm, which currently requires large amounts of money and a decent amount of logistic coordination. In the last years, thanks to the growing quality of development platforms, the paradigm shows (slight) signs of changing (why do you think every 360/PS3 game uses Unreal Engine? – because its cheaper to produce games that way). Just watch PSN, Xbox Arcade (with its XNA titles) and it will be clear that the tendency is for an ever growing impact of the still small Indie movement. As soon as games developed by small companies can reach the grand audience, the studio system will die. My bet is in 10-15 years. And if games follow cinema and comics’ evolution, that will sprout a real “golden age” for videogames. I can’t hardly wait…

  3. This discussion has become far too complex to be continued here, I agree. So I’ll try to make it lighter this time.

    The scoring: I personally choose not to score games because it reduces the gaming experience to a figure or value, no matter how many times you say it doesn’t or justify chosen grades within the text. I’m sure that Cahiérs had their reasons to justify their use when they opted to do so. But their standards are different from mine. This is the sort of popular decision that helped (even if involuntarily) spawn a generation of people who can’t read and who don’t need to read because they decide what movie they’ll see next based on a number or alphanumeric values: “5-Star – Rivetting!” or “Two Thumbs Up!”. Underrated? I think they are in fact overrated, considering the popularity of websites such as MetaCritic where all that maters is that constraining scores average. It’s hard enough to find words to describe certain aspects of games we sometimes want to transmit, let alone rate them.

    I agree they do create a reaction. But that’s precisely the reaction I’m not after and don’t want to provoke. I don’t want the large capital letters on the front page, neither the blood stained photos. If you ask me, in most cases it is a cheap way to draw attention – not necessarily in MetaGame, mind you. It is easy to rate, just pick a number out of 5 or 10. Congratulations, you’re a walking thermometer! (laughs)

    I hope things were a little more as you say. I don’t think that Sakaguchi is free to create whatever he likes because there are, alas, test-proven (even time-proven) formulas which are so very seductive to the companies share holders. Sakaguchi doesn’t decide the flow of investments; he is a creative director who worked for one of Japan’s top-selling products: Final Fantasy. When you make a Final Fantasy it’s not that different from, say, making a kitchen dish: you may add a little more sauce, little less salt on the top, more pepper to balance the taste, but the initial formula is there and if you escape it, it’s another completely different dish. For once he had the chance to do something different, however, like when he was invited to direct the Final Fantasy Spirits Within project: something which even Welles himself would have found a difficult task, as the production lasted for years between Japan and the United States (Hawaii). And it was a whole new interpretation of the old Final Fantasy values and people’s reaction was the worse imaginable. So then someone had the idea to make Advent Children and the fans drooled in their pitiable state. Go figure.

    He is, like so many other brilliant game designers from the early days, overwhelmed by the immense growth the industry suffered. That doesn’t make him a classicist. This “child” grew too much too fast. Someone once said a true artist only expresses one thing in different times and moods. He has perfected his own art when creating this specific type of game and isn’t motivated by his peers to go beyond that, and neither by the community to which he addresses. The more I learn about videogame history, the more I empathise with the developers who have been around for a longer period of time.

    I share your ideas concerning SH2 and DL, but the website you saw was something I created when the game was released or shortly after and it was more of an exercise on web design. You should organize these concepts and write something, for I’d be more than interested in reading them.

    Thanks again and get well!

    • ruicraveirinha
    • April 7th, 2008

    Ok. Ratings, lists, and all that apart (let’s agree to disagree), let me finish up the discussion on my end.

    Sure Sakaguchi had a hard time with “Spirits Within”: it was a walking behemoth waiting for a lvl5 death spell. And yes, fans will always be more attracted to tried and true formulas than to innovative design (there’s a curious discussion on this matter in the Deus Ex IW post)… it’s actually one of the first rules of game design (oh, the endless discussions with my Games’ teacher). Anyways, it is also one of game design’s principals testaments that the easiest way to get attention to a “new” game is to change the game-play mechanics. If not, there would be no innovation in the means, and there “is”, no matter how limited it may seem at times. Many games prove how tried an true formulas can be reshaped, even if fans might show some disbelief at first.

    And on the subject of Sakaguchi, you just have to look at what Matsuno did with “FFXII” (and without being able to see the project to conclusion!). Sure, fans bitched about every little design choice, but the game was still a success. I haven’t seen Sakaguchi try something similar in a long, long time, in a galaxy far, far way. I agree that he isn’t motivated to do so, but I don’t see it as an excuse for not doing it.

    But we agree that he is, in all of the senses of the word, a videogame “GOD” (there’s no discussion there) and nothing I could ever say would change that. So let’s just drink a cup of tea in his hômage 😉 !!

  4. FFXII stands halfway between the original Final Fantasy games, Vagrant Story (another Playstation favourite for the japanese public, do you recall Famitsu’s 40/40 score?) and also some of what you had already seen in FFXI. Just returning to the original “offline” formula would be enough to sell the game. In spite of that, Matsuno’s work was remarkable, even if he was contemplating his own expression as Sakaguchi always did in his turn: it so happens they have different styles of game planning for the same genre, resulting in different game types. Let Mr. Yasumi Matsuno collaborate with Hiroshi Minagawa in FF titles a few more times and you’ll know what I mean. And let us not forget the importance of senior director Hiroyuki Itou, who has been with Square for over two decades, in the addition of innovative elements. He has been the production manager of games outside Square, meanwhile, and had the chance for personal growth beyond the creative boundaries of the company.

    The same sort or criticism debated here could easily be applied to different games like the Metal Gear Solid series which hasn’t evolved substantially from the first Solid episode, give or take an inch. But yes, let us drink to Sakaguchi and his fine art!

    • Wolfy776
    • May 25th, 2008

    “the main character Kaim, who is so “emo” it becomes annoying”

    Kaims really the only character I like in the game.
    He is actually portrayed emotionally detached, or at least that was the effort, with a fucked up past.

    Tolten on the other hand…

    “A 1000 years of dreams”

    I actually really hate these things, especially when u run into 3 in a row. If I really wanted to read soliloquys, I wouldn’t have my Xbox on… more CG, thanks.

    • ruicraveirinha
    • May 25th, 2008

    “I actually really hate these things, especially when u run into 3 in a row. If I really wanted to read soliloquys, I wouldn’t have my Xbox on… more CG, thanks.
    I can understand your fervor, but nobody *made* you read the darn things… But I can see where you’re coming from. You want games, not books. Sure, I do to. Yet, the fact is that Shigematsu-san’s books can express feelings, images and characters Sakaguchi knows he cannot translate through CG or any other videogame vehicle. That’s why they’re there. So, if you can read them (and I know, most gamers have a hard time doing so), you can go beyond some of the more shallow elements of the game, and really appreciate “Lost Odyssey” as a whole.

  1. December 17th, 2008

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