Isie
21 reviews liked by Isie
thracia is a game that really wants you to reexamine some behaviors and thoughts that you may have considered intrinsic to playing video games. is it worth it to strive for perfection? is fairness really the end goal of difficulty? is there really no honor in cheating? the most common statement you'll see about this game is that it's brutal, and the second most common statement you'll see about this game is that it's "just unfair to new players, but not that hard". neither of these statements are quite true; thracia is a very difficult game, and it is especially unkind to blind players, but it's paradoxically very effectively balanced. for the most part, this isn't a game where you're being put up against enemies way stronger than you, or a game where the enemies are given tons of toys you can't have. thracia is about trying to turn every disadvantage you're given into an advantage, and trying to win by choosing not to play within what the game presents as it's "rules" at all. to me, thracia feels very genuinely revolutionary in a way the prior 4 FEs, all also about revolutions, did not. the fatigue system means you are not allowed to be picky about your units, and you do not get your usual assortment of nobles and world-renown warriors. instead, you get a heck of a lot of bandits and sellswords, not to mention a handful of priests and illegitimate children. speaking of those bandits and priests, they are universally your MVPs in thracia. thracia has a very strong sense of materialism, both in it's plot and mechanics, which means that stealing and capturing weapons is simply your only option for acquiring weapons and money. this means that utility units are much stronger than in any other fire emblem game; not only because you have to steal to survive, but also because disarming is often a better option than just directly killing. why should i murder reinhardt when if i berserk him then sleep him i can get him to thin his troops and steal his gear? why should i bother fighting all these mages when i can send lifis in and just take all their books instead? this stuff brings a really interesting sense of resource management to thracia, and means that the player has theoretically nearly infinite opportunities to get good weapons, but has to gauge whether or not it's worth going for them each time they fight. this is furthered by making villages occasionally very difficult extras to get, and the addition of missable gaiden chapters help this greatly too. thracia has a very strong conception of risk vs reward; to simply clear the maps, you often have very easy and simple options, but simply clearing the maps is rarely enough. you are forced to take gambles to survive, but you are never expected to be perfect. a 100% playthrough of this game would likely increase the playtime by more than half off resets alone, but i don't think that that is a mistake or a negative. to me, thracia is rather genius in that it puts so much decisionmaking in the player's hands, and so little of that decisionmaking directly relates to killing. a good amount of your units can reliably crit, so cutting through enemies isn't something you need to worry too much about.. instead, what you're concerned with is not bleeding out on resources, making sure your units can avoid status effect spam, making sure you can have your units available when you need them. is it bullshit that you can be hit from halfway across the map by a sleep staff in enemy phase? sure. but i can silence that staffer, i can berserk them, i can steal their sleep staff.. you just have so many options, and just killing them is usually the least effective and least interesting one! in another strategy game, this sort of thing would be considered cheese, but here, it's life. you have the option to play "honorably" and fight like a man, sure, but are the enemies fighting honorably? hell no. fuck em. to me, this is exactly the sort of difficulty a strategy game should have. extremely lethal, extremely diverse, and not fair at all... but filled with options for interesting decisionmaking instead of just overstatting brute force ai. there is very little division between what you can do and what the ai can do. the defining difference is that you are not a bot.
STORY SPOILERS AHEAD
storytelling in thracia is another big strength. i think that the very restrained focus here helps a lot with character building and thematics. prior fire emblem games were all extremely grand continent-spanning high fantasy stories, which isn't a problem for those games at all, but i do feel that occasionally the macro scale of those stories meant that we could not feel the struggles of individual characters so closely. even mystery of the emblem, which does have a similar style of gameplay and a comparable story to thracia, is so zoomed out that i could hardly tell you what marth or caeda are feeling about what's happening. by contrast, leif is excellently built up, undergoing strong development through many losses. leif is someone who was born into natural conditions fit for traditional heroism, but is also someone who is given plenty reason to believe that his rebellion will only crush hope. prior lords had generally been characterized by naivety and great kindness; marth had been unable to accept that his allies had turned against him, sigurd had so much faith in the goodness of others that he ended up blind to conspiracy, celica loved alm so much that she was willing to suffer and sacrifice her cause for his sake. leif is anything but naive, and his kindness is often hardly virtuous. leif is racked with self-doubt at every turn, and when he is not, his ignorance and rash attitude bites him in the ass. he wants to save his people and repay the debts of his childhood at all costs, even though it has him taking on more than he can handle. his nobility alienates him from causes that much of his army is fighting for. many of his flaws would make him seem not so dissimilar from the friegian generals he's up against, but the important part is that leif learns from his mistakes as time goes on, and he never gives up. by the end of the game, his title of sage-lord doesn't feel farfetched. the enemy factions in thracia are also very well characterized. one detail i especially like is that the infamous thracian dracoknights rarely show up at all unless they're trying to seize an objective before you, and they're extremely lazy units. they don't leave their posts until you get in their range or split up your units, and they always leave the map when you kill their commander. this gets across very well that south thracia has little passion for the war they've been paid to fight in, they only see their alliance with the empire opportunistically. my only complaint with the story is that the final few chapters feel like a bit of afterthought or obligation story-wise, the audience just doesn't get a lot of in-universe justification for why the strategy is being executed the way it is, probably because it diverges from genealogy at this point. saving eyvel and defeating raydrik both make sense, but the loptrian church has very little personal relevance to the cast here. it didn't bother me because the last stretch of the game is sheer excellence from a gameplay perspective, but i do feel it's worth noting.
some minor notes i couldn't fit in here:
door key softlocks are really dumb and probably the single worst part of this game
chapter 12x and 14x are objectively quite poorly designed chapters for very different reasons; 12x is a chapter that feels almost deliberately designed for you to not engage with playing it, and 14x is a fog of war chapter that has long range troops and random pegasus knight spawns which can capture your units but you can't capture back. i think 14x is still effective narratively, but it's one of the only moments where i felt that thracia was sadistic in a way the player could not appropriately respond to or work around without foreknowledge or with clever strategy.
the variety in objectives is a huge plus for thracia and something i wish had been implented sooner. escape maps and survival maps are both awesome
STORY SPOILERS AHEAD
storytelling in thracia is another big strength. i think that the very restrained focus here helps a lot with character building and thematics. prior fire emblem games were all extremely grand continent-spanning high fantasy stories, which isn't a problem for those games at all, but i do feel that occasionally the macro scale of those stories meant that we could not feel the struggles of individual characters so closely. even mystery of the emblem, which does have a similar style of gameplay and a comparable story to thracia, is so zoomed out that i could hardly tell you what marth or caeda are feeling about what's happening. by contrast, leif is excellently built up, undergoing strong development through many losses. leif is someone who was born into natural conditions fit for traditional heroism, but is also someone who is given plenty reason to believe that his rebellion will only crush hope. prior lords had generally been characterized by naivety and great kindness; marth had been unable to accept that his allies had turned against him, sigurd had so much faith in the goodness of others that he ended up blind to conspiracy, celica loved alm so much that she was willing to suffer and sacrifice her cause for his sake. leif is anything but naive, and his kindness is often hardly virtuous. leif is racked with self-doubt at every turn, and when he is not, his ignorance and rash attitude bites him in the ass. he wants to save his people and repay the debts of his childhood at all costs, even though it has him taking on more than he can handle. his nobility alienates him from causes that much of his army is fighting for. many of his flaws would make him seem not so dissimilar from the friegian generals he's up against, but the important part is that leif learns from his mistakes as time goes on, and he never gives up. by the end of the game, his title of sage-lord doesn't feel farfetched. the enemy factions in thracia are also very well characterized. one detail i especially like is that the infamous thracian dracoknights rarely show up at all unless they're trying to seize an objective before you, and they're extremely lazy units. they don't leave their posts until you get in their range or split up your units, and they always leave the map when you kill their commander. this gets across very well that south thracia has little passion for the war they've been paid to fight in, they only see their alliance with the empire opportunistically. my only complaint with the story is that the final few chapters feel like a bit of afterthought or obligation story-wise, the audience just doesn't get a lot of in-universe justification for why the strategy is being executed the way it is, probably because it diverges from genealogy at this point. saving eyvel and defeating raydrik both make sense, but the loptrian church has very little personal relevance to the cast here. it didn't bother me because the last stretch of the game is sheer excellence from a gameplay perspective, but i do feel it's worth noting.
some minor notes i couldn't fit in here:
door key softlocks are really dumb and probably the single worst part of this game
chapter 12x and 14x are objectively quite poorly designed chapters for very different reasons; 12x is a chapter that feels almost deliberately designed for you to not engage with playing it, and 14x is a fog of war chapter that has long range troops and random pegasus knight spawns which can capture your units but you can't capture back. i think 14x is still effective narratively, but it's one of the only moments where i felt that thracia was sadistic in a way the player could not appropriately respond to or work around without foreknowledge or with clever strategy.
the variety in objectives is a huge plus for thracia and something i wish had been implented sooner. escape maps and survival maps are both awesome
Persona 4 Golden
2012
For a while now, Persona 4 Golden has been in the back of my mind as one of the most special pieces of fiction for me. So this review is a poor attempt to verbalize what this game means to me.
In the middle of 2022, I was at one of the lowest points of my life. Through my own admission, I had lost the people around me. My days felt empty, my future looked bleak and I struggled to get out of bed, let alone take care of myself. In an attempt to make my life a bit better, I purchased a new PC, to delve into new games that I previously wouldn't be able to play. To at least get out of bed.
Luckily, my best friend stuck with me through these tough times. He introduced me to Persona 4 Golden, a series I had previously been aware of and been mildly interested in through Persona 5, but never got the push to quite get into it. Ironically, I could've easily played Persona 4 Golden on my older PC, but nonetheless it felt like the mark of a new beginning.
I would love to say that starting the game and playing it was a magical experience, but it was a struggle at first. But it was a reason to talk to my best friend, it was a way for me to keep going so I managed to keep going. Through the daily struggle to keep up, I got to know the characters slowly, but surely. I started to pick a favorite, get invested in their character arcs, try to figure out the mystery of the town and most importantly, feel a bit better every time I saw that friend group that had started to mean so much to me.
Of course, the characters of a video game cannot replace any real friends or any real interaction, but the bonds that were being forged in front of my eyes were enough to fill that temporary emptiness in my heart. The perseverance of these kids, to have the courage to keep moving forward when it all seems so bleak, gave me hope in my darker hours. To be able to share that with the only person close to me at the time was a special time and allowed me to keep the hope that life would get better.
And it did. Because of Persona 4 Golden and my best friend Goh, I was able to persevere myself and keep faith in the future. To me, they saved me.
I usually like to close off a review with a quote that meant something to me in the story that I experienced, but here I would just like to thank Persona 4 Golden and Goh to be there for me and I'm grateful to anyone who took the time out of their day to read what this game means to me.
In the middle of 2022, I was at one of the lowest points of my life. Through my own admission, I had lost the people around me. My days felt empty, my future looked bleak and I struggled to get out of bed, let alone take care of myself. In an attempt to make my life a bit better, I purchased a new PC, to delve into new games that I previously wouldn't be able to play. To at least get out of bed.
Luckily, my best friend stuck with me through these tough times. He introduced me to Persona 4 Golden, a series I had previously been aware of and been mildly interested in through Persona 5, but never got the push to quite get into it. Ironically, I could've easily played Persona 4 Golden on my older PC, but nonetheless it felt like the mark of a new beginning.
I would love to say that starting the game and playing it was a magical experience, but it was a struggle at first. But it was a reason to talk to my best friend, it was a way for me to keep going so I managed to keep going. Through the daily struggle to keep up, I got to know the characters slowly, but surely. I started to pick a favorite, get invested in their character arcs, try to figure out the mystery of the town and most importantly, feel a bit better every time I saw that friend group that had started to mean so much to me.
Of course, the characters of a video game cannot replace any real friends or any real interaction, but the bonds that were being forged in front of my eyes were enough to fill that temporary emptiness in my heart. The perseverance of these kids, to have the courage to keep moving forward when it all seems so bleak, gave me hope in my darker hours. To be able to share that with the only person close to me at the time was a special time and allowed me to keep the hope that life would get better.
And it did. Because of Persona 4 Golden and my best friend Goh, I was able to persevere myself and keep faith in the future. To me, they saved me.
I usually like to close off a review with a quote that meant something to me in the story that I experienced, but here I would just like to thank Persona 4 Golden and Goh to be there for me and I'm grateful to anyone who took the time out of their day to read what this game means to me.
i was watching my friend stream the finale and man idk how people despise it. that last scene is genuinely so fucking beautiful when you consider what kind of person ichiban is
This review contains spoilers
A beautiful journey from start to finish. Not a moment where I felt let down, disengaged or negative about this story whatsoever. The game tells you pretty explicitly it's about the past and future of the yakuza, both literally and on a metaphorical level. While Like a Dragon had some cool theming of passing on the torch, this game truly feels like the end of Kiryu's era and the rise of Ichiban's.
Ichiban's side of this story is exhilarating, fun and introduces some new characters with wonderful emotional depth. A yakuza with a soul, seeing the good in people where others don't, helping those in need that can't seem to help themselves, Ichiban serves as a beautiful new protagonist to the Yakuza series. His parallels and bond with Kiryu are believable and feel stronger with every scene they're in together.
On the other hand, this is very clearly Kiryu's last game, or at least the last game he will have a major role in. His journey is over and after all he's been through, he makes a final hoorah with Ichiban and his friends, finally relying on others in a life where he tried to take on everything on his own. Throughout Kiryu's story in Infinite Wealth, he regains the will to live and be himself. Always being ready to die and fall for others, he finally chooses to live for himself and regains his name as Kiryu Kazuma, the Dragon of Dojima.
The way these stories intertwine and compliment each other constantly is something beautiful, reminiscent of Yakuza 0, where Kiryu and Majima's stories slowly came together in a masterfully written way, yet Infinite Wealth feels a lot more intimate and emotional. Personally, I can't count the amount of times I've teared up, cried or just gotten emotional from this story.
This game is truly special and will forever have a place in my heart as one of my favorite stories in fiction.
"...So long, old friend."
Ichiban's side of this story is exhilarating, fun and introduces some new characters with wonderful emotional depth. A yakuza with a soul, seeing the good in people where others don't, helping those in need that can't seem to help themselves, Ichiban serves as a beautiful new protagonist to the Yakuza series. His parallels and bond with Kiryu are believable and feel stronger with every scene they're in together.
On the other hand, this is very clearly Kiryu's last game, or at least the last game he will have a major role in. His journey is over and after all he's been through, he makes a final hoorah with Ichiban and his friends, finally relying on others in a life where he tried to take on everything on his own. Throughout Kiryu's story in Infinite Wealth, he regains the will to live and be himself. Always being ready to die and fall for others, he finally chooses to live for himself and regains his name as Kiryu Kazuma, the Dragon of Dojima.
The way these stories intertwine and compliment each other constantly is something beautiful, reminiscent of Yakuza 0, where Kiryu and Majima's stories slowly came together in a masterfully written way, yet Infinite Wealth feels a lot more intimate and emotional. Personally, I can't count the amount of times I've teared up, cried or just gotten emotional from this story.
This game is truly special and will forever have a place in my heart as one of my favorite stories in fiction.
"...So long, old friend."
Kill the past. Secure the future.
This review contains minor spoilers for Yakuza 5, 6, 7 and Gaiden.
Kiryu has to move on from his past mistakes. Put his trust in others for the first time.
Ichiban has to secure the future for all the ex-Yakuza he helped tear down. They are human too.
Ichiban has to use the past as a stepping stone to reach for even greater highs. If he got up from rock bottom, he is capable of dreaming of greater heights. His father’s footsteps. His failed confession. A brother he didn’t have the chance to change.
Kiryu has to see a brighter tomorrow, secure what little future he has left. Even if he himself tries to deny this fact. Still too afraid to let others into his life.
Wandering around the city with Kiryu, reminiscing on all the past events you and him have been through together. The hardships you have faced against the insurmountable foes behind the many multi-layered conspiracies. The laughs you had with the side characters. The infuriation you felt whilst fighting the near-immortal Amon, or the fun you had batting your stress away at the cages. Finally being able to see some of the long lost characters. This is the life Kiryu has lived. You have seen it all through. Reminisce on it one last time.
But he can't wallow in despair. He has new friends to keep his chin up. You have been an empty, depressed shell of your former self since 2011. It’s time to gain back some of that old spark. Enjoy life whilst it lasts Kiryu. Gather some positivity, if anyone could tell you how to do that, it’d be Ichi and his gang.
This is partially Ichiban’s story after all, and what is Ichiban’s story if not a spontaneous bundle of misfits reaching for the sky?
Ichiban’s tale is always penned in the love he has for his friends. The pals he can always confide in, Adachi and Nanba. The person most unapproachable to him, Saeko. The unpredictable ex-mafia who can whip up a mean dim sum, Zhao. The initially cold, but ultimately human members of the Geomijul, Joongi and Seonhee.
Joining Ichiban’s group of middle aged do-gooders are the helpful wheelchair-bound Eiji. The cabbie who tried to rob him at gunpoint, Tomizawa. The girl who knows more than she lets on, Chitose. Lastly, the brick-faced Yakuza legend, Kiryu Kazuma himself.
Putting Kiryu in Ichibans crew was an interesting decision. These are people he has never had a heart to heart with before. Complete strangers as far as he is concerned. But it worked. The relationship between Kiryu and these people clicked. Ichiban’s cheerfulness can even tear down the greatest of walls. Kiryu quickly found that he had a lot more in common with this pick ‘n’ mix of Japan's (and Hawaii’s) most bold.
What really, really helps the bonds you forge with the party is all of the gameplay additions surrounding it. Wandering around the map could trigger a conversation where Seonhee mentions Joongi watching videos of rubber bands blowing up watermelons. Or a discussion between Ichiban and Tomizawa about hermit-crab real estate. Every one of these conversations is as enamoring as the last.
But it's not limited to just this, eat at restaurants and the crew might burn their tongues on sesame balls or talk about how their sensitive molars make the party weak to ice magic. Levelling up your bonds allows you to do tag team attacks, combo enemies with your allies, and unlock new skills and jobs to experiment with.
Everything you do with your party increases their bond level, as you increase their bond you can go out and grab drinks, usually resulting in a small character arc for that party member. Unlike 7, the characters have plenty of good moments and screen time. So it's not like Zhao or Joongi get a particularly short end of the stick like they did previously. Most of these drink links have nice conclusions, or add particularly entertaining bits of depth to the characters.
So all of this makes the party fantastic. But what's a good band of heroes without some ruthless masterminds?
The majority of the villains are quite good. Together they form a super solid antagonistic cast, though individually they are a bit hit or miss.
Yamai is the standout here. Solid design, fantastic arc, great boss fights and extremely memorable voicework to boot. You’ll be hard pressed to find someone among the fanbase who didn’t end up a fan.
Ichiban’s final boss is not bad, but it definitely will not make it to the hall of fame of RGG’s greats like Aoki, Shishido or Mine. However, Ichiban’s story does not end there. His big moment comes afterwards. His final scene, helping up someone from rock bottom through a naive, one-sided love is just so… Ichiban. The dream present in this scene never came to fruition before. But he made it possible now.
Kiryu’s final boss has a few minor issues. I really don't know why they felt the need to include a “we are not so different, he and I” moment, when I think that much was made clear. But at the same time,
I…
I APOLOGISE.
This game is nothing short of fantastic, following up on every idea, every core concept in this 9-game series is nothing short of monumental work. To be able to do it in this fashion, and deliver it with this much purpose is stunning.
Something as special as this does not come around often.
This review contains minor spoilers for Yakuza 5, 6, 7 and Gaiden.
Kiryu has to move on from his past mistakes. Put his trust in others for the first time.
Ichiban has to secure the future for all the ex-Yakuza he helped tear down. They are human too.
Ichiban has to use the past as a stepping stone to reach for even greater highs. If he got up from rock bottom, he is capable of dreaming of greater heights. His father’s footsteps. His failed confession. A brother he didn’t have the chance to change.
Kiryu has to see a brighter tomorrow, secure what little future he has left. Even if he himself tries to deny this fact. Still too afraid to let others into his life.
Wandering around the city with Kiryu, reminiscing on all the past events you and him have been through together. The hardships you have faced against the insurmountable foes behind the many multi-layered conspiracies. The laughs you had with the side characters. The infuriation you felt whilst fighting the near-immortal Amon, or the fun you had batting your stress away at the cages. Finally being able to see some of the long lost characters. This is the life Kiryu has lived. You have seen it all through. Reminisce on it one last time.
But he can't wallow in despair. He has new friends to keep his chin up. You have been an empty, depressed shell of your former self since 2011. It’s time to gain back some of that old spark. Enjoy life whilst it lasts Kiryu. Gather some positivity, if anyone could tell you how to do that, it’d be Ichi and his gang.
This is partially Ichiban’s story after all, and what is Ichiban’s story if not a spontaneous bundle of misfits reaching for the sky?
Ichiban’s tale is always penned in the love he has for his friends. The pals he can always confide in, Adachi and Nanba. The person most unapproachable to him, Saeko. The unpredictable ex-mafia who can whip up a mean dim sum, Zhao. The initially cold, but ultimately human members of the Geomijul, Joongi and Seonhee.
Joining Ichiban’s group of middle aged do-gooders are the helpful wheelchair-bound Eiji. The cabbie who tried to rob him at gunpoint, Tomizawa. The girl who knows more than she lets on, Chitose. Lastly, the brick-faced Yakuza legend, Kiryu Kazuma himself.
Putting Kiryu in Ichibans crew was an interesting decision. These are people he has never had a heart to heart with before. Complete strangers as far as he is concerned. But it worked. The relationship between Kiryu and these people clicked. Ichiban’s cheerfulness can even tear down the greatest of walls. Kiryu quickly found that he had a lot more in common with this pick ‘n’ mix of Japan's (and Hawaii’s) most bold.
What really, really helps the bonds you forge with the party is all of the gameplay additions surrounding it. Wandering around the map could trigger a conversation where Seonhee mentions Joongi watching videos of rubber bands blowing up watermelons. Or a discussion between Ichiban and Tomizawa about hermit-crab real estate. Every one of these conversations is as enamoring as the last.
But it's not limited to just this, eat at restaurants and the crew might burn their tongues on sesame balls or talk about how their sensitive molars make the party weak to ice magic. Levelling up your bonds allows you to do tag team attacks, combo enemies with your allies, and unlock new skills and jobs to experiment with.
Everything you do with your party increases their bond level, as you increase their bond you can go out and grab drinks, usually resulting in a small character arc for that party member. Unlike 7, the characters have plenty of good moments and screen time. So it's not like Zhao or Joongi get a particularly short end of the stick like they did previously. Most of these drink links have nice conclusions, or add particularly entertaining bits of depth to the characters.
So all of this makes the party fantastic. But what's a good band of heroes without some ruthless masterminds?
The majority of the villains are quite good. Together they form a super solid antagonistic cast, though individually they are a bit hit or miss.
Yamai is the standout here. Solid design, fantastic arc, great boss fights and extremely memorable voicework to boot. You’ll be hard pressed to find someone among the fanbase who didn’t end up a fan.
Ichiban’s final boss is not bad, but it definitely will not make it to the hall of fame of RGG’s greats like Aoki, Shishido or Mine. However, Ichiban’s story does not end there. His big moment comes afterwards. His final scene, helping up someone from rock bottom through a naive, one-sided love is just so… Ichiban. The dream present in this scene never came to fruition before. But he made it possible now.
Kiryu’s final boss has a few minor issues. I really don't know why they felt the need to include a “we are not so different, he and I” moment, when I think that much was made clear. But at the same time,
I…
I APOLOGISE.
This game is nothing short of fantastic, following up on every idea, every core concept in this 9-game series is nothing short of monumental work. To be able to do it in this fashion, and deliver it with this much purpose is stunning.
Something as special as this does not come around often.
This review contains spoilers
It’s incredible that after 19 years and 10 mainline games RGG can still make something so fun to play and with such thematic strength to the point that elevates the Yakuza series to not only one of my favorite game franchises, but also favorite media franchises in general.
Gameplay-wise, Infinite Wealth is a huge upgrade from 7. For starters, the exp curve is really great. The scaling for exp and job levels means that it’s very easy to catch up thanks for the game design choice of granting the player more stat points for leveling up the character itself compared to the points you earn by leveling up your job, which combined with the new inheritance system, gives room to experimentation with your builds.
Job design and skills are also excellent, each new job has a really cool and distinct aesthetic, a really fun playstyle that is way more interesting than they were in 7. The way you unlock them is also hilarious, with Ichiban and the gang doing some tourist activities in Hawaii, resulting in Ichiban having a Revelation for a new job, or Chitose having that revelation when the job in question is female-only.
Speaking of which, Hawaii is a delight to explore, going from urban-packed cities like Yokohama and Kamurocho to a more tropical Hawaii is a nice change of pace, I was constantly exploring the place for various reasons like the minigames, party talks, or even greeting the locals and adding them as your friends, which surprisingly I found myself doing most of the time.
The new combat changes are also great. The fact that you can now position your characters so that you can change the AoE of attacks, the added proximity bonus, back attacks, combo attacks, rebound attacks, all of these changes make the turn-based combat more fun and dynamic.
With the gameplay section out of the way, the game’s themes in this instalment of the series focus on closure, but not necessarily as a way of ending things, rather as a conduit for new beginnings in life.
Along the journey we find new and returning characters that are basically at the crossroads of their lives. Tomizawa is a taxi driver who, despite not having the most comfortable life, still had a happy one with his girlfriend and with a baby on the way, which was unfortunately taken away from him because of him being framed for a crime he did not commit. Only when he confronts who is responsible for it, and reuniting with his ex and seeing that she is now living a happy life if you have done his drink links, can Tomizawa move on.
Chitose is also a new party member, born of a rich family, she never had any type of control in her life until she started the Tatara channel where she could be more herself behind of a vtuber persona, which unfortunately was also taken from her by Eiji to be a means of destroying the lives of yakuza trying to integrate to society, and only when she is motivated by her new allies is when she has the courage to go against Eiji and take back control of her life.
The same can also be applied to returning characters of the series. Adachi wants to redeem himself for not being able to stop a robbery that could have been prevented, Nanba wants to return the job that a coworker of his lost and find out the true reason of why he was fired so that he can lift some of the blame off Ichiban’s shoulders, Seonhee wants to live up to her status as the chief of both the Geomijul and the Liumang, Zhao wants to do what he loves in life and not doing something that was chosen for him, Saeko wants closure with her feelings of love and her feelings for Ichiban.
Yamai was a character that I didn’t expect to like so much when I played the game. He starts off as a regular criminal boss, with a weird tic of always feeling cold, even when dressed in almost winter clothes in a hot location as Hawaii. We later learn that this is because of a lack of closure he has for his previous life as a Tojo clan yakuza and unfortunate ending he had with his love for the patriarch’s wife. Along the journey we see him trying to cope with that, first with setting up the Yamai Syndicate and trying to take over the Hawaii criminal underworld, next trying to defeat Kiryu in battle, but each time he can’t get rid of himself of the coldness that he feels. Only when he meets Ichiban and he starts to warm up to him (no pun intended) is when he finally decides to reunite with his loved one, only to find out that she’s been diagnosed with Alzheimer and no longer recognizes him, “It’s over. There’s nothing romantic left to this” as he says, but when she starts to complain that she is cold and Yamai decides to give her his jacket, it’s the first time when he does something for her where she is genuinely thankful for, giving the closure that Yamai needed. “Yeah… I was too warm anyway”.
Which brings us to our main protagonists. Ichiban is trying to continue the legacy of Arakawa by trying to integrate every yakuza back to society after the great dissolution, which has not been easy thanks to the new 5-year ex-yakuza clause, and adding the stigma that society has for ex-cons then you have a recipe for disaster. People later accuse him of using these new hires for committing different types of crimes, which results in him being fired from his job. He then finds a new purpose when Sawashiro makes a return and asks him a favor of reuniting with his mom and give her Arakawa’s ashes. During the trip he meets Eiji, who at first, we are led to believe that he’s wheelchair bound and this obviously starts a relationship that parallels the one Ichiban had with Ryo Aoki, almost like he’s trying to redeem himself for not being able to save him and giving the chance of redemption that he needed. Later we learn that this was all an act to prey on Ichiban’s emotional vulnerabilities, but this does not stop him, in each turn Ichiban tries to save Eiji from going down this path of hatred and revenge, and only in the end, where Eiji’s ploys are revealed to the world, is when Ichiban can convince him to turn himself in and start life anew.
Kiryu is a man who lived a life full of regrets. We have seen his journey since 0 and along each iteration we’ve seen how the yakuza life has changed him, first inspired by Kazama and the luxuries of this lifestyle, it quickly turned on its head leading to a life full of violence and sadness, each time trying to quit and living a normal life it has been failed, and since the end of 6, Kiryu faked his own death to separate himself from his loved ones. And now it is revealed that not only he has cancer, but also that he only has 6 months left to live. Kiryu in the beginning is at peace with this, he is supposed to be dead after all, and even if he fought back, it would only result in him living a life that is not his own. But when he starts to hang out with Ichiban and later when he returns to Japan starts to do his bucket list is when he finally gains reasons to keep on living (which is juxtaposed with the awakening mechanic, each thing you do for the bucket list is more points to upgrade his combat styles). With this said, I think it’s fair to say that the first sparks to truly fight back is when he visits Daigo, Majima and Saejima. The three of them started a security company in Osaka to serve as a safe net for the ex-yakuza so that they can integrate back to society, but when the company is exposed, the company went under. This left them devastated and since their presence alone destroyed any type of chance that their new employees had at having a normal life, they decided to remove themselves from society, and if they got their way, they would be forgotten by everyone. When Kiryu sees this, he calls them out for being cowards, instead of fighting back and earn their place that they would rather die in a desolate cold place, which is ironic since it is what Kiryu was also doing until now, and this moment is imo where the will to fight back truly begin. At the final battle, Kiryu wears his old suit which fabric colors have faded along with the time, and also rocking with his classic haircut, signaling the return of the Dragon. And in the post-credits scene we see a frail Kiryu, but one that has decided to fight and live on. We see a man who has regained his name.
The final confrontation in this game is against Ebina. He is the son of Arakawa and the daughter of his family patriarch. We of course know that Arakawa didn’t love her, which resulted in Hikawa raising her son alone and falling into sickness. This fueled Ebina to go through a path of revenge, trying to kill every yakuza that he could thanks to the deal he made with palakana. This is further indicated with the tattoo on his back that represents an Oni, violent creatures that are fueled with bloodthirst and rage. This all ends when Kiryu defeats him in battle and then begs him for forgiveness, that is the moment where all his rage is gone. His mother’s final words were of her begging him to forgive his father and the yakuza, and Kiryu’s “final” words are of him begging Ebina to forgive him.
Which brings me to the final topic. What is Infinite Wealth? The answer that the game gives (or at least my interpretation of that answer) is that infinite wealth is the life that you choose to live. During the game we meet character that face many adversities in their lives, and we see how society treats people that live in the rock-bottom, in Japan we have the 5-year ex-yakuza clause, and in Hawaii we have the Island that has been repurposed as a nuclear waste deposit, these both used as means to not rehabilitate them, but to cast them aside and ignore them. You can only take back control of your life and change for the better if you fight for it. As Kiryu says to Ebina, “You can’t change anything if you’re dead”.
The final cutscene plays a song by Sheena Ringo called “The Invaluable”. The song is about the value of life, of how even if the world takes something from you, it cannot take away or destroy the way you live your life, because it’s something that has no equal value.
I’ll leave this review/analysis/thoughts/whatever you want to call this with something that Kazuhiro Nakayama (Ichiban’s VA) said before the game released:
"I think there are a lot of things that happen in life, but when you play Like A Dragon 8, you can look up and see the shining sky with a smile on your face."
Gameplay-wise, Infinite Wealth is a huge upgrade from 7. For starters, the exp curve is really great. The scaling for exp and job levels means that it’s very easy to catch up thanks for the game design choice of granting the player more stat points for leveling up the character itself compared to the points you earn by leveling up your job, which combined with the new inheritance system, gives room to experimentation with your builds.
Job design and skills are also excellent, each new job has a really cool and distinct aesthetic, a really fun playstyle that is way more interesting than they were in 7. The way you unlock them is also hilarious, with Ichiban and the gang doing some tourist activities in Hawaii, resulting in Ichiban having a Revelation for a new job, or Chitose having that revelation when the job in question is female-only.
Speaking of which, Hawaii is a delight to explore, going from urban-packed cities like Yokohama and Kamurocho to a more tropical Hawaii is a nice change of pace, I was constantly exploring the place for various reasons like the minigames, party talks, or even greeting the locals and adding them as your friends, which surprisingly I found myself doing most of the time.
The new combat changes are also great. The fact that you can now position your characters so that you can change the AoE of attacks, the added proximity bonus, back attacks, combo attacks, rebound attacks, all of these changes make the turn-based combat more fun and dynamic.
With the gameplay section out of the way, the game’s themes in this instalment of the series focus on closure, but not necessarily as a way of ending things, rather as a conduit for new beginnings in life.
Along the journey we find new and returning characters that are basically at the crossroads of their lives. Tomizawa is a taxi driver who, despite not having the most comfortable life, still had a happy one with his girlfriend and with a baby on the way, which was unfortunately taken away from him because of him being framed for a crime he did not commit. Only when he confronts who is responsible for it, and reuniting with his ex and seeing that she is now living a happy life if you have done his drink links, can Tomizawa move on.
Chitose is also a new party member, born of a rich family, she never had any type of control in her life until she started the Tatara channel where she could be more herself behind of a vtuber persona, which unfortunately was also taken from her by Eiji to be a means of destroying the lives of yakuza trying to integrate to society, and only when she is motivated by her new allies is when she has the courage to go against Eiji and take back control of her life.
The same can also be applied to returning characters of the series. Adachi wants to redeem himself for not being able to stop a robbery that could have been prevented, Nanba wants to return the job that a coworker of his lost and find out the true reason of why he was fired so that he can lift some of the blame off Ichiban’s shoulders, Seonhee wants to live up to her status as the chief of both the Geomijul and the Liumang, Zhao wants to do what he loves in life and not doing something that was chosen for him, Saeko wants closure with her feelings of love and her feelings for Ichiban.
Yamai was a character that I didn’t expect to like so much when I played the game. He starts off as a regular criminal boss, with a weird tic of always feeling cold, even when dressed in almost winter clothes in a hot location as Hawaii. We later learn that this is because of a lack of closure he has for his previous life as a Tojo clan yakuza and unfortunate ending he had with his love for the patriarch’s wife. Along the journey we see him trying to cope with that, first with setting up the Yamai Syndicate and trying to take over the Hawaii criminal underworld, next trying to defeat Kiryu in battle, but each time he can’t get rid of himself of the coldness that he feels. Only when he meets Ichiban and he starts to warm up to him (no pun intended) is when he finally decides to reunite with his loved one, only to find out that she’s been diagnosed with Alzheimer and no longer recognizes him, “It’s over. There’s nothing romantic left to this” as he says, but when she starts to complain that she is cold and Yamai decides to give her his jacket, it’s the first time when he does something for her where she is genuinely thankful for, giving the closure that Yamai needed. “Yeah… I was too warm anyway”.
Which brings us to our main protagonists. Ichiban is trying to continue the legacy of Arakawa by trying to integrate every yakuza back to society after the great dissolution, which has not been easy thanks to the new 5-year ex-yakuza clause, and adding the stigma that society has for ex-cons then you have a recipe for disaster. People later accuse him of using these new hires for committing different types of crimes, which results in him being fired from his job. He then finds a new purpose when Sawashiro makes a return and asks him a favor of reuniting with his mom and give her Arakawa’s ashes. During the trip he meets Eiji, who at first, we are led to believe that he’s wheelchair bound and this obviously starts a relationship that parallels the one Ichiban had with Ryo Aoki, almost like he’s trying to redeem himself for not being able to save him and giving the chance of redemption that he needed. Later we learn that this was all an act to prey on Ichiban’s emotional vulnerabilities, but this does not stop him, in each turn Ichiban tries to save Eiji from going down this path of hatred and revenge, and only in the end, where Eiji’s ploys are revealed to the world, is when Ichiban can convince him to turn himself in and start life anew.
Kiryu is a man who lived a life full of regrets. We have seen his journey since 0 and along each iteration we’ve seen how the yakuza life has changed him, first inspired by Kazama and the luxuries of this lifestyle, it quickly turned on its head leading to a life full of violence and sadness, each time trying to quit and living a normal life it has been failed, and since the end of 6, Kiryu faked his own death to separate himself from his loved ones. And now it is revealed that not only he has cancer, but also that he only has 6 months left to live. Kiryu in the beginning is at peace with this, he is supposed to be dead after all, and even if he fought back, it would only result in him living a life that is not his own. But when he starts to hang out with Ichiban and later when he returns to Japan starts to do his bucket list is when he finally gains reasons to keep on living (which is juxtaposed with the awakening mechanic, each thing you do for the bucket list is more points to upgrade his combat styles). With this said, I think it’s fair to say that the first sparks to truly fight back is when he visits Daigo, Majima and Saejima. The three of them started a security company in Osaka to serve as a safe net for the ex-yakuza so that they can integrate back to society, but when the company is exposed, the company went under. This left them devastated and since their presence alone destroyed any type of chance that their new employees had at having a normal life, they decided to remove themselves from society, and if they got their way, they would be forgotten by everyone. When Kiryu sees this, he calls them out for being cowards, instead of fighting back and earn their place that they would rather die in a desolate cold place, which is ironic since it is what Kiryu was also doing until now, and this moment is imo where the will to fight back truly begin. At the final battle, Kiryu wears his old suit which fabric colors have faded along with the time, and also rocking with his classic haircut, signaling the return of the Dragon. And in the post-credits scene we see a frail Kiryu, but one that has decided to fight and live on. We see a man who has regained his name.
The final confrontation in this game is against Ebina. He is the son of Arakawa and the daughter of his family patriarch. We of course know that Arakawa didn’t love her, which resulted in Hikawa raising her son alone and falling into sickness. This fueled Ebina to go through a path of revenge, trying to kill every yakuza that he could thanks to the deal he made with palakana. This is further indicated with the tattoo on his back that represents an Oni, violent creatures that are fueled with bloodthirst and rage. This all ends when Kiryu defeats him in battle and then begs him for forgiveness, that is the moment where all his rage is gone. His mother’s final words were of her begging him to forgive his father and the yakuza, and Kiryu’s “final” words are of him begging Ebina to forgive him.
Which brings me to the final topic. What is Infinite Wealth? The answer that the game gives (or at least my interpretation of that answer) is that infinite wealth is the life that you choose to live. During the game we meet character that face many adversities in their lives, and we see how society treats people that live in the rock-bottom, in Japan we have the 5-year ex-yakuza clause, and in Hawaii we have the Island that has been repurposed as a nuclear waste deposit, these both used as means to not rehabilitate them, but to cast them aside and ignore them. You can only take back control of your life and change for the better if you fight for it. As Kiryu says to Ebina, “You can’t change anything if you’re dead”.
The final cutscene plays a song by Sheena Ringo called “The Invaluable”. The song is about the value of life, of how even if the world takes something from you, it cannot take away or destroy the way you live your life, because it’s something that has no equal value.
I’ll leave this review/analysis/thoughts/whatever you want to call this with something that Kazuhiro Nakayama (Ichiban’s VA) said before the game released:
"I think there are a lot of things that happen in life, but when you play Like A Dragon 8, you can look up and see the shining sky with a smile on your face."
I mean I already know.
This review contains spoilers
Ever since starting the Yakuza franchise with Yakuza 0, Kiryu has been my favorite character and, over time, he ultimately became my favorite fictional protagonist in anything I've ever experienced. When I played Yakuza: Like A Dragon, the last thing I expected was to see him in it and playing Gaiden right after finishing Like A Dragon was the best decision I could've made.
A lot of questions went through my head upon Kiryu's arrival in the previous game and I wondered if the time between his big comeback and after his fake death in 6 would be something they'd explore here and I couldn't be happier with the fact that that is exactly what I got.
From the very start, this game captured me with its stunning presentation, incredible graphics and amazing soundtrack and it had me on the edge of my seat, hanging on to every word, to find out what Kiryu has been up to in his absence. I think every Yakuza game is one that explores Kiryu's character well, making us understand his motivation and ambitions in life, what he most wants to protect and how he feels about everything he's doing or had to do. This game - alongside 0, 5, 6 and Kiwami 2 - has, without a doubt, some of the BEST content for Kiryu and the journey he's been on. The confrontation at Omi Headquarters, his final fight against Shishido and him watching the surveillance footage Hanawa showed him, is one of my favorite and one of the best stretches in the entire franchise. It shows us exactly who Kiryu is and the whole game, up until that point, showcases who he's always been, a retrospection of his entire legacy up until now. It all culminates here. The coliseum for example was such a thrilling and emotional experience to me for that reason.
The way RGG handled this entire game, making it into such a spectacle and this big recollection and, in the end, giving us such an incredibly heartwarming and also heart wrenching moment for Kiryu - it was all masterful. This now truly feels like a new chapter in his life and I, for one, have no clue what 8 has in store for me, but I know it'll be brilliant. Especially after what I've experienced in Gaiden.
This game is absolute perfection to me. From the plot integration and connection it has to previous and upcoming games, to the character writing and gameplay - I have zero complaints. The combat is the best it's ever been. The Akame Network was an evolution and perfected system whose predecessors (Tanimura's police scanner in 4, Troublr in 6 and the Part Time Hero stuff from Like A Dragon) I've always enjoyed. The side content and sub stories reached a new high, with some feeling absolutely necessary to experience, and only enhanced the story and overall game for me. My first session playing this lasted almost 10 hours, which for me, as someone who isn't hugely into gaming in the first place, was previously unheard of (and I could've kept playing as well).
The newly introduced characters and side cast were also brilliant. Shishido, Tsuruno, Hanawa, Akame and Nishitani all stole my heart. I never thought I'd hear the name Nishitani ever again and to make it into what they did, was genius. Can't have a Yakuza game without some secret Koreans in it, but it works wonderfully. Him taking on that name and Nishitani's dynamics with Kiryu, Shishido, Tsuruno and Watase were more than I could've asked for.
Shishido had one of the best character arcs in this game, with one of the most well written betrayals in the series so far. Hanawa was probably my favorite newly introduced character though. All of his moments with Kiryu made me adore him and the end threw me for a loop. I NEED TO KNOW WHERE HE KNOWS KIRYU FROM. WHO EXACTLY IS/WAS HE. I'm sure I'll figure it out on my own or Infinite Wealth will tell me. There was so much depth and complexity in every new character presented and already existing characters that made an appearance had me hold back screams. Just simply seeing Ichiban made me lose it. Seeing that whole dissolution from Like A Dragon from Kiryu's perspective was something I was hoping for since starting the game and finding out when it takes place in the timeline. A great first meeting between the Dragon of Dojima and Hero of Yokohama. I know their dynamic will continue to impress and engage me. They made my brain melt every time they've come across each other. I love them both so much. To see all the other legendary Yakuza alongside Kiryu was amazing as well. Between Majima not wanting Kiryu to leave so quickly again and Daigo finally seeing his father figure again for the first time after his alleged death, the tears just wouldn't stop flowing. Not a single moment felt wasted, every little thing elevated everyone currently on screen I still can't believe it's all real.
Gaiden even managed to do something I never deemed possible which is give more substance to Yumi and make me dislike her less. I'm still not a fan of Yumi. I'll probably always think she was handled poorly in Kiwami 1 and her lack of personality made it hard for me to imagine that what Kiryu said - that the perfect wedding destination for her would be Hawaii - is something she actually believed (I couldn't tell you if that fit with her characterization or not, we barely got anything) BUT I have to say this is the first time in the franchise where from Kiryu's side of things, his feelings towards her actually felt believable. I never liked the execution their "romance" got in Kiwami 1 and I never cared when she was mentioned in following games, but it works here, which I'm very happy about. His story starts with picking up the ring and ends with him putting it down, a very fitting end.
So yeah, Kiryu is still without a doubt the best protagonist I've come across and this game was a class act in efficiency with great visuals and fun gameplay.
Will Kashiwagi and Kiryu ever meet again? Will Kiryu ever get to reunite with his family back in Okinawa or his family within the now dissolved Tojo clan? Is he having a nice time on Hawaii? I'm sure I'll find out once Infinite Wealth releases and I get to play it. Until then, "Like A Dragon Gaiden: The Man Who Erased His Name" will remain my new favorite game I've ever had the pleasure of experiencing. Did I mention that before by the way? This is now my favorite game of all time. Truly a life changing experience that will stick with me for many years to come.
A lot of questions went through my head upon Kiryu's arrival in the previous game and I wondered if the time between his big comeback and after his fake death in 6 would be something they'd explore here and I couldn't be happier with the fact that that is exactly what I got.
From the very start, this game captured me with its stunning presentation, incredible graphics and amazing soundtrack and it had me on the edge of my seat, hanging on to every word, to find out what Kiryu has been up to in his absence. I think every Yakuza game is one that explores Kiryu's character well, making us understand his motivation and ambitions in life, what he most wants to protect and how he feels about everything he's doing or had to do. This game - alongside 0, 5, 6 and Kiwami 2 - has, without a doubt, some of the BEST content for Kiryu and the journey he's been on. The confrontation at Omi Headquarters, his final fight against Shishido and him watching the surveillance footage Hanawa showed him, is one of my favorite and one of the best stretches in the entire franchise. It shows us exactly who Kiryu is and the whole game, up until that point, showcases who he's always been, a retrospection of his entire legacy up until now. It all culminates here. The coliseum for example was such a thrilling and emotional experience to me for that reason.
The way RGG handled this entire game, making it into such a spectacle and this big recollection and, in the end, giving us such an incredibly heartwarming and also heart wrenching moment for Kiryu - it was all masterful. This now truly feels like a new chapter in his life and I, for one, have no clue what 8 has in store for me, but I know it'll be brilliant. Especially after what I've experienced in Gaiden.
This game is absolute perfection to me. From the plot integration and connection it has to previous and upcoming games, to the character writing and gameplay - I have zero complaints. The combat is the best it's ever been. The Akame Network was an evolution and perfected system whose predecessors (Tanimura's police scanner in 4, Troublr in 6 and the Part Time Hero stuff from Like A Dragon) I've always enjoyed. The side content and sub stories reached a new high, with some feeling absolutely necessary to experience, and only enhanced the story and overall game for me. My first session playing this lasted almost 10 hours, which for me, as someone who isn't hugely into gaming in the first place, was previously unheard of (and I could've kept playing as well).
The newly introduced characters and side cast were also brilliant. Shishido, Tsuruno, Hanawa, Akame and Nishitani all stole my heart. I never thought I'd hear the name Nishitani ever again and to make it into what they did, was genius. Can't have a Yakuza game without some secret Koreans in it, but it works wonderfully. Him taking on that name and Nishitani's dynamics with Kiryu, Shishido, Tsuruno and Watase were more than I could've asked for.
Shishido had one of the best character arcs in this game, with one of the most well written betrayals in the series so far. Hanawa was probably my favorite newly introduced character though. All of his moments with Kiryu made me adore him and the end threw me for a loop. I NEED TO KNOW WHERE HE KNOWS KIRYU FROM. WHO EXACTLY IS/WAS HE. I'm sure I'll figure it out on my own or Infinite Wealth will tell me. There was so much depth and complexity in every new character presented and already existing characters that made an appearance had me hold back screams. Just simply seeing Ichiban made me lose it. Seeing that whole dissolution from Like A Dragon from Kiryu's perspective was something I was hoping for since starting the game and finding out when it takes place in the timeline. A great first meeting between the Dragon of Dojima and Hero of Yokohama. I know their dynamic will continue to impress and engage me. They made my brain melt every time they've come across each other. I love them both so much. To see all the other legendary Yakuza alongside Kiryu was amazing as well. Between Majima not wanting Kiryu to leave so quickly again and Daigo finally seeing his father figure again for the first time after his alleged death, the tears just wouldn't stop flowing. Not a single moment felt wasted, every little thing elevated everyone currently on screen I still can't believe it's all real.
Gaiden even managed to do something I never deemed possible which is give more substance to Yumi and make me dislike her less. I'm still not a fan of Yumi. I'll probably always think she was handled poorly in Kiwami 1 and her lack of personality made it hard for me to imagine that what Kiryu said - that the perfect wedding destination for her would be Hawaii - is something she actually believed (I couldn't tell you if that fit with her characterization or not, we barely got anything) BUT I have to say this is the first time in the franchise where from Kiryu's side of things, his feelings towards her actually felt believable. I never liked the execution their "romance" got in Kiwami 1 and I never cared when she was mentioned in following games, but it works here, which I'm very happy about. His story starts with picking up the ring and ends with him putting it down, a very fitting end.
So yeah, Kiryu is still without a doubt the best protagonist I've come across and this game was a class act in efficiency with great visuals and fun gameplay.
Will Kashiwagi and Kiryu ever meet again? Will Kiryu ever get to reunite with his family back in Okinawa or his family within the now dissolved Tojo clan? Is he having a nice time on Hawaii? I'm sure I'll find out once Infinite Wealth releases and I get to play it. Until then, "Like A Dragon Gaiden: The Man Who Erased His Name" will remain my new favorite game I've ever had the pleasure of experiencing. Did I mention that before by the way? This is now my favorite game of all time. Truly a life changing experience that will stick with me for many years to come.
Lost Judgment
2021
I have to admit, I wasn't really much of a fan of the first Judgment game, while I certanly did enjoy the game overall, it had some problems that I couldn't really ignore, such as the pacing of the story and the sorta lackluster combat. Safe to say, Lost Judgment pretty much fixed all these problems. The story takes place 3 years after the first one, and our private detective is sent to Yokohama to investigate a murder of which prime suspect has an airtight alibi, being caught for a different crime at the exact same time the murder took place. Since this game is a sequel, it does not need to waste time to establish most of the main cast and can jump right in on the plot, never losing any sort of momentum along the way.
The combat this time around is way more refined, and probably is the best combat that the series ever had. Crane style this time around has some new perks that keep it from being replacable from the Tiger style and a new style called Snake based on counters and grabs keeps the combat fresh and varied for the player to do some experimentation.
While the main plot is good enough on it's own, the side content is nothing to skip over. Playing detective on Seiro High School with the School Stories was surprisingly fun. Infiltrating various clubs and participating in dancing, boxing, robotics, skating, bike gangs and more is entertaining enough to keep the player hooked on this small scale mystery.
Safe to say, RGG made another banger, and you can see why it is regarded as the best RGG game of the series.
The combat this time around is way more refined, and probably is the best combat that the series ever had. Crane style this time around has some new perks that keep it from being replacable from the Tiger style and a new style called Snake based on counters and grabs keeps the combat fresh and varied for the player to do some experimentation.
While the main plot is good enough on it's own, the side content is nothing to skip over. Playing detective on Seiro High School with the School Stories was surprisingly fun. Infiltrating various clubs and participating in dancing, boxing, robotics, skating, bike gangs and more is entertaining enough to keep the player hooked on this small scale mystery.
Safe to say, RGG made another banger, and you can see why it is regarded as the best RGG game of the series.
Sea of Stars
2023
This review contains spoilers
I am not immune to propaganda. Show me a trailer for an indie JRPG featuring scripted encounters on the field maps, dual techs, and guest tracks by Yasunori Mitsuda, and I'll go "oh, a Chrono Trigger inspired indie JRPG, I sure hope they actually learned the right lessons from the classics" and drop $30 to see if they did.
They didn't.
(Full spoilers for both Sea of Stars and Chrono Trigger.)
I criticized Chained Echoes for being overly derivative of various golden age JRPGs, but to its credit: it feels purposeful in its imitation. It re-uses elements from older games wholecloth, smothering its individual identity under a quilt of influences, but I can appreciate the craftsmanship and intent behind it. It's clearly made from a place of love.
I don't get that vibe from Sea of Stars at all. I complained about some tediously self-aware dialogue in the early hours, and while it only dips down quite that low once or twice more, it colored the entire game with a feeling of self-aggrandizement. In fairness to what I wrote then (and based on a lengthy speech in the hidden Dev Room) it sounds like the devs truly did want to make a JRPG and pay homage to their childhoods. But to me, harsh as it may be, Sea of Stars feels like the devs thought making a JRPG was easy: just copy the greats (specifically, Chrono Trigger), and it'll work out. Based on sales and reviews, it is working out for them, but I'm the freak out here with highly specific ideas about why Chrono Trigger was good and Sea of Stars doesn't seem to agree with my assessment. This inherent friction lasted across the game's entire 30-35 hours.
You play as Zale and Valere, paired Chosen Ones whose innate Sun/Moon powers allow them to do battle against Dwellers, ancient beasts left behind when the villainous Fleshmancer set his sights on this plane of reality. He has since moved on to another world, but Dwellers left unchecked evolve into World Eaters, planar monstrosities that do exactly what it sounds like they do. The Solstice Warriors must hold a never-ending vigil in case previous generations missed a Dweller, battling them when their powers peak during an eclipse.
Joining them is Garl the Warrior Cook, the pair's childhood friend and the only character with anything resembling charisma; Seraï, a masked assassin of mysterious origin; Resh'an, a former companion of The Fleshmancer; and B'st, an amorphous pink cloud with almost no relevance to the plot a-la Chu-Chu from Xenogears.
Battles happen on the field map, like Chrono Trigger, and their main feature is essentially the Break system from Octopath Traveler. When a monster is charging up a special move, they gain "locks" that can only be broken by hitting them with specific types of damage; break them all, and they lose their turn. It's frequently impossible to break all the locks - you simply do not have the action economy to put out that many hits - and so you're usually playing triage regarding which special move you're willing to take to the face.
The battle system also takes a page from Super Mario RPG and includes timed hits and blocks for every attack. Tutorial messages insist to not worry about these and just think of them as bonus damage, but most of your attacks (especially multi-target spells) won't function properly unless you're nailing the timing. You'll often still do some damage, but the number of hits is the most important thing when you're dealing with Locks. There is an accessibility option (purchasable with in-game currency) to make timed hits always land in exchange for lower damage, but that only works for basic attacks.
Only a handful of skills have a message explaining when to push the button, and for the rest? Tough luck, figure it out. It's inconsistent at best and opaque at worst. And I mean literally opaque: because of how the field maps and graphics are constructed, character sprites (especially Seraï) often end up entirely offscreen or covered by other sprites when you're meant to time a press. This wasn't a problem in SMRPG or Mario & Luigi because those had bespoke battle screens with fairly consistent framing for timed hits; the concept isn't very compatible with CT style battles without a way to maintain that consistency.
I legitimately enjoyed the battle system for about the first 30% or so of the game, at which point the startling lack of variety in the battle options began to chafe. Every character has a basic attack, a mere three skills, and a Final Fantasy summon-like Ultimate attack that requires a bar to charge up. There's around a dozen "Combo" moves (read: Dual Techs) across the entire party, but the meter to use them charges so slowly they might as well only exist during boss battles. Your maximum MP caps at around 30 (at the max level, which requires a lot of grinding), skills cost anywhere between 4 and 11, and your potion inventory is limited to 10 items, meaning you're going to almost always rely on basic attacks - which recover 3 MP on a hit - for most battles. Landing a basic attack lets you imbue another basic attack with a character's inherent elemental attribute, which is the only way to break most locks once you're in the mid-game.
Play SMRPG sometime (perhaps the upcoming remake, even) and you'll figure out quick that Timed Hits are cool because if you do them properly it makes battles faster. You aren't trying to get 100 Super Jumps in every single battle because that would be exhausting and slow. Sure, in Chrono Trigger I'm solving 80% of encounters with the same multi-target spells, but that also means they're over in less than a minute. In Sea of Stars, if I mess up an early button press with Moonerang or Venom Flurry, it might not even hit every enemy, which probably means I won't break the locks I need to, which means they'll do their long spell animation. A trash mob battle will probably take two full minutes of me carefully trying to land my timed hits and manage my MP. That shit adds up.
I wouldn't quite go so far as to say Sea of Stars disrespects your time, but a lot of shit adds up. The backgrounds and sprite work are universally great - really beautiful stuff, great animations - but there are tightropes/beams scattered everywhere around the game world, seemingly placed only so you're forced to slow down and look at the backgrounds. From a purely quality of life standpoint, I don't know why you have to hold the button for so long when cooking something, especially if it's a higher-tier restorative. The overworld walk speed is agonizing. The narrative flails in several bizarre directions, only cohering in the broadest possible sense of "we need to beat the bad guy".
Comparatively, Chrono Trigger never stops moving. Your objectives in CT are clearly signposted and make logical sense, even when they string together into longer sequences. To save the world from the Bad Future, we need to defeat the big monster, and we learn the monster was summoned by an evil wizard. To defeat the evil wizard, we need the magic sword, but the sword is broken. To re-forge the sword, we need an ancient material, so off to prehistory we go!
It may sound tedious when written out this way, but the crucial element is that this only takes something like 4 or 5 hours. You're never stuck in any individual location longer than 45-60 minutes, and that's if you stop to grind (which you don't need to). Working at a leisurely pace, you can 100% Chrono Trigger in somewhere between 15 and 20 hours. My most recent playthrough - in which I deliberately walked slowly, grinded out levels, and talked to every NPC for the sake of recording footage - clocked in at about 17.
Sea of Stars doesn't stop introducing new plot elements until the middle of the end credits and makes little effort to tie them together in a cohesive way, instead relying on the inherent fantasy of the setting to smooth over any bumps. For example, take The Sleeper, a massive dragon that once ravaged the world before being sent into an eternal slumber. It explicitly isn't a Dweller, being little more than a curiosity on the overworld map. It bears no relevance to the plot other than as a mid-game side objective to earn the privilege to progress the actual story.
Zale and Valere, despite having speaking roles, do not possess an iota of personality between them; they are generically heroic and valiant and stop at every stage along their quest to help the weak and downtrodden as JRPG Protagonists are wont to do. The idea that Garl should not join them on their dangerous journey - as he is a mere normie - is raised once or twice, but ultimately disregarded due to Garl's endless luck and pluck. He barrels through any possible pathos or character development by simply being the Fun Fat Guy at all times, whether or not the next step follows logically.
No less than three times do the characters visit some kind of Oracle or Seer who reads the future and literally tells them what is going to happen later in the story, sometimes cryptically and sometimes giving explicit instructions. At one point a character awakens from a near-death experience having suddenly gained the knowledge of how to restart the stalled plot, launching into a multi-stage quest that has no logical ties to the party's objective. It's just progression, things happening because something has to happen between points A and B.
Another example: a late game dungeon introduces a race of bird wizards complete with ominous side-flashes to their nefarious scheming atop their evil thrones. They are relevant for only that dungeon, which is broadly just an obstacle in the way of the party's actual objective. I don't understand the intent. Is it supposed to be funny that this guy looks like Necromancer Daffy Duck? If so, why is the story genuinely trying to convince me of the sorrow of their plight and how it relates to the lore (in a way that also isn't relevant to the current events of the plot since it's shit that happened like 10,000 years ago)? How am I meant to react to this? Why is it here, in the final stretch of the story? I was asking these kinds of questions the entire game.
Presumably, the plot is like this because it's trying to imitate JRPGs of the time, which had a reputation for sending you on strings of seemingly random errands to defeat monsters or fetch items. You know what game doesn't do that? Chrono Trigger! The game Sea of Stars is obviously trying to position itself as a successor to!
Is it fair that I criticize the Solstice Warriors for being flat characters when Crono literally does not speak and his party consists of a bunch of genre caricatures? Yes, because CT doesn't try to be more than that. There's no need for wink-wink "did you know you're playing a JRPG? eh, ehhh?? aren't they so wacky with plots that barely make sense bro???" writing in Chrono Trigger because it knows that you know that it knows that you know you're playing a damn JRPG. It's got Akira Toriyama art like Dragon Quest! It says Squaresoft on the cover, those dudes made Final Fantasy!
You're on a roller coaster through time and space! You're here because you want to see knights and robots and cavemen do exactly what knights and robots and cavemen do. Of course Ayla the weirdly sexy cavewoman will say "what is raw-boot? me no understand" after Robo the robot shoots dino-men with his laser beams. It's comedic melodrama, it's operatic in a way that leverages genre familiarity.
Sea of Stars isn't willing to fully commit to this approach, undercutting its own pathos with half-measures and naked imitation. I'd be so much more willing to accept the sudden-yet-inevitable betrayal at the end of the first act if the game didn't then whip around and say "haha, we sure did the thing, huh?" Yeah, I saw. We both clearly know that you're not being clever about it, so why is it in the game?
The answer is usually "because it was in Chrono Trigger", without any examination of what made it work. Like, okay, everybody knows Chrono Trigger is "a good game", but do you know why it's a good game? I could see someone playing it and just thinking, "I don't get it, this is an incredibly generic JRPG," but what you have to understand is that CT is an immaculately constructed generic JRPG. Simply using the same ingredients isn't going to create the same result.
Take the most famous twist of CT: at a critical moment, silent player avatar Crono sacrifices his life to get the rest of the cast to safety, removing him from the party lineup. In the context of 1995, this is a shocking, borderline 4th-wall-breaking twist. Permanent party member death wasn't unheard of - take FFIV or FFV - but the main character? Crono was the mandatory first slot of the party, a jack-of-all-trades mechanical role akin to a DQ Hero. Even though he doesn't have a personality, Crono's consistent presence and the story's inherent melodrama lend a tangible feeling of loss.
Using the power of time travel, the player can undertake a sizeable sidequest to bring Crono back to life, replacing him at the instant of his death with a lifeless doll. He rejoins the party, no longer a mandatory member of the lineup. At this point in the game, you arguably don't even want to bring him along on quests, because he still doesn't have dialogue. Crucially, the entire quest is optional; the first time I played CT, I accidentally did the entire final dungeon (also optional!) first, assuming it was a necessary step.
Sea of Stars tries to do this with Garl. He takes a fatal blow for Zale and Valere then dictates the plot for the next two hours of the game while living on literal Borrowed Time. You journey to an ancient island floating in the sky (sick Chrono Trigger reference bro!) and split the party to pursue multiple objectives in multiple dungeons, culminating in a whole sequence complete with bespoke comic panels of the party mourning their best friend for months offscreen.
This didn't work because I, the player, had no attachment to the character. Garl is the least mechanically useful party member, dealing the same damage type as Valere but without any elemental type to break locks; his heal skill is more expensive than Zale's and his repositioning skill is unnecessary once you have all-target attacks. I dropped him for Seraï at first opportunity and literally never put him back in the main lineup.
Nor do I buy into Zale and Valere's feelings. Protecting Garl is supposed to be one of their main motivations - it's a major scene in the prologue, and leads to an entire dungeon detour in the first act - but they haven't put forth any genuine effort to prevent him from hurling himself into danger's way throughout the game. As noted, he just repeatedly barrels his way through the plot by demanding it continue, even after he's fucking dead.
The true ending of Sea of Stars requires beating the game once, then completing numerous optional objectives which lead to... can you guess? Going back in time, replacing Garl at the instant of his fatal wound with a body double (which means B'st was pretending to be Garl - someone he's never met - during that entire segment, a completely absurd notion), and pulling him back into the present. You do another lengthy sidequest to get an invitation to a fancy restaurant, and then you can fight the true final boss, again, because Garl simply demands it when you get there.
If this CT retread had to be in the game, it would have obviously been better served by Garl being the main player character; go all the way with the imitation. Any vague gesturing the narrative makes towards not having to be The Chosen One to still fight for justice would carry more weight if you weren't playing as the Solstice Warriors, instead scrambling to keep up with them as the worst party member. As things stand, it's just a big ol' reference to a better game, a transparent play for Real Stakes that rings hollow.
An even more egregious example is The Big Thing at the start of Act 3, once the cast finally sets sail upon the eponymous Sea of Stars. Leaving their world of fantasy and magic, they enter a post-apocalyptic sci-fi world, complete with a brief graphics shift into 3D and a full UI overhaul. It's intended to be a shocking twist, a mind-blowing reveal... but it doesn't work, because A) it's a blatant crib of CT, and B) it's all in service to a punchline.
In Chrono Trigger, once the game has fully established the time travel concept by sending you to 600 AD and back (about three hours of gameplay), the party is forced to flee into an unknown time gate. It spits them out to 2300 AD, a wrecked hell world in the depths of a nuclear winter. Here, the party discovers an archive computer recording that sets up their goal for the entire rest of the game: prevent the apocalypse by stopping Lavos, a titanic creature buried deep within the earth.
It's important that this happens at the beginning of the game. You're expecting some form of going to the future to see goofy robots - it's a natural extension of time travel as a plot device - but 2300 AD is a genuine shock in the moment. It serves as a constant reminder of the stakes: this is the bad future, and you're trying to stop it from ever happening. After gallivanting through medieval times, the contrast really works.
In Sea of Stars, you probably aren't expecting to suddenly fight a robot when you're chasing The Fleshmancer across worlds. It's a potentially cool swerve, but what's actually gained by having the final act be in sci-fi land other than some kind of "dang, didn't see that coming" factor? He isn't even actually in control of the robots or anything, he just hides his castle here because... well, it's unclear why, because even once you restore the sun and moon and fight him in the True Ending, he only seems momentarily inconvenienced.
But it sure is a CT reference! And it's also a joke, because your mysterious sometimes-assassin-sometimes-swashbuckler companion Seraï reveals that this is her home world, pulling off her mask to reveal her metallic endoskeleton. You see, she used to be human, but had her soul chewed up and put into this mechanical body. She is a literal Ninja Pirate Zombie Robot.
You know! Ninja Pirate Zombie Robot! Like TVTropes, lol? Wacky JRPG party members!
How do you expect to maintain any investment after that? There's like four more dungeons in sci-fi world - including aforementioned Necromancer Daffy - and I just couldn't give a shit about any of it. The post-apoc stuff doesn't add any stakes, because we already know the Fleshmancer has ruined countless worlds and we're just chasing him to this one in particular because Seraï asked us to (and I guess they want revenge for Garl). I wasn't having fun, I was just annoyed.
I'm baffled. Sea of Stars clearly knows how to outwardly present itself as a quality JRPG. At a glance, the game looks like everything I could want: beautiful artwork, smooth gameplay, fun characters. Something that gets why I fell in love with the genre in the first place, and why I hold up Chrono Trigger as its crown jewel.
But it just isn't that, at least not to me, and that's... I dunno, existentially troubling? Based on the reviews I've seen, I'm clearly in the minority for feeling this way. I do believe the dev team and all of these players also love JRPGs. But if they do, it must be in a way fundamentally different from the way I do, because otherwise I simply don't understand the creative choices in Sea of Stars. I want more than this.
Maybe one day, hopefully sooner than later, we'll get the Disco Elysium of JRPGs, but today sure isn't that day.
They didn't.
(Full spoilers for both Sea of Stars and Chrono Trigger.)
I criticized Chained Echoes for being overly derivative of various golden age JRPGs, but to its credit: it feels purposeful in its imitation. It re-uses elements from older games wholecloth, smothering its individual identity under a quilt of influences, but I can appreciate the craftsmanship and intent behind it. It's clearly made from a place of love.
I don't get that vibe from Sea of Stars at all. I complained about some tediously self-aware dialogue in the early hours, and while it only dips down quite that low once or twice more, it colored the entire game with a feeling of self-aggrandizement. In fairness to what I wrote then (and based on a lengthy speech in the hidden Dev Room) it sounds like the devs truly did want to make a JRPG and pay homage to their childhoods. But to me, harsh as it may be, Sea of Stars feels like the devs thought making a JRPG was easy: just copy the greats (specifically, Chrono Trigger), and it'll work out. Based on sales and reviews, it is working out for them, but I'm the freak out here with highly specific ideas about why Chrono Trigger was good and Sea of Stars doesn't seem to agree with my assessment. This inherent friction lasted across the game's entire 30-35 hours.
You play as Zale and Valere, paired Chosen Ones whose innate Sun/Moon powers allow them to do battle against Dwellers, ancient beasts left behind when the villainous Fleshmancer set his sights on this plane of reality. He has since moved on to another world, but Dwellers left unchecked evolve into World Eaters, planar monstrosities that do exactly what it sounds like they do. The Solstice Warriors must hold a never-ending vigil in case previous generations missed a Dweller, battling them when their powers peak during an eclipse.
Joining them is Garl the Warrior Cook, the pair's childhood friend and the only character with anything resembling charisma; Seraï, a masked assassin of mysterious origin; Resh'an, a former companion of The Fleshmancer; and B'st, an amorphous pink cloud with almost no relevance to the plot a-la Chu-Chu from Xenogears.
Battles happen on the field map, like Chrono Trigger, and their main feature is essentially the Break system from Octopath Traveler. When a monster is charging up a special move, they gain "locks" that can only be broken by hitting them with specific types of damage; break them all, and they lose their turn. It's frequently impossible to break all the locks - you simply do not have the action economy to put out that many hits - and so you're usually playing triage regarding which special move you're willing to take to the face.
The battle system also takes a page from Super Mario RPG and includes timed hits and blocks for every attack. Tutorial messages insist to not worry about these and just think of them as bonus damage, but most of your attacks (especially multi-target spells) won't function properly unless you're nailing the timing. You'll often still do some damage, but the number of hits is the most important thing when you're dealing with Locks. There is an accessibility option (purchasable with in-game currency) to make timed hits always land in exchange for lower damage, but that only works for basic attacks.
Only a handful of skills have a message explaining when to push the button, and for the rest? Tough luck, figure it out. It's inconsistent at best and opaque at worst. And I mean literally opaque: because of how the field maps and graphics are constructed, character sprites (especially Seraï) often end up entirely offscreen or covered by other sprites when you're meant to time a press. This wasn't a problem in SMRPG or Mario & Luigi because those had bespoke battle screens with fairly consistent framing for timed hits; the concept isn't very compatible with CT style battles without a way to maintain that consistency.
I legitimately enjoyed the battle system for about the first 30% or so of the game, at which point the startling lack of variety in the battle options began to chafe. Every character has a basic attack, a mere three skills, and a Final Fantasy summon-like Ultimate attack that requires a bar to charge up. There's around a dozen "Combo" moves (read: Dual Techs) across the entire party, but the meter to use them charges so slowly they might as well only exist during boss battles. Your maximum MP caps at around 30 (at the max level, which requires a lot of grinding), skills cost anywhere between 4 and 11, and your potion inventory is limited to 10 items, meaning you're going to almost always rely on basic attacks - which recover 3 MP on a hit - for most battles. Landing a basic attack lets you imbue another basic attack with a character's inherent elemental attribute, which is the only way to break most locks once you're in the mid-game.
Play SMRPG sometime (perhaps the upcoming remake, even) and you'll figure out quick that Timed Hits are cool because if you do them properly it makes battles faster. You aren't trying to get 100 Super Jumps in every single battle because that would be exhausting and slow. Sure, in Chrono Trigger I'm solving 80% of encounters with the same multi-target spells, but that also means they're over in less than a minute. In Sea of Stars, if I mess up an early button press with Moonerang or Venom Flurry, it might not even hit every enemy, which probably means I won't break the locks I need to, which means they'll do their long spell animation. A trash mob battle will probably take two full minutes of me carefully trying to land my timed hits and manage my MP. That shit adds up.
I wouldn't quite go so far as to say Sea of Stars disrespects your time, but a lot of shit adds up. The backgrounds and sprite work are universally great - really beautiful stuff, great animations - but there are tightropes/beams scattered everywhere around the game world, seemingly placed only so you're forced to slow down and look at the backgrounds. From a purely quality of life standpoint, I don't know why you have to hold the button for so long when cooking something, especially if it's a higher-tier restorative. The overworld walk speed is agonizing. The narrative flails in several bizarre directions, only cohering in the broadest possible sense of "we need to beat the bad guy".
Comparatively, Chrono Trigger never stops moving. Your objectives in CT are clearly signposted and make logical sense, even when they string together into longer sequences. To save the world from the Bad Future, we need to defeat the big monster, and we learn the monster was summoned by an evil wizard. To defeat the evil wizard, we need the magic sword, but the sword is broken. To re-forge the sword, we need an ancient material, so off to prehistory we go!
It may sound tedious when written out this way, but the crucial element is that this only takes something like 4 or 5 hours. You're never stuck in any individual location longer than 45-60 minutes, and that's if you stop to grind (which you don't need to). Working at a leisurely pace, you can 100% Chrono Trigger in somewhere between 15 and 20 hours. My most recent playthrough - in which I deliberately walked slowly, grinded out levels, and talked to every NPC for the sake of recording footage - clocked in at about 17.
Sea of Stars doesn't stop introducing new plot elements until the middle of the end credits and makes little effort to tie them together in a cohesive way, instead relying on the inherent fantasy of the setting to smooth over any bumps. For example, take The Sleeper, a massive dragon that once ravaged the world before being sent into an eternal slumber. It explicitly isn't a Dweller, being little more than a curiosity on the overworld map. It bears no relevance to the plot other than as a mid-game side objective to earn the privilege to progress the actual story.
Zale and Valere, despite having speaking roles, do not possess an iota of personality between them; they are generically heroic and valiant and stop at every stage along their quest to help the weak and downtrodden as JRPG Protagonists are wont to do. The idea that Garl should not join them on their dangerous journey - as he is a mere normie - is raised once or twice, but ultimately disregarded due to Garl's endless luck and pluck. He barrels through any possible pathos or character development by simply being the Fun Fat Guy at all times, whether or not the next step follows logically.
No less than three times do the characters visit some kind of Oracle or Seer who reads the future and literally tells them what is going to happen later in the story, sometimes cryptically and sometimes giving explicit instructions. At one point a character awakens from a near-death experience having suddenly gained the knowledge of how to restart the stalled plot, launching into a multi-stage quest that has no logical ties to the party's objective. It's just progression, things happening because something has to happen between points A and B.
Another example: a late game dungeon introduces a race of bird wizards complete with ominous side-flashes to their nefarious scheming atop their evil thrones. They are relevant for only that dungeon, which is broadly just an obstacle in the way of the party's actual objective. I don't understand the intent. Is it supposed to be funny that this guy looks like Necromancer Daffy Duck? If so, why is the story genuinely trying to convince me of the sorrow of their plight and how it relates to the lore (in a way that also isn't relevant to the current events of the plot since it's shit that happened like 10,000 years ago)? How am I meant to react to this? Why is it here, in the final stretch of the story? I was asking these kinds of questions the entire game.
Presumably, the plot is like this because it's trying to imitate JRPGs of the time, which had a reputation for sending you on strings of seemingly random errands to defeat monsters or fetch items. You know what game doesn't do that? Chrono Trigger! The game Sea of Stars is obviously trying to position itself as a successor to!
Is it fair that I criticize the Solstice Warriors for being flat characters when Crono literally does not speak and his party consists of a bunch of genre caricatures? Yes, because CT doesn't try to be more than that. There's no need for wink-wink "did you know you're playing a JRPG? eh, ehhh?? aren't they so wacky with plots that barely make sense bro???" writing in Chrono Trigger because it knows that you know that it knows that you know you're playing a damn JRPG. It's got Akira Toriyama art like Dragon Quest! It says Squaresoft on the cover, those dudes made Final Fantasy!
You're on a roller coaster through time and space! You're here because you want to see knights and robots and cavemen do exactly what knights and robots and cavemen do. Of course Ayla the weirdly sexy cavewoman will say "what is raw-boot? me no understand" after Robo the robot shoots dino-men with his laser beams. It's comedic melodrama, it's operatic in a way that leverages genre familiarity.
Sea of Stars isn't willing to fully commit to this approach, undercutting its own pathos with half-measures and naked imitation. I'd be so much more willing to accept the sudden-yet-inevitable betrayal at the end of the first act if the game didn't then whip around and say "haha, we sure did the thing, huh?" Yeah, I saw. We both clearly know that you're not being clever about it, so why is it in the game?
The answer is usually "because it was in Chrono Trigger", without any examination of what made it work. Like, okay, everybody knows Chrono Trigger is "a good game", but do you know why it's a good game? I could see someone playing it and just thinking, "I don't get it, this is an incredibly generic JRPG," but what you have to understand is that CT is an immaculately constructed generic JRPG. Simply using the same ingredients isn't going to create the same result.
Take the most famous twist of CT: at a critical moment, silent player avatar Crono sacrifices his life to get the rest of the cast to safety, removing him from the party lineup. In the context of 1995, this is a shocking, borderline 4th-wall-breaking twist. Permanent party member death wasn't unheard of - take FFIV or FFV - but the main character? Crono was the mandatory first slot of the party, a jack-of-all-trades mechanical role akin to a DQ Hero. Even though he doesn't have a personality, Crono's consistent presence and the story's inherent melodrama lend a tangible feeling of loss.
Using the power of time travel, the player can undertake a sizeable sidequest to bring Crono back to life, replacing him at the instant of his death with a lifeless doll. He rejoins the party, no longer a mandatory member of the lineup. At this point in the game, you arguably don't even want to bring him along on quests, because he still doesn't have dialogue. Crucially, the entire quest is optional; the first time I played CT, I accidentally did the entire final dungeon (also optional!) first, assuming it was a necessary step.
Sea of Stars tries to do this with Garl. He takes a fatal blow for Zale and Valere then dictates the plot for the next two hours of the game while living on literal Borrowed Time. You journey to an ancient island floating in the sky (sick Chrono Trigger reference bro!) and split the party to pursue multiple objectives in multiple dungeons, culminating in a whole sequence complete with bespoke comic panels of the party mourning their best friend for months offscreen.
This didn't work because I, the player, had no attachment to the character. Garl is the least mechanically useful party member, dealing the same damage type as Valere but without any elemental type to break locks; his heal skill is more expensive than Zale's and his repositioning skill is unnecessary once you have all-target attacks. I dropped him for Seraï at first opportunity and literally never put him back in the main lineup.
Nor do I buy into Zale and Valere's feelings. Protecting Garl is supposed to be one of their main motivations - it's a major scene in the prologue, and leads to an entire dungeon detour in the first act - but they haven't put forth any genuine effort to prevent him from hurling himself into danger's way throughout the game. As noted, he just repeatedly barrels his way through the plot by demanding it continue, even after he's fucking dead.
The true ending of Sea of Stars requires beating the game once, then completing numerous optional objectives which lead to... can you guess? Going back in time, replacing Garl at the instant of his fatal wound with a body double (which means B'st was pretending to be Garl - someone he's never met - during that entire segment, a completely absurd notion), and pulling him back into the present. You do another lengthy sidequest to get an invitation to a fancy restaurant, and then you can fight the true final boss, again, because Garl simply demands it when you get there.
If this CT retread had to be in the game, it would have obviously been better served by Garl being the main player character; go all the way with the imitation. Any vague gesturing the narrative makes towards not having to be The Chosen One to still fight for justice would carry more weight if you weren't playing as the Solstice Warriors, instead scrambling to keep up with them as the worst party member. As things stand, it's just a big ol' reference to a better game, a transparent play for Real Stakes that rings hollow.
An even more egregious example is The Big Thing at the start of Act 3, once the cast finally sets sail upon the eponymous Sea of Stars. Leaving their world of fantasy and magic, they enter a post-apocalyptic sci-fi world, complete with a brief graphics shift into 3D and a full UI overhaul. It's intended to be a shocking twist, a mind-blowing reveal... but it doesn't work, because A) it's a blatant crib of CT, and B) it's all in service to a punchline.
In Chrono Trigger, once the game has fully established the time travel concept by sending you to 600 AD and back (about three hours of gameplay), the party is forced to flee into an unknown time gate. It spits them out to 2300 AD, a wrecked hell world in the depths of a nuclear winter. Here, the party discovers an archive computer recording that sets up their goal for the entire rest of the game: prevent the apocalypse by stopping Lavos, a titanic creature buried deep within the earth.
It's important that this happens at the beginning of the game. You're expecting some form of going to the future to see goofy robots - it's a natural extension of time travel as a plot device - but 2300 AD is a genuine shock in the moment. It serves as a constant reminder of the stakes: this is the bad future, and you're trying to stop it from ever happening. After gallivanting through medieval times, the contrast really works.
In Sea of Stars, you probably aren't expecting to suddenly fight a robot when you're chasing The Fleshmancer across worlds. It's a potentially cool swerve, but what's actually gained by having the final act be in sci-fi land other than some kind of "dang, didn't see that coming" factor? He isn't even actually in control of the robots or anything, he just hides his castle here because... well, it's unclear why, because even once you restore the sun and moon and fight him in the True Ending, he only seems momentarily inconvenienced.
But it sure is a CT reference! And it's also a joke, because your mysterious sometimes-assassin-sometimes-swashbuckler companion Seraï reveals that this is her home world, pulling off her mask to reveal her metallic endoskeleton. You see, she used to be human, but had her soul chewed up and put into this mechanical body. She is a literal Ninja Pirate Zombie Robot.
You know! Ninja Pirate Zombie Robot! Like TVTropes, lol? Wacky JRPG party members!
How do you expect to maintain any investment after that? There's like four more dungeons in sci-fi world - including aforementioned Necromancer Daffy - and I just couldn't give a shit about any of it. The post-apoc stuff doesn't add any stakes, because we already know the Fleshmancer has ruined countless worlds and we're just chasing him to this one in particular because Seraï asked us to (and I guess they want revenge for Garl). I wasn't having fun, I was just annoyed.
I'm baffled. Sea of Stars clearly knows how to outwardly present itself as a quality JRPG. At a glance, the game looks like everything I could want: beautiful artwork, smooth gameplay, fun characters. Something that gets why I fell in love with the genre in the first place, and why I hold up Chrono Trigger as its crown jewel.
But it just isn't that, at least not to me, and that's... I dunno, existentially troubling? Based on the reviews I've seen, I'm clearly in the minority for feeling this way. I do believe the dev team and all of these players also love JRPGs. But if they do, it must be in a way fundamentally different from the way I do, because otherwise I simply don't understand the creative choices in Sea of Stars. I want more than this.
Maybe one day, hopefully sooner than later, we'll get the Disco Elysium of JRPGs, but today sure isn't that day.