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2011 video game

The Last Story
Last Story Box Art.jpg

European cover art
Developer(due south) Mistwalker
AQ Interactive
Publisher(s) Nintendo
  • NA: Xseed Games
Managing director(s) Hironobu Sakaguchi
Producer(s)
  • Yutaka Takehisa
  • Hitoshi Yamagami
  • Takao Nakano
Designer(s)
  • Takuya Matsumoto
  • Tsukasa Tanaka
Creative person(s) Kimihiko Fujisaka
Writer(s)
  • Masaru Hatano
  • Takatoshi Aoki
  • Hironobu Sakaguchi
Composer(southward) Nobuo Uematsu
Platform(s) Wii
Release
  • JP: January 27, 2011
  • AU: Feb 23, 2012
  • EU: February 24, 2012
  • NA: August 14, 2012
Genre(south) Activeness role-playing
Mode(s)
  • Single-player
  • Multiplayer

The Last Story [a] is a Japanese activity part-playing game, adult by Mistwalker and AQ Interactive for the Wii video game console. Nintendo published the championship in all regions except for N America, where it was published past Xseed Games. Initially released in Nippon in 2011, the game was released in western territories through 2012. The Last Story takes place upon the island fortress of Lazulis, in a earth that is slowly existence tuckered of life by an unknown force. The story focuses on a grouping of mercenaries looking for work on Lazulis; one of their number, Zael, dreams of becoming a knight. After receiving the mystical "Mark of the Outsider", Zael becomes involved with a noblewoman named Calista in an ongoing state of war between humans and the beast-like Gorak. During gameplay, the player controls Zael as he and the mercenary group to which he belongs undertake missions on Lazulis. Zael can command the rest of the mercenary squad during missions, and fights in battles that involve activeness, tactical and stealth elements. Multiple online multiplayer modes were besides present.

The game was directed and co-written by Hironobu Sakaguchi, the original creator of Final Fantasy, who had the initial idea for the title subsequently seeing the mixed responses to Blueish Dragon and Lost Odyssey. Together with designer Takuya Matsumoto, Sakaguchi decided to make a game that would be dissimilar from his previous piece of work and near other role-playing games. Development took betwixt three and 4 years according to different sources. Its story was originally based in science fiction, but at Nintendo'south insistence it was changed to be primarily based around fantasy. Among the staff were regular Final Fantasy composer Nobuo Uematsu, and illustrator Kimihiko Fujisaka. It was originally going to exist sectional to Japan, and later its North American release was in doubt later on existence announced for release in Europe and Australia. During this time, a fan entrada called Operation Rainfall drew considerable attending to the championship. The title was a commercial success, and received mostly positive reviews worldwide: while the gameplay generally met with praise, opinions varied on the story and graphics.

Gameplay [edit]

Player grapheme Zael and his party facing one of the game's bosses.

The Last Story is an activeness role-playing game (ARPG) incorporating elements of tactical and stealth gameplay. The player controls primary protagonist Zael for the majority of the game.[1] [2] [3] Zael is primarily controlled using the Wii Remote from a fixed third-person view. The game tin can be controlled using the Wii Remote and Nunchuk, or the Classic Controller,[1] but does non employ motion controls. The game's primary hub is a public house on Lazulis Island, which besides houses a save signal for players. Lazulis City is the main setting for about of the game, which provides the histrion with access to side quests, shops, and areas to collect items when not engaged in the chief story. In improver to environments within missions such every bit ruins and forests where enemies are encountered and fought, there is an loonshit where the player tin ameliorate the party and their gainsay abilities. If the party is victorious, the party can pick up money and items from non-playable characters betting on the fight.[i] [4] [5]

In boxing, the histrion controls Zael alone, with the rest of the party existence controlled by the game's artificial intelligence (AI) and directed by player commands.[one] [4] Parties are composed of upwardly to 6 characters, each with five "lives", with them automatically reviving after a certain time if Zael cannot revive them manually.[3] The attack directions of both party characters and enemies are represented past lines connecting the different characters.[6] Combat plays out in real-time, with attacks either happening automatically when a character is within range or manually. Actions such as dodging and movement are washed manually. Blocking and actions such every bit vaulting over low obstacles are performed past holding the B button. Zael can also move to take cover behind objects, which allows them to pause an enemy's line of sight on them or creep forth walls.[1] [four] During gainsay, a character'due south Tension gauge will fill, enabling the functioning of special moves: these can vary from dealing damage to enemies across a wide area to reviving unconscious allies.[5]

A skill unique to Zael is Gathering: when activated, all enemies within an area will focus their attending on him, allowing other team members to human action without interruption. Equally the game progresses, Zael can consequence commands to the other team members, with the perspective switching to a top-downwardly view for this activeness.[ii] In addition to standard combat, players can switch to a behind-the-shoulder perspective for manually firing Zael's crossbow, which can launch a multifariousness of armament at enemies and objects. Enemies in Zael's sights volition have their weaknesses and abilities revealed.[four] [vii] In battle, destructible objects in the surround tin can exist used past the party to defeat enemies; these objects regenerate after a time rather than remaining destroyed.[6] Magic cast by sure characters with that ability go out the casting area temporarily imbued with a spell's elemental properties creating a magic circle. These circles can cause elemental harm or effects to enemies inside the area, or they can imbue the weapons of characters who walk into the circle with said element. Eventually, Zael will learn the ability to "lengthened" magic circles which will spread the spell'southward effect which varies depending on the element.[6] [viii]

In improver to the unmarried-histrion entrada, players have access to online multiplayer through the game'south main card. The multiplayer features two modes: a competitive mode where players face each other in various stages, and a co-op mode where a team of players confront bosses from the unmarried-player campaign. For the competitive friction match, the player tin can choose from multiple allied and enemy characters, and all boons granted by equipment or feel levels are removed to level the playing field. Teams of up to six players can be formed for team matches. Players gain or lose points when they defeat or are defeated by an opponent, and defeated enemies respawn in the battlefield. When all opponents take been defeated, all players are awarded with items and equipment that can carry over into the single-player campaign: those who performed the all-time receive college-quality equipment and "titles" to distinguish them from other players. The co-op battles allow players to carry over their equipment and character levels from unmarried-player, with the available characters being restricted to Zael's mercenary group. Defeating a boss earns players items themed effectually it. In both modes, players communicate using a stock of scripted responses both taken from the unmarried-player entrada and peculiarly created for multiplayer.[nine]

Synopsis [edit]

The Final Story is set on Lazulis Island, a vast seaborne fortress ruled past Count Arganan and allied to an unnamed homo empire in the midst of crunch as the country decays and dies. Dagran, a mercenary, travels to Lazulis in search of employment with the mercenary ring he leads: Zael, Syrenne, Yurick, Lowell and Mirania. During the journeying, Zael, who dreams of becoming a knight, encounters a mysterious force and is branded on the manus, granting him magical power. While on an errand in boondocks, Zael runs into a adult female named Lisa and helps her escape from city guards. Employed equally guards to Count Arganan for the wedding ceremony of his niece, Lady Calista, to Lord Jirall, Zael encounters Calista and recognizes her as "Lisa". The grouping too meet General Asthar and his protegee Therius when Syrenne picks a fight with Therius. Afterwards Calista explains to Zael in private that hers is an arranged union, Lazulis is attacked by the Gurak, a race once banished from Lazulis by humans and at present united under their ruler Zangurak. To avoid being killed by the ensuing cannon fire, Zael, Dagran, and Calista stow abroad on a Gurak ship and eventually have it over. The group are returned to Lazulis by the island'southward knights. On Lazulis, the mercenaries are accused of aiding the Gurak by the knight Jirall, who is trying to embrace upwards his cowardly behavior during the attack by having anyone who witnessed it imprisoned. Dagran persuades Arganan to release them later on showing him Zael's mark, which is revealed to be a mystical "Marking of the Outsider" given to one destined to save Lazulis.

Arganan attempts to become Zael onto his side, offering him knighthood and Calista's hand in matrimony. Zael swears allegiance to Arganan, who orders Zael to direct Lazulis towards the Gurak lands. During this time, Asthar accepts Zael as a new pupil and gives him a medal post-obit a successful sparring. Before long afterward this, Gurak assassins kill Asthar, who tells Zael the medal is a central before dying. Zael is accused of Asthar's murder by Jirall and imprisoned, just Calista frees him. Dagran suggests Jirall is the existent killer, and prompts Zael to search Jirall's room, where he finds the murder weapon and a letter revealing dealings with the Gurak. Jirall is imprisoned, though Dagran admits that the evidence was false despite Jirall'south guilt. Lazulis arrives in Gurak lands and takes their go on with minimal resistance. Zael learns at that place that the Gurak are suffering the same degradation of the land as humans are, which motivated their invasion. Seeing the cruelty of Lazulis'southward soldiers to Gurak civilians, Zael questions his allegiance to Lazulis. While being comforted by Calista, Zael'due south brand reacts with Calista'south blood and Asthar's medal to reveal a underground location on Lazulis. Joined past Therius, they observe a Sorceress's ghost who reveals that the "Outsider" is an extraterrestrial being. At the bidding of her lover, Arganan's ancestor, she summoned the Outsider to the planet in an attempt to finish conflict. Subsequently realizing that it was draining energy from the land, they split up it into ii halves in social club to slow the country's death. If the ii halves, at present respectively controlled by humans and the Gurak, are reunited and released, the land's disuse will halt and the war will end.

Realizing Arganan's complicity, Zael refuses his knighthood and sets out with Calista to destroy Lazulis' cannon, which is powered past Lazulis' one-half of the Outsider. When the Gurak attack Lazulis, they are forced to instead help Arganan utilise the cannon to bulldoze off the set on. The cannon proves insufficient, and Arganan is killed by the Outsider's power. Zael and the mercenaries aid the people while Therius holds off the attacking Gurak. Zael so heads out with Calista and the mercenaries to retrieve Zangurak's half of the Outsider. Zael defeats Jirall, then Zangurak; during the latter battle, Lowell suffers fatal injuries. The group so find Dagran with the Outsider, claiming he used the mercenaries in his own quest for revenge against the Lazulis knights who killed his family unit. After absorbing the Outsider's power, Dagran is defeated; he reconciles with the group earlier dying, and then his spirit uses the Outsider's free energy to resurrect Lowell. Zael and Calista reunite the two halves of the Outsider, which leaves the planet. Through Zael and Calista's efforts, humans and Gurak manage to begin coexisting, sharing their technology and using Lazulis as a neutral land. In the epilogue, Therius decides to train new knights in the empire while leaving Lazulis in Zael's care; Zael and Calista are married in her aboriginal family home; the mercenaries concord a wake for Dagran; and Zael is finally made a knight by Calista.[10]

Development [edit]

The initial concepts for The Last Story came to Hironobu Sakaguchi afterwards his deviation from Square (now Square Enix) in 2003. After a period working on games at his new studio Mistwalker, Sakaguchi realized that his way of game were not in tune with electric current gaming trends.[11] After, he elaborated that The Terminal Story was primarily born from reflecting on the pattern mistakes he made during the evolution of Bluish Dragon (2006) and Lost Odyssey (2007): while they tried to innovate with the story, they kept the gameplay very traditional.[12] Sakaguchi drew up a pattern document for the game, and around that time met up with Takuya Matsumoto, a designer from AQ Interactive who had worked with Sakaguchi on Blueish Dragon. They both realized that they held the same views on what was holding their games dorsum in the current market, and decided to collaborate on the game with the goal of creating something new.[13] In an interview with IGN, Sakaguchi said that evolution took three years: the first yr was devoted to a trial-and-mistake development process devoted to the battle system.[xiv] A longer development fourth dimension of four years was reported by Matsumoto in a different interview with Gamasutra. Co-ordinate to Matsumoto, the team leads went to the Electronic Entertainment Expo (E3) each year and were assured that their game was in-step with current gameplay trends.[15] Production of The Concluding Story was a collaboration between Mistwalker, AQ Interactive and Nintendo, and was Sakaguchi's kickoff work as a director since Terminal Fantasy V (1992).[11] [16] The game was going through its final development stages by April 2010, and co-ordinate to Sakaguchi was "complete" by Dec that year.[17] [18]

Although Sakaguchi'due south previous RPGs from Mistwalker had been released for the Xbox 360, The Last Story was created for the Wii. According to Sakaguchi, this was because Nintendo's Shinji Hatano shared their vision of a role-playing game that did not follow genre conversions, and so Sakaguchi accepted his offer of collaboration.[xix] Later being contacted regarding both The Terminal Story and fellow Wii ARPG Xenoblade Chronicles, Hatano said that the games should be made for a wide audition and using a "romanticist approach".[20] When explaining why The Final Story was exclusive to the Wii, Sakaguchi said that it was because a large proportion of the tardily development staff, including the testers, came from Nintendo.[vi] In a later interview, he said that working with the Wii, which did non utilise high-definition graphics, presented challenges as some of his ideas could non exist implemented due to technical restrictions. Despite this, the team aimed to create a game that would await proficient when compared to games on high-definition consoles.[fourteen] Matsumoto stated that Nintendo had a strong influence on the game, which did not always sit down well with him despite their suggestions ultimately improving the game. He also stated that Nintendo'south creative and development assistance in fine-tuning the game was the reason for its extended evolution.[15]

The basic story was conceived by Sakaguchi and Matsumoto, while the script was written by Sakaguchi, Masaru Hatano and Takatoshi Aoki.[15] [21] The story was contributed to past multiple staff members, which sometimes annoyed Sakaguchi when they suggested something that would be out of character for one of the cast.[xiii] Co-ordinate to Sakaguchi, the initial version featuring a science fiction storyline was "shot downwards" past Nintendo, forcing the team to begin all over once again with a new setting and characters.[fourteen] [22] Despite the story still using science fiction elements, the team worked to distance the setting from those elements by focusing on bright, natural colors for the environments.[23] The biographies of the main cast were put together during the story's creation.[14] Originally, according to Hatano, the game'south theme was to have been the "all-important drama that takes place between a human being and a woman", simply every bit development progressed it was changed to a theme of general companionship, although the original story remained the same.[20] Hatano suggested incorporating dialogue into the gameplay rather than restricting it to cutscenes. This arroyo was inspired by both Uncharted and television series The Due west Wing.[xv] The concept was initially put forward every bit a joke about Zael's habit of kick doors open up, and how his companions would comment on how he ever did this. Subsequently receiving positive feedback, they implemented information technology and kept in Zael'south beliefs.[13] Sakaguchi used this in-game dialogue to help convey the characters' personalities: as part of this, adlibs from the actors were included, and continual adjustments were made to the script. The characters' artwork also prompted Sakaguchi to make changes so the characters amend fitted their presentation.[14] The game'south voiced dialogue was estimated at 12,000 lines.[24] The option for players to skip through dialogue was a feature that Sakaguchi did not like, but he knew that some players would not like necessary long cutscenes, then gave them the selection of going through them while still following the story. This meant that all the cutscenes needed to be done using the in-game engine rather than pre-rendered graphics.[12]

The characters were designed by Kimihiko Fujisaka. Fujisaka, who was acquainted with Sakaguchi, was brought on board the project at the beginning. At that bespeak, only a simple plot outline had been created, and Sakaguchi showed this to Fujisaka and asked what he visualized from it. Due to this, Fujisaka had a lot of leeway in his designs. Due to Sakaguchi living in Hawaii while the game was beingness developed, Fujisaka was initially nervous about working with him on the projection, but ultimately he establish their working human relationship to be a positive one. An attribute that worried Fujisaka during the early stages was the determination to accept the characters able to change their vesture: their original appearances had been designed in relation to their lines, and while designing extra outfits proved difficult, he ultimately enjoyed the experience. Fujisaka also worked as a world designer, initially feeling restricted by the console'due south limited graphics. According to Fujisaka, the city hub began taking shape in 2009, relatively early in development. The earth design he initially created was adequately bleak, but subsequently Nintendo insisted on the scenario beingness inverse, he redesigned it around a brighter fantasy aesthetic.[xi]

Developing the gameplay began at the get-go of development, with a test environs being built to develop and refine the basics of the boxing system. Work inside the test build spanned approximately one and a half years. While creating the battle system, the staff decided that the key words should be "order" and "chaos": whoever gained order on the battlefield would be the victor. One of the concepts that emerged from this was Gathering, Zael's ability to direct all enemies' attention towards him. At offset, Gathering concluded up generating an unwanted corporeality of chaos on the battlefield, and this resulted in the trial-and-mistake period for it running on for a long time. The biggest claiming, once the concept had been finalized, was adjusting its effectiveness on the battlefield depending on the situation and enemy types.[thirteen] A concept that did not brand information technology into the concluding game was "Replay": after an enemy successfully cast a spell, players could rewatch the last few seconds of battle from an overhead view to see what type it was and take that into their strategy. This slowed the pace of combat down too much, and so the concept was entirely removed. Hangovers of it include the power to freeze time during certain actions, and the overhead perspective when commanding political party members.[13] [14] The embrace organization was designed around the limitations of the camera control born from the Wii Remote'south command scheme.[25]

Matsumoto was responsible for the level design. While preparing destructible elements inside the environment, the staff took care that they could be easily recognized by the player. So as to create a more direct experience than other Japanese RPGs, the camera view was deliberately restricted around Zael, and then the player would be kept inside his betoken of view. A difficult part of development was balancing story and gameplay, which sometimes acquired clashes between Sakaguchi and Matsumoto, as Matsumoto would upset the residuum and necessitate Sakaguchi re-balancing information technology. The battle organisation and AI was refined by what Matsumoto described as "chaotic battles royal between over xx people wielding swords, magic and guns or marry command systems". The ability to burn projectiles had a big touch on the boxing system'south design.[26] This concept was a hangover from the game's origins as a science fiction story.[22] For the multiplayer, Sakaguchi avoided the potential for players to exist rude to 1-another past restricting their dialogue to segments from the single-player campaign. This was possible given the large amount of ambient dialogue in the game.[19]

The game'south music was composed past Nobuo Uematsu, a long-fourth dimension collaborator with Sakaguchi who had worked on the Final Fantasy series, Blue Dragon and Lost Odyssey. Uematsu initially had a rough fourth dimension: the showtime three pieces of music he sent were rejected, and then Uematsu did not respond for some time. Sakaguchi worried that Uematsu might quit the project altogether. In fact, Uematsu realized Sakaguchi'southward wishes for the title and had to rethink his arroyo entirely. With the second submission, Uematsu stated that he might leave if his music withal did non fit, but it did and he remained as composer. In dissimilarity to the bulk of his before works, which made heavy use of purely melodic pieces and "jogging music", Uematsu concentrated on a mixture between video game and film music to emphasize emotion and ambient sounds. He too worked to avoid creating signature jingles and fanfares. The near difficult pieces for him were boxing tracks: the main boxing theme was 7 minutes long, only broken into small pieces that varied depending on situations and could be cued in depending on what was happening on the battlefield.[19] [27] The game's theme song, "Toberu Mono" ( 翔べるもの , lit. "The Flying I"), was composed by Uematsu with lyrics by Sakaguchi. Its lyrics are about the earth someone is in not being where they are meant to be, with the phrase "going home" being used progressively through the song. According to Sakaguchi, the theme was quite personal for him, and also displays the "foreignness" of the game.[xiv] [27]

Release [edit]

Sakaguchi revealed that he was working on a new game in July 2009.[28] Initially targeted for a revealing that year, this was delayed for unknown reasons into 2010.[29] The game was announced by Nintendo in January 2010, aslope its platform and logo.[30] It was released on January 27, 2011.[12] Despite prompting interest from genre fans in the west since its official announcement, shortly earlier its Japanese release, Nintendo announced that The Last Story would remain exclusive to Nippon.[24] Nintendo explained that the effort involved in bringing The Last Story overseas would be besides much piece of work on meridian of other important releases such equally Kirby's Epic Yarn and titles for the Nintendo 3DS. Despite this, Nintendo stated that in that location was a strong possibility of it releasing in the United Kingdom due to its growing RPG market.[31] It was officially announced for Europe in June 2011.[32] The European localization was handled by Nintendo of Europe, using the same squad that had done Xenoblade Chronicles. British voice actors were used for the dubbing, making use of various accents for the different characters. Some of the original programmers helped with the implementation of the localization, and it underwent unspecified adjustments.[xvi] [33] The game released in Europe on February 24, 2012.[34] Information technology received a express edition, featuring a CD with 7 music tracks and an artbook.[35] It was also released in Commonwealth of australia on February 23.[36]

Afterward a continued lack of confirmation of a North American release, including it non being included in Nintendo's 2011 release schedule, a fan-based movement chosen Operation Rainfall started a entrada to raise awareness for The Terminal Story, Xenoblade Chronicles, and another Wii RPG titled Pandora's Tower. This campaign included letter writing to Nintendo and petitions for its overseas release.[37] [38] [39] Despite acknowledging the effort, Nintendo stated that there were no plans for a N American release.[40] Matsumoto was severely disappointed by this determination and idea The Terminal Story would never make information technology to North America.[25] At this point, Xseed Games, who had developed a reputation for publishing niche Japanese games, took an involvement in publishing the title. Initially approaching Nintendo in 2011, Nintendo confirmed that they had no plans to publish the championship themselves. Subsequently playing through a Japanese copy of the game, and the staff were favorably impressed and decided to pitch to Nintendo for the game's North American publishing rights. They were helped by the connections between parent company AQ Interactive and Mistwalker. Xseed Games was the first publisher to enquire Nintendo virtually The Terminal Story, and after beingness favorably impressed past their proposal, Nintendo granted Xseed Games publishing rights.[25] [41] While a new localization for Due north America was considered, information technology was decided to use Nintendo of Europe's localization equally information technology better fitted the game's atmosphere and artful.[22] It officially released in North America on Baronial 14, but problems with stock acquired Amazon and GameStop to put orders on hold and button their release dates forward.[42]

Reception [edit]

Disquisitional response [edit]

The game's story received generally positive reactions from critics, although some criticized information technology for a lack of originality in the RPG genre. While they did non comment much on the story, Famitsu called The Concluding Story "very classical RPG".[49] Eurogamer'southward Martin Robinson establish the characters the most appealing part of the game, an opinion shared by Francesco Dagostino of 1UP.com, who peculiarly cited Syrenne'south portrayal.[44] [48] GameSpot 's Marking Walton shared this opinion while likewise praising the story's epic scale.[four] IGN 's Keza MacDonald said that information technology presented a good story and characters within familiar themes and settings.[2] Edge Magazine found the story fairly traditional despite a potent cast and emotional power, while Matthew Castle of Computer and Video Games praised the effort made to flesh out the party members in side-missions despite referring to the main narrative equally "tedious".[45] [46] GameTrailers, while noting the familiar plotlines the game explored, said that The Concluding Story handled its plot improve than others of its kind, praising its graphic symbol evolution.[52] Game Informer 's Joe Juba was fairly critical, finding the story overly predictable and the characters shallow. Jason Wishnov of G4 was likewise critical of the characters and plot, calling the quondam "ane-note" despite convincing camaraderie and well-written in-game dialogue, and the latter impeded by problems with formulaic writing despite some late-game twists.[l] [51] Simon Parkin, writing for Official Nintendo Magazine, constitute the characters likable despite a predictable story; Nintendo Ability shared points of praise with other reviewers, in add-on to praising Zael and Calista'south romance, saying that it held the game together during some mid-game stumbles.[53] [54] RPGamer'southward Alex Fuller said that the story was great despite it using well-worn cliches.[3] Multiple critics gave loftier praise to the British-voiced localization.[2] [3] [4] [47] [48] [50] [53]

The gameplay was generally well received. Famitsu praised the battle system, saying that it was friendly towards coincidental gamers.[49] MacDonald besides praised the battle organisation every bit "one of the best combat systems I've played with in any RPG, Japanese or otherwise".[two] Walton institute the battle organisation fun and enjoyed the amount of side quests, while Dagostino was highly positive most the game's successful efforts in moving away from genre tradition.[four] [44] Juba enjoyed the multiplayer and praised the game for moving abroad from the genre'due south traditional battle systems despite faults with their overall implementation, while Robinson institute the gameplay suffered from the blueprint goals that had fueled its cosmos.[48] [51] Castle was positive about the variety of gameplay and tactical elements despite some potent combat mechanics, but noted the disability to change difficulty being a point against the game.[45] Wishnov praised the fast pace and variety of the combat, but found that more than cumbersome RPG elements and a lack of overall command negatively impacted the feel.[fifty] GameTrailers by and large praised about the way gameplay and combat was handled despite some "clunky" moments, but was less positive the multiplayer choice's balance and diverseness.[52] Edge, while noting multiple cadre similarities with other games within the genre, establish that other elements came together to make information technology a more fast-paced cinematic feel than other traditional RPGs; Fuller enjoyed the battle system, simply thought that it lacked claiming and had difficulties with the photographic camera.[3] [46] Parkin was generally positive about combat, particularly about the blending and gradual growth of character abilities, while Nintendo Ability called the boxing system "satisfying" and the multiplayer "surprisingly worthwhile".[53] Multiple reviewers commented on the game's linear construction, with opinions ranging from indifferent to negative.[47] [50] [52]

Opinions on the game'south visual way varied. Walton chosen the game's visuals "some of the best ever seen on the Wii", which was echoed to a degree by MacDonald.[2] [4] Castle was by and large positive about the game's aesthetics, citing the water furnishings as particularly good.[45] Border was fairly mixed, saying that well-done environmental effects or the world-building through character banter were spoiled by low-quality textures and stilted grapheme animations.[46] Juba praised the graphic symbol models, simply establish environments to be "ugly and muddy in comparison"; Fuller, while not actively criticizing them, said that players used to high-definition consoles would be disappointed.[iii] [51] GameTrailers plant the amount of item put into environments "remarkable" for the Wii hardware despite a lack of calibration, while Parkin constitute the visuals generally unimpressive despite a few stand-out moments.[52] [53] Nintendo Ability said that the graphics gave the game'due south setting an "authentic" advent despite some depression-resolution textures, while Eurogamer praised them for their "sepia tone".[48] [54] Frame rate drops during moments of high activity were generally noted by reviewers.[3] [4] [45] [52] [54] Uematsu's incidental scoring likewise received praise from multiple critics.[3] [4] [45] [52] [53] [54]

Sales and accolades [edit]

Upon release, The Last Story topped Japanese gaming charts, selling 114,722 units.[55] Assessments past Media Create stated that while the game had achieved college sales than Xenoblade Chronicles due to higher interest in the title, Wii hardware sales remained low, indicating that the title was by and large bought by gamers who already endemic a Wii panel.[56] Past the cease of 2011, the game sold just over 157,000 units.[57] Upon its release in the UK, it debuted at #15.[58] After the release of The Concluding Story in North America, Xseed Games released a statement proverb that The Terminal Story was their most successful title to appointment, with its Premium Edition selling out quickly and needing to be replaced with a different special edition.[59]

Upon its release, the game received critical acclamation, earning an aggregate score of 80/100 on Metacritic based on 61 critic reviews.[43] It was cited by GamesRadar and Forbes equally i of the best games of the year.[60] [61] Similarly, 1UP.com named information technology as one of the top 10 all-time RPGs on the Wii.[62] In add-on it was nominated for "All-time Wii/Wii U Game" at the 2012 Spike Video Game Awards, and "RPG of the Year" in GameSpot's RPG of the Year laurels category.[63] [64] In IGN 'southward "Best of 2012" awards, it was awarded equally "Best Wii U/Wii Audio".[65]

Notes [edit]

  1. ^ Japanese: ラストストーリー, Hepburn: Rasuto Sutōrī

References [edit]

  1. ^ a b c d e Bivens, Danny (2011-02-21). "Preview: The Terminal Story". Nintendo Globe Report. Archived from the original on 2016-01-eleven. Retrieved 2016-01-eleven .
  2. ^ a b c d e f g MacDonald, Keza (2012-02-23). "The Concluding Story Review". IGN. Archived from the original on 2014-07-31. Retrieved 2016-01-xi .
  3. ^ a b c d east f g h i Fuller, Alex (2012). "The Terminal Story - Staff Review". RPGamer. Archived from the original on 2015-09-20. Retrieved 2016-01-12 .
  4. ^ a b c d e f m h i j k Walton, Mark (2012-02-28). "The Last Story Review". GameSpot. Archived from the original on 2015-01-06. Retrieved 2016-01-xi .
  5. ^ a b Gantayat, Anoop (2011-01-14). "The Last Story: Characters, Ruli Metropolis, and Tension". Andriasang.com. Archived from the original on 2012-12-25. Retrieved 2016-01-11 .
  6. ^ a b c d Gantayat, Anoop (2011-01-15). "Sakaguchi Answers The Concluding Story Questions at Twitter". Andriasang.com. Archived from the original on 2012-12-25. Retrieved 2016-01-ten .
  7. ^ Gantayat, Anoop (2010-08-04). "The Last Story's Focus Organization Detailed". Andriasang.com. Archived from the original on 2012-12-25. Retrieved 2016-01-11 .
  8. ^ Gantayat, Anoop (2010-10-18). "Last Story Has the "Magic Circumvolve" System". Andriasang.com. Archived from the original on 2012-12-25. Retrieved 2016-01-11 .
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External links [edit]

  • The Last Story at Nintendo.com
    • Official Site for North America (in English)
    • Official Site for Europe (in English)
    • Official Site for Nihon (in Japanese)
  • The Terminal Story at IMDb
  • The Concluding Story at MobyGames

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Source: https://en.wikipedia.org/wiki/The_Last_Story

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