I liked Lufia II because it was so dense with these kinds of puzzles that they just feel like 50% of "the real game" and not an intermission from it

I kinda liked the overwrought soap opera pathos of the amnesia arc as a piece with the RKO serial villainy of her introduction scenes. Foremost among the many things she is never permitted to be, is subtle. Only white as snow or black as pitch, as seen in the design of Tsukuyomi.

I love that flashback because up until that point it seems logical that the bombs dropped ages ago. But they basically look the same so it's like oh, this all happened a year ago, maybe two. Everyone just adapted to subsistence farming and motorcycle banditry really really quick

SaGa 1 is cool cause it's the first portable RPG and they were basically making it all up as they went. It's like the Wright Brothers plane, it's rickety and dangerous but somehow it flies. Then SaGa 2 just iterates and improves on every single aspect

The Dragon Warrior (descendant of Erdrick) fucks.

My guess is the hairstyle code is a huge mess even by FFXIV standards and they're scared to touch it

But I can't, because the Max and Miriya fight is some of the most gorgeous mecha animation I've ever seen. No need to do the rest of the love story, the audience completely understands they're gonna fuck. If you saw robots doing that you'd fuck em too.

But damn if it isn't gorgeous.

It cuts nearly all of Max and Miriya's plot, which is understandable given the time constraints, but it can't cut all of it since they're fan favorites. So there's this vestigial nub of a plotline that I'd like to be a hard ass about and say they should have cut...

It's incredible, DQ absolutely nailed exactly how powerful equipment upgrades ought to be

Personally I miss 7/10 reviews of hex based strategy games, "the menus work and it didn't crash in my three hours with the tutorial. I don't know what's going on but people who like this stuff might enjoy it."

So as a finale, it works.

But what comes next? The Universal Century was symbolically healed. But what actually changed? There's still that tension there. The storybook closes, and the world persists.

So in that sense, the extremely goofy magic robot direction it goes in is both a way to tie up the loose ends of everything before it, and fitting with the specific aesthetic of Unicorn itself.

He is, as I see it, Sir Galahad, the flawless paladin who will pass through the ordeals and succeed where his predecessors failed. Laplace's Box isn't just a lazy MacGuffin, it's a grail quest, an object to bring symbolic healing to the Universal Century. The medieval tapestry motif is right there!