Avatar of Fabricant451

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24 days ago
Current You'd think after like 15 years I'd stop feeling like a fraud when writing posts but I still do which is both a statement on my self confidence and a compliment to how good my partners are as writers
15 likes
5 mos ago
Why are you talking about Final Fantasy 10 like that
5 mos ago
Final Fantasy 13 is a top five entry in the franchise but ya'll still ain't ready to have that conversation
6 mos ago
This Bears/Packers game is gonna make me believe in the power of Chicago Pope
2 likes
6 mos ago
The older I get the more I start to think BBQ potato chips are the worst flavor, actually.
3 likes

Bio

Look, I got lost on the way to getting some jajangmyeon and it'd be foolish to leave now.

Most Recent Posts

I still dont see what makes tactics better than any other grid based RPG. Its functional yes, but I'd still rather play Valkirie Profile


Then you wouldn't be playing a tactical RPG so that's a weird comparison to make. What a missed opportunity for a Vandal Hearts pull
@Fabricant451

I know plenty of shit games with merits, in fact thats what most JRPGs are.


I know you do, dude. You like HuniePop.
Six isn't even the best one on the SNES.
All of the games are good some are just more good than others. Even the bad ones like 9, 2, and 3 have merits.
I don't even think it's the worst Final Fantasty game. That belongs to 8


Oh god twist the knife harder why don't you.
get me twelve c.c.s of interest, stat
Why didn't Johnny ride his bike to school?

<Snipped quote by Fabricant451>

Arieth's theme would like a word with you.


Aerith's theme isn't even as good as the theme it's ripping off.
It's not, but I'd like you to explain why you think it is in more detail.


How about you explain something instead of just saying "no you".

They're not. I mean, you pretty much invalidate this statement in your next sentence.


They are and no I don't.

Explain how this is good game design.


How is it not game design to literally design a game where any combination of characters can see a player of any skill level through to the end? That's basics of good game design.

I disagree. FF XIII's fights never gave me an issue, nor did they evoke any thought, nor were they fun. Once I discovered the dominant strategy, which took all of maybe two seconds after gaining access to paradigm shift, the fights immediately became a grind. Here's my EXTREMELY ACCURATE recap of how combat went up until I stopped playing, which was roughly 2/3rds of the way through, around the the time that you get access to the free-roaming section.


The person who didn't even play the whole game or experience the full bredth of the combat system is going to sit here and try to say they know how good the combat system is.

This is not an interesting or engaging feedback loop. It's genre confusion at its finest, and marks the point where Final fantasy completely abandoned the core principals of its combat system.


No, that was Final Fantasy 2. And then again in Final Fantasy 3. And then even again in Final Fantasy 8 and 12 and

The game was about as mechanically complex as a spinning top. Even my father, who was well into his fourties and couldn't handle any sort of strategy game at the time, was able to breeze through XIII almost as easily as I could. The game being 'easy' is not a criticism, but there's nothing satisfying about watching 30 second cut-scenes, mashing A, and going through pseudo-epic boss-fights that don't have many - if any - unique mechanics to set them apart from one another.


Says the one who didn't even make it to the end of the game. If you think the boss of, say, the Sunleth Waterscape and the boss of the Gapra Whitewood (both of which you would have experienced) don't have unique mechanics then you're just flatout lying and wrong. Use as much anecdotal evidence as you want, if you just mash A then it's not my fault you don't get anything out of the combat and if all you care about is being as slow and ineffective as possible then mashing A is core to the Final Fantasy experience.

If games like FFVI, FFXII, and FFXIV were the best combat experiences the series had to offer, FFXIII is at the bottom, not accounting for the very first entries in the series.


The best combat experience the series had to offer was 10-2. 6 wasn't even a good combat system.

The entire game is a slog of the exact same combat routine, recycled over and over, which is not all that different from other games in the series. The key difference between XIII's combat, and the slower paced combat of other games, is how automated everything is. You don't make choices as much as you sit back and revel in your ability to mash A while things explode in front of you. The amount of decisions made are minimal, and by extension, the game fails to be engaging.


Yeah, the other games in the series all had the stagger mechanic and attack boosting and maintaining stagger chains and even air juggles. I forgot about that in FF 7.

The paradigm system is a terrible malformation of the gambit system introduced in FF XII, a game with a more polished battle system where you actually have control over the automated actions that your party members take.


No it isn't. FF12's system was nothing like paradigms. FF12 didn't even have a good system until they turned it into a job system. You're not turning Vaan into a black mage at the push of a button, you're unlocking the ability to buy things to program Vaan into following the simple notion of "weak to fire use fire on thing."

FFXIII's Combat plays itself, and that's not a good thing.


Far less so than FF12 where some of the best methods of getting through things is having absolutely no player input.

If all you did was hit auto battle then congratulations, you played on baby mode for babies instead of experiencing the quicker pace the game is built around. There's a reason battles are graded. Every target time can be improved upon by a considerable amount if you actually bother to use your paradigms and attack boosts in a decisive manner.

So basically:


If you're gonna be a reductive ass about it and not even attempt to discuss it then why did you even ask me to give my reasoning.

I... Disagree immensely.


Really? That wasn't clear.

I don't know what the ending is, but based on your approach to the story, I'd likely be one to disagree. But Final fantasy has always been pretty good at tying up its games with satisfying endings.


The ending is that Fang and Vanille form Ragnarok and turn to crystal in order to save Cocoon from crashing into Pulse, thus fulfilling the Focus of the party and thwarting the plot of Barthandelus of causing a cataclysmic event in order to summon their Maker by offering a massive human sacrifice. Serah and Dajh are freed from their stasis and everyone is happy and reunited and Cocoon realizes that their reliance on the fal'Cie was in fact a Bad Thing. The heroes have successfully slapped the notion of fate in the face by literally killing their God. The sequel then immediately undermines this by making it so that everything in the game was actually because of the goddess Etro meddling in human affairs because she takes pity on them and her good meaning actually winds up just getting a bunch of people killed anyway.

I was making the point that the sequels took the themes of the first game and shot them in the face.

Narrative is bad, gameplay is bad, characters are bad, everything is contrived garbage to that point that I could probably argue FF XII's story to be better, even if that game's characters are just as terrible.


The only argument towards this you've come close to making is the gameplay. I gave you three valid reasons why I like the game. You don't like it. Nothing I say will change that and it's clear you're not interested in actually discussing it since "no thing bad" is easier.
@Fabricant451

I'd prefer a concise pros/cons list tbh. Gimme like... Idk, either 3-5 reasons as to why it doesn't suck. Feel free to expand.


1: The score to the game is one of the franchise's best and up there with the best of Uematsu's work. Hamauzu wasn't afraid to try new styles and genres for the compositions and this is especially apparent in the sequels (but those are bad games). The constant leitmotif being reworked and remixed into various overworld maps and character themes is well done - and usually that sort of thing is reserved specifically for the romance theme or the world map and not baked into poppy ballads as characters wander around a vibrant plain. 'Good music' is nothing new for the series but considering how experimental and ultimately cohesive the score for the entire trilogy is it's worthy of note.

2: The combat system is tactical while being fast paced and tooled around individual playstyles. Though every character can eventually get every role, characters are unique and make for better roles than others. This makes it way more viable to use whichever character you want and still be able to clear the game which is just good game design and there's even a 'best' party for the min/max crowd. The crux of the combat being to find ways to ultimately breakthrough an enemy's defenses and hit them like a truck is incredibly satisfying especially against the bigger enemies and the series staples like a Behemoth. Knowing how and when to interrupt and boost your attack without waiting for the bar to fill as well as being able to swap class setups on the fly makes for a satisfying and constant gameplay loop that is tactical and turn based without having the slower pace of both.

3: The story is, up until around chapter 11/12, a significant and nice change of pace from the norm of a Final Fantasy game. The Final Fantasy games have always centered around saving the world from some calamity and the characters are united in this goal regardless of their own personal histories. It always boils down to friendship and love and the same standard tools of the genre trade. It is because the back quarter of the game devolves into this that the game ultimately suffers from it since before the game turns into "let's be friends and kill God through the power of friendship and lesbians" it is very much a journey of personal stakes. The game is built around three central narratives that eventually culminate in the 'twist' that the deities are actually super bad people harvesting humans for nefarious purposes, sure, but up til then it's the story of Lightning/Hope and their parallel journey of how ultimately empty their single minded obsession is, Snow and his unceasing optimism and general naivety being the catalyst for so many pointless deaths, and Sazh doing whatever it takes to save his son from ultimately the same fate as him. They aren't united by a common goal until they're forced to by literally the antagonist telling them to be and this leads to a game's narrative working in collaboration with its own gameplay systems. There's a reason the subtitle for the game is 'the battle within begins' because the character development is much more personal and introspective rather than being based around big events and characters sitting around and talking about them. Each character is fundamentally flawed and spends the first three quarters of the game learning from their respective travel partners and the experience of the journey that ultimately leads them to Pulse where they have to bond or else they'll die.

4: My Hands is the second best theme of love in the franchise and anyone who disagrees is wrong.

5: The game has a wonderfully happy ending that wasn't at all ruined and undermined by the sequels that are shit games.
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