Intrusive boss fight QTEs, which were on their way out of mainstream games when XIII-2 originally released on consoles in 2012, are now so oddly dated that they’ve become gaming’s Ugg boots or Timberlake trilbies. A weak story means that most of the quests lack a bit of energy.įurther problems stem from rough stabs at variety that do not pay off. Chasing after sheep to collect wool marks a low point, and one asshole near the start of the game asks Serah and Noel to transcend time and space to fetch his niece a flower that only grows in the winter-I had to complete the former, but the latter is such an obviously tedious bit of filler that I didn’t bother. It’s a shame that with this excellent combat system comes some really bad examples of quest design.
Environments tend to appear more than once in different timeframes, separated by up to hundreds of years, and story beats frequently rely on you going backwards and forwards between familiar places to mess with cause and effect. Opening a ‘time’ gate (sigh) in the first region of the game opens up the Historia Crux, a menu screen which lets you select which environment you’d like to go next and tells you what year it’ll be when you get there, sort of like a halfway point between a timeline and a fast travel screen. Instead of XIII’s near-endless shiny corridors, an initially confusing time travel concept guides XIII-2’s structure. It’s up to her sister, the impractically-dressed FFXIII supporting character Serah and a displaced Valhalla native called Noel Kreiss (a straight-to-DVD Squall with the dumbest name ever) to look for her. Set a few years after Final Fantasy XIII, Lightning, the moody hero of that game, has vanished into the realm of Valhalla, which in this game is famed for its spiky-haired rulers and prolonged QTE sequences.
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