Title: XenoSaga III: Also Sprach Zarathustra

Date: 09.18.2006

Genre: RPG

Platform: PlayStation 2

Developer: Monolight Productions

Publisher: Namco Bandai Games

According to the “Xenogears Perfect Works” book, Episode 5 (Xenogears) began in the year 9999 T.C. (Transcend Christ). Episodes 1-3 (Xenosaga) details content from ages prior, specifically part of the 7th Millennium, the years between 4743 through 4767 T.C. During this time frame, all-inclusive experiments involving the “God Relic” Zohar are performed, essentially comprising the fundamental story structure for the Xenosaga trilogy.

When the key staff members responsible for games such as Chrono Cross and, of course, Xenogears, left Square and formed their own company (Namco-owned “Monolith Software”), things looked up as the Xenosaga series came into light. Esentially a “reinvisioning” of the Xenogears saga told from the start, so too was Xenosaga intended to be a long running series. For reasons unknown (this is JAPAN after all, a country obsessed with anything relating to robots) the first two games fell vastly short of expectations and it looked like all hope was lost. The failure of a hack-job anime series based on Episode I only made the situation worse, as did the recent failure of a hack-job DS “port” of the first two Episodes. Alas, Xenosaga is now “complete” with this latest-and final-installment to the series, despite the fact that there was so much more to tell.

On the bright side, Episode 3 offers the most refined and satisfying experience of the entire trilogy, a fate perhaps befitting of “that which must end all”…

[Inter] Stellar Story

Arguably the only series in gaming to compare with the successful animation “Neon Genesis Evangelion” in terms of philosophical, religious, and moral issues, Xenosaga tells the story of a talented engineer named Shion Uzuki and her work on the mysterious KOS-MOS project, the product of which is an android (KOS-MOS) who true intentions and design are a mystery to all but a select few, specifically the C.E.O. of Vector Industries and his team of resurrected bodyguards known as “Testament”. Using the mysterious “Compass of Order”, CEO Wilhelm and his cloaked followers comprise the “Council of Zarathustra”, their grand designs guiding the entire trilogy, unbeknownst to mostly everyone.

Episode 3 serves to explain far more than just this primary story arch, however, it also serves to clarify additional content, including the Shion/KOS-MOS connection, who the Red Testament member is (and Testament's role in general), what really happened on Old Miltia, what exactly summoned the Gnosis, why Gainum Kukai suffers from possession “beyond the grave”, Mary and Shelly's real “talent”, the full extent of Project Zohar, and (thankfully) far more in-depth revelations about both the Anima Relics and the E.S. Robots they power. Additionally there is self-contained story content relating to the “evil KOS-MOS” known as “T-elos”, Abel (the child who looks exactly like Xenogear's main character, Fei Fong Wong), and more.

Granted the above listing might signify a wet dream for long time fans, but alas most (if not all) of the “big issues” are horribly clichéd and predictable-two adjectives that most certainly did not characterize the self-contained mysteries and eventual “revelations” seen in Xenogears. Perhaps what should be most impressive is actually that the key members of Monolith Soft actually mapped out this entire scenario over a decade ago, and now can finally conclude the first arc's tale. In truth however, the biggest mystery remains forever unsolved: namely the positively arcane manner in which a company-owned entirely by Namco-is able to make unlimited use of names, places, story, and content presumably owned by its former employer, Squaresoft. (The best guess assumes that creator Tetsuya Takahashi managed to retain intellectual property rights after splitting from his former employer.)

A Graphical Approach to Gameplay

Outdoing even the Final Fantasy series, there is no other RPG creation in existence to focus so heavily on non-interactive cut-scenes, graphics, and story as Xenosaga. Fans will be pleased to know this fact remains true to the end, detractors will be pleased to know that Episode 3 is just as “hands off” as the prior two installments. So extensive are the cut scenes in Xenosaga that one might actually serve to elevate them to a genre category in and of themselves; no kidding whatsoever-the first four/five hours of the game literally consists of two paltry areas, the remainder of which is all spent watching cinematics.

Unfortunately, watching is now a bit more aggravating than previously. In a move of pure idiocy (or perhaps just plain laziness), Monolith opted to regulate 90% of all cut scenes to in-game content, the player essentially listening as characters voice their lines and then pressing the “Circle” button to advance to the next window of text. This is a major change from the truly hands-off format employed in the prior two installments, a format that while just as non-interactive, offered far more “oomph” and distinction than the generic in-game nonsense now had. The on-screen character's don't even open their mouths to speak, rather the game “simulates” the basic auditory function via stagnant character portraits that grace each character's text box, their face render changing when the player advances to the next ream of dialogue (so “no”, it's not fluid at all). Suffice to say this is a major detraction from the game, as there is nothing more annoying than being forced to push buttons during what is quite literally hours of dialogue at any given moment.

Fortunately, even if the story telling mechanism is all but ruined, the visual aspect is not. Xenosaga Episode 3 stands as the best looking installment in the series, if not one of the best looking games on the PlayStation 2, period. Opting for a hybrid mix between the “anime characters” of Episode 1 and the “realistic characters” of Episode 2, gamers will marvel at the exquisite detail put into their avatars, perhaps the most welcome being the understanding that human beings have individual fingers, not amorphous square blocks (see Episode 2). In a surprising move, series character designer Kunihiko Tanaka is nowhere to be seen, a new character designer taking his place and adding some much needed zest to the formerly plain looking cast.

If the characters are anything to rave about, the environments are positively to die for. While there remains a number of locales which don't offer much in terms of visual brilliance, suffice to say that even the most boring area has at least something resplendent to offer.

At times, the background scenery looks almost photorealistic, and proves that there is quite a lot the Playstation 2 can do when pushed to the limit. Unfortunately the areas themselves remain terribly linear, but as everyone knew this wouldn't change, at least what is present looks that much better. While the decision to all but abolish cut-scenes may be lazy, at least the decision to abolish loading times was not. While there is still the occasional incident, gone are the extensive loading times that formerly went hand-in-hand with Xenosaga. Combat now initiates seamlessly, locations load in seconds, and the Camp Menu appears in the blink-of-an-eye. It's fantastic, it's fast, and it's frustrating: why the hell didn't Monolith fix this issue two games ago?

Creating Combat

One of the few RPG series in the annuals of gaming history that makes use of on-screen enemy locations (i.e. no random battles), to initiate combat in Xenosaga, simply run into an opponent's avatar to make contact; note that depending on the direction the PC (or the opponent) faces when making contact, the battle may begin with either a normal arrangement, or a “Pre-Emptive Strike” format allowing for whichever party took the other by surprise to attack an unguarded opponent and inflict massive damage.

Once the melee action begins, however, the player will notice some of the more significant changes made to the gameplay…In another move that defies logic, Monolith removed all strategy from the system entirely. Episode 1, Episode 2, Episode 5 (Xenogears) all made use of a “Stock” system wherein each PC (Player Character) had a variety of attack options, each option costing a different number of Stock Points. Through intelligent use of this system, gamers could extend their own attacks, create combos, and-with respect to Episode 2-even “Break” an opponent's guard and initiate long sequences of massive damage. At the very least, it saved the series from that which it is now: a mindless button mashing session.

Opting for a much more simplistic dynamic, players now select “Attack” from the combat menu and watch as their PC initiates a simple offensive maneuver. Just like every other turn based RPG really. To use the word “boring” would be an understatement. By and large it's extremely speedy, and serves to make combat a fast paced quick experience, but at the same time it's totally vapid of any depth whatsoever. The “solution”, at least as Monolith saw it, was to essentially map the myriad of Combo-related “Stock” attack abilities to “Technical Skills”. By selecting the “Tech” option from the combat menu, players can make use of a learned ability (more on that shortly) and watch as their PC subsequently carries it out. Ether Abilities (“Magic”) returns as well and work the same way.

The coveted “Deathblow” strikes do return, however are now entirely dependant on the Boost Gauge, as opposed to Stocked actions. After charging the gauge to Level 2 (or higher), players can select an attack from the Deathblow option on the combat menu to initiate an attack of enormously devastating proportions. It is only via the use of these super strikes that one can earn the coveted “Finishing Strike” which initiates a slight bonus to awarded Experience Points, Ability Points, and Money awarded at the end of combat.

Breaking “Better”

In a deceptive marketing stance, Namco informs would-be-buyers that the “Break” system returns in Episode 3, but in truth said dynamic is a mere shadow of the complex pattern solving institution seen in Episode 2's combat. In the prior installment, specific combo attacks “broke” an enemy's guard and left them incapacitated for a round of combat, an event which could be exploited by Boosting. In Episode 3, each character in the battlefield (both PC and the opposition) have a “Break Gauge” which fills up as they take damage, or rapidly if an elemental or compositional weakness is exploited. Once the bar fills (it's essentially an inverse HP bar) the character becomes dizzy and unable to attack, thus an instant target for attacks, all of which will continue to foster the “broken” status and prolong the incapacitation. After a few rounds of combat, the afflicted character regains consciousness and the bar empties.

While this may sound fantastic, it's so unimportant to combat as to be regulated to a non-existent feature. About half-way through the game, some PCs will be so powerful as to destroy an enemy in a single blow and hence if the player needs to worry about the Break system at all, it's during the truly rare instance when an opponent (usually a boss) manages to break one-or more-characters and unleash hell. Nonetheless, the game actually includes Ether abilities and consumable items to lower the Break Gauge, as well as equitable items that increase resistance of raise its “HP”.

Robotic Revenge

The gigantic robots known as “E.S.” machines return once more, the mech combat feeling ever so slightly like that of Xenogears, albeit not much given the button mashing element. Mech combat is basically the same as Character battles, with two noticeable differences:

1. Each E.S. Robot has an Energy Gauge that dictates how many attacks you can use per turn. Over the course of the game you can buy or obtain a variety of different weapons for each of the 4 player-controller machines (Jin now has one as well), and each weapon having a set energy “cost”. Players can choose from any equipped weapons continuously until reaching the Energy Gauge limit. In this fashion, combat is slightly similar to the Fuel dynamic employed in Xenogears, however as the Energy Gauge refills completely after the turn ends, there is absolutely no strategy involved whatsoever.

2. As each E.S. Robot has an “Anima Relic” installed into it (essentially a “piece” of Zohar, and hence a source of unlimited power), players can make use of catastrophic Deathblow attacks, dealing obscene amounts of damage. Just like the Boost Gauge during character battles, there is an “Anima Gauge” during robot battles. Each blow dealt unto an opponent fills the gauge slightly. Once it's completely full, players can opt to activate the Anima energy and subsequently choose an attack from the combat menu. As the game progresses, the E.S. Robots gain more Anima power and hence the gauge can attain higher levels, thus allowing for additional Deathblows. It's important to note that, unlike the Boost Gauge, the Anima Gauge does not empty after combat.

It should be noted that the E.S. Robots do not have a Break Gauge, all recover HP automatically when guarding for a turn, and are basically indestructible less the player lacks elementary experience with RPGs. Granted the fighting is fun and fast, but it's horribly simplistic.

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