Tidy!

Warning: contains spoilers for the modern Wolfenstein games and Final Fantasy XV

Decent voice acting is one of the crucial building blocks of a good game. It’s why so many people switch the voices to Japanese in JRPGs and the like, because if you’re having to read subtitles for a language you can’t understand, then you can’t really tell whether the voice acting is any good or not. An??d bad voice acting can be so jarring that it pulls you out of the experience entirely.

Hailing from the UK, the myriad accents and dialects on my small island of origin often get less airing in games than the mighty American accent, but they do make a few appearances now and then. Often, they fit particular stereotypes that Brits have played in the media since a time long before games were a prim??ary form of entertainment, some of which are? highly entertaining and tongue-in-cheek, and some that are a little grating.

So, let’s dissect a handful of uses of the British accent in g??ames that run the gamut of thoroughly ba?d voice acting, chewing the scenery to the point of indigestion and speccy librarian types.

The Simply Off-putting

My biggest WTF moment with British accents in games has been the use of a sort of bog-standard, slightly RP accent in Forbidden Siren, the 2001 horror game created by a part of Team Silent. I believe that they deliberately tried to subvert the usual voice-acting expectations of making all the English voices sound like Hollywood actors, perhaps to give it some sort of attachment to Victorian horror (see, I sidestepped the dreaded word), but there is no real reason for it in a game about Japanese mythology. Us Brits are used to all English voice acting being Americanised, so?? rather than being a nice addition, it comes across as a little strange.

It doesn’t help that the voice acting is laughable at parts, and ??the faces of the actors being superimposed on the character models lend it a very otherworldly sensation. Perhaps it was a good choice after all, given that it is a game built to make you feel on-edge and uncomfortable. Except that ??Tamon the professor sounds like someone doing a dodgy Patrick Stewart impression.

The Ladette

The Last Story finally received a Western release in 2012, built on the hype from the involvement of Final Fantasy stalwarts Hironobu Sakaguchi and Nobuo Uematsu (get well soon, sir). I was listening to my oft-collaborators Cane and Rinse’s episode on the game, since although I may have finite time to play actual games, thanks to my commute, I have plenty of time to listen to people talk about playing games. While the idea of doing a Medieval-looking JRPG with British accents doesn’t strike me as un?usual, the choice of making the hard-drinking, rowdy mercenary Syrenne a broad Northern lass is a novel one.

Being from those parts of England myself, we get barely any representation in games – and for the most part, I am fine with that. Not all games are sui??ted to comedy portrayals of the stereotypical working class, except perhaps the ye-olde fictionalised middle-England games that need a rollicking, drunken bard. Yet it’s quite nice to see wider representation of the huge range in accents on the British isles, particularly since developers on other shores are wont to ram them all together to create a posh mulch.

The Brainy Ones

I feel like Buffy the Vampire Slayer has a lot to answer for in popularising the "gentle bookworm type" through the character of Rupert Giles, portrayed masterfully by Anthony Head. I certainly saw streaks of Giles when I was playing Assassin’s Creed: Brotherhood this week and spent some time with Shaun Hastings. As the Assassins’ tactician and covert yogurt-stealer, he is a nice bookend to the group – though I did have to Google whether it was Stephen Merchant doing the voice, as he sounded a little bit too much like Wheatley from Portal 2.

The difference between the wise guardian Giles and slightly annoying older brother Hastings is that the latter (voiced by comedian Danny Wallace) comes across as a lit??tle mean-spirited. I mean, Giles could be mildly sarcastic when the Scooby Gang were putting their lives on the line without a care in the world, much like most teenagers do. But Hastings complains a great deal, not missing a beat when it comes to finding an excuse to verbally snipe at his colleagues. Then again, we are a nation of passive-aggressive moaners, so it fits the stereotype, really.

The Evil Ones

You didn’t think I would leave out the evil cackling geniuses, did you? Games are absolutely chock full of baddies who’ve been brought up with a silver spoon in their mouth, or at least possess some sort of ambiguous Atlantic lilt to their voice. Think Albert Wesker of Resident Evil, Claudia Wolf of Silent Hill 3 and (spoiler alert!) Ardyn of Final Fantasy XV. Being a des??troyer of worlds commands the best education money can buy, which is why even characters brought up in a cult in the middle of small-town America, like Claudia, somehow sound like they withstood hours upon?? hours of Saturday morning elocution lessons.

I have to admit, it is a little boring to see mock received pronunciation always associated with evil?doing. From my experience, people who sound like that in real life spend their time driving their Range Rovers around unspoiled countryside and shooting grouse, not leading a cult to birth a God, or forging a beefed-up version of Darwin’s survival of the fittest. So they’re evil, but not that evil.

The “We're British Too, You Idiot”

Before my many Scottish acquaintances in the gaming journalism world smash down my doors and give me a beating, it’s worth remembering that the UK is not just the little nation of England. Scotland and Wales have been represented well in video game voice ac??ting, though I can't think of many examples when it comes to Northern Ireland.

I have talked before about my favourite bit of Scottish voice acting: the park advisor in Theme Park World (only in PAL copies). I guess I fall into the category of the easily amused, and found his quips were made all the more entertaining by his brogue. Another notable inclusion of the Scottish accent is Fergus in Wolfenstein: The New Order and Wolfenstein II: The New Colossus, though the level of his presence is determined by whether or not?? you choose to give an automated lobotomy to him or to a wet-behind-the-ears college grad.

And when it comes to the Welsh accent, who could forget Ni no Kuni: Wrath of the White Witch, with Drippy, the loveable sock puppet who guides Oliver on his quest to save his mother? The idea to give such a cuddly character and his fellow fairies a great big booming Valleys accent was inspired, and nicely dodged using the? usual high-pitched imp voices. Tidy!

In conclusion, aside from the odd Cockney accent used to comedic effect and period pieces, Brit voices are often reserved for the baddies and the nerds of video games. I can’t speak for all people of British heritage, but I’m ??quite alright with that. We might be a little typecast, but at least our vocal talents ha??ve cornered some part of the market. And video games always need their deviants and geeks, so we aren’t going anywhere.

Is your accent portrayed well in games? Can you think of other cool examples of how the British accent was used and abused in the medium? Let me know in the comments down below!

The post The good, the bad?? and the ugly of British voice acting in games appeared first on Destructoid.

As XSEED goes, so goes the Wii

Long since abandoned by their makers, the PlayStation Portable and Nintendo Wii endure thanks to a select number of publishers that have kept the home fires burning. Among them is XSEED, the team behind localizing titles like The Last Story, Corpse Party: Book of Shadows, and the forthcoming Pandora's Tower. Digital Trends recently sat down with XSEED's vice?? president, Ken Berry, who spoke to the company's attitude tow?ard bringing games to consoles in their twilight hours. 

"The PSP is unique in that it was so wildly successful in Japan," Berry responded when asked why he stands by the portable. "This creates an abundance of great PSP games in J??apan that don’t get localized for overseas, so if we find compelling content and can make the numbers work out somehow, even with somewhat low sal?es expectations, we’re willing to take the risk."

The Wii is a different story, however, and those looking for XSEED to publish every strange Japanese game we've missed out on over the years are likely to be disappointed. "Pandora’s Tower will probably be our final Wii title," Berry stated, explaining that it and The Last Story were "more of a special one (or two) time deal rather than any kind of trend." Expected, but rather unfortunate news nonetheless. XSEED is just about the only company keeping the little machine alive, so this very well may be the last game to come to the system.?? 

If you read the full interview, Berry's comments seems to suggest that digital distribution is very important to XSEED's future. That should c??ome to no surprise to fans of the company, as many of the publisher's recent projects have eschewed physical releases, instead releas??ing exclusively via PlayStation Network and the Nintendo eShop as download-only games.

While both systems will eventually fade into our memories, it's nice to know that XSEED will keep fighting the good fight. As long as ?t??hey're around, I'm sure there will be plenty of niche Japanese titles coming to Western shores.

Xseed Games’ Ken Berry explains why it continues t??o suppo??rt the Wii and PSP even though Nintendo and Sony don’t [Digital Trends]

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Also, price cut get!

The Last Story's journey to North America was certainly a long one, b??ut it sounds like this tale has a happy ending.

XSEED has annou??nced Mistwalker's RPG is now the most successful title in its eight-year history. After having sold nearly its entire first shipment, the? game is now being reprinted.

Copies are going on sale for just $30. 

If you've yet to pick up the game it sounds like now would be a great time to do so. While the second run won't include any of the extras that you'll find with ??originals, I can confirm that there are still a few "launch editions" out in the wild?, as I picked one up at a local retailer just the other day.

I haven't delved too far into The Last Story yet, but I've enjoyed my l??imited time with? the game thus far. After spending so long wondering whether or not it would actually make it to North America, it actually feels pretty surreal to hold the case in my hands and be able to play the thing.

Congrats to XSEED on the success and thanks for makin??g this a reality. 

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With gamescom kicking off its onslaught of news, the Destructoid frontpage has been alight with posts today. In fact, it's been so busy that you might have managed to miss ??three pretty big reviews.

We reviewed Sleeping Dogs, Darksiders II, and The Last Story -- all of them laun??ch??ed in America today, and we've got some words to say about them. Check 'em out, maybe!

• Sleeping Dogs (9.0)
• Darksiders II (9.0)
• The Last Story (4.0)

If you're not tuckered out from reading all that, you can also check out our full rundown of gamescom coverage too. Have you got anythin??g better t?o do? No. No you don't.

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In trying to get Nintendo to release The Last Story in North America, I count myself among the most vocal of petitioners. As a fan of Mistalker's work and a lover of Lost Odyssey, I considered it the perfect swan song for the Wii, the kind of game that could embody everything good about the Wii (and there was plenty of good) one last time. When Nintend?o refused to release it, I was am?ong the angry and the riotous. 

So, what do you do when XSEED does what you wanted Nintendo to do ... but it turns out that what you wanted wasn't very good? Those who never car?ed will most certainly jump into the fray to laugh, because if there's one thing the gamer community loves, it's schadenfreude. Others will gladly spin it into a moral about being careful what you wish for. ?In any case, egg will be introduced to one's face. 

To very vocally demand something, only to review it negatively when it comes out, is a tricky matter regar??dless of who turns up to crow -- a matter that involves putting pride on the line and preparing to deal with a torrent of smugness. However, th??e honest reviewer must bite the bullet and face the tormenting crowd with gritted teeth.

In the case of The Last Story, I can only admit that, yes, this is what I asked for ..??. and no, I don't want i??t.

The Last Story (Wii)
Developer: Mistwalker
Publisher: XSEED
Released: August 19, 2012 
MSRP: $49.99

The Last Story retains its British localization for the most part, so just like Xenoblade Chronicles, you can expect a lot of European accents and the letter "U" exotically inserted into various words. As with Xenoblade, the regional voice acting lends a unique flavor to the otherwise predictable range of voices we usually get in North American localizations, though whether that's good or bad depends on the character. Protagonist Zael is inoffensive but flat, played by ex-Eastenders star Jack Ryder, while his motley party of fellow mercenaries range from dreary to detestab?le. Fortunately the villains -- particularl??y scene-stealer Jiral -- are much more enjoyable. 

The narrative is a fairly interesting tale of a young mercenary who, despite his low social st??atus, dreams of becoming a knight. His world is a dying one, the planet's life resources draining while its people are on the brink of war. During a routine mission, Zael comes into contact with a mysterious voice that grants him a unique, tide-turning power. That power makes him a valuable asset, allowing Zael to get closer to his dream (and an unobtainable noble lady) but also invites him into a decadent ??court of vipers who seek only to exploit him. 

Though a standard "save the world" plot inevi??tably rears its head, and its "twist" moments are rather trite, most of the story revolves around Zael's interactions with a part of society placed way above his station, and how he deals with influential imperial figures and their machinations. Mistwalker does a good job of keeping certain characters in a morally grey area, where their actions are understandable up to a point, though when it needs a simple villain, it's not afraid to let t??he bad guys really ham it up. All told, there is a nice little story that, over a twenty-hour run time, knows when to wrap things up without dragging on too long. 

Sa??dly, the writing is really the only good thing I have to say about it, and getting through the plot requires more tolerance than it's worth. 

The Last Story introduces a real-time combat system that, while noble in its intent to shake up the genre, is so poorly implemented that it?? actively ruins any fun that could be had in the game. It attempts to blend various elements from action, contemporary MMO, and strategy games, but by adding so many ingredients to the mix, the end result is unchecked chaos. 

Up to a party of six can partake in combat, but players are mostly stuck with controlling Zael within a group of autonomous allies. In order to attack, the movement stick is pushed toward an enemy, initiating automatic blade swings. Using his mysterious power, Zael can "gather" opponents with a button press, drawing aggression from the combatants and taking the heat off his friends, allowing them to cast magical spells and pull off other crucial maneuvers. There is a cover system that will have Zael stick to any surface with a tap of "A", and he can a??lso shoot a crossbow to destroy environmental structures or take down opponents with a range of specialized arrows. As the game progresses (and you'll be getting tutorials about these hours into the game), Zael will be able to rush to various points of the map in order to hit enemies and "dispell" area-of-effect magic, dive from cover positions to slash unwary foes, and jump off walls to land devastating hits. 

Each character has five lives, which is useful since enemy attacks are often of the one-hit or two-hit kill variety. Zael is the only character who can resurrect fallen allies, by us??ing the "gather" ability and touching their corpses. This will happen a lot because allies are beyond stupid and will require plenty of babysitting. 

The major problem with the combat is that it's a complete mess. It fancies itself as a strategic system, giving the player a bird's-eye overview of the battleground before the fight, but there are no real ways to command your party before initiating the scrap. Once battle starts, it doesn't matter what you know about the enemy formation, because it quickly devolves into an anarchic scrum as your mentally substandard allies charge in all directions and enemies get in the way of any high-threat target you might have identified. The camera does a terrible job of tracking the action, frequently losing focus or remaining fixed on Zael's front when enemies are in his path. Later on, you get a limited capacity to issue commands, but only after filling a special meter, and even then your options are cripplingly malnourished. It's like Mistwalker wanted tactical fights in a strategy-RPG vein, but literally had no clue how to make them. 

Compounding the disorderly ruckus is the fact that so few controls are relied upon to perform multiple tasks. By default, Zael both walks and attacks using the analog stick. He uses cover, dodges attacks, and performs special moves using the same button. He vaults over cover and guards using another button. This leads to each fight frequently become a direct battle between the game and the player, as one carefully edges around enemies to avoid hitting them, or tries to dodge an incoming blow but ends up crouched next to a small wall that was too close. Zael will dodge instead of pulling off a special move because the player didn't come to a dead stop before ho?lding down the dodge button, and good luck trying to distinguish which walls can he can run up and which ones he can't. Then there's t?he crossbow, which is essential in some areas but is slow to use and leaves Zael wide open to attack. 

Just in case you're still confused as to what the issue may be, let me repeat for clarity -- Zael walks and attacks using the same analog stick. The dodge button, the cover button, and the special attack button are the same button. And while you're wrestling with all this, you better hope you're not fighting a lengthy, repetitive boss battle in which you learn to do one new thing, then do it over and over again while the party allies keep telling you to do it over and over again, as if you've never done it before. 

The worst part is that, for as confused as it tends to be, The Last Story is simple and brainless. So much of the combat essentially plays itself for you, especially once the party is leveled up, that as a player I wonder why I'm even needed. With Zael not having much to do outside tirelessly swinging his sword and occasionally leaping, his job mostly consists of running around after his friends, and that hardly equates to a thrilling battle. While bosses can be a bit more involved, each "strategy" consists of a simple task repeated until the monster is dead. I don't mind auto-attack systems in games like Dragon Age, where at least you have commands to issue and multiple skills to utilize, but it simply doesn't work in a game that has stripped away so much personal influence and turns the player into a reactionary force, rather than a proactive combatant. In fairness, you can gain a little more control by fiddling with options and disabling auto-battle, which at least stops Zael hitting people while moving, but still does nothing to dampen the thoughtlessness of combat.&?nbsp;

Constantly, the game masquerades as something deeper, pretending to give the player choice in how to attack and what to do, but in reality each fight has a particular way to be beaten, leading to eac?h round of combat feeling one-note and linear.

Outside of combat, Zael spends most of his time running between characters in the game's sole town, listening to dialog or collecting random items. Here, the story is not safe from weird ideas that make the game more disjointed and weird than it has to be. Regularly, players will be forced to use a first-person perspective and guide the camera to focus on something before the story will continue. These moments serve absolutely no purpose -- they break up the dialog without cause, they don't offer any sort of challenge or reward with a revelation, and they're far from immersive. Having to stop playing the game properly at regular intervals to partake in a ludicrous round of glorified Where's Waldo? only saps at one's patience. 

As large as the game's central town is, it's not much fun to explore. The range of shops rarely stock anything useful, and while there are stores to upgrade equipment, the process is far too simple to resemble anything approaching a decent crafting system. You mostly just grab one or two items and spend money to watch the gear get stronger. There is an arena, which is only fun if you love fighting the same battles against the same monsters, and the city's populace is just annoying, as Zael constantly bumps into them and listens to their regurgitated criticism. The "bumping into people" feature is especially irritating whe?n it applies to NPCs that you might want to talk to. Since Zael moves with all the grace of a bull in a china shop, he'll frequently bump into an NPC and have to wait for them to stop reacting to the shove and slowly return to their original position before they can be interacted with. Seriously, what is the point of that? How does it benefit anybody? 

There are some moments good enough that not even the incoherent combat or "I spy" distractions can wreck them. One side story involving a haunted house is gleefully silly, while scenes intended to be rousing and exciting genuinely hit the mark. The scene in which Zael is due to accept his knighthood is incredible stuff, while everything involving the aforementioned Jiral is fantastic. Nobuo Uematsu's soundtrack keeps things lively and, while nothing in here is as memorable as his past work, there's a solid selection of music on offer. At times, The Last Story makes powerful videogame narrative look almo?st effortless, but the fact that such inspiring moments are married to such an unpleasant experience only serves to highlight how disappointing? the overall package is.

In addition to the single-player quest, multiplayer curiously makes an appearance. A co??????????????????????????mpetitive deathmatch and a co-op mode against boss creatures are available, though the server population appears to be incredibly s?parse. If you can find some people to play with, there are nine maps to choose from, though since these modes are inevitably combat-focused, I can't say I find any of them tantalizing. 

It hurts to not be in love with The Last Story, and it's saddening to lambaste something made by the studio that created my favorite Japanese role-playing game of this generation. I tried my hardest to get with the program and enjoy the game for what it is, but if the feeling's not there, the feeling's not there. Every time the game threatens to be fun, something comes along to ruin it. Every time there's a moment of awe, a moment of thwarting disappointment trails close behind. Mistwalker clearly has not lost its grip on the things that make its games great ... but it's terrible at adding anything more than that, and in doing so ??here it has undermined so much positivity. 

Am I glad The Last Story finally made its way to North America? Yes. I am glad the closure is there, and I am glad for those who actually manage to enjoy this. I am not glad, however, that my experience was tainted by one of the most poorly implemented, unkempt combat systems to ever darken an RPG, and that Mistwalker couldn't even deliver the otherwise solid story without letting unwarranted "features" get in the way. I am not glad that The Last Story is, ultimately, a sub-standard experience from a studio that is capable of so much better than?? this. 

If The Last Story is the Wii's swan? song?, it is a miserable dirge, full of regret and remorse. 

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Few headlines have been more satisfying to write than this one. Mistwalker's The Last Story finally closes ?the book on the long-running locali?zation saga on August 14, when XSEED brings it to North America. Yep, we've got a date. 

XSEED made the announcement on Twitter, where it also? revealed it would be giving away soundtrack CDs as a pre-order bonus. 

It's been years since the game was originally revealed, and the will they/won't they drama concerning Ninten?do and localization has been quite an adventure. I'm glad it ended well, and I will now impatiently await August. Yippee!

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Here we go again. Speaking with Gamezone in a recent interview Miswalker's Takuya Matsumoto discussed The Last Story developer's future projects, wh????ich might include the possibility of more action-RPGs for Nintendo's next home console.

The development team and Sakaguchi-san are looking forward to making more, especially for the Wii U because it has another [screen] right in front of you that will add another level of strategic elements into the action-RPG,” said The Last Story's lead designer. &ldquo??;So we are really looking forwa??rd to it, but we haven’t really planned anything.

In addition to publishing The Last Story, Nintendo and Mistwalker have worked together in the past, joining forces to release Japan-only SRPG ASH: Archaic Sealed Heat for the DS back in 2007. Perhaps they could work together again. At their E3 2012 Analyst Q & A Session Nintendo President Satoru Iwata said there was a "high possibility that Nintendo will be a partner with [thir?d parties] in an unprecedented manner" with companies that could find unique uses for the Wii U Game Pad. 

Such collaborations are already in the works, including Platinum Games' Project P-100. Maybe Nintendo would be willing to work with Mistwalker again if they came up with an interesting gimmick. I suppose the bigger question is -- would we want ??the?m to? Considering Nintendo of America's reluctance to bring past collaborations stateside, I wonder if it'd work out better if they partnered with Marvelous AQL, Aksys or Atlus from the get-go. 

Mistwalker ?would like to develop Wii U action-RPGS [Siliconera]

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If you're even slightly interested in The Last Story you might want to strike while the iron is hot. While XSEED Games is localizing Final Fantasy creator and Mistwalker founder Hironobu Sakaguchi's cult Wii role-player later this summer, the company has conservative expectations only has plans to publish a limited run in North America at this time.

To sweeten the deal for those wiling to pull the trigger on a purchase close to launch, XSEED is including a 44-page softcover art book along with a custom outer? box shell (shown in the gallery below) for all first print copies of the title. Considering how there's been a movement to get this game localized, I doubt many peopl??e needed the extra incentive, but sometimes it's just nice to be nice.

The Last Story:?? New Trailer, Limited Edition Details [IGN]

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As a lifelong fan of the JRPG genre, particularly Hironobu Sakaguchi and Nobuo Uematsu’s respective work on the Final Fantasy franchise, I’ve been as excited as anyone for The Last Story, especial?ly in light of this generation’s relative dearth of JRPGs. I got a chance to check the game out for the first time last week, as it’s not yet released ??in the states, and I was glad to take it.

Aside from the high profile names attached to the project, The Last Story’s world and aesthetics are what have sold me on the game thus far. The feel is somewhat reminiscent of Final Fantasy’s Ivalice, which is the setting for some of my favorite games in the series (like XII and Tactics). The relatively small portion of The Last Story I went through felt like it might just have the sa??me charm and character I found in the aforementioned titles, while simultaneously experimenting with a bit of an upheaval of JRPG conventions coupled with modern contrivances.

The Last Story (Wii)
Developer: Mistwalker/AQ Interactive
Publisher: XSEED Games
Release: Summer 2012

I started at the beginning of The Last Story, eventually making it to what is to be the sole hub town. While only having one town to fully explore may seem like a disappointment, the town is huge, dwarfing, for comparison, Final Fantasy XII’s Rabanastre and certain portions of the town are ??locked off until st?ory or side quest specific events unlock them.

The game opens with a band of four mercenaries -- Zael, Dagran , Syrenne, and Yurick -- probing some abandoned, likely ancient site. This introductory chapter allows you to get more familiarize??d with the controls, as there’s a surprising amount o?f things happening at once early on, and offers a nice, explicit tutorial with some lovely 2D art.

The default control scheme employs an auto-attack system that requires only you to approach enemies and push your body towards theirs to attack them. Though functional and more elegant looking, I opted to change to manual attack fairly quickly, as the busy, acrobatic nature of combat made direct input feel a bit more comfortable and organic, even though the main character is left a little less fluid and stylish for it (because occasionally I will ??miss and be slashing at nothing).

The opening, introductory chapte??r is a rather formulaic dispatching of trivial-looking enemies, and a bit drab, given the underground nature of the scene. Soon into it, however, some appropriately interesting story things occur that set the framework for the game and its mechanics. Zael stumbles upon a rather strange, glowy-arm power that lets him attract enemy attention and revive (for a limited number of times per battle) downed party members. The way this power is used to explain some of the mecha??nics of the game is rather clever, and an important part of the main plot.

Once you get the fancy arm power, combat depth increases immediately. While Zael can fight with melee and long range attacks, the newfound abilities make him the sensible party leader. You can issue commands to your party members on the fly and Zael’s special ability, “Gathering,” is incredibly useful to keep your enemies preoccupied, allowing your pa??rty time to cast spells or simply allowing them to fight with less resistance and build combo chains. This stood out in the game’s first (quite cool) boss fight against a giant who draws out the swords skewered in his back and throws them at you and your party.

Aside from Gathering and its ??strategic implications, the combat seems standard fare. Zael can also use Focus to zoom in for a better look at things. When zoomed, Zael can use his crossbow, look at an enemy’s?? weaknesses, and give specific commands to teammates, like telling the magic user to use magic to destroy the supporting platforms underneath far off enemies. The sword play is acrobatic and exciting, though it’s largely just a matter of pressing A to attack. There’s also a dynamic dive ability, for attack avoidance, as well as a surprising amount of cover. Yes, as in “crouched behind a tiny wall” cover. Not quite sure how I feel about the latter, as it doesn’t seem to fit within the context of the game, but I didn’t suffer in ignoring it and just running around and fighting monsters.

On the way back to Lazulis Isl??and, chapter two takes a brief detour when you have to fight a cool-looking white tiger. Once that battle is over with, you can head into the city, and have idle chatter with people along the way, which is why I really began digging the game.

Back in town, the party ind?ulges in drinks and other merriment at the bar of the inn they’re staying at and you get your first real glimpse at all of your companions through (optional conversation). Dagran, for example, took Zael in when Zael was a young orphan (Dagran was an orphan, too) and the two got into mercenary work with hopes of eventually being knighted by Lazulis’ Count Arganan. Dagran also wears interesting chaps that show off the inside of his thighs. The dialogue in the tavern was lively and had me chuckling. Syrenne in particular is quite hilarious, as she’s something of an alcoholic and generally a bit insane -- great to talk t?o.

When I finished talking to all the people of questionable sobriety inside and did some shopping in an adjoining room, I decided to go be a man about town and get my first glimpse of Lazulis. It’s really quite a lovely place and I found myself impressed not only by the art design of everything, but even the technical aspects. The Last Story is a gorgeous game.

The city was also quite boisterous, boasting all sorts of distractions and points of interest. Occasionally a glint of light will flash over the screen and a quick "Seek" will allow Zael to randomly find items out and about. At one point, I went to a fortune teller and had my fortune read, then saw a bushel of fruit tenuously sit?ting on a crate. I knocked it over and all passersby, along with myself, proceeded to slip comically. There was just so much to do in the intricately designed Lazulis that I barely whet my appetite for exploration. Thankfully, there’s also an in menu fast travel system between points in the city for when you get tired of running to and from.

While I still need a lot more time with the game, particularly the combat mechanics, before casting judgment, my brief time with The Last Story has demonstrat?ed the potential for greatness that come along with all of the venerable names involved. I co??mpletely love gallivanting around Lazulis, as well as the game’s distinct sense of style and personality. Here’s hoping the end result puts everything together successfully.

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You were going to get The Last Story anyway, weren't you? You don't need a new batch of screenshots to make up your mind. After waiting all this time Mistwalker's game is finally coming to North? America some time this summer. It's no??t like Wii-exclusive RPGs pop up every week or something. 

Still, our saviors at XSEED took the time to share these new screens with us, so th?e least we could do is share them with you. Look them over, nod with approval, and take comfort in knowing that you already have your pre-order in. 

Wait. You do have a pre-order, right?

The post The Last Story: New screens that you don’t need appeared first on Destructoid.

This week, Game Informer guest editor Chris "Warcraft" Kluwe confessed that Xenoblade Chronicles wanted to make him punch a kitten. However, it wasn't d??????????????????????????ue to the game being bad, it was due to him loving it, and the resulting frustration that it was on the graphically inferior Wii.&nb?sp;

"The graphics. Dea??r god??, the graphics," he wrote. "I can’t decide whether the technical capabilities of the Wii make me want to projectile vomit or take a 12-gauge to my television, and it makes me angry enough to mail a severed unicorn head to Nintendo’s main office because this game deserves better.

"It deserves bette??r than gasping fish mouths bobbing up and down through beautifully crafted dialogue. It deserves better than jagged edged fuzzy textures comprising a breathtaking landscape set within the body of a fallen god. IT DESERVES BE?TTER THAN WHAT YOU’VE FORCED THIS GAME TO BE, NINTENDO."

Here's the thing, though. Had the game been on Xbox 360, PS3, or the inevitable Wii U, I don't think it would h??ave been better. In fact, I sometimes fear that the Wii represents the swan song of the Japanese RPG as we know it.

Let's face it -- games are ridiculously expensive to make. Expensive to the point where the entire business model looks pretty damn broken. We have developers decimating their workforces or even closing down before or after releasing a major "AAA" title. We have games costing millions of dollars to make, and publishers expecting success on par with Call of Duty in exchange for their investments. G??ames are big busi??ness, throwing big money around, and graphics are a huge part of that system. 

As games get prettier, they tend to get more expensive. Building new engines to take advantage of graphically insane consoles and computers takes time, effort, and lots of cash. It also tends to require some restrictions on what you can do with your game. For example, Gears of War still looks pretty ??damn lovely, but its action takes place within very tight and linear corridors. Had the game opened up, it would ha?ve had to have taken a graphical hit.

The only game that has managed to look amazing and retain large environments has been Crysis, but it is still an anomaly in this industry. There are few studios capable of what Crytek is capable of. Certainly, there are few makers of traditional RPGs with the ca?sh and the resources for that kind of craziness. 

Huge games like The Elder Scrolls V: Skyrim can look pretty than?ks to good art direction, but they're also damn glitchy, and have to cut corners by reusing textures and environments. They're almost pieced together like LEGO constructs, with pre-made building blocks pieced together, and you can clearly see the proverbial puppet strings if you look at it long enough. It gets the job done, but it's a very Western thing. It's not the long, huge, open, varied, handcrafted kind of chicanery we're used to from Japanese role-playing games. 

For an example of what the high definition generation has done for the genre, one need look no further than Final Fantasy XIII. The game took over half a decade to make, and whether you like it or not, there's no denying that it still lacks the scale of past Final Fantasy games. I got a lot more out of the comparatively ugly Final Fantasy VII than I'll ever get from XIII. A greate??r sense ??of freedom, a longer time spent playing, and a far deeper sense that I was part of a large, fully realized world. 

By its own admission, Square Enix has struggled to get everything it wants in a Final Fantasy while also providing the kind of visuals we expect this generation. No less than an entire game's worth of content was cut from Final Fantasy XIII, because the size had to be kept down. Square has also said in the past that HD technology is too demanding to make the kind of big JRPGs we used to enjoy, and this demand is also the reason why we haven't had any confirmation of an HD remake for Final Fantasy VII. 

Final Fantasy VII took up to four years to produce, but Yoshinori Kitase suggested that it would take over a decade to get VII looking as good as XIII. It makes sense -- VII is simply a far bigger game, far more ambitious than XIII in every way (outside of graphic??s). There's a reason why so many good JRPGs have found homes on portable systems like the DS and PSP, rather than home consoles. You can actually make traditi??onal experiences there, without the crippling graphical expectations holding them back. 

This is why I am saddened when I see someone complain about Xenoblade Chronicles being on the Wii. I feel that if we'd had it on any other system, it wouldn't be Xenoblade Chronicles anymore. Yes, the graphics are muddy and jaggy (I started playing it without glasses to make it look smoother!) but I don't think I'd have had it any other way. To get those sprawling open fields full of monsters, to get that wonderful level of variety and intricate world design. To get that huge experience and the sense of a world that truly was alive, I think Xenoblade needed to be on a system where there was no pressure to produce visuals on par with Crysis or Final Fantasy XIII.? You can keep your prettier graphics -- I want ?a better game! 

The Wii was a great place for mid-sized developers, and while the system never quite realized its potential as an oasis of creativity, I nonetheless appreciate the titles we've seen on it. I think games like Xenoblade Chronicles and The Last Story have only been possible because the Wii "holds them back" in the visual department. The precious visual department holds games back in every other way. As much criticism as the Wii has had (?and I've shared mine over the years), I will be grateful f?or it standing as the last bastion of the term, "gameplay over graphics." 

The Wii lacking HD output has, in my opinion, been a good thing in the long run. Without that expectation for high definition visuals, it's allowed developers without Square-levels of money to focus on creating good games first, and worrying about the juicy eye candy later. It's the kind of focus that few games on the Xbox 360 and PS3 could dream of getting away with. Yes, when you upscale a Wii game to HD it tends to look much better, but the fact that the upscaled version isn't the expected version eliminates the consumer's demand for ridiculously pretty games and allows the developer to focus on what really matters. When we play a PS3 game, we expect it to look very good, unless it's a budget game (which carries its own stigma). When we play a Wii game, we're expecting something far less flashy. I can't imagine the relief such reduced expectations must be for some stud??ios. 

I am a l?ittle worried about the Wii going away, replaced as it inevitably shall be by the high definition Wii U. I'm worried that the makers of Japanese RPGs with modest budgets will no longer have anywhere to go if they want to make an a?mbitious game on a home console without getting snubbed. The handheld market will truly become their only sanctuary. At least until game development gets significantly cheaper, and I don't see that happening anytime soon. Not with modern technology consistently pushing the goal posts back. 

Games like Xenoblade Chronicles have to look like shit. They have to make Game Informer editors want to punch kittens. If they didn't, they wouldn't be the same games anymore. Yes, they'd look nice -- and I love a gorgeous game as much as the next person -- but they wouldn't be all they could have been. To think that a game's potential is only unlocked when it reaches a certain graphical quality is a little blinkered, if you ask me. As far as I am concerned, Xenoblade Chronicles reached its potential, and it did so because it was focused on being a game, as oppos?ed to an art department's masturbation session. 

Soon, those who have spent years complaining about Wii games not being in HD will get their wish, and we?'ll have HD games forevermore. 

I hope they like the imprisoned, neutered, but oh-so pretty games they were asking for.

The post Why Xenoblade Chronicles HAD to look like shit appeared first on Destructoid.

Planning on picking up The Last Story when it hits US shores later this summer? Better snatch that gravy up fast. According to publisher XSeed "...we do anticipate a limited run for the game as we already have a number in mind of how many units we can expect to sell of this title, and all our pre-production efforts will be geared towards being able to manufacture a final number somewhat close to our initial estimated number. It's too early to start thinking of doing additional runs, but as a general policy we haven't been very active on doing reprints of our other titles so far. "

The last time a Wii game with this kind of consumer interest got a limited edition was Metroid Prime Trilogy. Now that sucker goes for up to $300 on eBay. If you don't want to have to shell out that kind of dough for The Last Story, you'd do well to shell out for it while it's still in stores. Xseed is still undecided about putting out a special edition, like the ones released in Europe and Japan. If they do, I assume it will be super-limited, and as a result, super-expensive on the second hand market later on, unlike the Halo 3 limited edition (currently running for $30 or less).

The Last Story - publisher and localiza??tion details, limited edition talk,?? limited run [GoNintendo]

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UK retailer GAME has had to cancel every single pre-order for The Last Story a??head of its Eu?ropean release on Friday, revealing that it won't be the stocking the game at all. Anybody who dropped a deposit on the upcoming Wii RPG is entitled to a refund.  

This news is the latest in a string of stories concerning GAME's inability to stock the latest releases. Recently, the chain has been unable to stock Tekken 3D Prime Edition, and just this week it emerged that Ubisoft's entire PS Vita launch lineup, including Lumines and Rayman: Origins, would not be seen on a GAME store shelf. 

"There is a lot activity going on in our stores and online this weekend including the releases of Syndicate: Executive Edition, Jak & Daxter Collection, Zumba Fitness Rush, Binary Domain, and Fallout New Vegas: Ultimate Edition," a spokesperson told Eurogamer. "The Last Story, for the Wii, is not in stock and we ?have apologised to any customers this has affected."

GAME has tried to shrug these problems off as a case of there being just too much to sell, but when a game retailer fails to perform its sole function correctly, that's not exactly a healthy sign. Methinks GAME is a little bit screwed, though I won't be weeping over the woes of that particular company.

I wonder if they'll still take trade-ins off those game??s. 

GAME cancels The Last Stor?y pre-orders, refunds deposits [Eurogamer]

The post UK retail??er cancels all? pre-orders for The Last Story appeared first on Destructoid.

Happy Wednesday, fellow Destructoid readers! It's time for yet another episode of your regula?rly-scheduled evening video game news program.

On today's show, I swoon over the latest Borderlands 2 trailer and congratulate Nintendo on localizing The Last Story for North America, while Max talks about some video game toys and Kojima's plans to open a new MGS studio in California. Last but not least, it looks like Retro City Rampage ;will be getting a big multiplatform? rele??ase sometime this May. GET EXCITED!

The post The DTOID Show: Borderlands 2, RCR, & toys! SO MANY TOYS! appeared first on Destructoid.

Ladies and gentlemen ... it has happened. Mistwalker's latest roleplaying game, The Last Story, has finally been confirmed for release in North America. ??Th?e Wii exclusive will be available at some point in 2012. 

The Last Story has?? been an exciting Wi?i prospect for years, but Nintendo of America has staunchly refused to ever confirm a localization, even when it was announced for Europe. XSEED games has decided to pick up the slack, and will be handling localization duties. 

With Xenoblade Chronicles also coming to North America this year, it looks like Wii owners are in for a big RPG treat. About bloody t??ime!

[Thanks Dustin!]

The post The Last Story CONFI??RMED for North America in 2012! appeared first on Destructoid.

Nintendo has released a new trailer for the upcoming release of the localized version of The Last Story for Europe. As you'd expect, it's still looking fantastic as ever. This trailer shows off a good amount of the flashy combat, the pre?tty vast customization options and even a couple of the cutscenes for good measure. Business as always.

However, there was one part of the trailer that particularly caught my eye. It was when Zael was moving through a tight space between some ropes on the back of the ship. I thought it was profoundly beautiful the way the sunset looked in the background and just the way the whole scene came together. I don't think I've ever seen anything on the Wii done like that. You know, it's a damn shame The Last Story still is not coming to the US. There still may be hope, though.

The Last Story - Euro trailer 2 [GoNintendo]

The post The Last Story has a new Europea?n trailer, looks amazing appeared first on Destructoid.

Mistwalker's Hironobu Sakaguchi, who oversaw the Final Fantasy series up through X-2, has been around the role-playing block enough times to know what he likes about the genre and what issues could stand to be addressed. Having worked on Blue Dragon and Lost Odyssey, he's come to the conclusion that the increased focus on vi?suals often results in too much attention being diverted from the game's core.

During an Iwata Asks roundtable originally held in 2010 but only recently translated into English, the Gooch described to the Nintendo CEO his process during the development of The Last Story. In regards to moving from HD consoles down to the Wii: "We had to consider how we should convey the story to the playe?rs under such restrictions. Now that high-quality graphics rule supreme, you can reproduce what you want to communicate visually, but at the same time, I don’t know how to put this, but there's an element that's slightly excessive about it all..."

Instead, the Gooch welcomed the opportunity to return to the building blocks and craft a stronger, richer experience because of the shift in focus. He wanted to make sure the game itself was structurally sound, so his team spent a year and a half on a prototype that consisted of just square blocks for characters, a process that he last used on Final Fantasy VII. Since he didn't have to worry as much about the hardware's graph?ical pipeline, he was free to experiment more than he would have otherwise.

None of this, of course, is to say that visuals aren't important: "I was really averse to allowing the quality of the graphics to drop just because we were working on Wii, which doesn't have HD graphics. I do really think that, in the end, what we've created can hold its own against other hardware." Merely, the team was able to approach The Last Story from an angle that they wouldn't have b??een able to had this been another project for the Xbox 360 and PS3.

He continues, "There's a tendency for developers to allow all their energy to be diverted into maintaining the high quality of the graphics." His sentiments are similar to some that Jim Sterling has mentioned before and which I share as well. While working with high-end consoles can provide ample opportunities, it's very easy to get lost in the details. Final Fantasy XIII, for instance, was criticized for limiting the scale and scope typical of the Final Fantasy name in exchange for fantastic visuals. It's a simple matter of economics -- if money is being funne??led in one direction, it's not going elsewhere. A fine balance needs to be struck, and sometimes, working with "less capable" hardware might be the ticket to help a team refocus its priorities.

The Last Story launches in Europe on February 24. At that point, English-speaking gamers will be able to find out for themselves if Sakaguchi and Mistwalker succeeded in their experiment. If the extremely warm reception of Xenoblade Chronicles is any indication, The Last Story might just pull it off yet.

Also, make sure to read the full interview. Iwata Asks is always good for some juicy tidbits.

Iwata Asks: The Last Story [Nintendo via BeefJack]

The post Sakaguchi: High-quality graphics have becom??e e??xcessive appeared first on Destructoid.

Nintendo of America got to look like a big hero last year when it caved and announced that Xenoblade Chronicles would come Stateside. The consumer pressure group Operation Rainfall, however, is not satisfied, and intends to focus its efforts on The Last Story. 

"Between the dates of January 27th (the 1 year anniversary of The Last Story releasing in Japan) and February 24th (the European release date for The Last Story) we will be focusing our content on The Last Story as well as the people behind the game, Hironobu Sakaguchi (the creator of Final Fantasy) and Nobuo Uematsu (famed Japanese composer, best known as well for his work on Final Fantasy)," said Rainfall member Tyson Gifford.

"On the 27th we will be contacting Nintendo in mass again, after that we will be doing everythign we can to raise public awareness of the title and it's link to Sakaguchi and the Final Fantasy franchise.  We find it absurd that the title is so little known considering it's pedigre?e, and we hope to correct that this m?onth."

The group will be coordinating efforts on Facebook and Twitter, and will be presenting videos on Youtube. As someone who wanted this game the moment?? it was announced, I totally wish ?them the best!

The post Opera?tion Rainfall regroups, focuses on The Last St??ory appeared first on Destructoid.

There were a few excellent third-party releases on the Wii in 2011 (Bit.Trip Complete immediately comes to mind), but for the most part, last year marked the end of an era for the console. The Wii didn't even get the new Sonic game! When Sonic won't even slum it on your cons??ole, you know that it's over.

Still, thanks to a strong first-party lineup, the little white object of hardcore hatred had a pretty great year. There was a small but incredibly high quality library of releases, including The Legend of Zelda: Skyward Sword, Kirby's Return to Dreamland, and (in Europe) Xenoblade Chronicles.

Surprisingly, 2012 is looking just as good for the Wii. Depending on your tastes, some may say this year will be even better than 2011 (which isn't saying a lot, but bear with me). Destructoid has been ticking off all our anticipated titles for the coming year, beginning with the Xbox 360 and PS3 lineups, and now Tony Ponce and I are here to tell you ??which Wii games you should want the most (with a bonus Wii U section for pure?? overexcited speculation). Let's get this show on the road!

Rhythm Heaven Fever (Wii) 
Developer: Nintendo SPD Group No. 1, TNX
Publisher: Nintendo
Release: February 13, 2012

Minna no Rhythm Tengoku (renamed Rhythm Heaven Fever for the US) was one of my favorite games of 2011; it's the only game of 2011 that I'm sure I'll be playing over and over for the rest of my life. I brought the game to several parties over the winter holidays, and despite the fact that I was playing to generally non-gamer crowds, the game still went over like gangbusters. It's instantly fun, endlessly replayable, and packed with content, and it plays upon gaming's greatest strength -- the ability to use controls, visuals, and sound to create a seamless bond between the player and the game. That's something that a lot of rhythm games do well, but I think Rhythm Heaven Fever does it better than almost all the rest.

At its budget price, you would have to be a true hater ?of goodness and light to pass it up. If you think it looks too "weird" or "casual," do yourself a favor by ignoring your own perception an?d relinquishing your judgment to me. Buy this game as soon as you can. You won't regret it (unless they screw up the English localization again, in which case just import it).

The Last Story (Wii) 
Developer: Mistwalker, AQ Interactive
Publisher: Nintendo
Release: February 24, 2012 (EU)

Speaking of imports, I've already imported The Last Story, and I can say that it stands alongside Super Mario Galaxy and Skyward Sword as one of the best-looking, most painstakingly crafted games in the Wii's library. Sadly, my?? Japanese is crap, so I'll be importing this game from Europe or, h?opefully, picking it up in the US later this year. I need to know what the hell is going on!

Fans of Hironobu Sakaguchi's prior games (Final Fantasy I-IX, Lost Odyssey, etc.) or anyone who loves inventive third-person action-RPGs owes it to themselves? to check this one out. It's not everyday that you get to witness one of the most influential developers in the history of the mediu?m reinvent the genre that they helped create.

Dragon Quest X (Wii, Wii U) 
Developer: Square Enix, Armor Project
Publisher: Square Enix
Release: 2012 (Wii) / TBA (Wii U)

We still don't know a ton about Dragon Quest X other than the fact that Square Enix has been working on it forever, as well as how it aims?? to combine the strengths of MMOs with th??e traditional single-player RPG experience for something that will please both audiences.

The game is about one of two twins who is magically transformed into one of the game's other races, sort of like the Melvin Van Peebles classic Watermelon Man, only less racist. That's all well and good, but what I really want out of Dragon Quest X is the opportunity to explore a huge, Akira Toriyama-created world alone or with friends, experiencing all its fine details and, in doing so, creating ?my own story. 

Honorable Mentions: Kiki Trick, Pandora's Tower, Retro City Rampage

Xenoblade Chronicles (Wii) 
Developer: Monolith Soft
Publisher: Nintendo
Release: April 2012

See what happens when a company digs out its ears and listens to the fans? It was pretty much like pulling teeth with Nintendo, but now Xenoblade Chronicles is on its way to the US. Sure, I could have imported the European version, but having a cheaper opti?on is always nice.

I'm stoked, and I'm not even that big of an RPG guy! I've played several Final Fantasy titles, tried and failed to get into the Tales series, enjoyed Golden Sun, and dabbled lightly elsewhere. Still, all the positiv?e word of mouth f??rom our friends across the Atlantic is making it really hard to not get overly excited.

La-Mulana (WiiWare) 
Developer: Nigoro, Nicalis
Publisher: Nicalis
Release: 2012

Speaking of games that have been out in Japan forever, here's indie platformer La-Mulana. The game is finished, having gone through some last-minute bug fixes following the Japanese release, and now is waiting on Nintendo of America to give the go-ahead. Who knows how long that will take. There is non-console port on the way (PC, though a likely platform, isn't actually specified), and it would be a laugh riot if it came out before? the WiiWare version.

It's no secret that my poison of choice is a nice, juicy 2D platformer with wonderful pixel art and a hefty amount of challenge. A game that tosses Castlevania, Metroid, and Indiana Jones into a blender and hits "frappé"? Obviously, it's going to be a winner. If you want to play the game right now, the original has been available online for free since 2005. However, as with Cave Story, I'm curious as to the extent of the changes and upgrades in the remake.

Retro City Rampage (WiiWare, Xbox Live Arcade) 
Developer: Vblank Entertainment
Publisher: Vblank Entertainment
Release: 2012

I feel bad for Vblank's Brian Provinciano. I like to joke about Retro City Rampage's lengthy development, and I enjoy hitting Brian up on Facebook with such constructive comments as, "What are you doing right now? BREATHING!? When you should be WORKING!?" In all honesty, I don't envy his situation. The game has been in the works for nearly a decade, back when it was known as Grand Theftendo. Since then, Brian has had to jump through so many hoops just to see his baby through. Next time I s?ee the man, I have to treat him to a steak dinner or at least some froyo.

At one point, Retro City Rampage was a Grand Theft Auto parody. I don't know what it is anymore -- it defies classification. It's a love letter to 80s, an homage to videogames throughout the ages, and the debut of many Destructoid editors as game characters. You ask Brian to include something in the game, and the guy will probably find a way to squeeze in that reference. If nothing else, Retro City Rampage is going to be huge.

Honorable Mentions: Rhythm Heaven Fever, The Last Story, Pandora's Tower, Rodea the Sky Soldier

As for the Wii U, no real exclusives have been firmly announced for the thing yet, though we'll be keeping a close eye for more news on Pikmin 3, Smash Bros. Wii U / 3DS, and Miyamoto's new secret project. Then there is the promise of an enhanced Wii U version of Dragon Quest X, Batman: Arkham City, Darksiders II, Aliens: Colonial Marines, and many others.

I'd also be highly surprised if we didn't get a compilation of some of the Wii U "experiences" that were on display at E3 2010. I'd love to see that Metroid-themed multiplayer shooter, Mario-themed hide-and-seek, Rhyhm Heaven-style pirate game, and (Shannon's favorite!) Measure Up, all crammed into one Wii Sports-style, minigame collection pack-in.

Then there is No More Heroes 3, which Suda51 told me TO MY FACE is still headed to the Wii U. So while there is still a lot left to see confir?med, there is plenty to be excited about in 2012 for the wacky, wonderful world of Wii U.

Additional staff picks for the Wii / Wii U:

Chad Concelmo: Rhythm Heaven Fever, Pikmin 3
Sean Daisy: LEGO Batman 2: DC Super Heroes, Dragon Quest X, Darksiders II
Andrew Kauz: Dragon Quest X, Xenoblade Chronicles
Tara Long: Retro City Rampage
Kyle MacGregor: Retro City Rampage, Rhythm Heaven Fever, The Last Story
Allistair Pinsof: Xenoblade Chronicles
Max Scoville: Actual Wii U games that aren't tech demos about birds and cherry blossoms 
Josh Tolentino: Xenoblade Chronicles, The Last Story 

The post Destructoid’s most wanted Wii / Wii U games of 2012 appeared first on Destructoid.

We already knew The Last Story was coming to the EU sometime during 2012, but now there is a release date floating around! According to rumors, the game will arrive in Europe on February 24. For all those unaware, The Last Story is one of the three games that Project Rainfall is try??ing to get Nintendo of America to publish in the United States.

The game may also get a name change. The same rumor suggests it is to be called The Last World in Europe, which is one letter away from being confused with a movie focusing on cloned dinosaurs. Nintendo of Europe hasn't reacted to these rumors yet and its American counterpart hasn't said anything about those infamous three games in quite some time. Even when asked about them after Reggie himsel??f t??ook over Nintendo's Twitter account there has been no official comment on t????heir status.

Rumour: The Last Story ??renamed The Last World for the release in Europe on February 24 (WiiItalia)

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Before the weekend, Nintendo of America boss Reggie Fils-Aime appeared on Twitter but didn't quite get the welcome he bargained on. Last Friday, the meat-flavored executive was spammed with Operation Rainfall Tweets as people put pressure to get a Xenoblade, Pandora's Tower or The Last Story announcement.

Reggie took control of the @NintendoAmerica account and engaged with fans via the #Regginator hashtag. After dishing out some bland PR responses to questions, R??ainfall mounted a full-scale question assault. 

Sadly, Nintendo completely stonewalled any queries concerning the Japanese games, because that's what Nintendo is like. Still, it's a very strong message that there is still a shedload of fans who want these games. Perhaps it'll penetrate some s?kulls at Nintendo eventually ... not that I'm holing out much hope.

Nintendo's 'Regginator' Bombarded with Op?eration Rainfall Tweets [Gamepro]

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It seems that even Australia, famous for getting regularly screwed over by Nintendo, is getting a taste of The Last Story while North America gets left out in the cold. The Mistwalker RPG was recently rated for the c?ountry, meaning Aussie fans should get their hands on it in the near future. 

Nintendo of America has been resolute in its refusal to localize The Last Story and Pandora's Tower, and won't publish Xenoblade despite the localization having already been done. Th??e Wii has thusly had ver??y little content at all this year, with only three or four games to look forward to before the Wii U renders it obsolete. 

Still, Wii's are easy enough to modify (f?or the legal purchase of imported titles, of course!) and it's cool Australia gets something nice for a change.

The Last Story [Australian Classification Website]

The post The Last Story gets rated … for Australia appeared first on Destructoid.

It has now been confirmed that all three of the three titles Nintendo of America won't publish are coming to Europe, with news with Pandora's Tower and The Last Story will join Xenoblade Chronicles on the Wii in 2012. 

Of these games, Mistwalker's The Last Story is by far the most coveted, coming from a studio with pedigree and looking seriously promising. Pandora's Tower has been receiving a tepid reception from those who have played the Japanese version, but no?netheless remains interesting. 

N??OA still claims it has? no plans to localize these games, even though we'll have the English translation required thanks to Europe. Ah well, considering I'm going to mess around with my Wii's insides and import the damn things, it doesn't matter all that much. 

If Ninten??do of America won't support its console, I can at least break it and support it myself. 

Last Story and Pandora's Tower c??oming t??o Wii in 2012 [Videogamer]

The post Pandora’s Tower, The Last Story coming to Europe in 2012 appeared first on Destructoid.

Operation Rainfall is not finished in its quest to get Xenoblade, Pandora's Tower and The Last Story released in North America, and has begun phase two of operations. As well as encouraging Europeans to buy Xenoblade and show Reggie that gamers care,?? phase two consists of an ... odd ... idea. 

The group is planning a "mass purchase" of Final Fantasy on the Wii's Virtual Console. They're rallying the troops to buy the NES game on the same day Xenoblade launches in Europe. The idea is to show "intent to buy products," with Final Fantasy presumably use??d?? as evidence that Japanese Roleplaying Games still sell. 

I get the mentality, but I think buying Final Fantasy -- to date the only truly successful JRPG in the West -- will prove anything. If I'd have come up with this idea (and I wouldn't have), I'd at least ?pick a more obscure game. Even if they had done that, this is still a ve??ry weird direction to take, and not a move I can see yielding fruit.

Anyway, if you want to take part in this stage of the operation, they're buying Final Fantasy on August 19. 

[Operation Rainfall]

The post Oper??ation Rai??nfall Phase 2: Buy Final Fantasy on Wii appeared first on Destructoid.

Maybe I'm just desperate for some happy Nintendo news on this bleak Monday night, but I'm actually feeling encouraged by this token gesture of acknowledgment for Nintendo of America. Ms. (or Mr.?) Sissy Barner of Nintendo of America is sending out typewritten, hand-signed letters to those who have sent the company written requests for them to localize The Last Story, Pandora's Tower, and Xenoblade. According to the letter, Sissy Barner "...can see why you want to see games like Xenoblade, The Last Story, or Pandora's Tower released in the Americas, but at this time we have no additional information of announcements to make regarding these games. I realize this is disappointing, but your comments have been made available for other departments here to use as they see fit. We appreciate hearing what our consumers find important."

The fact that they're taking the time to send out letters like this, combined with Nintendo of America's move to trademark The Last Story, and the rumors and reports that the company is already working on U.S. versions of both Xenoblade and The Last Story, has me feeling a little more hopeful that these games will make it stateside. I'm betting that if all three of these games sell well enough in Europe, we'll get them here. If only Mega Man Legends 3 got the same chance at survival.

Nintendo response to snail-mail Operation Rainfall letters with...??same canned response [GoNintendo]

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Nintendo of America has filed a trademark for The Last Story,? which just so ha?ppens to be the name of the Mistwalker RPG that it refuses to localize. 

The trademark was filed on January 13, 2010, but only issued a few days ago, hence why we're now finding out about it. It'?s worth noting that Nintendo of America, like any company, enjoys filing trademarks for anything regardless of its intent to use them. Nevertheless, fans are taking it as a good sign. 

At this rate, you'd think there's so much pressure on Nintendo of America that it would have to release the thing, just to shut people up. I still think that if it the company were smart -- pressing only a limited supply of discs in order to ensure a sell-out -- it could have a successful game. Not a AAA smash hit, but at least something on the level of Demon's Souls. 

It's been proven in the past that a cult game, manufactured and marketed the right way, can be a success in its own modest way. Nintendo of America ?just has to be smart ... which is, admittedly, its biggest stumbling block??. 

Nintendo of America trademark for The Last Story offici??ally issued [GoNintendo]

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Operation Rainfall, a group dedicated to the seemingly impossible task of giving the Wii more than four games this year, has declared potential victory. According to a "source" at Nintendo, both Xenoblade and The Last Story are already ???prepared for a North American release.

"According to our source, The NSTC version of Xenoblade was completed just over a month ago, while testing for the PAL and NSTC versions of The Last Story could begin in a month," claims the Operation Rainfall frontpage. "There is currently no word on localization for an NSTC version of Pandora’s Tower."

An interesting rumor, although I won't buy it until Nintendo of America comes out and says it. It'd be quite interesting if true, however, that a publisher would sacrifice good grace with its community just to keep an announc??ement secret until some arbitrary later date. Either that, or the backlash NoA got was of a??n unexpectedly torrential nature and it's changed its mind.

Anyway, we'll just ha??ve to keep holding out. I'm still skeptical that N??intendo of America has a working brain anywhere in its offices, but you never know!

Source: NTSC Xen?oblade Done, The Last Story In Progress [Operation Rainfall]

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Impotent nerd rage from random people on the Internet always gets things done, so I guarantee that my latest Jimquisition will single-handedly convince Nintendo of America to release Xenoblade, The Last Story and Pandora's Tower in North America. 

Meanwhile, you could always add your name to the Operation Rainfall movement and see if that does anything.

The post The Jimquisition: Nintendo of America appeared first on Destructoid.

[Every Friday, Destructoid will pose topical a question to the community. Answer it if you want!]

Perhaps the most controversial story this week was the announcement by Nintendo of America that it was not planning to bring Xenoblade, The Last Story and Pandora's Tower to its territories, despite an extensive campaign by gamers under the banner of Operation Rainfall. 

Nintendo has not given an official reason, although it has always hidden behind localization costs and financial viability in the past. Do you agree that it?? makes no business sense to bring these titles to the A?mericas, or do you think there is profit, or at least useful PR, to be had from giving certain gamers what they want?

That is the question this week -- should Xenoblade, The Last Story and Pandora's Tower come to North America, or do you think Nintendo of America is right to leave these games where they are??? Are gamers being whiny or righteous when they demand these titles, and is Nintendo justified or not?

The post The Question: Should L?ast Story, Xenoblade come to NA? appeared first on Destructoid.