If you fail to use the Judgment Ring properly, you will fail to do whatever action you intended. As you walk along, you'll eventually meet other people that will join your party as well as NPC townsfolk, peddlers, and yes, even an acupuncturist who will "point" out how to use your weapons better.
There are dozens of characters you'll interact with during the course of the game and they all seem to have very strange descriptive names until you actually find out their real name. For instance, the main hero is called "Rude Hero" at the beginning of the game. The name some characters end up actually using depends on you. As you meet people that join your party during the game, you'll have the opportunity to name them whatever you want.
Their class determines how powerful they are against an enemy. For instance, if someone with Fire Class attacks a Water Class monster, they'll be more powerful. There are lots of different items, weapons, spells, etc. After acquiring anything, you can always enter the game's menu system to equip yourself or find out more about any of these items.
Some items can only be equipped during battle sequences and there are even some items that make operating the Judgment Ring easier. The menu system is a busy place and there are a lot of things to choose.
Anyone that's played RPG's in the past shouldn't have too hard of a time navigating it but should you get confused or have a question, check out the game's extensive online help more on this in the Documentation section below. The graphics are pretty impressive all around. While the detail in the video cut scenes is better than the art during gameplay, neither seems to be lacking anything worth mentioning. The effects are wonderful and again, they seem to be pretty detail oriented as well.
For instance, when walking down the aisle in the train, you can see yourself reflecting off the windows. Being that there are ominous situations galore, you'll see some great looking fog roaming about too.
All of the magic is littered with great colorful effects such as bright lights, swirling mists of energy, and wind. Because this is a turn-based game for the most part, you actually can take the time to savor all that eye candy after making your turn decisions.
The sounds seem to be what I'd expect for a game like this. They aren't incredible ear-popping sounds, but they certainly aren't bad either. The music is great, however; and it's varied and appropriate for your current situation. The in-game voiceovers are virtually nonexistent as all of the dialogue is text-based, although there is some talking in the cut scenes.
Guess a piano and violin duet does that to people. Shadow Hearts II 's battle themes are definitely a highlight on the album. The main battle theme in Europe, "Vicious ," uses odd vocal samples and scratching effects, backed up by a choir of sorts, then all of a sudden, a piano quickly shows up in the middle of the piece, only to get swallowed by the choir, vocal, and scratching effects. It certainly gives a hint that you're not fighting a usual RPG creature, but a twisted, nightmarish creation.
The boss theme for Europe titled "Glint of Light" has a more normal soundscape, mostly strings mixed with a few electronic effects, but as the track develops, it gets more and more complex, which means it has certainly accomplished its task as a proper boss theme. One of the most interesting battle themes is used for a fallen angel.
But despite this remark, the theme does a lot with its subtleness. Upon looking in the liner notes, it is Mitsuda who did this piece. It's just the signature use of female chants, flute, percussions, and violin that gives it away. While the theme is generally light in tone, it still gets me to imagine a tough battle against this enemy.
In Asia, "Deep in Coma" has the honor to be the main battle theme. While it is more oriented towards electronica, it has a few uses of tribal percussions and odd female chants. The boss theme for Asia is another matter. Drums, bells, chants, and electronic effects accompany the belching effects in order to create one of the more intriguing boss themes in RPG history.
Props go to Hirota for trying something so bizarre, yet entrancing. For the final boss theme, they wanted to score big, so Hirota, Mitsuda and Ito collaborated on the piece altogether. The piano keeps on getting hammered, metallic percussion instruments dominate, and strings, more rapid drums, distorted chants, etc.
There is A LOT going on here, but it gets progressively better and better, crazier and crazier, and you get the idea When you think things are calming down, some sort of sneezing effects are used, a bit more piano, drums, weird chants, and it finally ends with a few piano chords. Wasn't that a thrilling ride, folks? This track easily ranks among my top themes of all time.
As you can see, the battle theme department is very strong. The dungeon department also has many shining examples, my favorite being "In Darkness of a Labyrinth". Starting off with scary ambience and strings, it definitely portrays the feel of wandering in total darkness. The best part is when the howls make their entrance, backed up by massive drumbeats These howl samples are actually rights-free, as they were used in Silent Hill 3 during Heather's venture in the abandoned mall, infested by For town themes, I'll make it short by talking about "City of Sunset".
This is the town theme for Europe. It definitely has a French sound to it, as the main instruments are the acoustic guitar and accordion. This theme surely matches the picturesque villages where virtually no trouble occurs.
The track suggests a relaxing, carefree break, you know, like just having a drink, and enjoying the view of the countryside. So there you have it, an amazing soundtrack to what has become a major cult hit. At times there were detailed instructions for the music, and at times the composers were free to do what they wanted.
This way, we could bring out the nuances that words are unable to convey. During recording, the performers each found their own points of connection with the material.
These times could truly be called blissful. It was exciting for me as a mere bystander, so I am sure that it was even more so for the composers. In the midst of our own internal circumstances, in the midst of the limitations that bound us, we resolved never to regret and never to compromise, and that we have seen it through to the end gives me the greatest joy.
And to all of you who now have this soundtrack, thank you for believing in us. Since I was a child I have thought, why are people born?
During the first game, I was mainly doing debugging. Just because I love games so much, I would take the disc home and night after night do debugging. From the stage when the random battle rate was high and just moving Yuri a tiny bit would make the judgment ring appear, I would lose track of time and work until four or five in the morning. At times, I would drift off clutching the controller tightly, and upon waking up, see that the game was frozen in the middle of a cutscene.
Wanting to see it, I would return to my last save, and begrudgingly do everything over again. I would give in and do it because Shadow Hearts was just that interesting. During the production of Shadow Hearts II , I had discussions with the director regarding the ending.
One day, the director came to ask what I thought of an idea for the ending, and at that moment, Karin began to feel alive to me. From that moment, Karin began to speak to my own feelings. At the end of the story, all of the characters, even Yuri and Karin, are returning to the place that they want to go.
There would be no greater joy for me than for people to receive that message. It was a stormy production. Even though so often it seemed like these seas would swallow us whole, through force of will the crew of the Nautilus made it through to the end, without giving up.
Even when it seemed like the judgment ring would beat us, the staff continued to love and support Shadow Hearts. Your courage and diligence were magnificent.
You all did wonderfully. This work, which everyone has put their souls into, has become the pride of my life. Thank you. I would like to take this time at the end to extend my thanks to everyone who helped out on the production of Shadow Hearts II. And to all of the fans who have supported Shadow Hearts, with my gratitude, to accompany your memories of Yuri, Alice, and Karin, I present you with this soundtrack.
When I was young, I would run around with two of my friends who lived nearby and play with RC cars. Translated by Ben Schweitzer. Edited by Ben Schweitzer and Chris Greening. Shadow Hearts Covenant would call it a game that revived a terrible game.
Put so much time in this game one my most memorable games. Share to your Steam activity feed. You need to sign in or create an account to do that. Sign In Create an Account Cancel. Edit links. All rights reserved. All trademarks are property of their respective owners in the US and other countries.
Some geospatial data on this website is provided by geonames.
0コメント