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Post  technology tester Tue Jun 01, 2010 5:01 am

The shortest distance between two points may be a line, but the longest is a gilded arrow fletched with platinum-inlaid peacock feathers and fired by Square Enix like a vector-locked cruise missile. Time in flight: 25 hours. That's what it takes to crack Final Fantasy XIII open: One-day-point-two-five convoying moody lip-flapping cliches down baroque troughs and tunnels, chutes and runways, gutters and slideways, scooping up cash and clobbering creatures -- creatures that serve as gates in the world's longest canal. No climbing over the sides or abandoning ship or motoring upriver to find a less humdrum route, because Square Enix has a story to tell, and by god you're going to listen, so buckle up and apply eyelid tape.


Rose earplugs, too, if you want to help the schmaltz-heavy dialogue go down. "Is that my hero?" says one character during a tearful scene early on. "Every minute we waste we're tempting fate," grumps another, like a grade-school Buddha. "It's too much, isn't it... face it later!" chirps the game's official pixie-sprite, comforting a companion who's just experienced the unfathomable. It's Lifetime miniseries melodrama with "Sesame Street" delivery. Whatever storytelling gains Final Fantasy XII made four years ago, they're chucked for 1990s-awkward speechifying here. Masashi Hamauzu's brooding soundtrack helps some... but only some.



Thank goodness for the battle system, then, because it saves the game while you're wincing through the saccharine banter and waiting for the training wheels to spin off.

Your first taste occurs moments after pressing start. Empty segments on an active battle gauge fill with swirling ice-blue, while a scorpion-styled robot flexing saw-blade digits threatens. Tap "auto-battle" and the game plots and performs your character's attacks automatically. We'll call this the lazy-failsafe option, designed to woo casual or inept gamers, and you should ignore it until the game gives you more to manage later on. For the first dozen hours, you'll want to choose "abilities" instead, studying and assimilating the game's "this beats that" tactical equipoise by building two- or three-segment attack chains unaided, plying your skills tap-tap-tapping commands against the timer, God-of-War-like, leveraging effects against clock cost.



Sound familiar? It should. Continuous, or as Square calls them, "active" time battles, debuted in 1991's Final Fantasy IV. Popular with fans, the system reappeared with clever wrinkles in subsequent installments. But in Final Fantasy XIII, the wrinkles become tectonic waves, transforming an initially simple-seeming combat engine into something elegant and electrifying. Once the battle engine's pistons, plugs, and cylinders fully unlock around the game's halfway mark, it surpasses all prior versions.



But early going, the game can seem a trifle restrictive, and what the designers giveth, they taketh away: Instead of controlling multiple party members, you're restricted to the leader -- if she or he dies, the game ends (though you're wisely allowed to restart just prior to a battle instead of slogging back from a save point). Save points double as item stores and upgrade centers for belladonna wands, gunblades, or tiger claws (and dozens of weapons weirder still), but trade relaxed city interludes for fast-track tinkering and relentless pacing. A "chain damage" system applies incremental percent-meted pain to enemies as you pile on hits, but it's only a fraction availed until chain-related party roles unlock. Even the "crystarium" leveling system -- a 3D version of Final Fantasy X's developmental sphere grid -- parallels the early-stage level design, a series of melee- and magic-bolstering checkpoints visited like stops along a train track.


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