1994 video plot
Live A Live [ a ] is a 1994 role-playing video recording game developed and published by Square for the Super Famicom. The title remains exclusive to Japan, though it was given a winnow translation by the on-line group Aeon Genesis. The game follows seven distinct scenarios scattered across unlike clock periods, with two more unlockable scenarios linking the narratives together through the recurring adversary Odio. Gameplay is split between exploration with story-specific twists, and turn-based combat played out on a grid.
Reading: Live A Live – Wikipedia
output began in recently 1993, and was the directorial debut of Takashi Tokita. Tokita wanted to tell multiple stories within a single game, with each section drawing divine guidance from different sources. Character designs for the seven independent scenarios were handled by different manga artists. The music was composed by Yoko Shimomura as her first gear large-scale project after joining Square. reception of the game has been cocksure, with praise going to its unique gameplay and narrative mechanics, though its curtly duration was faulted. Selling 270,000 units, the plot was considered a bankruptcy. Tokita ‘s work on Live A Live influenced his later projects, and he has voiced his willingness to remake the championship if there were adequate demand .
Gameplay [edit ]
Akira and Matsu battle Crusaders in the “ Flow ” chapter. Characters can move around a grid during battles, however, attacks are turn-based. Live A Live is a role-playing video game in which the actor takes on the function of eight unlike protagonists through nine scenarios. [ 1 ] [ 2 ] While each narrative has the lapp basic mechanics, individual stories have unique gimmicks ; these include the manipulation of stealth, a lack of standard battles, or using telepathy to learn modern facts to progress the narrative. [ 3 ] With the exception of one scenario, the player character navigates themed environments, ranging from the overworld area to dungeon environments. [ 2 ] Battles are triggered differently for each scenario ; some are random encounters, some have enemy sprites which can be avoided, while others are wholly scripted. [ 2 ] The turn-based struggle system is used across all scenarios, and features the player character and sometimes a party fighting enemies on a 7×7 grid, with characters able to move and perform actions such as attacking or using particular skills. Skills can be used without limit, though some take multiple turns to charge. [ 2 ] [ 4 ] Some abilities imbue tiles with extra properties, such as healing a character or dealing elemental damage. [ 2 ] There are besides different skill systems in place ; there is gaining levels with know points, which unlocks newly abilities, though in others character progress is locked behind narrative events. In one scenario techniques are learned through seeing an opposition use them. [ 2 ] [ 5 ] Each character can besides equip and use items, such as accessories to boost attack or items to recover health. If the actor character, or party, is defeated, the game ends. [ 2 ]
outline [edit ]
Note: The synopsis of Live A Live uses the names and terms from the fan translation. While the first seven chapters can be played in any order, they are presented in chronological order. The open scenario of Live A Live is split into seven chapters, covering prehistoric, ancient Chinese, feudal japanese, godforsaken West, present day, near future, and far future eras. In each scenario, the supporter confronts a potent enemy whose identify is or incorporates the discussion “ Odio ”. [ 1 ] [ 6 ] After completing these scenarios, an eighth chapter set in medieval times is unlock, which in turn unlocks a final chapter tying the narratives together. [ 1 ]
- Contact: The caveman Pogo is exiled by his tribe after rescuing and hiding Bel, a woman intended for sacrifice by a rival tribe to their dinosaur god O-D-O. Pogo and Bel, helped by friendly members of both tribes, successfully kill O-D-O and establish peace between the tribes.
- Inheritance: Ageing martial arts master Xin Shan Quan chooses three disciples to inherit his skills, which hail from an endangered school. A rival school led by Odi Wang Lee kills the two less experienced students. Xin Shan Quan and his surviving student defeat Odi Wang Lee and his students, then sacrifices himself to empower his surviving student. Xin Shan Quan dies after this battle, and his student begins passing down his teachings.
- Secret Orders: Trainee ninja Oboro-maru is sent by his master on a mission to rescue a politically important person and kill his captor Ode Iou, a daimyo who has made a pact with demonic forces to conquer Japan. Oboro-maru defeats Ode Iou and rescues the man, who turns out to be Sakamoto Ryōma.
- Wandering: A wandering gunslinger called the Sundown Kid meets with his rival Mad Dog in an isolated town for a gun duel. The pair end up working together to defend the town from a bandit gang led by O. Dio. After defeating O. Dio, revealed to be a horse possessed by the rage of a massacred regiment, the Sundown Kid leaves the town having rediscovered the value of protecting others.
- The Strongest: Masaru Takahara wants to become the strongest person in the world, believing that defeating opponents in each fighting style would accomplish this goal. While Masaru succeeds, he is confronted by another fighter Odie Oldbright, who has been killing his opponents. Odie Oldbright challenges Masaru, who defeats him using his combined learned abilities.
- Flow: Orphan Akira Tadokoro goes in pursuit of a biker gang called the Crusaders after his sister is kidnapped by them. Together with his friend Matsu, Akira pursues the Crusaders, learning that they are being used by the government to obtain sacrifices for an idol dubbed Odeo, which seeks to bring an enforced peace. Matsu sacrifices himself to empower the mech, Buriki Daioh, that Akira uses to destroy Odeo.
- Mechanical Heart: The cargo ship Cognito Ergosum is carrying a Behemoth monster to Earth. Maintenance robot, Cube, ends up investigating the incident when the Behemoth escapes and begins killing the crew, which, combined with fatal accidents, causes the survivors to turn on one another. The culprit is the ship’s computer, OD-10, who wants to curtail the crew’s recurring antisocial behavior. Cube hacks and deactivates OD-10.
- King of Demons: After the knight Oersted defeats his friend Straybow in a contest for the hand of Princess Alicia of Lucretia, Alicia is kidnapped by the Demon King. Oersted leads a party that includes Straybow to rescue Alicia. They defeat the Demon King, but Straybow is apparently killed and Alicia remains missing. Back at the castle, Oersted is tricked by a magical illusion into killing Lucretia’s king, causing people to condemn him as the Demon King. Escaping, Oersted returns to the Demon King’s castle, and learns that a jealous Straybow took on the Demon King’s power. Oersted kills Straybow and finds Alicia, but she blames Oersted for Straybow’s actions before killing herself. A despairing Oersted becomes the new Demon King, taking on the name Odio and destroying Lucretia.
In the “ Final chapter ” unlocked after completing “ King of Demons ”, Odio draws the seven protagonists—Pogo, Oboro-maru, the Sundown Kid, Akira, Masaru, Cube and Xin Shan Quan ‘s successor—to his own meter, with the actor choosing which supporter to play a. Choosing Oersted begins a scenario where he defeats each hero using his Odio incarnations across history, leaving him in a world barren of homo life. Choosing any early protagonist leads a party of four to a final examination battle with Odio ‘s true mannequin. The party can either kill Oersted, trapping them in his clock ; or spare him, leading to final battles with each form of Odio, which Oersted describes as the physical incarnation of hatred. fully defeated and penitent of his actions, a dying Oersted sends each protagonist back to their time period .
Development [edit ]
Live A Live was developed by Development Division 5 of Square, noted as creators of the Final Fantasy series. [ 7 ] The bet on was the directorial debut of Takashi Tokita, who had previously worked in a interior designer function for Hanjuku Hero and Final Fantasy IV. [ 8 ] The original concept was born from the desire to make an RPG where players could experience multiple standalone stories at once, contrasting against Final Fantasy where smaller stories served a distinguished narrative arch. [ 8 ] [ 9 ] The production was made possible by the expanding storehouse capacity of the Super Famicom ROM, with the aim being for players to be able to complete each incision within a day. [ 10 ] several staff members, including architect Nobuyuki Inoue and star programmer Fumiaki Fukaya, had worked on either Hanjuku Hero or the Final Fantasy serial. [ 7 ] [ 11 ] Active production began in December 1993, though the entire development including early on plan lasted one and a half years. [ 11 ] It was produced for the Super Famicom ‘s 16-megabit cartridge. [ 12 ] Tokita had trouble adjusting to his function as film director, peculiarly as he could not be as hands-on with the graphic elements as he had been for Final Fantasy IV. [ 13 ] Except for menu and battles, Fukaya was responsible for all the game ‘s program. [ 7 ] Tokita put an equal amount of campaign into each world invention. [ 14 ] Many of the earth suggestions came from other members of staff, with Tokita choosing what he thought were the best. [ 13 ] The first earth created was the Medieval version, which informed both the wide narrative and the gameplay design. [ 10 ] The scenarios primitively had a calibrate difficulty scale, but Tokita abandoned this so players could tackle the scenarios in any order they wished. [ 13 ] Inoue was creditworthy for the battle system design, wanting to make a strategic experience which Tokita described as “ real-time shogi “. [ 7 ] [ 13 ] Another goal was to evolve the standard gameplay of RPGs at the clock time. [ 10 ] One idea of Tokita ‘s that was rejected involved not displaying hit points, but having the character physically act like they had been injured or look weakened as they took damage rather. [ 15 ] Once production finished, the team split up to work on other projects within Square. [ 7 ]
scenario and art plan [edit ]
A noteworthy feature of Live A Live were the artists brought in to design the lead mold of the seven main sections. The artists were Yoshihide Fujiwara ( “ Inheritance ” ), Yoshinori Kobayashi ( “ Contact ” ), Osamu Ishiwata ( “ Wandering ” ), Yumi Tamura ( “ Mechanical Heart ” ), Ryōji Minagawa ( “ The Strongest ” ), Gosho Aoyama ( “ confidential Orders ” ) and Kazuhiko Shimamoto ( “ Flow ” ). [ 1 ] [ 16 ] Additional quality artwork, including designs for the “ King of Demons ”, was done by Kiyofumi Katō of Square. [ 16 ] [ 17 ] Further in-game graphics were designed by Yukiko Sasaki, who worked as a map designer on Final Fantasy IV. [ 11 ] Sasaki encountered difficulties with the graphics, struggling to design the “ secret Orders ” scenario and needed to cut elements such as telegraph poles from “ The Strongest ” scenario. [ 7 ] Having multiple character designers was not in the original plan, but emerged to complement the “ omnibus ” storytelling. [ 7 ] This style of having one artist in charge for each world was strange for Square, who previously had a single graphic couturier in charge of all art direction. [ 11 ] Fujiwara was known for his work on the soldierly arts manga Kenji. For the supporter ‘s “ Inheritance ” female scholar, Fujiwara measuredly went against stereotypes of martial arts heroines with large breasts, drawing her with a “ close ” figure. [ 9 ] Shimamoto was originally going for an anime-styled design for his characters, but changed it to one based on traditional manga when he saw the early designers ‘ work. Akira ‘s collaborator Matsu was physically based on actor Yūsaku Matsuda. Ishiwata based the protagonist of “ Wandering ” on the cowboy figures portrayed by Clint Eastwood. [ 18 ] Aoyama designed “ mystery Orders ” protagonist Enma very quickly, and at Tokita ‘s request based Ode Iou ‘s design on the japanese warlord Oda Nobunaga. [ 19 ] Tamura was in the middle of her work on Basara when she was approached about the stick out, and it was her only work in television game character design. [ 20 ] Katō designed the sprites of the Medieval vomit based on templates from the Final Fantasy series, with Orstead being immediately based on the Warrior of Light. [ 10 ]
The scenario was co-written by Tokita and Inoue. [ 6 ] [ 7 ] [ 21 ] As with his other solve, Tokita drew inspiration from the tonicity and dramatic moments of the manga Devilman. [ 8 ] Pogo ‘s history drew inspiration from the manga series First Human Giatrus, while the “ Wandering ” narrative was based on climactic scenes from classical Westerns including Shane. “ Flow ” made several references to classic mecha manga and anime. Along with its references to classical warlike arts films, the list of the supporter in “ The Strongest ” was made up of kanji symbols taken from the names of four celebrated wrestlers. The “ mechanical Heart ” narrative was inspired by 2001: A Space Odyssey and Alien. [ 6 ] Cube ‘s mention, created by a member of the development staff, was a citation to Stanley Kubrick. [ 20 ] “ King of Demons ” paid court to Final Fantasy, with the relationship between Orstead and Straybow mirroring that between Cecil Harvey and Kain Highwind. [ 6 ] Tokita was concerned about creating the Medieval chapter due to its similarity to the ongoing Final Fantasy, SaGa and Mana series. [ 10 ] The Final chapter and its selectable lead protagonists emulated the exemption of choice show in Romancing SaGa. [ 6 ]
music [edit ]
Live A Live; it was her first job after joining Square.Yoko Shimomura served as the sole composer for; it was her first job after joining Square. The music was composed and arranged by Yoko Shimomura. [ 16 ] After writing music for Capcom on multiple projects including Street Fighter II, Shimomura moved to Square in 1993, fuelled by the wish to compose for RPGs. [ 22 ] Live A Live was Shimomura ‘s inaugural major RPG composition, and her first job after arriving at Square. [ 16 ] Her only former work on RPGs was minor shape on Breath of Fire prior to leaving Capcom. [ 22 ] As with the pillow of the bet on, Shimomura ‘s music reflected the different eras in which the narrative was set. [ 7 ] The main theme appeared multiple times through the score in arranged versions, an estimate shared by both Shimomura and Tokita. [ 23 ] The knob root “ Megalomania ” was written to be frantic and arouse. For the motif of Odio, Shimomura used a model pipe organ, incorporating it into “ Megalomania ” to reference its recurring threat. [ 23 ] The music for the Medieval period was the most difficult for Shimomura to write, though it was among the first asked for by Tokita. Upon listen of her struggles, Final Fantasy composer Nobuo Uematsu offered to help. Writing the score for the Medieval part became easier once the subject “ Overlord Overture ” and struggle root “ Dignified Battle ” were completed. [ 10 ] The music for the Captain Square minigame was measuredly written to evoke the chiptune style of NES and early arcade titles. [ 22 ] A soundtrack album for the game was released in August 1994 by NTT Publishing. [ 24 ] [ 25 ] The album was reissued on iTunes in July 2008 as one of the first releases from “ Square Enix Presents fabled Tracks ”, a series of rare album re-releases. [ 26 ] A forcible re-release was published by Square Enix ‘s music label in May 2012. [ 27 ] In 2008, the tracks “ The Bird Flies in the Sky, the Fish Swims in the River ” and “ Forgotten Wings ” were included on Drammatica: The Very Best of Yoko Shimomura, a compilation of the composer ‘s exploit at Square Enix. [ 28 ] “ Kiss of Jealousy ” and “ Megalomania ” were released on the 2014 compilation album Memoria, which besides featured tracks from Shimomura ‘s work with Square. [ 29 ] “ Birds in the Sky, Fish in the River ” and “ Megalomania ” were late released in 2015 as downloadable content for Theatrhythm Final Fantasy: Curtain Call. [ 30 ] [ 31 ] besides in 2015, a tribute concert was held in Kichijoji at Club Seata, featuring performances by multiple musicians including Shimomura, and guest appearances from the game ‘s staff including Tokita. [ 32 ]
release [edit ]
Live A Live was released on September 2, 1994. [ 1 ] Originally meant to be released in Japan before Final Fantasy VI, delays occurred in Live A Live ‘s output and the exhaust order was reversed. [ 15 ] Prior to release, Tamura created a prequel manga to the “ mechanical Heart ” scenario, later noting that she drew the manga without Square ‘s license. [ 6 ] The game was re-released through Nintendo ‘s Virtual Console for Wii U on June 17, 2015. [ 33 ] A virtual Console port to Nintendo 3DS released on November 28, 2016. [ 34 ] The let go of was prompted by winnow necessitate for the title, and then-publisher Square Enix had to get permission from the guest illustrators before the re-release could happen. [ 33 ] Characters from Live A Live were featured in 20th anniversary crossovers with the mobile games Holy Dungeon and Final Fantasy Legends: The Space-Time Crystal. [ 17 ] Live A Live remains exclusive to Japan. [ 35 ] [ 36 ] A rumor reported by GamePro was that the entitle was in the first place planned for an english free. [ 36 ] In an interview with the magazine Super Play, Square localization staff member Ted Woolsey said that its overseas spill was unlikely due to its broken graphic quality compared to other democratic titles at the fourth dimension. [ 37 ] A fan translation was created by celebrated on-line translation group Aeon Genesis. [ 35 ] Speaking in subsequently interviews, Tokita felt that his experience with Live A Live helped solidify his direct and storytelling. [ 8 ] [ 38 ] Speaking on the subject of a remake, Tokita said it would depend wholly on sports fan demand. [ 39 ] In July 2020, Square Enix filed a brand for Live A Live in the United States. [ 40 ]
reception [edit ]
Famitsu reviewers enjoyed the plot ‘s variety, but found the graphics lacking compared to other Super Famicom titles of the time. [ 41 ] In its inspection, Micro Magazine ‘s publication Game Criticism lauded the try at its omnibus storytelling vogue and use of popular manga artists, but ultimately felt it lacked meaning and heavily criticized the final chapters and “ imbalance ” between the mature narrative and low-difficulty gameplay. [ 43 ] The game sold 270,000 copies, which at the time was considered a failure compared to the caller ‘s Final Fantasy releases. [ 15 ] Retro Gamer lauded both the omnibus narrative and battle system, but felt that the title was besides brusque ; the magazine concluded that the game was a “ one-of-a-kind experience ” [ 4 ] Jenni Lada, writing for web site GamerTell, included the title in a tilt of the best Super Famicom titles exclusive to Japan, praising its diverseness compared to other titles for the platform. [ 3 ] In 2011, GamePro included it on the list of the 14 best JRPGs that were not released in English, adding that “ rumor has it the game was originally slated for a US spill, making its absence here sting all the more. ” [ 36 ]
Notes [edit ]
- Raibu A RaibuJapanese: ライブ・ア・ライブ, stylized as LIVE A LIVE
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), stylized as LIVE A