DS The World Ends With You (RPG, Square-Enix)

melhora. eu passei o primeiro dia e nao gostei, o segundo nao gostei, no 3 ja comecei a gostar mais, e ate nao ta a ser mau :P vou no boss do 5º
 
CoolMaster disse:
Acho que o ponto fraco neste jogo é a historia, demasiado drama teen para o seu bem! As vezes chega perto dos niveis de qualidade dos morangos com açucar e isso não é bom.

Outra coisa que não gosto muito é do estilo de musica, não é que seja de má qualidade ou desadequado ao jogo.. simplesmente foge dos meus padrões de boa musica.

De resto estou a gostar muito, estou com umas 15h de jogo e vou no primeiro quarto do dia 7.
Clicar para expandir...

no inicio tambem pensava que era uma historia muito po morangos com assucare,mas depois houve la uns twists marados,e depois de acabar a historia ainda há muita cena para fazer para se perceber melhor a historia,porque no fim ficas um bocado wtf?! e dá-te uma vontadinha de descobrir mais,
 
Joguei um pouco este jogo na DS da minha namorada, e de início o combate comeu-me a cabeça. :-D Depois de me habituar (e de levar uns puxões de orelhas porque já não estava a ligar 100% à namorada), lá me habituei e ficou a ideia de que é um sistema bem fixe, gostei por acaso. Gostei do estilo do jogo, da direcção artistica, mas não gostei da banda sonora, e pelo menos naquela zona onde eu estava, tinhamos de lutar, ouvir diálogos, etc, sempre com os mesmos 5 segundos de música no fundo a tocar... Irritante!

Resumindo, ainda bem que a namorada comprou, porque assim escuso de gastar o meu dinheirinho, e sempre o posso jogar! :-D
 
Última edição:
ja acabei o jogo a uns tempos

assim que acaba ap rimeira a semana comecasse a ficar muito mais agarrado a historia e a descobrir porque e que as coisas sao assim no jogo, entretanto demorei 3 dias a passalo :P depois de acabar o jogo ainda e muito extra pa entreter, que eu nao fiz :P
 
Tive a oportunidade de comprar este jogo agora e pensei que ia o devolver no dia a seguir porque não gosto nada de RPG's por norma, nunca tive grande paciência ou gosto pra FF's e afins :P
Mas este sem duvida que me surpreendeu pela positivo, apesar de ao principio parecer um bocado serie infantil :confused: agora está bem melhor e sinto-me um pouco agarrado! :lol:
Finalmente um jogo da Square que me agrada, não que os outros sejam maus, de todo. Mas não me conseguem agarrar! Ou seja depende do tipo de RPG que seja, agora espero ansiosamente pelo Kingdom Hearts 358/2 Days :009:
 
Duvido... e explico porquê: como qualquer novo IP, o TWEWY vendeu abaixo do normal nos RPG DS... e a square veio logo mandar a boca que seria a última coisa do género que teríamos e que agora era FF's e DQ's pá carola.

Na minha opinião, a verificar-se... seria algo inteligente por parte da Square, o que seria de estranhar. E da minha parte bem vindo.
 
Postmortem no Gamasutra:

Postmortem: Square Enix's The World Ends With You

[In this rare postmortem, originally published in Gamasutra's sister Game Developer magazine, the creators behind acclaimed DS title The World Ends With You at Square Enix and Jupiter describe exactly what went right -- and wrong -- while making the innovative touch-screen title.]

The World Ends With You was our team's first game for the Nintendo DS -- a platform that we felt had limitless possibilities. The three of us who were primarily responsible for the game had previously worked as artists for the Final Fantasy and Kingdom Hearts series, but had never directed a game before.

The game wound up taking two years to develop, which is a considerable amount of time for a portable game, and was a continual trial-and-error process throughout. We feel that the resulting project was eclectic and ambitious, but not different just for the sake of being different.

What Went Right

1. Getting to go wild with original IP and gameplay concepts.

The project began with constant brainstorming and idea-sharing between the three of us. As this was our first game as directors, a healthy dose of paranoia prompted daily brainstorming meetings. These sessions established a strong sense of camaraderie and led for better overall communication, allowing us to constantly meet our deadlines without any serious delays.

From the beginning we were determined to create an original IP -- something that wasn't another Final Fantasy or Kingdom Hearts. This led us to choose the Shibuya district in Tokyo as the game's setting.

At first we thought the Shibuya locale would be a turnoff to overseas players, but the district's uniqueness adds a certain reality and depth that we couldn't have recreated in a fantasy setting, and it lets players identify more with their in-game counterparts, who are fighting for their lives in the "real world."

It turns out we were successful -- even a year after the game's Japanese release, hardcore fans are still organizing tours of the real Shibuya to compare it to the game world.

2. A story created by committee (and free of those pesky RPG plot holes)!

Like all other aspects of development, story development was done by committee. Each director was given his own writing team, which brainstormed over the general story background, plot, and other elements.

Because the over arching story has the player trapped in Shibuya, the story needed an air of mystery about it, so the team was determined to avoid any plot holes.

One contradiction in a story like ours could bring down the house of cards, so the team worked carefully to keep the storyline locked down. The game's designers took part in the writing process as well, ensuring that as many eyes as possible went over the plot, searching for holes and offering input from every conceivable angle.

After the final story was in place, we had our Q&A department go over everything as a final failsafe. To our surprise (and horror), they tracked down several inconsistencies we had managed to miss during our multiple checks.

Their diligence reminded us of how critical it is to view the game from the player's perspective -- and these extensive preliminary story checks are becoming a standard at the company.

3. Implementing a player-controlled risk vs. reward system.

Many agree that the standard JRPG formula of walking around the field and grinding (or running away from monsters that aren't worth your time) can get monotonous and build up player stress.

Another issue on the development side is that tuning combat difficulty takes excessive amounts of time, and there's no guarantee that a designer's ideal difficulty is the same as the player's.

Our solution was the "Active Encounter" system, where players can choose how many enemies they wish to fight and when. This removes mandatory battles with "trash mobs," and allows the player to control the risks and rewards of battle.

Harder battles yield better loot and more experience points. This let players of varying skill levels enjoy the game beginning to end -- at the cost of some game balance.

4. Going full-bore 2D.

Modern settings are rare for Square Enix titles, so we had to make sure our art style would stand out from other titles -- and to keep the entire game in 2D.

Most games go for the 3D approach, but we felt we couldn't fully express ourselves on the DS if we went the polygonal route. 2D graphics can really "pop" on the DS's small screen, and we wanted to have lots of wildly shifting and morphing monsters. The game's "Noise" creatures have colorful tattoos that dynamically change shape and attack the player.

We also made an effort to make the backgrounds as faithful to the real city as possible. The entire staff went on location to Shibuya and walked its streets constantly, taking note of interesting areas where battles could go down, and what specific landmarks to highlight.

Background artists spent extensive time on location, making sure not just to trace what was there, but more actively capture the overall look and style of the city. (See accompanying photolog, below.)

5. Working closely with our middleware provider to cram a full vocal soundtrack into the game.

From the very beginning, we wanted to include a variety of musical genres that fit the mood of walking around Shibuya. Given the limitations of DS game cards, we initially hadn't even thought of using vocal tracks, but we wound up implementing CRI's Kyuseishu Sound Streamer.

This middleware had only been used for voice compression in the past, and this was the first time anyone had used it for music. We were blown away when we heard the first vocal track coming out of the DS, and realized we'd be able to include a full digital soundtrack.

We removed the pre-rendered movies and replaced them with Flash-style sequences, which freed up cartridge space to include over 30 songs. In the end, about 1/4th of the game ROM consists of compressed music data. This was an example of how trying something new really paid off.


(click for full size, including specially prepared in-game location key)​


What Went Wrong

1. Time management and development culture clash.

The game was developed by Square Enix in Tokyo and Jupiter in Kyoto. While we originally commissioned Jupiter as the developer, we wound up with more creative crossover than we thought.

The Square-side directors got involved in the gameplay design elements, while Jupiter went beyond the call of duty and assisted with the game planning. The cooperative endeavor resulted in a fantastic product, but it came at a price.

Square and Jupiter have very different development cultures, but it took us a while to realize it. We assumed all companies' development processes were the same -- that our way was the standard. Once we met up and reached a consensus on how to do things, work proceeded much more smoothly.

Geographically, we were very distant as well -- it takes about two hours to get between Tokyo and Kyoto via bullet train. It was critical that we met in person, but this ended up costing us time, and it hurt the schedule at every step.

We had weekly telephone conferences, but it was hard for us to "read" each other over the line. Sadly, we were unable to do video conferencing, which I believe would have resulted in a more open, jam-session sort of feel.

2. Story creation scheduling.

Even though we were happy with how the story turned out, the process started going smoothly only halfway through the project. When we started, we were plagued by confused direction and constant rewrites by the scenario staff.

Changing plot elements mid-project is risky business, and we were making tweaks to the scenario all the way up until just before master submission!

We were able to pull it off because the game didn't contain a lot of voice -- if it had been voice-heavy, we would have had to lock down the scenario far earlier.

Although it's obvious that the scenario should be put together early on in the development process, it also takes time to create something that's truly interesting. Maintaining this balance is extremely important.

3. Overloading the player with new concepts and game systems.

We made three big mistakes with some of the gameplay concepts we implemented. The first issue was how the player could "scan" the thoughts of NPCs. We should have integrated this into the story more, because it never really related to solving puzzles.

I can't say the whole system was unnecessary, but it could have been integrated much better. If there is a sequel, this is something we'll need to work on.

Another stumbling block was the special attacks in the dual-screen battles. To activate the special attack, you play a card-based minigame on the top screen.

We wanted to drop the system in lieu of a gauge that fills up as the player uses normal attacks. We were hoping to fix it for the North American release, but we ended up not having enough time and went with the same system (with reduced difficulty).

The last issue was partially fixed for the North American version. Anyone playing the Japanese version was forced to wade through pages of tutorials. With all the new systems, the players had a lot to learn, and "the wall of text" was hard for people to absorb all at once.

I think the chaotic state of all these new systems confused the heck out of Japanese gamers. In the North American version, we trimmed down the text as much as possible, and made the tutorials skippable.

4. Dual-screen battles, or "What's going on here?"

The original concept of dual-screen battles came from creative producer Tetsuya Nomura, but it was easier said than done.

Fighting battles on the lower screen using the touch panel was our original concept, and turned out as well as we expected. But our biggest headache stemmed from the battles in the upper screen.

We threw a number of ideas at the wall to see what stuck, like command-based battles or even music games. At first, we were determined that the player would have to fight on both screens at once, but after trying out a few systems we realized the error of our ways.

Why did we have to make the user do anything in the upper screen at all? Once we left our creative egos at the door and looked at things through the player's eyes, we realized what was wrong.

We had to make the user want to fight on both screens, but still provide the automatic combat if they elected to avoid it.

This sped things up and we arrived at the battle system we have today, where the player can simply let the battle progress in the upper screen by itself, or actively fight using the control pad. I regret that we hadn't come up with this solution earlier.

5. Animation quantity and quality.

The biggest problem with going fully 2D is the animation costs, and heavy amounts of animation were required for our battle sequences. To reduce our workload, we created a polygon-based template for the main character Neku and some of the larger monsters. We rendered out some simple animated models, and rotoscoped the 2D pixel art on top of it.

The tattoos on the "Noise" monsters were another headache, since the sprites moved and shifted with each frame of animation. It took a while for the whole team to agree on how each tattoo should change and lock down the data set.

Additionally, with so many people on staff, we had difficulties maintaining a quality standard for the animation. We naturally wanted everything to look cool and modern, but "cool" is subjective, so strong direction was a necessity -- so, as the animation director, Tatsuya Kando had to take a trip to Kyoto to visit Jupiter every week to check on how things were going.

worldends_staff.jpg

The World Ends With You directors from left to right: Tomohiro Hasegawa (co-director), Tatsuya Kando (director), and Takeshi Arakawa (planning director).​


Lessons Learned

The main challenges in our project were trying out new ways of expressing ourselves, and maintaining quality while keeping an eye on costs -- an always daunting task.

Given the opportunity to do it again, we'd be able to work faster while keeping a high standard of quality. The hardest aspect is determining the staff's skill level and planning for it to allow for accurate time and cost estimates.
Clicar para expandir...
Fonte: http://www.gamasutra.com/view/feature/4010/postmortem_square_enixs_the_.php

:D


EDIT: Second Playthrough do The Grind:

Once More Into Shibuya

When I plugged in The World Ends with You for the first time last year, I wasn't expecting very much. I was giving it a try because it was something new from Square Enix, but I was also rolling my eyes at Nomura character designs with everyone else. Also, the fact that the word "bling" made an appearance.

What I didn't expect was a game that ended up being my favorite RPG of 2008 -- even my personal "Game of the Year." I found myself as touched by the game's themes as I was impressed by the stylish presentation, and I thoroughly enjoyed pretty much everything having to do with the shopping. Basically, I was hooked from the very beginning.

Since finishing the game last year though, I haven't been back. It isn't that I've soured on the game or anything, it's just that I've had plenty of other games to keep me busy over the past year or so. In order for a game to enter my personal pantheon though, I usually have to finish it at least twice, and love it even more the second time. That was the case with everything from Super Robot Taisen W to Final Fantasy VIII, and I'm hoping that will be the case with TWEWY.

Thankfully, things have gotten off to a relatively good start. Playing whenever I have a couple spare minutes during E3 (read: not much), I've managed to make it to the fourth day, and I've been enjoying myself quite a bit. I'll grant you that the art style makes me wince a bit, and that the music is a little more repetitive than I remember, but otherwise it's held up pretty well. Considering that I've basically made it out to be the best RPG that I've played in the past ten years, I consider this a good thing.

My second run also has the added benefit of a minimum of frustration. As I'm quite familiar with the battle system, I've been able to breeze through the battles that gave me trouble the first time around, simply because I know which badges work and which ones don't. I'll admit it -- I don't like having to think too much about the game itself when I'm playing. I'd much rather soak in the scenery, and see if I can't notice things that I might have missed in the past.

Granted, I haven't noticed much new in TWEWY, aside from the appearance of certain characters that I didn't really notice in the past (I saw Joshua near Hachiko early on), but it's fairly early. For now, I'm soaking up the scenery, feeling a bit homesick for Shibuya, and simply enjoying myself. Considering that it's often difficult for me to finish a game once, let alone twice, that may make The World Ends With You even more special than I thought.
Clicar para expandir...
Fonte: http://www.1up.com/do/blogEntry?bId=8992617&publicUserId=5725436


EDIT2: Outro artigo do The Grind:

The World Ends With You: Some Much Needed Variety

The World Ends With You's soundtrack manages to better most RPG soundtracks on pretty much every count. It's catchy, but there's also a lot more of it than just that. In fact, there's a half dozen or more tracks allocated to the battle system alone. And all this on a Nintendo DS cartridge.

Obviously, programming for the DS doesn't quite afford the freedom of a PS2, or even a PlayStation game, simply due to the memory constraints. In fact, the first time I played Elite Beat Agents, I was shocked and overjoyed to discover that DS cartridges could support vocals at all. I realize that compression techniques have improved considerably over the years, and that 128 megs is ample space for a decent number of songs. But, for whatever reason, I just didn't think it was possible until that point. I think the years spent with the NES had something to do with it.

Nevertheless, 128 megs is a lot of space, but it's not unlimited space. Hard decisions have to be made -- the sort that can ultimately make or break the experience. The TWEWY developers apparently decided to put a heavy emphasis on music (Neku's omnipresent headphones might have something to do with it), and I think they made the right decision. It certainly makes a bigger difference than yet another choppy CGI cutscene.

TWEWY's music ends up being important in a couple different ways. First, it does a good job of matching the setting -- walk into any Tsutaya in Shibuya, and I can assure you that the music you hear will be much the same as that found in the game. Second, and most importantly, it keeps the battles interesting. The power to "chain" battles is granted early on, meaning that several battles can be fought in a row. With the potential for up to four battles to be chained, a single encounter track would have gotten tiresome in a hurry, but TWEWY's multiple battle themes go a long way toward alleviating any boredom.

It also helps that the music is generally quite good on its own. Like Persona, it's often catchy and extremely upbeat. There's also a great of room for variation, with styles ranging from straight JPOP to something vaguely like Japanese hip hop. I'm not sure that I would put the soundtrack on my iPod or anything, but as far as video game music goes, I've certainly heard worse.

Ultimately, I'm not a music critic, so I can't really go into as much detail as I would like when it comes to explaining why TWEWY's music is so good. I'll simply say that I know what I like, and that music plays an enormous role when it comes time for me to form my opinion of a game. The quality of the music can either save it, push it to the next level, or completely break it. I'm happy to say that TWEWY is already an excellent game, but that it's wide range of music really helps make it something special.

Like Neku, I simply can't imagine battling noise in Shibuya without a pair of headphones.
Clicar para expandir...
Fonte: http://www.1up.com/do/blogEntry?bId=8994115&publicUserId=5725436
 
O inicio do jogo é bastante calmo e tens de ter um pouco de paciencia para ler e entender o jogo. Depois disso torna-se bastante bom. Um dos únicos factores negativos, é a banda sonora que é horrivel!
 
The World Ends With You da Nintendo DS poderá receber uma sequela.

A personagem principal do jogo, Neku, apareceu no trailer TGS de Kingdom Hearts Dream Drop Distance, e naturalmente muitos jogadores ficaram curiosos.

Numa entrevista com a revista Famitsu, Tetsuya Nomura, um dos produtores do jogo, revelou que a aparição da personagem poderá ser vista como algo que está para vir. Em seguida, disse que algo está a ser feito.

Nomura não disse especificamente que será uma sequela ou que um novo jogo está em produção, mas as suas palavras indicam para isso.
Clicar para expandir...

Fonte: Aqui

Para os fans aqui tem uma boa noticia.
 
Alguém sabe se ainda se consegue encontrar este jogo numa loja física?

Para ser sincero, nunca o vi à venda cá em Portugal. No entanto, já ouvi falar tão bem dele que continuo à procura do mesmo para ver se o compro...
 
Chiça que o jogo é difícil. Para alguém com défice de atenção, como é o meu caso, torna-se quase impossível de gerir os dois ecrãs. Mas acredito que vai melhorar e com o tempo dominarei isto.
 
Comecei a jogá-lo há umas semanas, mas essa questão dos dois ecrãs fez-me pô-lo de lado. Não me consegui habituar à coisa, e acabava por deixar sempre a personagem de cima em automático... Se calhar daqui a uns tempos volto a tentar.
 
manelis disse:
Mete o de cima em auto e joga o jogo pela história.
Clicar para expandir...

Chegaste a dominar a mecânica? Não é algo que me fará desistir do jogo, pois estou a jogá-lo pela estória, não fosse este um dos melhores JRPG´s que passaram para este lado do oceano nos últimos tempos.

O próprio sistema de roupas, fins, popularidade das marcas e afins é um bocado confuso. Complexidade é coisa em abundância. E ainda bem.
 
Inicie sessão ou registe-se para poder participar.
Back
Topo