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Future Classic

Issue 275

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Retro Gamer

Modern games you'll still be playing in years to come

- Alan Wen

Future Classic

THE BACKGROUND

It would be fair to say that no one expected a game like Clair Obscur: Expedition 33 to turn up in Xbox's Summer Showcase in 2024, or any other showcase. This year already had several other big-name JRPGs on the calendar, such as Metaphor: ReFantazio and Dragon Quest III HD-2D Remake, which proudly follow the genre's traditions of turn-based commands. More divisive was the previous year when Final Fantasy XVI pivoted to full-blown action with perfect dodges and larger-than-life boss battles that feel more like a PlatinumGames joint.

This is not however a traditional JRPG, or at least not one originating from Japan. Rather it's the work of a new studio based in Montpellier, France, founded by a former Ubisoft employee and a core team of mostly juniors - for some, this was their first professional gig in games, such as writer Jennifer Svedberg-Yen (originally cast in a voice role) and composer Lorien Testard. It's a game that pays tribute to the genre but less the pixel-art classics and rather ones from the 3D/HD era that contemporary critics had often dismissed, such as Final Fantasy XIII. The biggest inspiration is undoubtedly Mistwalker's cult classic Lost Odyssey, a rare example of a JRPG with mature characters and themes. That it was an Xbox 360 exclusive also seems to be why it not only made perfect sense for its de facto spiritual successor to be spotlighted by Xbox but to also be a day-one Game Pass title.

THE GAME

Set in Lumière, a fantasy world inspired by Belle Époque France,

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THE MAKING OF OPERATION WOLF

FEW ARCADE GAMES WERE AS IMPOSING, AS ICONIC OR AS INFLUENTIAL AS TAITO'S HIT COIN-OP THAT REDEFINED THE LIGHTGUN GENRE. IN THIS EXCLUSIVE INTERVIEW, THE GAME'S DIRECTOR TOSHIAKI KATO REVEALS THE UNTOLD STORY BEHIND THE MAKING OF THIS ARCADE MILESTONE

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Following the enormous success of the DS, Nintendo didn't feel the need to reinvent the wheel.

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OFFICIAL UK PLAYSTATION MAGAZINE #31

THE PLAYSTATION HAD TAKEN THE WORLD BY STORM AND BUILT AN EARLY LIBRARY OF ICONIC TITLES. NOW THEY WERE GETTING SEQUELS, WHICH WOULD BUILD ON THEIR FOUNDATIONS AND DELIVER SOME OF THE BEST GAMES EVER MADE. THIS MONTH'S DISC FEATURES ONE OF THEM

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HEY, HEY, YOU, YOU, I DON'T LIKE YOUR SOUNDTRACK

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FEELING THE FORCE

Darran looks back at his longtime affection for Star Wars

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There was a time, before online preorders, when a console launch felt like a holiday. You circled the date on the calendar, started saving up your money and cleared your schedule as if the whole thing was a proper vacation. And back then, scarcity wasn't much of a concern. As long as you had a retailer nearby and some patience, you had a fair shot. Then came the Flippers.

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CHRIS ROBERTS DOES STAR WARS

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VERY SMALL VECTREX

David Oghia tells all about the upcoming mini console

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THE MAKING OF LUMINES

FOR OVER 20 YEARS, TETSUYA MIZUGUCHI HAS CHASED THE DREAM OF SYNESTHETIC GAMING WITH SUCH TITLES AS REZ, CHILD OF EDEN, TETRIS EFFECT AND LUMINES. WITH LUMINES ARISE JUST WEEKS AWAY, WE TALK TO THE LEGENDARY GAME CREATOR ABOUT THE MAKING OF HIS ORIGINAL MUSICAL PUZZLER

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Issue 278

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