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Hashimoto says that while the two games will be very similar, Lost Sphear will also feature some improvements based on the feedback from the first game. It’s especially startling when an entire village or forest is simply erased from the map, which happened at the very end of my demo. Also key is the visual effect when something is “lost”: it completely disappears, with a blank white space in its place. Lost Sphear is brighter and livelier with an emphasis on greens and blues that makes the world a touch more inviting. I Am Setsuna had a cold, autumnal vibe, with lots of reds and oranges, and other areas that were completely covered in snow. The color palette also makes a big difference. As I explored the quiet village during the opening, I came across a phone booth and what looked like an old-timey popcorn machine. For one thing, the locale feels more modern, and less like a traditional swords-and-sorcery fantasy realm. That said, Lost Sphear takes place in a completely new world, and has a slightly different vibe. It’s a phenomenon known as being “lost.” It feels like a setup with the potential to evoke the same kind of sweet, sorrowful moments that made I Am Setsuna so poignant. If those memories disappear or are removed, the person, place, or thing will disappear. According to Hashimoto, the defining narrative conceit of the game is the idea that everything in the world - from people to objects to places - is imbued with memories. There’s a huge bell in the center of town that is only rung when a monster is spotted.
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They live in a peaceful, friendly village that’s surrounded by an untamed wilderness full of monsters. The game opens like a typical RPG: your character awakens to discover that his best friend has gone missing. I was able to play through a brief 30-minute demo of the opening of the game, and it felt instantly familiar.
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Lost Sphear looks to follow much the same blueprint as its spiritual predecessor. I Am Setsuna is a wonderful throwback to the golden age of Japanese RPGs How Japanese video games made a comeback in 2017 Nowadays you don’t see many of those kinds of RPGs out there, so it was good to see that there is an audience who wants to play them.” “We wanted to make the kinds of games that really affected us as children. “It gave us a lot of courage and confidence,” Hashimoto says of the reception to I Am Setsuna.
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And its success resulted in a follow-up, Lost Sphear, which launches early next year. It featured a sorrowful story, memorable characters, and an acclaimed soundtrack. Last year, under Hashimoto’s guidance, the studio released I Am Setsuna, a game that was designed explicitly to evoke the same kinds of feelings Hashimoto had had playing RPGs as a child. In 2014 he had the chance to bring them back as the director at Square Enix’s Tokyo RPG Factory studio. But Hashimoto never forgot about the games that helped define his relationship with the medium. As he grew older, classic-style Japanese RPGs largely went out of fashion, replaced by a combination of big-budget action games and smaller mobile titles. He was particularly enamored with the works of Squaresoft, now known as Square Enix, the developer behind 16-bit classics like Final Fantasy and Chrono Trigger. He’d settle in front of the television for hours, controller in hand, lost in quests full of magical spells and powerful evils. When Atsushi Hashimoto was a kid, he loved role-playing games.