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Ni no Kuni II: Revenant Kingdom Review — Another World, Another Wonder



Ni no Kuni II logo (Level-5)

In the realm of video games, sequels tend to be iterative rather than revolutionary, building on successes, refining shortcomings, and extending stories. The vaunted Final Fantasy series has long been the most prominent exception to this rule—instead introducing new characters, worlds, and mechanics with each mainline entry—and Ni no Kuni II: Revenant Kingdom largely follows Square Enix’s blueprint. Rather than bringing back Oliver, Mr Drippy, and the remainder of the original cast, this follow-up, more than six years in the making, lets go of the past to present gameplay and a narrative that is all the stronger for standing alone.

One of the most immediately noticeable elements of Ni no Kuni II is the breakneck pace. The story begins with a cold open, introducing new audience surrogate Roland via a brief, almost wordless scene that engages the player very differently from—yet equally as intensely as—the emotion-heavy opening hour of the previous game. However, Evan Pettiwhisker Tildrum is the real hero of this tale, and the game wastes no time in deposing the fledgling king and setting him on a quest to build a new world. This process is a little laboured, but the writers at Level-5 generally do a fine job of justifying the diversions that the party must undertake before being able to reach its ultimate goal. Additionally, the way the story is constructed ensures constant forward momentum, pushing players on to the next plot point and objective without demanding a grind, making the title immensely playable. By turning the focus away from revenge, the narrative is both more wholesome and more hopeful than most that share a similar premise.

This tendency towards innocence was also a hallmark of Ni no Kuni: Wrath of the White Witch and, despite having few direct ties, the two games clearly share a lineage. As in the original, the sequel has players beginning their journey in Ding Dong Dell, a homely city-state governed and populated by cat-human hybrids called Grimalkins. With the palace caught up in a coup, Evan and Roland must use a mixture of stealth and brute force to escape and step into the rolling hills and sprawling meadows of the Studio Ghibli-designed world. Beyond this basic opening structure, Ni no Kuni II typically avoids revisiting the ideas of the earlier game. While some callbacks are present (and sure to be welcomed by fans), the title tends to explore wholly new aspects of the lore and weaves a tale that needs no knowledge of Oliver’s quest to enrapture the player.

Ni no Kuni II Roland

Studio Ghibli’s signature art style is key to this ability. Although the famed anime house has not been directly involved in this sequel’s production, its spirit permeates every aspect. Perhaps the greatest disappointment is that Level-5 has jettisoned the hand-drawn cutscenes in favour of computer-generated ones. This decision means that the story scenes are smoother than Spirited Away, Howl’s Moving Castle, or Arietty ever were, but the removal of the rough edges takes away some of the expressiveness. Nonetheless, the style remains as charming as ever, as well as being entirely unlike anything else in AAA gaming. For overworld exploration, the visuals transform, adopting a chibi style that manages to be even more endearing than the wide-eyed wonderment of the regular anime graphics. Coupling these eye-catching flourishes with a flawless technical presentation makes Ni no Kuni II into one of 2018’s most captivating projects.

A similar standard of excellence is present across most aspects of the audio. Level-5 once again uses a largely British cast to bring its world to life, but more important than the accent is the delivery. Each spoken line carries an unidentifiable something that effortlessly evokes a childlike sense of whimsy capable of investing the player within the fiction as readily as do the visuals. Not every piece of dialogue is vocalised (and the game sometimes switches between voiced and unvoiced conversations within a single scene, which can be disorienting), but, given the game’s 100-hour-plus playtime potential, this design choice is no real shortcoming. Meanwhile, frequent Studio Ghibli collaborator and Japanese Medal of Honour holder Joe Hisaishi’s score is entrancing. From the threatening tones in Ding Dong Dell and Cloudcoil Canyon to the more relaxed tunes in The Heartlands and beyond, the music ebbs and swells perfectly to reinforce the mood of relevant story beats. However, the balance of the soundtrack can sometimes drop, with particular pieces, such as the battle tunes, playing when they should not.

Although Ni no Kuni II is more ambitious than its predecessor in almost every way, the biggest changes stem from the core gameplay systems. In the typical RPG mechanics of armour and weaponry, the title remains almost distressingly streamlined thanks to a fairly linear approach to stronger equipment. However, this simplicity belies almost unparalleled complexity. As the story progresses, players unlock a host of additional systems that both allow them to tailor their playstyle to an incredible degree and introduce entirely unexpected mechanics. Among the latter is the process of building a kingdom, which includes city management and an RTS-inspired skirmish mode. Neither of these systems is as deep as may be found in a game dedicated to the genre, but they add some very welcome diversity to the central ideas of exploration and battle that help to keep the pacing sublime. Players also have access to a bestiary of 50 ultra-powerful Tainted Creatures that can be tackled for high rewards. Nonetheless, the wealth of systems can, at times, leave Ni no Kuni II feeling as though it lacks a sense of cohesion.

Ni no Kuni II gameplay

Meanwhile, combat has been entirely redesigned. Gone are the ATB-based battles, replaced by a real-time system that is a little more difficult to come to grips with, particularly as the multitude of moving parts unfold. Each of the three playable characters in a party can hold up to four weapons (including a ranged sidearm) that can be switched between on-the-fly. Ni no Kuni II encourages weapon swapping through the ZING gauge, which, when full, powers up the special skills that the character has access to. Additionally, as the game progresses, players can find and unlock 100 elemental spirits known as Higgledies that act as additional party members in battle. Although direct control of these creatures is out of the question—unlike the Familiars from Wrath of the White Witch—the main character is capable of calling on them to activate special skills at certain points in battle. In isolation, each of these mechanics would make for an engaging  combat system, but together, they can be overwhelming. Against standard enemies, balancing these processes of attacking, switching, and activating is simple enough, but higher-level adversaries (and particularly boss) often move too quickly for the player to be able to balance the various factors as effectively as required. Again, this issue stems back to the development team’s attempt to pack in a fraction too many ideas. Whether this tendency is a shortcoming will ultimately be up to the individual user. A parent looking to introduce their child to gaming will find the title too complex to be a gateway despite the perfect presentation, while a hardcore RPG fan looking for something outside the normal po-faced stories will experience a game that sates every possible desire.

At worst, Ni no Kuni II: Revenant Kingdom is a victim of ambition. The sheer number of ideas and the volume of content packed into the game is jaw-dropping, but can cause confusion. Nonetheless, familiarity breeds contempt, so Level-5’s decision to keep things fresh throughout the expansive adventure must be commended. Considering that such a noble goal is attached to a game that, on the surface at least, is targeted towards children makes it even more impressive. However, the reality is that Ni no Kuni II: Revenant Kingdom is an incredibly powerful title that has the potential to appeal to people from all walks of life. The game’s excellence should not be underestimated.

Reviewed on PC.

Damien Lawardorn is an aspiring novelist, journalist, and essayist. His goal in writing is to inspire readers to engage and think, rather than simply consume and enjoy. With broad interests ranging from literature and video games to fringe science and social movements, his work tends to touch on the unexpected. Damien is the former Editor-in-Chief of OnlySP. More of his work can be found at


ZED Review — A Boring Walk



ZED Review Screenshot 1

Players intrigued by the premise of ZED will have to look elsewhere for a game that delivers on the promise of an emotional journey set amidst surreal landscapes. Although the game does have fascinating visuals, the lack of any real gameplay makes the entire experience dull and uninspiring. However, despite being an altogether terrible experience, the ending is still somehow emotional.

ZED tells the story of an ageing artist suffering with dementia who must recover his lost memories  to create one final artwork for his granddaughter. The player assumes the role of the artist, stuck in his own twisted mind, to collect important objects from the course of his life and bring him peace.

Gameplay entirely consists of two things: walking around to find objects and solving basic puzzles. In all of the game’s areas, only four objects are to be found. Finding the objects is an incredibly simple task in most levels as the design is linear and leads the player along a path or through a small collection of rooms to find these items. Occasionally, one of the objects will be placed in a ridiculous location. Breaking the linearity in this way is incredibly frustrating and forces the player to backtrack and find hidden paths that are not immediately obvious. As for the puzzles, they take seconds to complete even without searching for the striking blue solutions on the walls of the level. Such a simplistic and unoriginal gameplay loop makes the incredibly short game boring to play through.

The environments are genuinely fun to look at and do a brilliant job of capturing the mayhem inside the mind of a man whose memory is failing him. Disappointingly, the game has no interactive elements within the environments beyond the key items, toilets, and plush toys. Even then, interacting with these objects requires specific mouse placement, which is almost impossible to predict as a cursor has been omitted for the sake of immersion. The game has many quirky assets, yet the lack of interactivity makes them feel worthless.

Eagre Games tries to create an immersive experience, though falls flat for a number of reasons, the most annoying of which is the load screens. The player progresses the story by unlocking doorways to reveal the next scene. However, after getting this glimpse of art, the player is thrust into a brief black loading screen which ruins the point of revealing anything at all.

The narrative is told through voice-overs that belong to the protagonist’s daughter and two different sides of his deteriorating mind. Subtitles are turned off by default, yet, without them, the player has no way of knowing that the artist’s voice is represented as a dual identity. What is being said makes little sense as is, let alone without the context of a warring ego and id.

By the end of the game, the player just wants to see the result of this painful object search and, surprisingly, the conclusion is overwhelmingly touching. Against all odds, ZED somehow manages to finish on a high that acts as a reminder that anything is possible if you chase your dreams.

The ending is the only redeeming feature of this boring experience. ZED is short, uninspired, and disappointing. For a game that sounded so promising, weak gameplay prevents it from having any real emotional impact. Hopefully, the strong development team at Eagre Games will learn from its mistakes to create something that is as fun to play as it is to look at.

OnlySP Review Score 1 Fail

Reviewed on PC.

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