Coming in at just under three hours, this documentary is an incredibly comprehensive look at the ground-breaking work the Playstation system did in helping to shape the current video game market.
Created by filmmakers Anthony and Nicola Caulfield, ‘The PlayStation Revolution’ is the third film in a series of hidden stories around gaming’s greatest accomplishments. And it wouldn’t be as comprehensive a history without the stories from the people who were there on the front line, with those contributing on camera including Hideo Kojima, Mark Cerny and Jim Ryan.
Whilst it might have been more accessible as a Netflix series, split into twenty-minute episodes for easier digestion by an unfamiliar audience, anyone with even a passing interest in Sony’s creation is bound to find this informative and engaging.
For those wishing to read my 2012 article on the original Final Fantasy VII, including facts about that games development and what the franchise means to me, please feel free to check out the link http://waynegmadden.com/final-fantasy-vii-ps1
As already discussed in a previous article, there is no game which – for me – holds more nostalgia and delight, than that of Final Fantasy VII. Indeed, even in 2019, I was still downloading the XBox One port of the title and the Nintendo Switch port of the title; both to examine and criticise the engines of these systems whilst (believe it or not) still exploring the game on PS1 and through emulation on PSVita. You could say I’m a little obsessed.
A remake of the original game – released in 1997 on PlayStation – has actually been in discussion for almost as long the game itself. It was first decided that Final Fantasy VII, VIII and IX would be remastered for the PlayStation 2 in the early 2000s. It was said the games would be sold separately and not really much more beside, though it was evident from the beginning that it was the 7th instalment fans were most eager to get their hands on.
In 2005 and then again, on the games 10th anniversary, in 2007; there was conformation that a reboot of the seventh instalment was being planned. However, other projects demanded precedence, and so Square were unable to comment further on when the games would see the light of day. Soon, in light of other developments and the PlayStation 3 – and even 4 – many simply forgot that the title had been promised, especially when other ports of the original on current generation consoles started to appear as a viable experience.
However, there were four people who never forgot. At a meeting between the four men most responsible for the game; producer and series creator Hironobu Sakaguchi, director and co-writer Yoshinori Kitase, artist Yusuke Naora, character designer Tetsuya Nomura, and writer Kazushige Nojima – all agreed they’d reached “that age” and if waiting longer, it could potentially be the case they’d be too old to work on a reboot at all. This led to an understanding that it was now or never. The official announcement came in 2015. It was happening.
When you think of the scope of this project, similarities can be drawn with Guns N’ Roses ‘Chinese Democracy’ album, if only because the online community became so transfixed on it’s legendary and mythical appearance. In the same vein, many began to consider that the project might never be released, and since we live in an age where consumers are used to receiving something almost immediately after it’s announced – the idea of waiting for anything seems unrealistic. But FF7 wasn’t just any game, it was a title Sony had initially spent 1 Million Dollars promoting prior to launch in 1997. And whose original budget had exceeded 40 Million Dollars.
Additionally, whilst it might be able to count on the automatic support of a percentage of gamers, it was newer/younger players that the title also needed to capture, considering their wants and needs – people unfamiliar with the story, the nostalgia and the game play. This was, of course, just part of the reason for the Switch and XBox 1 ports, they allowed the current generation to capture as much of the PlayStation’s original magic as possible – whilst also lining pockets and using the market research data.
Rival games like Last of Us, God of War and Spider Man also played their roles; there was absolutely no point in Square – or Sony – releasing this game at a time when the majority of gamers might be interested in another similarly exclusive title. Like the original, this game needed to be centre of attention, though perhaps even more so – since there really was so much more to prove this time around. And there was twice as much pressure.
With Kingdom Hearts 3 another main focus for Square Soft, the studio couldn’t give full attention until Final Fantasy VII until this project was completed, leading to rumours that the project had been scrapped at some point in late 2017. These rumours were always denied, but it wasn’t until May 2019 that the first teaser trailer was announced – and again it wouldn’t be until June that any playable functionality was shown – but when this happened, it won several awards at E3 2019 including ‘Best Console Game’ before it had even been released.
Pushed back in January 2020, due to concerns over tweaking the titles already mammoth production, fans were treated to a playable demo. We played the games first chapter – within the Shinra reactor – as Cloud Strife teamed with Avalanche. There is no denying that the game looked incredible and those first moments were a chance to actually control the modern day Cloud for the first time. But would it still be enough to make sure that the game became the long awaited worthwhile success?
In it’s first three days, it shipped and sold over 3.5 million copies, fears were somewhat dissipated. In all, it had become one of the single biggest game launches for the PlayStation 4.
For those unaware, Final Fantasy VII takes place in the fictional city of Midgar, you play as Cloud Strife – a mercenary who takes a job with environmental terrorists Avalanche. Avalanche is led by Barrett Wallace and their mission is to help aid the planet, by stopping the use of Mako, a natural energy source harvested by the Shinra Electrical Corporation. Cloud is a former SOLIDER operative, who are the private guard of Shinra, and upon the request of childhood friend Tifa Lockheart decides to assist Avalanche on their plight. Cloud has his own demons, however, plagued by the death of another SOLIDER operative, named Sephiroth; known as one of the greatest warriors who has ever lived, he is struggling to come to terms with this and his own past.
The game’s original incarnation took you from Midgar to the world, literally traversing the games map across several continents. In this remake, you play about 10%-15% of the original title, and only perform the original Midgar missions, whilst at the same time expanding upon that initial story and going further into the details of the timeline. This gives for a rather unique perspective, allowing the player to focus on the initial missions (which they remember) but also including ‘Director’s Cut’ style components that the game simply wasn’t able to facilitate at the time, for a number of reasons.
Storytelling has also been altered, in some cases drastically, in order to atone to the wishes of both the online community and also the wishes of its creators. A great comparison for this would be Christopher Nolan’s Dark Knight Trilogy, which effectively modernised and ‘reinvented’ the idea of Batman in a modern setting. By taking a more authentic approach to their franchise, Final Fantasy VII is a more believable story; and that might seem strange from a game that is effectively a classic JRPG; but it’s one which originally strove to break rules and boundaries on it’s initial release and looks to do the same here.
A few months ago now, I convinced my partner that purchasing a new Xbox One was the right move to make, and although I’d had Xbox consoles in the past, this one would be the first “all digital” console I’d ever owned.
For many years now, I have had a love hate relationship with gaming, in that although I find it an enjoyable pastime, I am also driven to frustration by it.
Unlock-able levels, progression through games, the achievement of trophies and much more besides means that – at times – gaming has left me in equal parts elated and enraged. And although I fully recognise the general price of new release games haven’t risen that much in the past 20 years, in comparison perhaps to other entertainment mediums, I still feel rather upset if I purchase a title for £50 only to later find I can’t get past Level 1.
This is actually something of a shared experience I’ve inherited from my father. In 1991, he purchased a copy of ‘Terminator 2; Judgement Day’ published by Ocean on Commodore 64. I still have firm memories of the family gathering around to play the game at the time – I can’t have been more than 6 or 7 – and haunted by the lack of progression past Level 2, as John is chased by the T1000 into a storm drain. It never prevented me from (much) later enjoying the film, granted, but it was an early example of how sometimes a pastime can be the most frustrating thing in the world.
So, what has all that got to do with Digital Gaming?
Well, my Dad was a member of a social gaming network, and they frequently met to trade games or discuss titles between themselves. Long before the Internet, this kind of gathering was very much in the first person and a monthly basis in a local marketplace. But the format has not changed at all, since members often traded games with each other, sold the games they could not finish to other members and swapped solutions and cheat codes with each other. In the mid-90s, when PlayStation started to control the gaming stratosphere, rental titles at your local Blockbuster made it possible to enjoy a game for the weekend – and if you didn’t like it or couldn’t play it – you’d paid much less than you might to own it outright.
But, with the advent of the internet and the development of modern technology at the turn of the millennium, console giants began to create more complex and large-scale projects whilst traditional gaming mediums in the “real world” retreated. As the creation and licensing of big budget games became more expensive, studios and developers began looking at ways to save money. In truth, the production and manufacturing of games and their accessories (manuals, boxes etc.) and its subsequent shipping was a huge additional cost which, economically, it made financial sense to attempt to eradicate.
The first step was to digitise components of the game, and so you’d find that certain titles were released without a manual, or if they were – it was abridged – to use less paper and for it to weigh less (adding up each game and each box, that’s a substantial saving per thousand unit) and you’d often find this manual was included – in full – as part of the game on your system.
Thereafter, companies like Sony and Microsoft fixed their attention towards digital content, which could either add to a game, improve it after release (to fix bugs and tweaks) or which allowed a gamer to purchase a title in full without ever leaving the screen. Indeed, with modern upgrades and technology, it is entirely possible to begin packaging and shipping a game for release into the world whilst still working on the latest upgrade to solve the problem before anyone even receives it.
Whilst in the early 90’s the size of the add on contents file might have been more than sufficient to create 10 new Commodore 64 titles on floppy disc, this digital medium meant that hard drive spaces needed to increase exponentially to cope with demand. And where we would normally boot up the Commodore before dinner, with it ready to go when we had finished 20 minutes later, gamers began to express impatience if they needed to wait even a few seconds – Loading Screens and wait times becoming a new enemy.
Sony first attempted a digital only platform in 2009, with the PSP Go, which was a UMD less version of their popular handheld. Given the vast catalogue of games available to purchase on the store at that time – through PS3 and PSP – gamers were able to download and play a wealth of titles through the format. The Xbox 360, which had launched in Nov 2005, was arguably the first console after PC to bring digital gaming to the consumer in a big way – and Sony’s handheld was perhaps a trial run at how a digital only system would be consumed in the marketplace.
Fans reacted positively to the PSP Go, but negatively to the idea of losing their accumulated catalogues of PSP titles, ones which – like Final Fantasy 7 Crisis Core – were purchased physically and could only be played on UMD. Around this time, I bought my first digital content, a copy of Final Fantasy VII and Metal Gear Solid, the PS1 games I had loved so much, through PSN. Despite having a copy of both games on PS1, and the means to play them, their digital purchase meant I could play them portable on the system of my choice and that I could also use them with a more modern television. That purchase would, ultimately, also inspire me to sell a number of pieces of my collection – which were otherwise taking up space, when I later emigrated from Ireland to Scotland.
Now, back in 1991, my Dad would often – albeit frowned upon – purchase copies of games created ‘at a discount’. This made economic sense, and it was practical too, since (if you were not very good at a game) it took the sting out of a full price purchase. Modern technology means that gaming piracy has, to a large extent, been all but eradicated. And digital content has certainly helped with this. Developer sales and discounts, incentives online which avoid needing to include a retailer, mean digital content can often be more affordable than its physical counterpart beyond a certain point in the release cycle.
If gamers are saving money, that’s good news for gamers and good news for developers, with many indie composers relying solely on a digital platform – being unable to afford to create a physical product (at least initially) and hoping consumers will purchase their titles at a reduced or discounted price.
In the days of the ZX Spectrum it was often not uncommon for a game to have been developed by just one person using a home brew format, and digital content allows small development teams and lone individuals the chance – once again – to create truly great games that can be released in a mass market forum. One example of these titles is Rocket League, which itself is a sequel, released originally as Supersonic Acrobatic Rocket-Powered Battle-Cars on PlayStation 3 in 2008. What began as a small development team slowly grew – to the point that Rocket League itself received more pre orders than any other title when initially released on digital format – and is still being ported and having content developed for it today, over 5 years after its original release.
Personally, I’m not that fond of paying £50 for a digital copy of Resident Evil 3 (which I did recently) only to realise I’m unable to trade the title once completed, maybe helping me to purchase another game or make some money back. Capcom, the developers of the Resident Evil series, have been some of the most outspoken developers against second hand sales – going so far as to include a bug within games (see Resident Evil ‘The Mercenaries’ 3DS) preventing the deletion of save data. Although then Capcom VP Christian Svenson went on record to say this was not a business decision, many at the time felt it was a way to attempt to curb this kind of trade. Regardless of the reasoning, and probably because of the controversy, Capcom have not since repeated this move.
On the opposite side of my own argument, however, I can acknowledge that digital gaming has done me an immense favour. Titles like ‘Resident Evil 3’, ‘Grand Theft Auto V’ and ‘Batman Arkham Knight’ on Xbox One’s digital console may not physically be on my shelf but will remain with me whenever I need them. And my original Final Fantasy VII and Metal Gear Solid purchases from 2008/9 remain – to this day – on my PSN account, whenever I need to re download them. Circumstances over time have meant that there have often been occasions when I’ve needed to sell a console or material to pay essential bills; and having that digital account preserved for future use has been huge relief, not just on my wallet!
I could therefore argue that I have owned these titles for 12 years, far longer than any other physical game I still have today. I was upset about having to repurchase ‘Final Fantasy VII’ on the Xbox One (the 2019 port of the game) to play the same title I loved on another system – but this was my choice, and allowed me to once again experience an improved functionality and timings added with the latest revision.
The second-hand marketplace, however, very much has its place. Being able to browse titles in a store like CEX allows for me to discover, in much the same way as another gamer might browse the sale section of the digital shop; what is new to me and worth a cheap purchase.
In 2018 I bought a copy of the ‘Arkham Collection’ on Xbox One and needed to return it, owing to a broken disc – another unfortunate side effect of physical titles – but as CEX themselves do not take any account for the codes or digital content that might available in the box of your purchase, I had already attempted to redeem these, finding to my surprise that they were all valid. Subsequently, I had returned a title worth £20 to me for a full refund, but the codes earned from this experience were valued at £36. Proving it always pays to check the codes.
And whilst some may also argue the high street itself is dying, and this could be argued to be true, the advent of Internet shopping in its place means that gamers are still very much given the choice between physical and digital gaming. It does not necessarily have to be on the shelves of your local gaming store (provided you even have one) to be purchased in a physical format.
In recent years, physical gaming has fought back, with companies like Play Asia and Limited Run Games producing physical copies of titles in specific numbers as their USP – allowing those who want to purchase the game physically to do so – but not limiting the games scope or fanbase.
Additionally, by producing games in such limited numbers, it generates hype around a title, sells for a concentrated period at a fixed price (to a largely committed and dedicated audience) and saves on the immense shipping costs otherwise associated with producing so many more titles for the manufacturer and online retailers. Limited Run Games fluctuate in price, as you would expect, and second-hand sale and trade is by no means discouraged either, meaning there’s always a market for those titles.
Ultimately, I love and accept my new Xbox and I really like the convenience and the ease of digital gaming, particularly with current world events. But I will never rely solely on digital titles, as physical gaming represents such a huge part of my gaming memories, from those days on the Commodore, to current respite with my PS Vita.
Whilst I suspect I already know the answer, I’d be curious as to whether a younger generation of gamer, without those physical memories and limitations; will still have such a nostalgia and place such importance on physical gaming. It is always going to be cheaper to avoid a bricks and mortar store, and it is always going to be cheaper to buy digital content.
But in my mind, a healthly mix, of both physical and digital, is enough to ensure even the most casual gamer can make the most of their favourite pastime.
This review was written in 2012, when I was working with a charity and writing pieces for a gaming magazine, that was released digitally that year. As a result it will more reflect the situation of that time and will not take into account what has changed since then. Please Enjoy!
First, some facts; FF7 was produced using over 120 artists and designers. It was the most expensive game of it’s time, undertaken by a company who only a decade before had just escaped bankruptcy, one which now controlled a budget (for this game alone) of $45 million. Because of the graphics being used in this game at the time and the programmes, such as Power Animator and Soft Image 3D, this went far beyond what the seasoned animators at Square had been exposed too before. They themselves were in awe at what was being created. They were coding a classic and they knew it.
Plus, on top of all this, Sony levelled a $100 million advertising campaign (yes, you read that right) in order to create hype and anticipation about the title. In 1998 Eidos paid a cool $1 million just for the rights to port the game onto PC. On a new console, with graphics that had never been seen before, and giving long time fans an unfamiliar concept to what they were used too – Square found themselves in familiar waters – FF7 would either propel the company to success or would spell Square’s ultimate end. If the entrance scene of the game is any indicator on success, then I’d say Square nailed it, gaming history was about to be made.
There’s been an awful lot said about this title in the past decade. So much so, in fact, there are websites and blogs dedicated to pages and pages of random comments and theories, designs and ideas, about this game. A lot of people are wholly convinced they know more about FF7 then those who developed it. Before this game came along, I was a different person, since all gaming ever represented to me was getting from level to level, powering up, and finishing the quest. Capcom’s Resident Evil the year previous had shown me what it was like to think about a game’s story, but between solving puzzles and being scared fruitless by zombies, I wasn’t eager to play as much of it as I would. When I look back at my time spent with Final Fantasy 7 however, the original time spent on my PS1 in 1997, it’s hard to imagine that I’m the same gamer or even person I was then – so influential and impacting is this software’s effect on me.
Now, given the amount of rubbish that exists online about this game, that’s a bold statement to make. But you need to remember that when Final Fantasy 7 first hit Europe it was far beyond anything that Square had done before. For a start, it was on PlayStation (having already had too much power for both SNES and N64), importantly moving away from both Nintendo (a relationship that would remain fractured for years as a result, not least due to Nintendo’s shunting in the PlayStation’s own development history) and, of course, the traditional cartridge. That might not seem like a lot upfront, but given Square wanted FFVII to be the game where they moved into 3D, having it on the processor speed of a PlayStation made that dream come true. If it had been financially possible to put this game over several cartridges and maintain the same the same level of quality then Nintendo would now be the world’s leading games entertainer. But it wasn’t.
In actuality, the game was released on three compact discs, which made it more economically cost effective to produce than cartridge, sold more copies per market and allowed Square to think about marketing Final Fantasy to the European Market. Final Fantasy might be a household name now, but in 1997 and prior to FF7, only a combination of titles had made it as far as Europe – and they were both imports – with FF4 released to the North American market as FF2. There’s a lot of reasons for this but the main one could be that the complexities of some FF titles didn’t appeal to the gaming public en mass until FF7 broke that mould and made it more acceptable for gamers to enjoy harder, longer and more challenging titles. So if gamers had heard of this “Final Fantasy” they certainly wondered why it was on it’s 7th instalment and what the hell it was all about. Little knowing that no Final Fantasy was interconnected in any way, aside from some creepy fan-boy rubbish, or some demented Japanese Easter Eggs.
In the same way of “dumbing down” the story by changing pivotal game play to suit more casual gamers, FF7 also greatly reduced the complexity of the fighting systems from previous titles, allowing players to only equip one item and one piece of armour per character. Also, the Materia (or Spirit Magic) system is – quite frankly – genius, and allows you to pick and choose what attacks to best use with what character. For example, should Aerith be the group healer, should Cid hold the power of Thunder, and so forth. It’s a basic concept that applied to all kinds of online role playing games these days as well, such as World of Warcraft and Warhammer, and while I won’t be so bold to say that FF7 inspired all these games how to fight I will say that the fighting system in FF7 made it a lot easier for newer gamers to grasp the complexities of previous Final Fantasy titles, whether they’d played them or not.
To look at the complex story, let’s start at the start, in the City of Midgar. This is the fictional city in which our story begins and in which you’re introduced to the character you’re going to spend at least a few months playing as, Cloud Strife, a former member of the organisation Shinra whose about to turn whistle-blower (in a manner of speaking) and assist in the destruction of one of their nuclear reactors (he might have just sent a letter but the Buster Sword tells us he means business). Cloud’s joined Avalanche, a group of mercenaries set on protecting the planet, and led by the one “gun-armed” Barrett.
As much as Cloud insists he’s just there for the money you can see there’s more too it then that, thrown into a world of adventure we cared little about before it began, but which we will never forget nor want to leave again. Just as the characters grow, you’ll grow too, taking on a number of new members to your group (as well as loosing a few) and then leaving the City for the Countryside, Countryside to Harbour, Harbour to Boat, Boat to New Continent – and before you know it you’re traversing the Globe and saving the entire Planet. Of course where most games will have ended by the time you reach the Midgar climax (Shinra’s President dead, the company in shambles, an image torn down…) FF7 just keeps going, giving you probably the best value for your money of any game you will EVER play.
Characters are instantly recognizable, unique and loveable, with Tifa (Cloud’s best friend) and Aerith (a flower girl from the Slums and so much more) complementing the more hard fought like Barrett (the leader of Avalanche with a secret in his past), Red 13 (the last of his kind, wise and yet not infallible), Cid (an airship pilot who dreams of going to Space) and Yuffie (a young girl with the heart of a Ninja). There are also the more stupid characters, like Cat Sith, which I’ve always retained a soft spot for even if he was a Shinra Spy.
In fact, so compelling are some of the stories for FF7 (such as Red XIII discovering what really happened to his father) they’ve been copied, years later. Then there’s Sephiroth, a man who in reality should have an article just about himself, probably the most legendary bad guy in video game history. Even the mere mention of his name will make grown men cry; remembering the moment when he shoved a sword through a young girl’s heart, and ended a romance that could have blossomed throughout the ages. President Shinra, Reno, Hojo, Rufus, Hed’gar and Reeve are all very well and good…but it’s Sephiroth who became your main obsession – as Cloud struggles to remember why he faced the most legendary swordsman in history…and lived. The first few hours of game play are almost meaningless (I don’t really mean that though), only when you wake up with your cell door open and a trail of blood leading upstairs, do you fully understand just what you’re playing and where you’re going.
The music of this game (produced by Nobuo Uematsu)
adds another depth and layer to the game all by itself. This magic is still
being recreated today (check out my review in this issue for The Last Story)
but in 1997 it was unheard of that a Final Fantasy game would have such a deep,
rich, compelling and lengthy soundtrack (the official soundtrack from Japan is
itself spread across three discs). Sony, being masters of audio, obviously made
PlayStation the best sounding console they could as well as it graphically
outdoing everything on the market. This sound was rarely utilised as much then
by those brandishing Final Fantasy in their name. Tracks like ‘The Turks’ and
‘The Golden Saucer’ are perhaps as about iconic as they come and provide just
as much of a nostalgic transportation back to your original play through and
locations as playing the game does now.
The 3D effects aren’t the kind you’ll find on 3DS,
but do get the job done, with excellent backdrops and beautiful layouts as you
traverse across mountain ranges, deserts and city slums. Graphically, this
wasn’t the best game for it’s time, but that doesn’t matter when you think
about how deep and compelling the storyline is. Also, and unlike previous Final
Fantasy titles, this game didn’t start in the deep end with little
introduction. There’s a gradual (and completely UN-Japanese like) cooling off
period as you come to learn and know your characters. Asian gamers might never
have experienced this before (the original Final Fantasy has us first fight the
main protagonist within 10 minutes or less of the game starting), but it was a
stroke of genius on the part of Square, who couldn’t have foreseen how easily
agreeable the plot was with Western gaming.
Even the game’s sequel (in number only), Final
Fantasy 8 (reviewed in our last Game On Issue), had criticisms from people who
said the story was too far detached from real world events and didn’t gently
break the players in. These are people who just don’t get the Final Fantasy
series, but unless every nerd bought 15 copies, FF7 couldn’t (and wouldn’t)
have sold in the numbers it did without appealing to those who just weren’t RPG
fans (for the record, as of May 2010, that number is 10 million copies). FF7
broke a lot of sacred code and convention when it came to JRPG games, but the
gamble paid off, and a game spanning over three discs was the glorious result.
Of course, to play devils advocate, there are a lot of legitimate reasons why people would hate FF7 – not because of what it is – but what it did to gaming culture in general. Before 7, virtually nobody in Europe had ever heard the term, and few people in North America had legitimately purchased Final Fantasy. VII created a vacuum in time and space that needed to be filled with everything FF including remakes, spin offs, development titles and ports. In fact, since 1997, we’ve had 110 Final Fantasy games released across 15+ different platforms. And in this case, due to the phenomenal success of FF7, this is mostly all down to Cloud and his friends.
Plus, FF7 attracted a lot of fans, including the
kind of cos play and Anime porn fans who felt it would be somehow interesting
(and erotic) to dress as members of the game for conventions. The internet is
littered with graphic artwork of the female characters of FF7 and rarely has a
video game produced this kind of need. If the legacy of Final Fantasy 7 is bad
movies, ports of games only four people in the world will ever want to play on
their IOS (one of them works for Game On) and really bad porn then we’re in
trouble. No, there are a lot of reasons to hate Final Fantasy 7, once you turn
the game off and go out into the real world. That’s if you find the time after
playing for months on end and trying to succeed in the ultimate quest.
This all sounds like a lot of gaming though, and
it is, we know at least one reporter here who (with all the proper medicines
and magic to make sure he wouldn’t be stuck too long) attempted to play a run
through of the game in one sitting (extreme health warning) having traversed
the land before. It took him just under 37 hours to do so. On top of that he
ignored several “optional” quests and never spent any of the wasteful nights we
spent in the late nineties betting on Chocobo Races. Actually, I should correct
myself, I still do that now!
point to this waste of Ink is that it’s a very long game (and this has been a
very long review), and you’ll really want to play it, with a few hours on the
occasional evening you get to use the TV or PC (in-between Dancing On Ice and
Coronation Street no doubt) meaning you might be finished by Christmas if you
start right now. And, when you’re finished, you’ll feel sadness actually having
to say goodbye to a collection of friends. Let’s hope Square make good with
their promises, hinted in 2010, of actually exploring a sequel.
short, play it now, and find the Promised Land.
I’ve taken some time recently, with a new camera, to capture some photography and I’d like to share it here for the first time. Photography is something I’ve always loved and I just tried to capture some things within my life that make me smile. And find something each session that makes me happy, whether it’s fleeting (because it’s food) or it means a lot more (because it’s radio)