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In the meantime, HBO Max will be home to Studio Ghibli content for the North American market when the new service goes live in the US in May. Netflix has exclusive streaming rights to all areas except the United States, Canada and Canada Japan. However, new offerings from HBO Max and Netflix mean that the company's entire magical back catalog is now available in most countries on request – including Spirited Away Until recently, one of ’s best Studio Ghibli films was largely unavailable for streaming services or digital download. If you've ever loved a classic JRPG or are a fan of Studio Ghibli's films, do not miss this.Original voice: Rumi Hiiragi, Miyu Irino, Mari Nituki, Mari NôukiĮnglish voice actor: Daveigh Chase, Jason Marsden, David Ogden Stiers, Suzanne Pleshette Here's a game that proves the genre can still work, even if it's no longer financially lucrative to try. Japanese RPGs, or what pass for them nowadays, have lost the plot. I read a commenter on the NeoGAF message boards analogize playing Ni no Kuni to going on a strict diet for five years, then eating a cheeseburger. It's so satisfying to get out there and check sidequests off your list, and to do it while listening to Hisaishi's rousing musical score. Accomplishing these quests earns you very tangible rewards: The ability to run a little faster (a godsend), more loot and experience drops during battle, etc. You might have to solve a problem for a villager by talking to the right people, or go out into the world and bounty-hunt a strong monster that's roaming the fields. But to do that would be to miss the opportunity to tackle side quests. As you enter that first castle town, you could simply race to the one person you need to talk to, get your next objective, then run there and do it. The game's design doles out rewards and challenges in a near-perfect rhythm. It may come to pass that you'll need certain characters in your group to pass certain challenges, but thus far, just leveling up one character has been enough to kill anything that I come across.īut this is not why Ni no Kuni is so good. You get these by wooing defeated enemies over to your side, the implication being that all of the game's low-level enemy characters are also potential allies.
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So far it's kind of a light combination of Final Fantasy and Pokemon – you can get through most battles just by fighting and occasionally pausing to heal, but you can also assemble a collection of up to 400 different "familiars" that fight alongside you.
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So I might not quite have a full picture of the game's battle system, which you'll spend a good deal of your time in. I'm about 10 hours in to Ni no Kuni, feeling like I'm maybe a third of the way through.
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Level-5's localization director Richard Honeywood is the ne plus ultra of Japanese RPG translation, and so the English writing is also fantastic. If you like, you can listen to the original Japanese voices (I wish more translated games showed this amount of respect for the original material), but the English dubbing is quite good as well. What's out there turns out to be a cast of characters drawn and written with masterful panache, from your gruff companion Drippy, a squat little beast with a lantern dripping out of his nose who insists he is Lord of the Fairies but produces little evidence for this, to the Cowlipha, the massive ruler of the desert town of Al Mamoon, where milk flows freely from its fountains. And instantly, you're hooked you need to know what's out there. After the game's prologue, which sets up the reason that its leading moppet Oliver has to leave his small town and travel to "Ni no Kuni" (Japanese for "the second world"), you're dropped off into the world, and it's immediately transfixing: Like the great Japanese RPGs of old, it sets you down onto a world map where you can see rolling hills and faraway places beckoning to you, enemies crawling around the field begging to be defeated, a castle town ripe for the exploration.