I guess having the girl with the red top misguided my gaze towards her and made me totally miss Ellie. I ran into the same problem for the "thirsty" hint. I made a bline for the cafe right away, but she wasn't there. So, walked around for a while, including in front of the cafe, but I must have somehow missed her.
How dare the Gods work against me! I don't remember giving them permission. The exact same thing happened to me.
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I just missed her and went through whole Tokyo to just find her there lol YT Channel: More topics from this board Keep me logged in on this device. Forgot your username or password? But allow me to explain. After having trouble with chapter 3's final boss, I decided "Screw it, I might as well do a bit of side quest of my party members. I still could not find her. Ando redrafted her proposal and submitted it a week later as a crossover between Fire Emblem and Shin Megami Tensei.
When the project was originally pitched to Atlus in , it was assumed that they were not interested after their unenthusiastic response and later said they were too busy to undertake the collaboration. Over a year later, Atlus inquired as to whether the subject was still open for discussion, and it transpired that they had been highly enthusiastic while still being too busy with other projects. Shinjiro Takada, who was also working on Shin Megami Tensei: Devil Survivor 2 , was appointed as producer.
While he had viewed Fire Emblem as a rival and quality goal for his own work, he was honored to be given the chance to develop a title related to Fire Emblem. Hirata was originally the project's sole director, but seven months after the game's public announcement, Ishida was brought on to co-direct so the amount of work needed for the title could be managed. According to Ishida, it was the company's first original game for eighth-generation consoles.
During the early production, what type of game it would be became crucial to whether Atlus or Fire Emblem developer Intelligent Systems would develop it. One of the problems that needed to be overcome was the form of the initial proposal, which was for a simulation game similar to Fire Emblem developed by Atlus. Atlus, who were better known for making traditional role-playing games, were unsure which series to emulate. The decision was eventually made to create something along the lines of a traditional RPG, so Atlus took on primary development. Their first concept turned out to be a grid-based strategy game with strategic positioning elements similar to Fire Emblem , but they were eventually convinced by Yamagami and staff from Intelligent Systems to keep within their own skillset rather than attempting anything radically different.
The final product was visualized as a game only Atlus could make, incorporating elements from both series while standing as an original title that could be enjoyed by fans of both Shin Megami Tensei and Fire Emblem. The inclination of the logo was also designed to represent the game's altered perspective on the Fire Emblem series. The scenario was written by Yoh Haduki and Makoto Miyauchi. Haduki was in charge of the main narrative, while Miyauchi handled the side stories for the main cast. During the early scenario development, it was thought that the main characters would be reincarnations of Fire Emblem characters, but this was dismissed as it would link it too strongly to the Fire Emblem series.
When going through how to help incorporate Fire Emblem characters within the "Atlus mythos", they decided to use a concept from Japanese Shamanism called the "kami oroshi", which stands for a deity possessing and communicating through a priest or ritual dancer.
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A further extension of this was the incorporation of the kagura ritual dance , which in turn led to the inclusion of the entertainment theme. The character of Itsuki Aoi, who is not directly associated with any branch of Japanese media and entertainment, was created to introduce the setting and characters from an outsider's point of view. The side stories were created so the player could better understand and empathize with the struggles of entertainers in the industry and their private lives.
During an earlier stage, there was no divide between these two mission types, which ended up clashing with major story events and prompting players to ignore the side stories. To counter this, "Intermission" periods were created where side story chapters could be accessed. In the end, the side stories became a large part of the game's thematic base, causing Yamagami to consider them something more. Aesthetically, the game used Fire Emblem elements as motifs, but took its setting and premise of a clash between worlds from Shin Megami Tensei.
The battle system was originally going to be similar to a Fire Emblem game, but while it did incorporate elements such as the Weapon Triangle, it ultimately became a turn-based RPG battle system. The modern setting provided challenges for incorporating Fire Emblem characters, as characters in medieval armor just dropping into a modern setting would have looked strange.
Tokyo Mirage Sessions #FE
Among the considered possibilities were introducing Fire Emblem characters as human party members. In the end, it was decided to make them summoned helpers similar to the demons of Shin Megami Tensei , drawn into the real world from their Idolosphere dimension. So as to make real-world locations as realistic as possible, the team went on multiple scouting trips, taking photographs of locations like the Shibuya department store.
They originally wanted to mimic the chosen areas of Tokyo very closely, but they needed to consider how this might make travel times between locations overly long for players: According to Hirata, the process of designing Shibuya alone took between one and two years. In-battle rewards of money were designed to be "ohineri" paper-wrapped offerings rewarded to the party for their performance. An early version of the battle transition screen was an "assistant director" using a clapperboard , then offering in-battle commentary.
These elements were completely cut from the game. Other elements that were cut included a high amount of camera movement during battles and booing from the audience when the party made mistakes. The game's art director was Fumitaka Yano of Atlus. In contrast, the dungeons were designed around fantasy motifs and meant to embody the Mirages having been robbed of "expression".
The game's dungeons were based around real-world locations within Tokyo, and had gimmicks inspired by a chosen location: When he was approached, he was finishing work on the cover of a light novel and wondering what he would be doing next. They were designed to contrast with toi8's character designs with the deliberate exception of Tiki, having a machine-like appearance. His main aim was to remain true to the original characters while emulating the sharp and dark character style of Atlus games.
The game's music was composed by Yoshiaki Fujisawa, who was famous for his work on the Japanese multimedia project Love Live! Fujisawa was contacted in late by George Aburai, an in-house composer who also worked with multiple well-known entertainers at Avex Group. Fujisawa found the composition difficult as he was more used to composing for television series rather than video games. To help him, Atlus' sound team gave him advice about aspects such as the timing, feel, and emotive elements of tracks. Ultimately, he found the working environment fun, and was pleased when he first saw a test video featuring one of his songs.
As a central story theme was the entertainment industry, the soundtrack was filled with vocal tunes and " groovy " tracks. After forming his team, Aburai worked to analyze the personalities and traits of the main cast to determine how their performances would play out, in addition to other factors such as their professions' impact on their portrayal.
Due to the performing aspect of the game, the team were faced with the difficulty of finding voice actors and actresses who could both act and sing. Ono also sang Touma's theme "Jump! Yashiro's voice actor Yoshimasa Hosoya found singing for the role difficult as he lacked a natural sense of rhythm.
For her second song, "Not A Phantom World", Morohoshi had to record multiple chorus elements which were then layered as backing for the main song, encountering difficulties making all her harmonies work together properly.
Tokyo Mirage Sessions #FE | Wii U | Games | Nintendo
The game was announced in January as part of a Nintendo Direct presentation under the English working title Shin Megami Tensei X Fire Emblem , announced as one of many planned collaboration projects with third-party developers for the Wii U. The trailer featured artwork of characters from the Shin Megami Tensei and Fire Emblem series, and concluded with the message "Development in Progress".
The lack of reports after the initial announcement raised concerns that the game had been cancelled. In addition, Atlus produced a "Fortissimo Edition", containing a special box, an original artbook, a six-track CD release including "Reincarnation", and downloadable content DLC outfits for the playable characters.
A Wii U bundle was also created, featuring similar content in addition to special stickers and special lyric cards. An English version was announced at E3 , with the release date being revealed in a Nintendo Direct presentation in March Due to the game's Japanese setting and focus, in addition to people preferring overseas songs in their original languages, the Western version of the game features Japanese audio with subtitles rather than an English dub.
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Finding English actors to perform the game's songs would also have lengthened the estimated localization time by a whole year. Atlus was chosen over Nintendo due to fan expectation of the type of localization common to an Atlus-published title, and the wish to make the game appeal to long-term fans of the company's work. Some aspects of the game were changed for its Western release: Multiple sections of dialogue were re-recorded to match these changes.
Yamagami was positive about the game's adaption for a Western audience, while Hirata was initially disappointed with the alterations prior to seeing positive responses to the game from Western fans.
Japanese gaming magazine Famitsu found the story's premise entertaining and interesting, and praised the side stories' focus on the supporting cast. Famitsu praised the aesthetics and user interface design,  while Cartar enjoyed the art design despite clear technical limitations. Famitsu generally praised the gameplay, comparing it favorably to the Persona series while also commenting upon its unique elements. According to Famitsu , the game debuted at 13 with 23, units, having a moderate sell-through rate.
By the following week, it had dropped out of the top twenty. Critics were generally positive. The game scored an 80 out of on aggregate site Metacritic based on 62 critic reviews. It was ranked by the site as the sixth best Wii U game of the year.
Dengeki referred to the game as a "masterpiece", calling it one of the best recent role-playing game and applauding the evolved Megami Tensei battle system and lighter-toned story. Color Splash 2 and The Legend of Zelda: Twilight Princess HD 1. From Wikipedia, the free encyclopedia. June 24,  AU: June 25, . Archived from the original on A Star is Born. Head over Heels for Her. Post-credits scene — True Ending.
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