Where to find tales of symphonia

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Create widget. Popular user-defined tags for this product:? Now, you can either get the Sacred Stone and warp back, or you can run all the way out and back to the world map. I recommend getting the Sacred Stone, it just makes things easier for you, and if you want you can use it to go and play through the Nifelhiem level.

But back on track Once your on the world map, hop on your Reihards and fly to Exire, the city in the sky! It'll be the weird thing floating in the air if it's not the little dot in the middle of no where on your map. Run around the city until your kinda in the middle of town the building where the guy gives you Raine's mother's Diary. Walk to the door, but don't open it! Just walk to the right, and around the building and there will be an extremely long road, you'll probably wonder how you missed it, but don't worry, I'm convinced that the house has magic that conceals the road.

At the end of the long road will be a grave. There'll be a scene and someone'll hint at 'earth, wind, water, and fire', what you'll need to do to trigger the fight is equip the four gems, I can't recall their names, but they're the earth wind water and fire ones, in no order but they must be equipped by the four characters that are fighting. It'll trigger the fight, and once you're fighting him, you can remove the gems and equip whatever you want to.

Just so you know, Maxwell is just a glorified version of Meteor. Now if you want Meteor for Genis to use, after you've got the Deris Emblem go to Hiemdal the elf village, and wander to the area where Lloyd and [someone] talked before the Llyod - Kratos fight. There will be two people arguing and after the scene, Genis will learn possibly his best spell, Meteor. And if you use it in the coliseum with random-casting, you'll win in seconds!

Hope that answers your questions! Some games had genuinely interesting ideas , while others stagnated in the struggle to escape the genre's most over-used tropes. By the sixth console generation, the RPG rulebook had been rewritten enough that it was evolve or die for many classic franchises. While the likes of Final Fantasy and Shin Megami Tensei proved capable of changing with the times, many more faded into obscurity.

Tales needed a new guiding principle to stay relevant. In a stroke of genius, writer Takumi Miyajima chose deconstruction. It is to this end that Symphonia begins with such a traditional tale. The first act is a familiar story of chosen teenagers saving the world from evil, but it doesn't take the game long to challenge its own premise. The player is cast not as the messiah but as her childhood friend Lloyd.

His naive ignorance renders them powerless to prevent a sweet girl from sacrificing her humanity for the sake of salvation. Through this, the game calls out competitors that play these tropes straight and effectively slaps its audience across the face for thinking a child's life was a righteous trade for peace.

Related: Tales of Legendia Deserves a Remake. Fantasy commonly depicts sacrifice as heroic, but Miyajima's script condemns it. The game resents those who forsake others just so they can live in comfort, and in so doing, ties its rejection of messianic narratives to an exploration of discrimination.

Symphonia 's masses are not only lazy enough to expect teenagers to solve their problems but also bigoted enough that they live in ethnically homogenous communities, scorning mixed-race peoples out of a primitive fear that they will destroy the harmony of life. Ironically, this prejudice only pushes those minorities into the villain's arms, creating a vicious cycle that has gripped the world for years. That villain, incidentally, is one of Symphonia 's biggest selling points.