Ar tonelico arpeggio game

Second is the more outspoken Misha, actually his Forgotten Childhood Friend. But there's one problem - Misha looks much younger than she should be. Aside from those two are the wanderer Jack, the local church knight Radolf, and the airship grathmelder Krusche.

As the story progresses, Lyner and his comrades not only try to find the Hymn Crystal and fix Lyner's airship, but discover the reason for Misha's youthful appearance, and the source of the recent Virus outbreak. The first game also has a single-episode OVA adaptation , which focuses on Lyner's crash and desire to return to Platina. Due to time constraints, the details of the plot are largely condensed and simplified , with other elements left out entirely.

Ditto for Ar tonelico III. All the games have a number of drama CDs devoted to the heroine Reyvateils and some other people besides. Some of the cast went on to have parts in the crossover game Cross Edge. Aside from Elemia -specific tropes, examples provided by the series as a whole can be found here, as well. Failure to do so may result in deletion of contributions and blocks of users who refuse to learn to do so.

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Welcome back! Email address. Remember me. Forgot password? Don't have an account? Your Email. Back to Sign-in. Your name. Confirm Password. Have an account? However, the ideas and universe of the game were established since around , when the director and father of the series, Akira Tsuchiya, was still in college. Additionally, the people were divided in two races: the People of the Sky and the People of the Sea. Tsuchiya's friends apparently didn't like much this world due to being too different from standard fantasy worlds, and thus, after three roleplaying sessions, it was canned.

Later on, after Tsuchiya began working at Gust, he took the first chance he was offered to direct a game, back in the , and began making one based on the world he had made back in college. This was different from the current Ar tonelico as well: the protagonists were two girls called Decibel and Mallet, the spells were called Bels and were created by synthesizing various types of Orgel Discs together.

However, the synthesis system was deemed as too complicated, and under the pretext that the game wouldn't sell due to magic being so widespread in it, the director of the Atelier Iris games, Masuda, ordered Tsuchiya to cancel the game. Finally, Tsuchiya saw his golden chance when in he was offered again a chance to make a game, and leaving the music composition and arranging roles he had serving at Gust ever since he joined the company in the hands of fellow musicians Ken Nakagawa and Daisuke Achiwa, he began working in it with all his efforts.

This time, Tsuchiya created the concept of Reyvateils and redesigned the world setting to be as we currently know, always being inspired by the songs of Akiko Shikata, Haruka Shimotsuki, and Noriko Mitose. After the world setting was completed and the game was at a decent level of progress, Tsuchiya began asking personally to the singers that had inspired him for their collaboration in the project, as well as being introduced to Yuko Ishibashi, who he asked to sing for the game as well.

All of the singers were glad to accept the offering, and thus, the team that developed Ar tonelico came to be. The game itself was made and runs on a modified version of the engine used for Atelier Iris: Eternal Mana, while the sprites were mostly taken from the ones used for previous Gust games, excepting for some ones that were created especially for Ar tonelico, so they share the same visual style that has characterized the Atelier games from Atelier Judie and until Atelier Iris 2: The Azoth of Destiny.

Players may explore dungeons and other areas by moving in any direction and jumping. Depending on the abilities of the Reyvateils in the party, various spells can also be cast to light candles, remove obstacles, and trigger switches. Enemy creatures may be encountered at random as the player explores an area. A gauge in the lower-right corner of the screen indicates the likelihood of encountering an enemy, as well as the number of random encounters remaining in the current area.

Once enough battles have been fought to empty the gauge, no further random encounters will take place until the player leaves and returns to the area. Each town presents several points of interest that may be reached by selecting their name on a menu, then navigated like a field map. Additional points of interest may become available after certain conditions are met. The world map provides a 3D view of the world, which lists all of the locations currently accessible by the player.

Most previously visited locations can be reached simply by scrolling the map to its entrance, then choosing to enter it. Ar tonelico features a turn-based battle system akin to those of the Atelier Iris series, in which two groups take turns executing commands until one has the hit points of all its members depleted, ending in victory if the player party depletes the HP of all the enemies, and a Game Over in case the opposite occurs.

The active party consists of up to three Vanguards in the front and one Reyvateil in the back. An action can be chosen for each fighter as their turn arrives. An action bar at the top of the screen indicates the turn order for every character and opponent involved in the battle. Vanguards may choose to attack the enemy, skip their turns, use a skill, use an item, or to Guard the Reyvateil, the last being available only when an enemy prepares an Stored Attack.

As long as any fighters remain alive, the Reyvateil can't be attacked directly by the enemy, and can only be targeted by Stored Attacks. When targeted, a number of circles are shown around her to indicate the number of fighters that must protect her instead of attacking before the enemy's next turn to completely block the attack. A successful defense grants the fighters an option to mount a devastating counter-attack at the cost of one harmocrystal, which the number of hits and total power of the counter depending on how many circles surrounded the Reyvateil and how many Vanguards were allowed to counter-attack the enemy.

If the attack required all three vanguards to be blocked and all of them counter-attack the enemy, the last one performing the counter will execute a special attack known as the Super Counter. Harmocrystals are activated when the Reyvateil and the rest of the party work well together, a measure of which is represented by the two Harmonics bars at the bottom of the screen.

Harmonics improve with each successful attack from the Vanguards, filling the blue bar, while guarding the Reyvateil and merely maintaining the Vanguards active gradually fill the pink bar, but the blue bar decreases whenever an enemy lands a successful attack.

When both bars meet, the party's attacks become stronger and one Harmocrystal is activated. The number of active Harmocrystals affects the number of counter-attacks the party can mount, the skills available to each Vanguard, as well as the types of items received at the end of a battle, and having two active Harmocrystals also changes the normal attack of each Vanguard into a more powerful version of itself.

A higher level of Harmonics also allows the Reyvateil to sing faster. However, at the start of the battle, there's only one empty Harmocrystal, and to make more appear, it's necessary to fill the red Limit Bar by using Song Magic , which will allow to make up to three Harmocrystals. Unlike Vanguards, the Reyvateil doesn't need to wait for her turn and can be given commands at any time during the battle. Instead of attacking directly, she supports the party by using Song Magic.

Her MP will decrease as long as she is singing, and stopping the Song will cause her MP to recover over time. Red Magic can be charged for any length of time before being released onto the enemy as an attack, whereas Blue Magic immediately takes effect and continues to remain in effect as long as the singing continues.

Both kinds of magic become progressively stronger as the Reyvateil continues to sing the same Song, and power up faster with each incremental level of Harmonics. Stopping or changing the Song will cause the next spell to begin powering up from its basic level. The charge level of the current song is shown by the Burst Gauge at the right of the Reyvateil, which also controls the rate at which each particular Song Magic has its level raised.