For all of the reasons that you can think of and more, Final Fantasy XII is famous. Famous for its breaking of even the most sacred of the franchise’s gameplay tenants. Famous for its long and, depending on what you believe, tumultuous development cycle.

Famous for being one of, if not the most divisive games in a series chock full of them. As an artifact of a very different period in game design – especially the genre it falls into and the country where it was born — it is as radical as it infuriating, as densely opaque as it is guided and straightforward.

To those in the know, their natural response to a pretentious opening paragraph like that runs along the lines of, “Well, it is a Yasumi Matsuno joint.” But that’s only partly true, and simply a starting point. It’s no secret that the Matsuno , the original director of the game (himself of Final Fantasy Tactics, Vagrant Story, and Crimson Shroud fame), had left partway through its development with new designers assuming and restructure the work, but the density of Final Fantasy XII mentioned above was in Matsuno’s carefully built and preposterously deep world of Ivalice.

This particular game in the titanic RPG series, after all, was the only one to take place in a world already fully formed from previously made work, and with that came the rich history of a universe that already had an air of antiquity about it. Even outside of the main scenario’s plot –lengthy though it was as a numbered Final Fantasy—the amount of NPCs, flavor text, and background content was a huge undertaking to be formed into life. Then, it had to be translated into English.

It’s here that some of the greatest achievements of Final Fantasy XII take shape. Regardless of how one feels about the stripping and rebuilding of how a game in the series plays with its almost total MMO-like openness and intricate programmable combat, the translation and voice acting are a high point for not only the series, but a significant turn for video games both then and now.

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