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A Voice for Ivalice: The Localization and Voice Acting of Final Fantasy XII

Now almost ten years removed, the localization team and voice actors look back on a magnificent work of game translation.

Interview by John Learned, .

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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. Then- free of the growing pains of a voice acted mainline entry post-Final Fantasy X, XII's diverse dialects of English, mythology-infused background text, and Easter egg-heavy references are a profound work of game translation, even for a team famous for it.

What follows is a series of interviews with the architects of that localization process compiled together into one larger mosaic. Now nearly ten years after its Western release, translators Joseph Reeder and Alexander O. Smith (whom also served as a producer for the voice work), voice/ casting director Jack Fletcher, and actors Gideon Emery and Elijah Alexander have agreed to share their varied experiences with the project and offer insights into adapting something so large as a mainline Final Fantasy game to be played by a Western audience.

Note: The interviews have been slightly edited to remove redundant questions and answers when necessary. Some answers were compiled together for ease of reading. In addition, Alex O. Smith and Joe Reeder collaborated on their responses via email, hence the decision to quote them together.

Before we begin, just remember that the entire process – from the dialogue to the flavor text to the menus — was translated by only two people. Yikes.

Involvement, Writing, and the Translation Process

How did you become involved, how far into development was the game when you started working on it, and how long did it take you to complete it?

Alexander O. Smith/Joe Reeder: It was about halfway complete when we started in earnest. About two years, all told [to complete].

Jack Fletcher: I was involved with the sound for The Spirits Within, which got me on to FFX, which is where I met Alex. Our connection was very important to how FFXII turned out. And of course, FFXII is when I first met Joe.

How big was the script compared to other games that you've worked on?

AOS/JR: The voice script was slightly smaller than FF10's, but the non-voiced was as large as any FF, if not larger. While we had a generous amount of time to work on the voice script (about 9 months, including the recording), which represented about 9% of the total volume of text in the game, getting through the remaining 91% of the text was a real challenge, especially for just two people. We probably made it harder for ourselves by doing things like the Victorian-era characterization on the bestiary text (which reads like a dry high school Biology textbook in Japanese), but you do what you need to (A) get the project where it needs to go, and (B) maintain sanity!

How do you begin tackling something of this scope? Do you start with character dialogue or other flavor text?

AOS/ JR: Dialogue, both because it requires much more time to get right than the other text and it helps set the tone for the whole world. Also, the movie and scenario dialogue tends to be completed first in the Japanese version due to recording schedules, and similarly needs to be done first in the English for recording. We went to recording in the middle of the project, then came back to finish the rest of the text.

How did you split the work up between you? Did one of you write the main characters' spoken dialogue? If not, how did you decide which characters each of you would write?

AOS/ JR: We split the scenes up evenly, each taking every other scene, then swapping and rewriting each others' material over a few passes to ensure consistency of tone. As we went, some characters would emerge that spoke more to one of us than the other, so we might designate a scene with heavy dialogue from that character to one person. There was no splitting up by character within a scene, however, given the back-and-forth nature of dialogue. On sections with brutally demanding ADR (writing English to match Japanese lip flaps) we might sit down together and watch the video over and over, brainstorming ideas. Then one of us would go off and take a stab at it, before getting the other to check. In the non-voiced sections, we split the text up by location. Everything we did was then checked by the editor, Morgan Rushton.

Knowing that a translation is almost never exactly the same from one language to the other, any instances of major differences between what was originally in Japanese and what came through in English?

AOS/ JR: A lot changed. Some things were due to the demands of matching Japanese lip flaps, others were more "localization" issues. For example, while all the characters in the Japanese version speak (and are written) with unaccented, standard Japanese, it doesn't make sense in the context of a global story to use the same accent of English everywhere. We often compare it to classic episodes of the British SF show Dr. Who, where even aliens spoke with British accents. Modern SF and Fantasy requires a higher degree of ‘reality,' even if it's something as simple as the Star Wars formula of imperials speaking British English, and rebels speaking American, which we shamelessly borrowed.

It also led to interesting side-cases, like that of Bhujerba, a foreign land that had been colonized by the Empire some years past. We went with a Sri Lankan accent as the basis for Bhujerban speech, and flavored the written language with borrowings from Sanskrit in the way that Indian speakers of English retain words from Hindi. Similarly, the viera were given Icelandic accents to give their speech an unusual, alien quality.

Another kind of localization was a little more subtle. Where Japanese games are often very comfortable breaking immersion to deliver in-game information, Western gamers tend to prefer more wholesale immersion. So in one place in Rabanastre where the player, as Vaan, encounters a chocobo vendor, the Japanese had the vendor explain to the player that the big yellow birds he saw behind him were chocobos, and that they could be ridden. If we're in character as Vaan, of course, this is very immersion-breaking, as a street-wise orphan would certainly know what a chocobo was. So, the English version has the vendor lamenting that some guy rode off on one of his chocobos the other day without paying. It's the same information as the Japanese provides (the birds are called chocobos, you can ride them, and you have to pay for the privilege), but couched very differently.

Other things include the previously mentioned Victorian-styled bestiary, and using metered verse with an unusual rhyme scheme for the speech of the godlike Occurians. This latter move came about as a solution to the problem presented by the voice processing used for the Occurians in the Japanese. The multiple layers of voice in the Japanese had neat, otherworldly sound, but made it very hard to make out what was being said. This was helped by the on-by-default movie subtitles in the Japanese version. However, the US version had movie subtitles off by default, so we needed something else to differentiate their speech. The actress we used for the Occurian Gerun, Bernice Stegers, is a British stage actress, and she knew exactly what to do with the lines.

Dialogue takes more time to get right and will be recorded earlier in the process, so the Smith and Reeder started there and then moved on to the rest of the text soon after.

Who had the idea to write the dialogue in the sort of faux-Victorian dialect? I assume you did it to keep this in line with the other Ivalice-set games that you've also worked on?

AOS/ JR: It was mix of dialects, really. British for the imperials, mid 20th-century American English for the Rabanastre rebels, with a spread on both sides from colloquial speech, like Bagam'non and his crew, to the more arch "Victorian" dialect of the Judges. We cared more about making it true to the world of FFXII than true to any greater idea of what Ivalice should be.

Speaking of the other games, knowing that FFXII was sort of part of a larger tapestry, did you try to have specific callbacks to those games that didn't originally come through in the Japanese script?

AOS/ JR: Nothing serious, but there was a bit of an Ivalice easter egg in a scene with Vaan, Penelo, and Larsa joking around in the background where we had them use some dialogue from the original FFT English translation. "I got a good feeling. This is the way!" among other things. On the subject of nostalgia Easter eggs, there's also Gibbs and Deweg who were unnamed soldiers in the Japanese version, though this is obviously more an FF throwback than anything Ivalice. And as a continuation of a "tradition" Alex started on FFX, every FF game he's worked on has snuck in a reference to a certain spoony bard, and FFXII is no exception.

How much latitude did you actually have with changing things? Where there any disagreements between you and the Square Enix staff?

AOS/ JR: We had considerable leeway, especially with casting issues. Though we occasionally raised a few eyebrows, (for example, with the casting of Fran) and there were budget questions with the use of a young actor for such a main character as Larsa, which tends to be more costly than using an adult woman to voice the young boy parts. Mostly, the raised eyebrows were more curiosity than disagreement, and a little explanation was all that was required to get the team on our side. There was probably only one contentious moment, revolving around our decision to have the actor who played Gabranth (Michael E. Rodgers) mimic his character's twin brother Basch's voice (voiced by Keith Ferguson) in the scene where Gabranth is impersonating his twin. In the Japanese version, the two actor's voices play over one another in a sort of dream-sequence, but we opted to go for the arguably more "realistic" sound. The debate over which way to go came after the recording was finished, and eventually the team sided with us, but there were definitely those on the team that chafed at what was essentially a directorial decision being made by the translation team (albeit with the blessing of the voice director).

AOS: The raised dev-team eyebrows on Nicole Fantl were purely because the voice was so different from the Japanese, in a more markedly obvious way than our stylizations on the other accents affected the voices of characters like Ondore and Basch. It only took an explanation of our reasonings to sell the new take on the viera, though. Thumbs up to the FFXII dev team for being so open-minded. It's rare.

As for increased costs of hiring actual children, yes, those are the reasons: additional studio time for getting through something like acting to lip flaps with a child actor who doesn't have a lot of experience with that (it takes forever with adult actors who aren't used to ADR recording too), and there are extra costs tacked on by SAG for things like tutors. All well worth it, in our view, especially when you get a great performance like Johnny McKeown's for Larsa.

A total side-benefit to having Johnny come in was that his mother, the talented Tracy Ullman, also came to the studio so we got to meet her, which was fun.

Fran and the rest of the Viera were written with an Icelandic dialect in mind, which raised some questions from Square Enix early in the process.

Any favorite characters to write?

AOS/ JR: Ondore, his interstitial pieces particularly. Also Fran and the other viera with their unique accent. The Occuria were challenging and fun as mentioned above. Just from the strength of their characters, we loved the classic Matsuno characters, like Balthier, who are always a joy to write for. This includes the judges without exception, even the incredibly tricky scene with Drace confronting Vayne.

Honorable mention goes to Al-Cid, who had extremely long-winded lines delivered straight to camera, making writing to the lip flaps a considerable challenge. I know we had to adjust a few of them on the fly to match the voice actor's colorful performance. Luckily, David Rasner was both a good sport, and a master of ADR synching. He and Migelo (voiced by the inimitable John DiMaggio) were two characters that became much more fun with the spin the voice actors gave them.

Smith and Reeder working on the audio to lip flap.

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Comments 28

  • Avatar for Marchbanks #1 Marchbanks 2 years ago
    Great retrospective on a great game that did, indeed, have a great localization.
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  • Avatar for cldmstrsn #2 cldmstrsn 2 years ago
    Reading this gave me chills. This game will most likely always be my favorite FF. I still say that this is one of the best voice acted games to ever release and that history of Ivalice is really something that makes that world really special.
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  • Avatar for KakiOkami #3 KakiOkami 2 years ago
    Just when you think you know almost everything about one of your absolute most favorite games, USGamer comes along and provides yet another little glimpse into the making of (IMO) the best FF. How anyone can NOT like the open world to play in and explore, the long- full-of-atmosphere-and-mood dungeons, the amazingly fun to use combat system, and of course the colorful characters.

    Yeah, we know the game has flaws, but I'd be hard-pressed to recall the worst offenders even right this moment. The voice actors killed it for FFXII, especially coming after the decent/cheesy spoken word in FFX (man, who let Yuna's lines out the door in the first place!?). And looking at a world map of Ivalice and seeing where all the locations are for all the Ivalice games, it's just so much fun to piece it together, see different locations within the same world and yet be so FF'ish to the point that you've got the same world but different stories going on and different characters and very little (if any) overlap [FFTactics refers the most to other locations within the world through the artifacts found in side missions].

    Learning all these new things about this game just reminds me of how much love and soul went into it and I hope it gets the remaster treatment it deserves.
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  • Avatar for SigurdVolsung #4 SigurdVolsung 2 years ago
    Noooooooo!!! I'm trying to Platinum Disgaea V, you are going to coerce me into breaking out one of my copies of FF XII and going through it again. Great article though. T.T Love this game so much.
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  • Avatar for benjaminlu86 #5 benjaminlu86 2 years ago
    Alex O Smith's work on this title is still unmatched.
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  • Avatar for UnskippableCutscene #6 UnskippableCutscene 2 years ago
    This is going to be unpopular, but I'm prepared to get the downvotes:

    The script of this game built a brick-wall that ultimately discouraged me from going back to it. It's the Final Fantasy with an English degree, with acting that seems pulled from the stages of university theatres and sentence structures that are so layered in Victorian prose that it requires me to practically reverse-read them.

    I have no idea if that's originally in Japanese, or the result of the localization. It's a question I've wondered for years. The voice acted parts are occasionally so loaded with grammar only seen in stage drama vibe that is completely in left field for a video game, and some of the actors seem to also see it and read their lines like a stage drama. And mixed in with the usual fantasy macguffins and titles, it sometimes left me emotionally disassociated with the world and the characters.

    "No, the power of manufacted Nethicite is the power of man! A weapon forged by his wisdom... and who would challenge the gods themselves! A fitting blood for a true Dynast-King. Raithwall did but pretend the title... a cur begging Nethicite scraps from his master's table."

    It's not that I don't know what that dialogue means, but I have to sit and really notice it in a way that I don't with "the planet's dyin, Cloud!"

    I've been playing Final Fantasy since "fighting when mist will freeze you with breath," so I'm used to decyphering text that maybe meant something other than what was intended, but I also associate the Final Fantasy franchise with 20 hour anime-inspired action epics that uses heavy-handed story segments, dialogue at a 6th grade reading level, etc. The dialogue, particularly in the voice acted parts, felt like English grads were brought in to give the series intellectual depth and maturity, to push it past it's root as entertainment for teenagers with a slightly larger peripheral demographic. The problem is there's such a thing as being too intellectual.

    So while I don't actually dislike the gameplay, I reached a point where I was two boss fights beyond the point where I stopped even trying to keep track of the storyline. And when a boss eventually did stomp me in, I had passed on enough plot points that I felt disassociated with the story.

    I'm glad this game has it's fans, and I think it deserves the remastered treatment like FFX because it obviously outstripped what the PS2 was capable of. I just wonder frequently if the theme of thespian prose was in the Japanese script or completely added in localization.Edited October 2015 by UnskippableCutscene
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  • Avatar for SigurdVolsung #7 SigurdVolsung 2 years ago
    @UnskippableCutscene I wouldn't down vote you for not liking something that I love. But you should realize that the aspects of it that you don't like, especially "too intellectual", are some of the things that make others of us love it even more. Yes, I'm a huge fan of classic literature and can always go back to Joyce and Dickens and Poe and such for their wonderful Victorian era writing. But in video games that opportunity is seldom presented. Those who don't like that style of language have every other rpg to go to, so you have a fallback. As someone who does read a ton of classic literature, though, it wasn't just the translation and dialogue that lent to it's flavor. The accents and style were very much appropriate, they were not out of place at all. The story itself is classic in the best sense of the word. I may have given a small criticism to it if it was out of place.
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  • Avatar for kidgorilla #8 kidgorilla 2 years ago
    @UnskippableCutscene My man, I emphatically disagree with you, but your opinion is your own and you articulated it well enough. You just keep on keepin' on.
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  • Avatar for twopenny #9 twopenny 2 years ago
    What a fantastic read! I loved XII dearly, and the amazing script/performances made each cutscene a delight--something subsequent entries in the series might have emulated to their benefit. It's fascinating to read about this process, as it--particularly the successes--go generally unsung. The decision to give the Viera Icelandic-inflected speech was inspired--and I totally hear it now! Great idea.

    FFXII still feels like the series' zenith to me, and though moments buried in FFXIV have been amazing, I feel like it has been unmatched.
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  • Avatar for twopenny #10 twopenny 2 years ago
    @UnskippableCutscene I absolutely preferred XII's stylistic decisions to the uneven--and sometimes embarrassing--scripts of X and XIII. More importantly, I think it's a bit reductive to argue that dialog choices were made out of unearned intellectual posturing. XII's plot and tone share an awful lot with Shakespeare, with its political intrigue, secret twins and betrayals. The high drama felt--at least to me--elevated by the confident storytelling affectations. Sure, it doesn't hit every time, but I didn't find myself muting the game as I had with X and XII.

    As was noted in the article, dialog choices fit the characters they represent. Vayne, Ashe, Basch and Balthier (hinting at late-game revelations) often speak in near-iambic, as you might expect from the nobility, while Vaan and Penelo do not, being orphaned street thieves. This stuff, even if you don't notice it consciously, plays a huge role in telling the audience about our characters' backgrounds and contexts. It's a level of narrative sophistication that is sorely missed in the later games, and one that sets this entry apart.

    Here's a great moment!

    Vayne is an arrogant, pompous oligarch, clearly speaking over the heads of the crowd (and to some extent the audience)--that he straight-up references Hamlet underlines his inflated self-importance as he attempts to take the role of tortured people's-hero, and signals to the audience that this dude is a gigantic ass. I find this characterization to be a vastly more compelling than villains like Seymour in FFX, who must "destroy Spira to save it." Vayne's language is a fresh take for a series that had grown somewhat long in the tooth, and a move that looked like it might finally drag the series forward with more confident storytelling.

    Look, much of Final Fantasy XII's story is, at times, absolutely goofy--I think we can all laugh together at disappointing characters like Vaan--but when everything comes together, I think FFXII offers the most convincing/consistent dialog and performances the series has ever had.Edited 3 times. Last edited October 2015 by twopenny
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  • Avatar for Stevegasm #11 Stevegasm 2 years ago
    Pretty interesting read. I wish I was able to finish this game. As far as the story goes, I think it would have been better if they put more focus on the old knight. I never understood the Japanese obsession with little boys and girls in their stories, but it worked for me when I was still young. But overall, this one was one I thought I could sink my teeth into. There was so much that was great about this game, but it was the combat that kept me from bothering. I gave it a good 15 hours though.
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  • Avatar for link6616 #12 link6616 2 years ago
    I think FFXII is one of the bigger regrets I have about not owning a PS2 at the time. Frankly outside of remasters the PS2 library is something I haven't dealt too much in. And as much as I try to play the games either natively or on PC emulation I just never commit to them...

    I am hoping one day PS4/Vita HD collection will come and then no matter what the mood I'll be able to play.

    But love hearing about localization! Please more articles like this!Edited October 2015 by link6616
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  • Avatar for jeffcorry #13 jeffcorry 2 years ago
    ...and now we need an HD re-release. This game is the best Final Fantasy game I have played of the "recent" games.
    It even eclipses many, if not most, of the "older" titles.
    I absolutely love the localisation. Reading through the bestiary contained in the clan primer, is also very, very interesting. It required me to think about what was being said. Nothing came easy in this game at first, but when you mastered it (and the gambit system)...everything came easily!Edited October 2015 by jeffcorry
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  • Avatar for Pacario #14 Pacario 2 years ago
    @jeffcorry Agreed. This entire feature has really ignited my interest in the game, but I'd love an HD remake versus having to scrounge for an old PS2 copy (and a PS2 to play it on, for that matter).
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  • Avatar for SatelliteOfLove #15 SatelliteOfLove 2 years ago
    JF: "It was like actually doing a play, or doing a film script. That's how it differed. The cutscenes were so important to the actual gameplay that it was not something you wanted to use your cheatcode to skip through. As an audience, you needed to watch the scenes, and the scenes were good, the story was really involving. And that's not always true with other games, be they Japanese or Western. These were critically, a classical sort of world we'd set up, very Shakespearean, very Greek. Never dull. The movies were relationship oriented, action oriented, and key to the story. On review, I think they were very well written and well performed, and that's what brings the audience in, and made you want to know what's going on. I think we did a good job putting them together. It was like watching a really good movie!"

    This is why Lord Matsuno is so treasured. Gameplay and narrative boldly striding arm-in-arm together. He and his teammates are both auteurs and scientists, these wonderfully holistic works they put out...it's sad, really; Matsuno's way should've been a more learned, self-respecting way for video game design, but we had to wander in the wilderness before returning to the light again, chastened and hopefully wiser for it.
    @UnskippableCutscene

    That's what makes it so alive! Incredibly engauging, more a dance partner than a read/listen. They're some of those games I revel in just engauging with the narratives of, in that it's not how MUCH I get, or how much it EXACTLY mirrors what I sought, but has such depth, nuance, and worth. It's again, a breath of fresh air reading/listening to it in a sea of games that put such a similar level of emphasis on narrative matters and yet aim low for unintimidating and exceedingly expected Hollywood/Anime potboiler (and sometimes still miss!)

    Also, and this was true for Vagrant Story but I don't know to what degree for the subsequent Matsuno/Kajiya crew joints, that it was coloquial Japanese then given that chewy archaic flair.
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  • Avatar for KakiOkami #16 KakiOkami 2 years ago
    @Pacario Copies of the Limited Edition steelbook version of the game are ridiculously cheap and easy to find. I'ts worth snatching up!
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  • Avatar for theblacklaser #17 theblacklaser 2 years ago
    FFXII is my favorite FF game, and I've played all of them from FF to FFXIII. Hugely underrated. I recently played for a while again and it's just magnificent still.
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  • Avatar for lanmao #18 lanmao 2 years ago
    Thanks for this John. While I have mixed feelings on XII as a whole, the localization was and is a monumental accomplishment.

    One can only hope that we will see a re-release at some point in the not to distant future.Edited 2 times. Last edited November 2015 by lanmao
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  • Avatar for manny_c44 #19 manny_c44 2 years ago
    @SatelliteOfLove

    I'm curious as to which games we might might be playing as we return-to-the-light? Crimson Shroud is basically it for recent Matsuno releases.
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  • Avatar for SatelliteOfLove #20 SatelliteOfLove 2 years ago
    @manny_c44

    Actually, that's not really one of those I was thinking of in that; CS (my 2nd place for GOTY 2012) is gameplay yes, but it's much more restrained on both fronts.

    As for games done in the "Matsuno Way", I can't really think of any right off hand that really, really push on both fronts like those used to do, but "returning to the light again" really meant that that kind of benchmark clearing (and many other forms of game design) has much, much fewer artificial hinderances like "difficult games don't sell" or "I'm skipping every cutscene, ever game's narrative is trash" interfering with great ideas of all shakes.
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  • Avatar for Thad #21 Thad 2 years ago
    Great feature; I really like the thorough making-of interviews.
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  • Avatar for Pacario #22 Pacario 2 years ago
    @KakiOkami- I might just do that. Thanks.
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  • Avatar for Kirinn #23 Kirinn 2 years ago
    Love this game and its localization, and after reading this article I appreciate it all the more knowing the subtleties that AOS and his team added even when they weren't really present in the original text. All that time Victorian-izing the bestiary was not wasted! I hung on every word.
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  • I love the rich atmosphere and the dialogue in this game. I love me some Balthier too (mmmph).
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  • Avatar for Adrockski #25 Adrockski 2 years ago
    Great deep-dive into the localization process, and great comments, too. Thanks for this, USG. This site is quickly becoming the go-to video-game community for grown-ups.

    This is a game I'd love to go back to if only they'd let me invert the damn camera controls! I've tried and tried. I guess I'm just too set in my ways at this point to re-orient my brain every time I pick it up. Here's hoping for that HD re-release...
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  • Avatar for michaeltraps #26 michaeltraps A year ago
    Really happy I've been marathoning Axe of the Blood God because I would have never found this gem of an article otherwise.

    It's a shame we'll probably never see a game like this again, but as long as we have John Learned on the case, we'll at least be able to live vicariously through (and still learn new things about) old ones.
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  • Avatar for Lucas-Amaral #27 Lucas-Amaral A year ago
    Deleted August 2016 by Lucas-Amaral
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  • Avatar for Kaua-Rodrigues #28 Kaua-Rodrigues A year ago
    Honorable psn plus abril 2017 mention goes to Al-Cid, who had extremely playstation plus abril 2017 long-winded lines delivered straight psn plus to camera, making writing to the lip flaps a considerable challenge. I know we had to playstation plus adjust a few of them on the fly to match the voice actor's colorful performance. Luckily, David Rasner was both a good sportEdited February 2017 by Kaua-Rodrigues
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  • Avatar for mayara-santos #29 mayara-santos A year ago
    A verdade é que o último ano foi um ótimo para todos nós gamers. A E3 confirmou o que já havia sido dito sobre os próximos lançamentos ps4 2017 e encher nossos olhos por meio de novas promessas de jogos que, em sua maioria serão lançamentos ps4 2018 ou jogos que ainda não tem data de lançamento. Se a Sony acham trailers, alguns gameplay e várias imagens sobre os jogo que serão lançados são o suficientes para nos deixar ansiosos sobre os jogos ps4 2017, é preciso dizer que eles estão absolutamente certos. E é claro que se alguns jogos serão protagonistas por superarem as expectativas, com certeza haverá lançamentos que se destacaram por serem um tremendo fiascos (lembra de Watchdog?), por terem lançamentos adiados (Nier: Automata, estou falando de você), ou por possuir falhas técnicas gravíssimas (como o caso de Mafia 3). Enfim, queremos logo o que foi prometido e estamos de olho nos próximos lançamentos ps4 2018, acompanhando novidades e criando listas com os melhores lançamentos, final de contas, precisamos nos planejar financeiramente, certo?Edited 2 times. Last edited February 2017 by mayara-santos
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