{"id":163926,"date":"2022-12-21T05:34:59","date_gmt":"2022-12-21T05:34:59","guid":{"rendered":"https:\/\/harchi90.com\/destructoids-award-for-best-remaster-remake-of-2022-goes-to-destructoid\/"},"modified":"2022-12-21T05:34:59","modified_gmt":"2022-12-21T05:34:59","slug":"destructoids-award-for-best-remaster-remake-of-2022-goes-to-destructoid","status":"publish","type":"post","link":"https:\/\/harchi90.com\/destructoids-award-for-best-remaster-remake-of-2022-goes-to-destructoid\/","title":{"rendered":"Destructoid’s award for Best Remaster\/Remake of 2022 goes to… \u2013 Destructoid"},"content":{"rendered":"
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Live A Live<\/em><\/h2>\n

When I first covered the rumor that Square Enix was reaching well into its own past to dig up long-lost Super Famicom release Live A Live,<\/em> I will admit that, despite being pleased with the preservation element, I didn’t really think that the endeavor would amount to much. After all, various ’90s classics have been resurrected time and again, only to fall short of their former glories or, in the worst cases, miss the point entirely.<\/p>\n

thigh Live A Live<\/em> was something different. Live A Live<\/em>, launched in 1994 at the tail-end of the 16-bit reign, was both ambitious and way ahead of its time. The unknown release featured a slew of characters and worlds, multiple backstories, and a fascinating chrono-conundrum set against the backdrop of eight different time periods \u2014 from prehistory and Imperial China, to the American Midwest and the far-flung future.<\/p>\n

To build this complex story \u2014 complete with wildly different stylistic settings \u2014 for the humble Super Famicom was an incredible feat, and conceptually beyond anything available on the console at the time. A feat readily achieved by director Takashi Tokito (Parasite Eve, Chrono Trigger<\/em>), designer Nobuyuki Inoue (Sword of Mana, Mother 3<\/em>), composer Yoko Shimomura (Kingdom Hearts<\/em>), and the rest of Square’s talented RPG sector known as Development Division 5.<\/p>\n