{"id":1034275,"date":"2026-01-15T20:41:21","date_gmt":"2026-01-15T20:41:21","guid":{"rendered":"https:\/\/www.polygon.com\/?p=479366"},"modified":"2026-01-15T20:41:21","modified_gmt":"2026-01-15T20:41:21","slug":"final-fantasy-is-in-trouble-does-metaphor-refantazio-show-it-the-way","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/final-fantasy-is-in-trouble-does-metaphor-refantazio-show-it-the-way\/","title":{"rendered":"Final Fantasy is in trouble. Does Metaphor: ReFantazio show it the way?"},"content":{"rendered":"
\"A
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As Polygon\u2019s newly minted awards pundit<\/a>, I\u2019ve seen something pretty interesting transpire over the past month or so. When I started ranking contenders for The Game Awards\u2019 top prize, Game of the Year<\/a>, I identified Final Fantasy 7 Rebirth <\/em>as the frontrunner. It was a big game in a storied series and a favored genre, with high production values, a strong storyline, and a 90-plus Metacritic rating \u2014 all historic indicators of success with The Game Awards\u2019 large and diverse voting jury.<\/p>\n

But since the start of October, Rebirth<\/em> has been wholly eclipsed in Game of the Year conversations by another game that has its roots in the 1990s Japanese role-playing game scene: Atlus\u2019 Metaphor: ReFantazio<\/em>. It has a weird title, relatively modest production values, and an old-school, niche ethos. But I\u2019m confident that it surpasses its fellow RPG in the Game of the Year stakes, and its critical reputation outshines the Square Enix blockbuster more than its two-point Metacritic advantage might suggest.<\/p>\n

Metaphor <\/em>is an original title from Atlus\u2019 in-house team Studio Zero, makers of the fan-favorite Persona series. Atlus, now a subsidiary of Sega<\/a>, has been enthusiastically touting the game\u2019s success; the company announced Metaphor<\/em> sold a million copies on its launch day, making it Atlus\u2019 fastest-selling game to date. By contrast, Square Enix\u2019s public pronouncements about Rebirth<\/em> \u2014 and last year\u2019s Final Fantasy 16<\/em> \u2014 have been positively glum. At a financial briefing in May that was made public in September<\/a>, Square Enix said profits from both blockbuster Final Fantasy games \u201cdid not meet expectations\u201d and Rebirth<\/em> sales were \u201cnot as strong as expected.\u201d In April, game industry analyst Daniel Ahmad estimated that Rebirth <\/em>was selling \u201cabout half<\/a>\u201d as many copies as its predecessor Final Fantasy 7 Remake<\/em> did in a similar timeframe.<\/p>\n

\"\"<\/p>\n

Neither Square Enix nor Atlus has reported hard sales figures for the games, and it\u2019s entirely possible that Rebirth<\/em> has sold more copies than Metaphor<\/em> \u2014 maybe even a lot more. But it\u2019s clear that Metaphor<\/em>\u2019s publisher is happy with how things are going, and Rebirth<\/em>\u2019s publisher is not. More to the point, it\u2019s clear that Atlus\u2019 games are growing in stature in the culture, and Square Enix\u2019s are shrinking.  <\/p>\n

Persona 5<\/em>\u2019s lifetime sales across all its editions are reportedly more than 8 million<\/a> \u2014 a number that\u2019s in the same ballpark as Final Fantasy 7 Remake<\/em>\u2019s sales<\/a>. That kind of success would have been unthinkable in the Persona series\u2019 early days, when each new Persona game sold in the hundreds of thousands. Meanwhile, Square Enix is reaching for anything resembling the Final Fantasy series\u2019 sales peak: the original 1997 Final Fantasy 7<\/em><\/a>. (To be fair, this discounts the actual bestselling Final Fantasy game, the MMO phenomenon Final Fantasy 14<\/em>, which is still going strong \u2014 but which arguably operates in a completely different sector of gaming.)<\/p>\n

One reason for Final Fantasy\u2019s struggles is Square Enix\u2019s anachronistic tactic<\/a> of PlayStation platform exclusivity, which it has already promised to abandon<\/a>. But another might be that Square Enix\u2019s strategy for the series is out of step with contemporary gaming tastes.<\/p>\n

Final Fantasy is one of the most famous brands in gaming<\/a>, and Square Enix\u2019s management ardently wants the series to take its place in gaming\u2019s top flight once more. To that end, it\u2019s configured its recent entries in the series as mainstream blockbuster games, with huge production budgets and cutting-edge visuals that gesture simultaneously toward the Final Fantasy history and toward generalized trends in contemporary AAA gaming: generic open-world design, sprawling hierarchies of content, and \u2014 in a marked shift away from the series\u2019 roots \u2014 real-time action combat<\/a>.<\/p>\n

\"The<\/p>\n

Metaphor<\/em>, on the other hand, <\/em>employs turn-based combat and visuals that combine strong character designs with anime stylization and sparse, functional environments. It doesn\u2019t look like anyone\u2019s idea of a mainstream AAA game \u2014 and it doesn\u2019t play like one, either. Instead of trying to combine a 1990s RPG with a 2010s open-world action-adventure, Studio Zero burrows deep into its own niche. Metaphor <\/em>establishes an ornate, original setting while exploring the curious features of Persona games in a new context \u2014 features like the sophisticated social simulation and the day-by-day structure that applies gentle time pressure and weekly rhythms to your adventuring. And yet, this highly specific gaming flavor seems to resonate increasingly with critics and gamers.<\/p>\n

There\u2019s another example of this change in tastes happening in Western-style RPGs right now. Dragon Age: The Veilguard<\/em> isn\u2019t quite the open-world jamboree of its 2014 predecessor Inquisition<\/em>, but it does try to broaden the appeal of BioWare\u2019s games with its easygoing, action-style combat. And yet it has fewer players on Steam right now than Baldur\u2019s Gate 3<\/em>, a game released more than a year ago, with a fiddly, turn-based, tabletop-influenced game design that owes everything to the kind of hardcore Dungeons & Dragons simulators that BioWare (developer of the first two Baldur\u2019s Gate games) used to make. Baldur\u2019s Gate 3 <\/em>is estimated to have sold around 15 million copies. Sales for The Veilguard<\/em> aren\u2019t known yet, although publisher EA\u2019s silence on the matter is perhaps telling.<\/p>\n

There\u2019s plenty of evidence, in role-playing gaming at least, of a shift that elevates sophisticated, niche designs above obvious stabs at mass appeal. For proof, you don\u2019t need to look any further than the astonishing success of FromSoftware\u2019s Elden Ring<\/em>, a game that makes few concessions to approachability even as it expands FromSoft\u2019s forbidding Soulslike template across an open world. This might also mean the epicenter of gaming culture is moving away from mass-marketed consoles and toward Steam, whose community tends to gravitate toward highly<\/a> specialized<\/a> experiences<\/a>.<\/p>\n

Former Square Enix exec Jacob Navok has surmised<\/a> that the publisher likely set the budgets and strategies for its recent Final Fantasy games as much as a decade ago \u2014 the era of The Witcher 3<\/em> and Skyrim<\/em>. Things looked very different then. If Square Enix wants to reclaim Final Fantasy\u2019s glory days, it might need to let go of its blockbuster envy and mainstream ambitions, embrace the niche, and get weird again. <\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

As Polygon\u2019s newly minted awards pundit, I\u2019ve seen something pretty interesting transpire over the past month or so. When I started ranking contenders for The Game Awards\u2019 top prize, Game of the Year, I identified Final Fantasy 7 Rebirth as the frontrunner. It was a big game in a storied series and a favored genre, with high production values, a strong storyline, and a 90-plus Metacritic rating \u2014 all historic indicators of success with The Game Awards\u2019 large and diverse voting jury. But since the start of October, Rebirth has been wholly eclipsed in Game of the Year conversations by another game that has its roots in the 1990s Japanese role-playing game scene: Atlus\u2019 Metaphor: ReFantazio. It has a weird title, relatively modest production values,…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1034276,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1034275","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nFinal Fantasy is in trouble. Does Metaphor: ReFantazio show it the way? | Arcader News<\/title>\n<meta name=\"description\" content=\"As Polygon\u2019s newly minted awards pundit, I\u2019ve seen something pretty interesting transpire over the past month or so. 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