A series of time gates also appear, devices Serah and Noel must use to steer the world away from destruction. As they speak, the timeline of the world is turning onto itself, creating paradoxes (contradictions) in various time periods. He carries a warning from an apocalyptic future that he himself is all too familiar with, and a plea for help from Lightning in trying to save it. A new friend appears amongst the confusion, a young man by the name of Noel Kreiss. Instead she faces a new foe, a purple haired man (to rival her pink) who expresses a grim wish for destruction, clashing swords on the outskirts of the universe.Ĭinematic action sequences offer intense and potentially branching outcomes in a handful of the game's more epic encounters.Īwakened by visions of this supernatural confrontation, Serah - Lightning’s younger sister and Snow’s fiancé, should players recall - finds her quiet coastal village suddenly under siege by monsters from another time period. It would seem her ending was not the happy one everyone had witnessed before the credits rolled. But she’s a different Lightning, a woman now adorned with plate armor, a shield, and a cloak of feathers draping at her side – a divine soldier of sorts. A spectacular sequence of CGI and admirably done interactive action scenes – tightly woven around composer Masashi Hamauzu’s yearning violin and orchestra – reacquaints players with Lightning, the heroine of their previous adventure.

Instead of Final Fantasy X-2’s summoner turned pop star, however, Final Fantasy XIII-2 sings to a more serious opening tune. The second attempt to append the ‘-2’ to a Final Fantasy title launches in a fashion even more ridiculous than what fans may remember of Square’s first stab at the idea. 'Why didn’t Square just make Lightning a pop singer and call it a day?' Final Fantasy XIII-2 (PlayStation 3) review

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