The big movers & shakers become pretty well developed over time, but I think that’s a valid criticism. Most ‘supporting’ characters have dialogue fed through the accent system, which might take a line like “Hello, Serge, how are you doing?” and change it to “Oi mate, what’s your fancy?” for one character and “Hawwo Sergipoo! whaths hopin’?!” for another. I wonder if this was a trick to save on writing or a trick to save on memory? I’m not knowledgeable enough about the restrictions of that era since I was probably 10 when I played it in 2000.
It’s convoluted but, if I’m being honest, and I know this sounds stupid, I like things that are too ambitious for their own good. I like making sense of the convolution. But hey, I’m a Metal Gear, Dark Souls, Neon Genesis Evangelion, Xenogear, Angel’s Egg fan. I probably put too much value on the time I spend thinking about stories when I’m not playing them, and reading fan write-ups. That’s on me.
But let me admit that Chrono Cross does miss the mark narratively a bit more than some of my other examples. The story there is VERY interesting, but there were too many ideas to communicate them all in a well-paced way. Late game has some hardcore info dumps. I’m guessing either this game was rushed for the end of the PS1 or spent too much time in development and had too many late game changes. Either way, another round of editing would do this game wonders…
Blah blah blah I’m not even sure what my point is anymore. I probably just wanted to talk about Chrono Cross. If you ever feel like spoiling the game for yourself, here’s a really good plot summation from a fansite that’s been around FOREVER called Chrono Compendium. You can either read it in chronological order or in order the player experiences the story (which the wiki calls Serge’s Perspective.)