What bothers me about the battle system is that it is focused on something called Event Rank, which both gates off available party members and increases the difficulty of enemies. Even as the number of SaGa games I’ve played is creeping into the double digits, I always feel like I have an adjustment period coming into the battle system, but then it clicks and the incredible variety of what your party might have at their fingertips reveals itself and it’s a blast. Instead, your characters randomly unlock new attacks and abilities as you fight battles. At face value, it’s your typical turn-based battle system, but there are no levels or experience points. If you’re new to SaGa, the combat is going to be familiar but weird. The way this all interlocks together might scratch a similar part of your brain as Majora’s Mask.
Some quests you come across are time limited, which can be frustrating, but that also encourages replays with different characters to then conquer those quests. If you do hit any sort of wall, don’t feel bad about checking a guide. I tried my best to tackle this game without a guide on hand and it’s likely the best explained SaGa game I’ve experienced even if it still can be overwhelming. It’s an ambitious concept that is well executed here, largely thanks to a Notes section in the menu that helps you keep tabs on quests. Like other SaGa games, Minstrel Song features the Free Scenario system where you more or less play your own tabletop RPG roaming around picking up a slew of quests and shaping your party and the world. For the most part, each character has their own distinct prologue and then the quest is loosely similar (with a big emphasis on loosely), building up to a confrontation with an ever-present antagonist. At the outset, you can pick from one of eight different characters, running the gamut from thieves and warriors to witches and musicians.
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