Director of ReFantazio, Metaphor, says that games that "look like they were created by a bunch people in a boardroom" aren't interesting or exciting.

Metaphor: ReFantazio has done well for itself. It's the fastest-selling game in Atlus history (who made the acclaimed Persona games). I'm currently about 37 hours into the game and, as I predicted, it has me, who has never touched a Persona, all-in with an Atlus RPG .

I'm having fun, as are some members of our team, and our reviewer Lewis Parker who gave Metaphor: ReFantazio an incredible 95 -- that's only two points below Baldur's Gate 3--that other RPG which we can't stop talking about.

Director Katsura Hashino, speaking to IGN about his successes, said that the secret sauce - the chemical X for pulling off successful RPGs on a consistent basis - is the human touch. "I want something - even if its not complete, even it's really rough or unfinished - to give me a peek of the humanity behind the game."

Hashino, while talking about Persona and the inspiration for making the game's casts have relatable and realistic thoughts, feelings, fears, Hashino said that Metaphor's character are much the same. "They're dealing with anxiety and all these big things that impact everyone, no matter where they are or who they are."

He continues: "I don't think that these highly polished games, which look like they were created by a bunch people in a CEO's boardroom excite me or interest me."

Square Enix's JRPGs are a great example of this. They have the best graphics, the most realistic realism, and even the ability to see the pores in Cloud Strife, which is a very pretty game. But they don't sell as well as Square Enix would like.

Yet Metaphor: ReFantazio is a game which doesn't care about graphical accuracy, but has received a lot of critical acclaim. It also had a great deal of financial success. I mean, don't get me wrong. It looks great, and it's all down to the art direction. The menus are industry-redefining, the artwork is stunning, and there's a great soundtrack. There are also imaginative monster designs, and a painterly visual style.

But I've also been impressed by how functional it is. On the deck of the gauntlet-runner, you'll find some flat textures and trees that are cobbled together with a few scanty assets. If you play on anything but the highest settings, you'll find blurry paintings everywhere. Most cutscenes use static in-game poses, and portrait lip flaps. Atlus does not spend money on these areas, so it is not accurate to call them 'cut-backs'.

Hashino says that games that let developers express themselves in the way that matters are what keep him going. "It fills me up with motivation to continue developing," he explains. "That these artists, creatives, had a message they really wanted to share is where I draw my inspiration and drive to continue being creative myself."