Iterations of Xenogears, Xenosaga, Xenoblade & More

(imgur album)

All Xeno branches are centred around a golden monolith known as the Zohar. It’s a “pseudo-perpetual infinite energy engine”/”meta-universe manifold”, which mathematically calculates the maximum amount of energy possible within the space of a 4-dimensional universe, then achieves that level of power by opening gates to a higher dimension and ensnaring an existence that may be understood as God.

By using the Zohar as a visible centrepiece, we can discern that Xenosaga is a distant prequel to Xenogears as dictated by the Perfect Works, while Xenoblade is an adjacent dimension that the Zohar has linked to (explaining why they independently researched it as the Conduit, and may address it blipping over to their dimension as an object of pure energy with no mechanical casing).

However despite the Conduit itself lacking the distinctive metal appearance of the Zohar (Xenosaga), the Indol church was shown to previously be in possession of a Holy Grail that more closely resembled it (Xenoblade 2).

Unlike the Aegis Core, the Conduit has a slightly different shape to the Zohar. It thus sticks out that Monolith’s celebratory art for the 10th anniversary of the Xenoblade franchise also features the traditional Zohar cross.

The Lifehold units (Xenoblade X) also utilise a shape similar to the Zohar (Xenosaga), as well as faintly returning the eye that was present on Xenogears’ version of the object.

Officially, the stance is that these games are not – and cannot – be connected, because the copyright is split between multiple different companies. And, no, I am not trying to suggest that every single stray reference is a sign of the universes being the same. Because even when you do link them, it doesn’t matter all that much. The stories are episodic and separated by such massive spans of time and space that noticing any little interlinking segments is simply fanservice rewarding the player for being invested, not something which hugely shapes the experience. But narratively – particularly between Xenogears and Xenosaga? Yes, they’re linked. Pretty much all that happens is that Deus, the Eldrige, the -MAM- and HAR are substituted for Omega, Abel’s Ark, the U.M.N. and U-DO, and everything that comes along with that. It’s just legally distinct enough to be excused, yet so overwhelmingly clear to the player that the stories are talking to one another, even if the terminology is slightly different.

The story setup is still very clearly proceeding in accordance with Xenogears and the Perfect Works’ multi-thousand year prequel. You still have the Zohar, you still have the Immigrant Fleet, you still have Lost Jerusalem, planet Michtam, the Merkabah, the Vessels of Anima (Anima Relics) directly connecting the E.S. (Omnigears) to the Zohar, and Abel piloting legally-distinct Xenogears. Etc.

Further to that point, note that the larval form of Deus seen in the intro of Xenogears is referred to as “Omega 1” in the relevant Perfect Works segment, clearly indicating that Omega is to be its narrative equivalent in Xenosaga. Both their final forms are also seen puppeteering smaller bodies at the end of their long arms.

While it may (roughly speaking) substitute Deus and the Eldridge for Omega and Abel’s Ark, Xenosaga nonetheless adapts key concepts that reveal it to be the multi-thousand year prequel detailed in the Perfect Works framework for Xeno Episode I. A long time ago in a galaxy far, far away, the Zohar was created on a planet that would come to be called Lost Jerusalem. It would then fall into the hands of the Immigrant Fleet (Pilgrim Fleet in Perfect Works) for safekeeping. Eventually the engine is somehow lost, and is only rediscovered in an archaeological dig. Reclaiming it leads humanity to discover the existence of a pre-existing galactic ether network called U.M.N. (the -MAM- in Perfect Works), as well as the presence of Transfer Columns (the phase shift phenomenon theory in Perfect Works). But an accident in the early Zohar Project causes an entire planet (Old Miltia in Xenosaga’s case) to disappear, and not long after the conflict to gain control of it begins. The story eventually makes its way to planet Michtam (Miktam in Perfect Works).

Furthermore, with the way it directly adapts plot elements from Xenogears, Xenosaga and the prior two Xenoblade titles, Xenoblade 2 is positioned as Monolith’s celebration of all things Xeno; The Weltall-Id is the Monado is the Aegis is the Lifehold is the Conduit is the Zohar is the Morytha is the Zeboim is the ether is the ether is the so forth and the so forth. Why did the epic and serious not anime magic sword (not anime btw) become the magic waifu sword? Xenoblade, how could you do this to me!? Well, because that’s the relationship Xenogears and Xenosaga already had. The Weltall mech’s Evangelion-derivative role is shrunk down into the robot girlfriend KOS-MOS, and T-ELOS had even begun upping the sexualisation long before the Blade games were a thing. Xenoblade is simply emulating that stylistic leap. Perhaps due to its long growing pains before finally finding stability in Nintendo, this series is incredibly iterative. Each new chapter reinterprets Xenogears in some way or another. Approaching XC2 equipped with the context of its surrounding games totally reinvents the experience, breathes new life into it, because you are equipped to notice how much history feeds into every story element.

HAR (Xenogears) and U-DO (Xenosaga) are both Wave Existences, and Zanza (Xenoblade) encases his will within the Monado the same way that the aforementioned are pulled into the Zohar.

Waves form the basis of all things in Xenogears. The Monado is said to be able to manipulate the waves of existence in Xenoblade.

Fei’s meeting with the gold/teal Wave (Xenogears) has its imagery recreated in Shulk’s discussion with Alvis (Xenoblade).

The destruction of Deus (Xenogears) and Alvis enacting Shulk’s wish (Xenoblade) both feature an aurora effect.

In both Xenogears and Xenoblade, the Zohar gives its users the power of Foresight by simulating event pathways within an ether microcosm.

The central character of any given Xeno work will always have some kind of multiple identity construct in play, owing to the original game’s link with FFVII’s script and Cloud Strife’s own mental dilemmas.

Xenogears: Abel, Kim, Lacan, Grahf, Coward, Id, Fei
Xenosaga: KOS-MOS, T-ELOS, Mary
Xenoblade: Klaus, Architect, Zanza, Shulk
Xenoblade X: Elma (mimeosome ver.), Elma (xenoform)
Xenoblade 2: Pneuma, Mythra, Pyra
Xenoblade 3: Consul N & Consul M, Noah and Mio

The character designs of Abel and Elhaym (Xenogears) are reused for Abel and Nephilim (Xenosaga). Given that the Contact and Antitype continue to reincarnate all the way up to the events of Xenogears, there may be some way to interpret them as the same characters.

Lacan (Xenogears) and Abel (Xenosaga) are both shown to have an affinity for art, painting Sophia/Nephilim at some point during the story.

An alternate version of Sophia’s pendant (Xenogears) shows up with Nephilim (Xenosaga).

At the end of the saga Nephilim (Xenosaga) even takes on a naked soul form that makes her the spitting image of Elly (Xenogears).

Fei (Xenogears) and Shulk (Xenoblade) both have a grayscale childhood flashback as an important centrepiece of their identity struggles.

Xenogears and Xenoblade both begin with the first town suffering a mech attack, and the initial love interest seemingly murdered.

Xenogears and Xenoblade 3 both feature a prominent flashback scene where some kind of red monster brutally decimates a battlefield.

In Xenogears, humans are artificial, ether-based beings generated by Deus to store its energy for an eventual revival. In Xenoblade, homs are artificial, ether-based beings generated by the Bionis to serve as an energy source in an eventual revival.

Both Xenogears and Xenoblade treat the prospect of the titan’s reawakening as a matter of highest urgency.

The playable city destruction sequence of Old Miltia (Xenosaga) is similar to the invasion of NLA (Xenoblade X).

The imagery of the Mechon assault on Colony 9 (Xenoblade) is particularly similar to that seen when the Artifice Colossus attack Torna (Xenoblade 2).

The “You shall be as gods” phrase from Xenogear’s intro movie is similar to Klaus saying “Today, mankind moves one step closer to the divine” in Xenoblade.

All Xeno games feature the post-apocalyptic ruins of an earlier hypertechnology civilisation at some point in their narrative. The Zeboim ruins (Xenogears) and Land of Morytha (Xenoblade 2) are functionally equivalent, while the dead planets of Old Miltia and Michtam expand that to match Xenosaga’s intergalactic scale.

In both Xenogears and Xenoblade 2 the player party ends up exploring the mechanical ruins of the past technological civilisation.

The bridge seen when Elly recounts their foray into a Zeboim factory (Xenogears) is recreated in Origin’s architectural design (Xenoblade 3).

Emeralda (Xenogears), KOS-MOS (Xenosaga) and Pneuma (Xenoblade) are all artificial girls built during the height of a pre-apocalyptic Earth-like society, despite Gears and Blade both being set long after that civilisation’s collapse.

Xenogears and Xenoblade 2 both use the imagery of an artificial girl within a stasis tube, with the original ‘mother’ Elhaym perhaps being a parallel to Jenova resulting from Xenogears connection to an early draft of FFVII’s script.

The Eldridge (Xenogears) and White Whale (Xenoblade X) are both colony ships that meet with imminent calamity. The story for both games opens on a scene of high-tech interstellar warfare that sees the ship downed by the time the opening cutscene finishes, causing the few surviving human passengers to have to start over on a rural world.

The Eldridge (Xenogears) and White Whale (Xenoblade X) both contain a ‘supercomputer cavern’. While the monologue in front of the White Whale’s 7th generation quantum computer contains no mention of the Zohar or Conduit, it is adorned with two steel plates that faintly mimic its shape.

When the core computer system is threatened, each colony ship’s AI use their genetic facilities to produce a biological defense weapon. Both Deus (Xenogears) and Lao’s mutant form (Xenoblade X) take on the appearance of a large, grey titan.

The cradles used to grow the soldiers in Xenoblade 3 also have an orange hue.

Wilhelm’s ultimate goal in the Xenosaga storyline is to preserve humanity through the Eternal Recurrence function he implanted into the Zarathustra system, ensuring that once the universe had run the course to its logical end the recurrence would kick in and recycle all their souls to an earlier point in time. Likewise, the preceding events of Xenoblade 3 see the two queens constructing Origin as an ark to contain all humanity’s data in order to reboot the world after the impending collision of their dimensions. Both Shion and the XB3 player party are noted to hold “keys” for the device. The Lifehold Core in Xenoblade X also serves this purpose.

It is accordingly not a coincidence that Origin (Xenoblade 3) reuses Lifehold technology (Xenoblade X).

Zarathustra and Origin both prominently feature blue cubes.

The Zarathustra key (Xenosaga) looks faintly reminiscent of the shards of Origin Metal scattered around Aionios (Xenoblade 3).

The interlinked Iris data terminals (Xenoblade 3) may similarly serve as stand-in for the engimatic UMN (Xenosaga). It even features the same symbol of the Ouroboros serpent eating itself.

Xenosaga I and Xenoblade 2 have near-identical endings. A collapsing satellite is on a crash-course with the planet below, and the Aegis girl stays behind to stop that from occurring. The party reluctantly escapes in the meantime, and even though it does seems that the Aegis gets caught in the blast she manages to return safely anyway.

The Y-Data (Xenosaga) and Core Crystals (Xenoblade 2) are both said to record data about the state of the outside world and contain the DNA of all living things within.

Febronia’s short hair, motherly demeanour and a key shot of her sitting beside a tree (Xenosaga) go on to inspire Pyra (Xenoblade 2) in major ways.

A run-down church is an important cinematic setpiece for both Febronia (Xenosaga) and Pyra (Xenoblade X).

KOS-MOS (Xenosaga) & Pneuma (Xenoblade) both channel their power directly from the Zohar.

Additionally, Pneuma (Xenoblade 2) is able to move at warp speeds by rewriting physical space around her, the same way that the Logical Drive System functions in Xenosaga’s spaceships.

KOS-MOS (Xenosaga) and Pneuma (Xenoblade) both influence their partner’s lifespan. However in KOS-MOS’ case Kevin suggests that being around Shion is having an adverse effect on her health, whereas Pneuma instead saves Rex from his death.

KOS-MOS’ armour design (Xenosaga) is carried forward by a multitude of characters in the Xenoblade series.

Another look at the KOS-MOS outfits.

Although Fiora’s default outfit (Xenoblade) doesn’t especially resemble KOS-MOS beyond the initial ‘robot girlfriend’ aesthetic (Xenosaga), the Soloist Cowl costume set returns the coloured spikes and bodysuit. Additionally both characters share their body with the soul of a slumbering goddess, with their eyes changing colour whenever Mary or Meyneth take control.

Although Xenoblade 3 lacks the franchise’s traditional ‘robot girlfriend’ deuteragonist archetype, Segiri is a stiff-speaking mech pilot who parrots KOS-MOS’ awkwardness and is clothed in a plug suit, fulfilling the aesthetic requirements. Additionally, the spinal collars placed on members of Colony 0 may or may not resemble the Vessels of Anima.

The colour schemes of KOS-MOS & T-ELOS (Xenosaga) influence Elma (Xenoblade X) and the Aegis duo (Xenoblade 2).

To further her homage to KOS-MOS (Xenosaga), when Elma returns to her true body (Xenoblade X) she emerges from the same mechanical casket that KOS-MOS is always seen using for maintenance. The way she eerily lurches forward is also recreating the awakening cutscene, and her hair pulses with light the same as seen in KOS-MOS’ Version 2 frame .

These caskets are again see in Xenoblade 3.

KOS-MOS’ sword (Xenosaga) influences the design of Pneuma’s Aegis Sword (Xenoblade 2).

The shape of the awakened Abel’s Ark (Xenosaga) carries similarity to Zanza’s Monado (Xenoblade) and Pneuma’s Aegis Sword (Xenoblade 2).

However despite its aesthetic being predominantly based on Xenosaga, XB2 does retell Xenogears to a certain degree. First and foremost, that the setting timeline begins with a human civilisation on Earth (Lost Jerusalem) that meets with calamity due to an incident involving the Conduit (Zohar) and Artifice Aion (based on Omega which was based on Deus), and the new, artificial life springs up in the aftermath.

The narrative dances around this enigmatic 500 year old history with Mythra, Addam and Jin, similar to the ancient conflict with Lacan, Sophia and Krelian. However the battle ended in a tragic loss of life causing Lacan & Mythra to both sink to the depths of consciousness and let a false personality take over. These are Grahf and Pyra, who both have a red colour scheme. Meanwhile Krelian, scorned by the loss of one he loved, turns down the dark path like Jin.

Pneuma (Xenoblade 2) is a design mix of KOS-MOS (Xenosaga) and the Xenogears (Xenogears). She obviously wears a version of the KOS-MOS bodysuit + white sword and mimics her connection to the Zohar, but the ponytail and white wings owe to Fei and his Xenogears.

One of the unlockable decals in the BLADE Barracks has Elma in a skimpy red outfit wielding the G-Buster Skell weapon (Xenoblade X), which looks very similar to both Mythra and Pneuma’s Aegis Swords (Xenoblade 2).

The Monado appears in both Xenoblade and its direct sequel Xenoblade 2, used to establish a subplot pertaining to the location of Ontos, the ‘lost’ third Aegis Core. Despite the reality-rending blade not appearing properly in Xenoblade X, its design still cameos in Lin’s hairbands and the Noponic Sword of Legendaryness.

It’s never stated plain in writing that Ontos is Alvis. But from a storytelling perspective I’d suggest that’s because this is considered to be so obvious that there’d be no point. They’ve already set themselves up with the recurring imagery to the point of being beyond deniability. Klaus states that upon initializing the Conduit things went screwy which caused Ontos to whoosh away with his assistant Galea and half of his body. It’s shown on-screen that Galea is Meyneth and the absent half of Klaus is Zanza. They even feature Shulk’s line from the final battle. So the dimension Ontos connected to is, in no uncertain terms, XC1’s ether subspace. Of the two Aegis cores that remained, Logos is shown to have a Monado and Pneuma has Foresight – Mythra even subtly acknowledges Ontos as the red Monado when Shulk shows up as a DLC Blade. In the Definitive Edition remake Alvis’ necklace is changed to a red Aegis core (note that we never see the Ontos unit in XB2 to confirm its colour, but the change is very telling in itself). All of which very clearly pointing to the conclusion that the “administrative computer” that Alvis claims to be part of is redefined as the Trinity Processor.

As one hint toward this, Pyra more or less copies Alvis when she introduces herself to Rex.

Note that the above collage is a mockup I made, since the Ontos processor is never seen in the cutscenes of Xenoblade 2.

Although no clear Monado seems to be in play during the events of Xenoblade 3, the Sword of the End is clearly hinting toward being the one to fill that role. The sword is constructed with the same iconic circle opening at the guard, and is said to be a product of Melia’s heart resonating with the memories stored inside Origin. Although no symbols ever display on the sword itself, they are seen on the Art icons that appear when the blade is drawn.

The Veiled Sword that gets used as its metaphorical sheath is a red sword with blue energy, which clearly denotes it to be this game’s ‘xenoblade’ (whereas other Blades are a basic grey) One could assume the plot reasoning to be that at some point Melia adapted the data from the Monado REX into the Blade system. Similarly, N’s version of the Blade pulls from Malos’ Monado with the black metal and purple flames.

The shape and colouration for the three stages of the Veiled Sword (Xenoblade 3) also resemble the various forms that Shulk’s Monado takes on (Xenoblade).

The design of Pyra’s Aegis Sword with the flame jets (Xenoblade 2) is then brought back for the Monado REX (Xenoblade: Future Connected). When swung it has the same emerald gradient toward the hilt.

When Queen Nia is recruited in Xenoblade 3 she carries what appear to be Monado III manifestations of Mythra and Pyra’s Aegis Swords.

The Monado III (Xenoblade) also bears a striking resemblance to the glowing blade wielded by the Vita after its transformation (Xenoblade X).

The long history of Abel and Elhaym’s reincarnation (Xenogears) may have been the origin for the story element of Mimeosome resuscitation (Xenoblade X) and Blade immortality (Xenoblade 2).

While reincarnation is a persistent plot element across all Xeno works owing to Abel and Elhaym, Xenoblade 3 presents the most major readaptation of this storyline. Noah and Mio are lovers who have had their souls recycled many times within the Flame Clock system, always meeting death until the final cycle which the game follows. At some point one of his past incarnations breaks away to become Consul N, much like what happens with Grahf.

In Xenogears the Kislev Empire and Aveh are locked in a war that “has gone on for so long that the people have forgotten the cause, knowing only the pointless circle of hostility and tragedy.” This is essentially the premise of Xenoblade 3, with it even being based out of the similarly named nations Keves and Agnus.

In acknowledgement of this, Xenoblade 3’s protagonist Noah is named in reference to Xenogears’ beta title “Project Noah”.

The aesthetics of the main couple in Xenogears and Xenoblade 3 align. Visually, Fei and Noah both put their hair up in a ponytail, and both spend the first half of the game resisting the notion of unleashing their true weapon. Elly and Mio both begin as agents of an enemy nation, but after their initial conflict in a dark forest decide to journey with the protagonist.

The more hateful persona and armour design of Id (Xenogears) potentially inform Noah’s persistent past incarnation Consul N (Xenoblade 3).

Another look at the design parallels between Fei/Id (Xenogears) and Noah/N (Xenoblade 3).

The fact that N uses a different sword to Noah in his past incarnations (Xenoblade 3) is similar to Lacan/Grahf piloting the Alpha Weltall instead of Fei’s Weltall-1 (Xenogears).

Additionally, Noah (Xenoblade 3) expresses a desire for artistic expression through his music, much like Lacan and his painting (Xenogears).

Krelian’s character design, as well as key imagery of his floating head having a moral debate with the souls of Fei and Elly (Xenogears) are parroted in the finale of Xenoblade 3 where Z does much the same thing.

Xenoblade 3, at various points in its script, makes verbal reference to past games. “Awakening” is the final boss theme from Xenogears. Further to this point, in the already Xenogears-derivative final boss battle the Xenogears-derivative final boss says “run to the ends of the world”, which is a line from Small Two of Pieces. The “passage of fate” is a key concept in the original Xenoblade, while “the future connected” refers back to the bonus chapter which details Melia’s ascension to the throne.

The Japanese cover of Xenogears’ ending theme that was produced for the CREID album is titled “Mebius”, and considering everything else I would wager this was an influence on the enemies in Xenoblade 3 being named Moebius.

The joining of man and woman in “spiritual unity” is an important plot element in both Xenogears and Xenoblade 3.

Xenogears and Xenoblade 3 both have a prison arc.

The progenitor of house Vandham in Xenoblade 3 is a ponytailed man renowned for his fist-fighting. This is similar in design to Fei Fong Wong from Xenogears. According to modders accessing the game’s internal files, this is allegedly known as the “Wong Monument”.

The character design of gunslinger Jessie Black and his wife Racquel (Xenogears) may have been an inspiration for Grey and Rozaria (Xenoblade 3).

The eyepatch-wearing, prodigal prince Bart (Xenogears) inspires the character setting and design of Zeke (Xenoblade 2). The screen-shatter transition in his second boss fight is the same one used when entering a common battle in Xenogears.

Chaos (Xenosaga) and Alvis (Xenoblade) are both mysterious figures that subtly guide the narrative and know far more than they let on. They have faint similarities in their silvery hairstyles.

The character designs for Kelvena and Tolone of the Elements (Xenogears) may have influenced KOS-MOS (Xenosaga), Melia and Shania (Xenoblade).

Krelian’s name and character design (Xenogears) influence Kallian (Xenoblade).

Xenogears and Xenosaga both have a mechanic named Hammer.

Hammer’s betrayal of the group when he returns in a Wel-Gear (Xenogears) is somewhat akin to past characters – particularly Virgil – resurfacing as Testaments (Xenogears).

Shion aside, the Uzuki family (Xenosaga) take their name and distinctive black hair from Citan Uzuki (Xenogears).

Dunban (Xenoblade) is also a member of the Uzuki archetype. He’s that game’s speedy, black-haired samurai whose wealth of past experiences lead him to take on a mentor role to the rest of the group. He guides Shulk and, like Citan (Xenogears) or Jin (Xenosaga), is always read to share his wisdom. The majority of his character drive centres around the seeming loss of his younger sister Fiora, putting a spotlight on their family relationship that channels Xenosaga’s focus on Jin and Shion.

Citan’s outfit (Xenogears) is referenced by Jin in the third Xenosaga game

Jin (Xenosaga) and Jin (Xenoblade 2) are samurai sharing the same name.

The design of Yui Uzuki (Xenogears) is referenced by Vess (Xenoblade 2).

Xenoblade X and Xenoblade 2 both prominently feature a muscular man by the name of Vandham. In both cases he’s the head of a militia – BLADE (Xenoblade X) or Garfont (Xenoblade 2).

Vanderkam appears with a near-identical design in both Xenogears and Xenosaga.

The captain of the Thames’ signature “I…am a man…of the sea!” catchphrase (Xenogears) is referenced by a pirate-themed Consul whom delivers the challenge Men of the Sea: Triton’s Triple Challenge (Xenoblade 3).

Consul X (Xenoblade 3) is based on Wilhelm (Xenosaga) and Prim (Xenogears)

KOS-MOS’ visor in her first model (Xenosaga) may be based on Deus (Xenogears).

The Artifice Colossus in Xenoblade 2 also seems to have eyes plastered on its dome in the same manner as Deus.

As part of her Blade Quest in Xenoblade 2, KOS-MOS befriends a bespectacled, brown-haired researcher girl. This is an obvious callback to Shion in Xenosaga.

When T-ELOS has her cameo appearance as a Rare Blade in Xenoblade 2, she dons a pair of glasses. As she does not usually wear spectacles, this seems to be a reference to Shion from her home franchise Xenosaga.

Additionally, the metallic handle on T-ELOS’ scythe (Xenoblade 2) faintly resembles a Vessel of Anima (Xenosaga).

Maria and Siebzehn (Xenogears) are referenced by Mai and her robot (Xenosaga).

The flower girl in the blue dress (Xenogears) is referenced by Shion’s blue dress when she discusses gardening in her childhood (Xenosaga).

Nanomachine daughter Emeralda (Xenogears) > robot daughter Momo (Xenosaga) > robot daughter Poppi (Xenoblade 2).

Momo (Xenosaga) & Nia (Xenoblade 2) are both artificial girls that inherit the will and identity of a sickly human whom had considered them to be their real younger sister.

In Xenosaga, Momo has a brief bout of uncertainty due to learning her emotional layer is part of her programming. This is reflected in Xenoblade 2, where Rex wrestles with the suggestion that Mythra “constructed” Pyra.

The church plays a villain role in all branches of the franchise. Ethos is a puppet organisation for the Gazel Ministry intended to deceive and thus subjugate the surface dwellers (Xenogears), Ormus wants to use the Zohar to dominate the universe (Xenosaga), the Ganglion desire to eradicate humanity (Xenoblade X) and Indol is being manipulated toward Amalthus’ ultimate goal of returning everything to void (Xenoblade 2).

Ethos handles majority of the world’s Gear maintenance and thus keeps the human race dependent on their law (Xenogears). Similarly, Indol holds political sway over all countries and overseers the lawful distribution of all Core Crystals (Xenoblade 2). Both organisations also toy with genetic modification on the side, particularly that of Human/Gear and Human/Blade fusion.

The character definitions of languorous inquisitor Margulis & corrupt patriarch Sergius (Xenosaga) are mixed to give rise to Amalthus (Xenoblade 2). Additionally, Margulis and Marubeni (Amalthus’ unlocalised name) sound similar.

Both the Ormus (Xenosaga) and Indol (Xenoblade 2) churches feature a monument to the world tree.

Ormus (Xenosaga) inspires the Ganglion (Xenoblade X). Both are corrupt, intergalactic religious organisations searching for their lost homeland. The Great One they speak of is therefore likely to be in reference to a HAR or U-DO style Wave Existence, and they fixate on one particular Skell in the same way of Ormus and Omega.

Further to this point: From all the repeated imagery we can concretely discern that there is some kind of Wave tied to the Conduit in the Xenoblade universe. It is a Zohar, after all. However, this being’s identity has never been touched upon, Klaus simply believes it comes from on high. Choosing to link Xenoblade X together with the main trilogy, I would suggest the most likely candidate to be the Great One. The Vita is the “vessel of the great one” in the same way that Xenosaga has many artefacts comprising “the body of god.”

The imagery of Xenogears’ diamond-cased Anima Relics is repeated when Lao reveals the function of human DNA (Xenoblade X). Its mention of being a universal/biological “failsafe” that would destroy the Ganglion should they ever rebel against their Samaarian creators is similar in nature to Yeshua’s power of Anima (Xenosaga).

There is some interpretation of Deus in every individual Xeno title.

The same is true of Deus’ main offshoot – Omega. There is some kind of mech referencing it in every Xenoblade title.

The design of Omega (Xenosaga), a giant golden mech with the Zohar in its chest, is referenced by both Yaldabaoth (Xenoblade) and Aritifice Aion (Xenoblade 2).

The shot of Cecily and Cathe in front of Omega (Xenosaga) is recreated when Pyra and Mythra introduce Rex to Artifice Aion (Xenoblade 2).

Omega (Xenosaga) is additionally referenced by the Vita (Xenoblade X).

The designs for the Agnus Levnises in Xenoblade 3 faintly align with Xenosaga’s Omega, as both are golden cyclops mechs.

Weltall, Weltall-Id & Alpha Weltall (Xenogears) have their design DNA used to influence Omega Universitas (Xenosaga) and Malos’ black Siren (Xenoblade 2)

When Malos goes to use his Siren’s finishing move in the battle of Torna (Xenoblade 2), he charges up a red energy in his right fist similar to Grahf’s Seeker of Power (Xenogears). Moebius D (Xenoblade 3) who is based on Grahf again uses a similar attack.

The head wings of the High Entia (Xenogears) call to mind Emeralda’s mech Crescens (Xenogears).

This design homage for the High Entia, and many long-standing homages to Weltall, then come to fruition when two of the Kevesi Ouroboros Interlink designs (Xenoblade 3) are clearly based on Weltall and Crescens (Xenogears). Additionally, two of the Agnian Ouroboros are based on KOS-MOS and Dinah (Xenosaga).

When the Ouroboros transformation starts nearing its time limit the body begins glowing a reddish-orange. For Noah’s form this leads his already Weltall-esque appearance to faintly resemble the awakened Weltall-Id.

The Xenogears’ wings (Xenogears) are also referenced by Noah’s Ouroboros (Xenoblade 3).

The design of the Xenogears is referenced by various subsequent mecha, including ES Dinah + Omega Res Novae (Xenosaga), the Ares (Xenoblade X), Siren (Xenoblade 2) and Keves’ castle mech (Xenoblade 3).

Although the ES Dinah never displays wings of light like the other Xenogears-derivative mechs, KOS-MOS is capable of activating her own as she levels up.

Since Pneuma is based on KOS-MOS, this creates something of a lineage with the Xenogears’ wings being appropriated for the central robot girl.

Further to the point, the wings on KOS-MOS when she appears in Xenoblade 2 appear to be emulating that of the Xenogears, while T-ELOS’ headgear is similar to that of the E.S Dinah.

The eye on the Xenogears version of the Zohar is referenced on the visor of KOS-MOS in Xenoblade 2.

Likewise, Consul D (Xenoblade 3) is clearly based on Grahf (Xenogears).

Omnigears (Xenogears), E.S. (Xenosaga) and Artifices – particularly Echelon Siren (Xenoblade 2) – are functional equivalents. All three are the advanced form of standard mechs (the standards being Gears, A.G.W.S and Sovereigns), which draw power directly from the Zohar through use of Slave Generators and/or Anima Relics.

Omnigears/E.S. evolve from regular gears though the use of Anima Relics (Xenogears) / Vessels of Anima (Xenosaga).

Omnigears (Xenogears), Sirens (Xenoblade 2) and certain Samaarian Skells (Xenoblade X) are piloted via thought-waves rather than an physical apparatus.

Weltall-Id’s red and blue/green colour scheme (Xenogears) is reused in the Monado (Xenoblade) and Pyra (Xenoblade 2).

Bonus: In Smash Ultimate, three of the Aegis’ alt costumes are styled after Weltall, Xenogears and Shulk’s Monado respectively.

The body shape of the Bionis (Xenoblade) faintly resembles Weltall (Xenogears). It’s the slightly oversized diamond-shaped wings jutting out of its upper back that particularly catch my attention.

The Tower of Babel (Xenogears), Beanstalk orbital elevator (Xenoblade 2) and Great Sword (Xenoblade 3) are all skyscrapers playing a central role in the plotline that the party must climb at some point to reach the land of the supersociety at the top.

In particular, the Tower of Babel (Xenogears) and Great Sword (Xenoblade 3) share their run-down, factory-like aesthetic.

The Tower of Babel (Xenogears) and Prison Island (Xenoblade) are both sealed with a large circular gate adorned by a symbol of some kind.

The designs of Xenogears, Vierge and Fenrir (Xenogears) are used as the basis for Dinah, Zebulun and Reuben. Additionally, Zebulun’s floating “Aird” gun pods are a reference to Vierge’s “Aerods”.

The Aerods (Xenogears) are also referenced by Fiora’s Sword Drones (Xenoblade).

The design silhouette of Xenogears (Xenogears) is faintly echoed in Omega Res Novae (Xenosaga).

Additionally, Xenogears (Xenogears) and Omega Res Novae (Xenosaga) are both piloted by Abel.

The white body frame and violet banding of the Ares (Xenoblade X) also resembles the colour schemes of Xenogears (Xenogears) and Dinah (Xenosaga). Furthermore, the Ares units fly with wings of light similar to Xenogears.

The colour scheme and eight wings of the Xenogears are perhaps referenced by the mechanical throne in Xenoblade 3. The throne is later used as a command center to transform the entire Keves Castle into an eight-winged mech itself.

If the Keves Castle’s mech form is inspired by Xenogears as mentioned, then logically speaking this would mean that the Agnus Castle mech has to be equally designed in homage to Omega. Although admittedly harder to glimpse, it is nonetheless a golden cyclops mech. Its robes, while modelled on Nia, can serve as a double reference to Ormus if need be.

The Keves Castle transforms into a Xenogears-esque mech which predominantly fights with its fists, like all of Fei’s Gears would. The Agnus Castle transforms into an Omega-reminiscent mech which attacks with fearsome laser beams instead.

Because the Keves Castle’s transformation, and indeed the game itself (Xenoblade 3), are heavily modelled on Xenogears, the shot of its wings above the party as they look out at the ocean from an overhanging cliff can be seen as composited in reference to the final cutscene of Xenogears.

When Yuriev links with Omega Res Novae (Xenosaga), he displays the same kind of red aura as Grahf and Id (Xenogears). Malos (Xenoblade 3) displays it again.

Deus’ Core from the pre-final boss area of Xenogears is recreated in the internal space of Abel’s Ark (Xenosaga). The area BGM of Abel’s Ark is even a remix of Fangs Bared at God, a Xenogears track linked to events near the end of the game.

The heart of the Bionis (Xenoblade) also resembles the Deus Core (Xenogears).

The designs of Andvari, El-Stier, Fenrir and Renmazuo (Xenogears) are referenced by the four Natus units in Abel’s Ark (Xenosaga).

The Samaarians (Xenoblade X) borrow the designs of their ships from Abel’s Ark (Xenosaga), and are said to come from a different plane of existence.

The shot of Weltall-Id appearing behind a suspended bridge (Xenogears) is recreated by Margulis (Xenosaga).

Xenoblade’s Metal Face, Mysterious Face and Face Nemesis are inspired by mech models seen earlier in Xeno. Additionally, Xenoblade’s major plot thread of Homs-Mechon fusion is borrowed from Xenogears, where man and machine are mixed in the experiments of Solaris.

The Face mechon (Xenoblade) look similar to the Blade Bots (Xenoblade 2).

Opiomorph (Xenogears) and Ophion (Xenoblade 2) are both serpentine mechs with similar names.

Xenoblade 3’s mechanical design, due to the mish-mashed worlds, tend to align with either Face technology (Xenoblade) or the more complex Artifice (Xenoblade 2).

Metal Face’s claws (Xenoblade) are the same kind to later be used in the throne mechs (Xenoblade 3).

The silver, floating umbrella design of Solaris (Xenogears) is similar to a mech seen in Xenosaga.

As early as Xenogears, two concepts known as Anima and Animus are introduced as a core mechanic of the setting. In its original form it manifested as woman and man each containing different part of Deus’ original coding and thus becoming complete when joined in ‘spiritual unity’, and as the franchise has progressed it remained as some kind of conceptual evolutionary energy. The Animus has the power to forcibly break reality’s systems, while the Anima comes in to restrict and regulate its power so as to keep the universe from literally tearing apart. This recurs across the franchise, often with the same blue and red color scheme. The concept is displayed by Fei and Elly (Xenogears), Yeshua and Mary (Xenosaga), Zanza and Meyneth (Xenoblade), Logos and Pneuma – particularly visible within Artifice Aion (Xenoblade 2), or Noah and Mio (Xenoblade 3).

Though it warrants mentioning that in a bid to legally differentiate itself from Xenogears even a little, the Xenosaga games see Anima and Animus swapping genders.

However in the intersection of Xenoblade 2 and 3 we are able to observe that the titles have been reverted to the original gender. Malos’ boss theme in the Torna DLC is titled Over Despair and Animus, while Pyra and Mythra’s blades are seen to be renamed the “Anima Sword” upon losing her Conduit powers.

Animus holders in Xeno games are often seen with ponytails.

Xenoblade 2 does toy with the concept a little. Though the Animus is usually a male protagonist and the Anima female, Pneuma has the blue power + ponytail usually seen in Animus users, while Logos instead has the red power associated with Anima.

The way that Mary Magdalene (as the Animus) fragments Yeshua’s power of Anima is by, essentially, sealing half of his form within the Vessels of Anima (Xenosaga). However in doing so she also caused half of her own self to be spread across the U.M.N. This plot element is parroted by Klaus in Xenoblade 2. The catastrophic outcome of his Conduit initialisation saw half of his body, as well as Galea, to disappear into a different world, and as highlighted in a prior collage those would then go on to become incarnations of Animus and Anima.

Kadomony (Xenogears) and the Trinity Processor (Xenoblade 2) are both artificial intelligence supercomputers that regulate the gate component of the Zohar/Conduit by passing prompts through three different logic elements before reaching a decision.

True to form, the Trinity Processor functions in the same way as Kadomony. The reason that Alvis is the “administrative computer” and that he has access to both Monado and Foresight (compared to Logos and Pneuma only having one power) is something that requires some minor prior knowledge from Xenogears. The Trinity Processor is functional equivalent to Kadomony, a supercomputer governed by three AIs that’s used to siphon power from the Zohar (Conduit) engine. The three function in the same way as the Aegis. Persona is the neutral overseer that receives and processes instructions then passes them to Animus (Kadomony’s male mind) and Anima (Kadomony’s female mind) to logically debate, and the outcome of that is then approved. Ontos is Persona (ergo the dominant AI that has less personal intervention in the outcome), Logos is Animus and Pneuma is Anima.

If being the “endbringer” makes Logos/Malos the force of Animus in Xenoblade 2, then Pyra’s attempt to shut him down at preserve humanity lets he be the Anima. This is supported by Aion’s colour scheme having the blue and ether lines that mark the power in most Xeno entries. She also comes to somewhat fill the role of the mother from Xenogears, and this adds an extra layer to the opening shot of her in a tube similar to Elhaym.

The character model for the mysterious cloaked figure at the end of Xenoblade X carries similarities to Grahf and Wiseman (Xenogears), the Testaments (Xenosaga) and Malos (Xenoblade 2).

This homage then comes to fruition in Xenoblade 3, when it reveals that the figure most likely belonged to a group called Moebius, whom are functional equivalents to Xenosaga’s Testaments.

Accordingly, that the consuls transform into red humanoid monsters (Xenoblade 3) may itself find its roots in Kevin transforming from his Testament appearance into a flaming knight (Xenosaga).

The Ganglion headquarters (Xenoblade X) would come to be heavily reminiscent in visual design of Origin (Xenoblade 3).

The colour scheme and mechanical design of the transformed Origin (Xenoblade 3) is heavily reminiscent of the earlier godmech Vita (Xenoblade X).

Furthermore, the various Moebius defence droids inside of Origin (Xenoblade 3) seem to be constructed with the same enigmatic dark matter internals as Vita (Xenoblade X).

The Moebius droids visual design (Xenoblade 3) also calls to mind the Ghosts (Xenoblade X).

Origin itself bears a striking resemblance to the one Ghost warship seen in X’s opening battle.

Moebius watch the events unfolding from some unspecified, ethereal theatre space (Xenoblade 3), creating visual similarity with Fei watching his memories on an old film screen (Xenogears).

Due to the nature of Aionios messily smashing the two dimensions together into one continent, there are fragments of each game’s titans scattered about. For Xenoblade 1 there are leftover geological features from Gaur Plains, the Bionis’ head and Eryth Sea, the Mechonis fingers and its sword. Additionally Keves Castle is Alcamoth reconstructed with a Mor Adain styling, Shulk purportedly designed City with his mechanical knowledge from Colony 9, and Origins insides utilise Mechonis architecture.

From Alrest there is obviously Uraya always on the skyline and Nia reveals the Maktha Wildwood to be the World Tree still coiling around the ruins of Morytha, but across the land it is also possible to glimpse Mor Adain’s hand and Gormott’s fins. The Cloudkeep may or may not be Tornan architecture.

Additionally when one ventures into the Urayan caverns the plaza below the Olethro Ruins inside is seen to be largely intact.

Addam’s temple from the end of the Spirit Crucible Elpys (Xenoblade 2) is also left fairly intact at the Lavis Sandbar (Xenoblade 3). The overarching structures on the nearby island may potentially be something from the Letherian Archipelago.

Telethia (Xenoblade X) and Malos (Xenoblade 2) both take on the title of “The Endbringer”.

The Seraph (Xenogears), Gnosis (Xenosaga) and Telethia (Xenoblade) are all similar flying void monsters.

The Seraph are described as being like the white blood cells of the Merkavah/Deus (Xenogears). Telethia are similarly described as the Bionis’ cells (Xenoblade).

Ghosts and Tainted (Xenoblade X) both fill the role of Gnosis (Xenosaga) as well. The former are mysterious space monsters waging war against the Samaar Federation, invoking the imagery of the Galactic Federation against the Gnosis.

The Tainted (Xenoblade X) and Fogbeasts (Xenoblade: Future Connected) are both ordinary animals corrupted by some unspecified dimensional force.

The intangibility of the Gnosis (Xenosaga) is applied to the Fogbeasts (Xenoblade: Future Connected), until Shulk makes it possible to defeat them by first engineering a makeshift Hilbert Effect.

Omega Metempsychosis’ body shape and stretchy arms (Xenosaga) have faint similarities to the later Xe-dom mechs (Xenoblade X).

Additionally, Omega Metempsychosis (Xenosaga) puppets two smaller mechs which resemble Weltall and Vierge (Xenogears).

The Ooki tribe (Xenogears) was a likely influence on the Nopon race (Xenoblade).

The Merkava/Merkabah exists as a conical-shaped fortress + interstellar weaponry system in both Xenogears and Xenosaga. As far as the Perfect Works is concerned, I believe these can be considered same facility.

Old Miltia (Xenosaga) and Yggrasil (Xenoblade 2) are both shown to be inaccessible until a pathway is explicitly opened during the narrative, unlocked by the Y-Data and Omega Fetter respectively.

Each branch of the franchise features a continent/living space being destroyed. Weltall-Id destroys Solaris (Xenogears), Siren destroys Torna while Mythra is running berserk (Xenoblade 2), and the awakening of Proto Omega cracks the remains of Old Miltia (Xenosaga). Additionally, Xenogears and Xenoblade 2 both have a continent destroyed by a rampaging mech off-screen prior to the start of the game.

The imagery of the Omega System bursting out of Miltia (Xenosaga) is recreated when Z transforms the upper half of Origin into a winged mech (Xenoblade 3).

However both of the aforementioned are likely inspired by Deus’ awakening in Xenogears, where its wings sprout out of the Merkavah and begin ravaging the planet below.

The Song of Nephilim’s awakening in the destruction of First Militia (Xenosaga) and the Earth’s phase-shifting in the calamitous Conduit Experiments (Xenoblade) both ring out destruction with a blinding white light.

The Zohar (Xenosaga) and Monado (Xenoblade) both shoot out a pillar of light at the time of their unsealing. Furthermore, the Monado is awakened 14 years prior to the start of the game, which is the same amount of time ago as when the Song of Nephilim destroyed Miltia with an aura pillar.

Despite Xenoblade X commonly being considered separate from the main two Xenoblade games, I feel it isn’t particularly problematic to place them together. In fact it was only after finishing the game for the first time that I went online and discovered most people have them split. The opening cutscene fixates upon the same flash of light as seen in the Birth of a Universe cutscenes, and with how small a section of that event we’ve been shown, it would be easy to attribute Klaus’ reference to ‘burning the skies above’ as also encompassing the alien invaders. The Ganglion warships warping in would become the trigger that threw both Aoidos and the Saviorite rebel faction into such a panic, leading Klaus to take drastic measures in response and engage the Conduit before the research was ready. The surviving mims do speak of Earth’s destruction, but even in Xenoblade 2 the Architect refers to the current era as being “after the world’s end”. Both the Xenoblade 1 and 2 renditions of the Conduit incident show the planet seemingly vaporized in the cutscene, yet it clearly survived that ordeal since the game is still set on it. The White Whales would have escaped well before the dimensional shift stabilised, so it may simply be that they were clueless to the fact the planet eventually crossed back into physical space.

Lao recounts that in the leadup to Project Exodus most of the standard international politics were set aside and people began to work together as one body of humans, which aligns with the lore-dump on the Echelon Siren model kit revealing that the pre-experiment world was under rule of a unified government. Aoidos seems to have been their main scientific department, so should we accept Xenoblade X’s Earth to be the same as that of pre-history Alrest, then perhaps we could say that the Monado, Artifices, Skells and the Earthlife Colonization Project were all research streams of a single main company. This would permit Lin’s Monado hairpins to be more than just a simple visual nod, but rather a deliberate homage to one of the greatest projects in the company that her parents worked for.

A collage specifically for the Conduit’s flash of light.

Siren’s design (Xenoblade 2) suspiciously resembles the High Entian War God (Xenoblade), appearing as an armoured white knight with four wings and a crown. Furthermore, the statue’s blade comes to resemble Mythra’s Aegis Sword. This could perhaps be a deliberate visual connection Xenoblade 2 is making, to retroactively imply that Echelon Siren was in the data that Ontos referenced to set the universal parameters. Xenoblade 2 already makes this suggestion in another way by sharing much of its key fauna with the prior game, to state that Alvis and Klaus’ Core Crystals were both pulling from the same information.

Certain elements recur in the technological design. Gerolf Sovereigns (Xenoblade 2) in the orbital elevator resemble Skells (Xenoblade X) far more than they do Siren, and there is the aforementioned similarity in the G-Buster and Aegis Sword. Looking at the default flight Skell that is used in all the game’s marketing, both of them are cyclops mechs defaulting to a white body with cyan lights and a large cannon on its right arm.

High Entian technology (Xenoblade) also uses the white and blue colour scheme of the World Tree (Xenoblade 2), retroactively made into a nod toward Alvis’ origins.

Similarly, the pre-existing Skell technology (Xenoblade X) would then be framed as part of the data that Ontos referenced when designing the ether dimension (Xenoblade), making it possible to deliberately link the Skells’ vehicular transformation to that of the transforming Face mechon.

Xenoblade 3 has too much in common with the setting of Xenoblade X to simply ignore – maybe that was Xenoblade 10 after all. From the apparent Moebius appearing in the ending, mechanical design similarities between the Vita and Origin, or even the fact that the first track on XBX’s soundtrack is called “Codename Z”. Ouroboros seems to be recycled from an original draft concept of the Ares. So imagine, for a second, that in the aftermath of Origin’s reboot Aionios is not entirely erased but instead largely stripped of its features and dropped off in some other area of space.

There are further similarities in the setting, to where it’s at least possible to entertain the idea that Aionios (Xenoblade 3) simply escaped into another region of the universe and was eventually rediscovered as Mira (Xenoblade X). Origin, with all its function of storing and rebooting life, is equivalent to the Lifeholds. The grown humans are outfitted with the technological restriction of the IRIS, that may stem from existing data on the mimeosome project. Both worlds contend with a dimensional fog that seeps in and corrupts the monsters. Its secondary effect of instigating Annihilation Effects may potentially be seen in the Miran landscape too, as it shares the distinctive floating masses left behind.

The Aegis disintegrating nanomachine matter (Xenoblade 2) and the Annihilation Effect caused by the ether streams of two worlds linking too closely (Xenoblade 3) share the same visual.

The battle system of Xenoblade 3 mixes the Art palette of its two prequels.

U-DO’s Space Anomaly (Xenosaga) and the road to Zanza’s dimension (Xenoblade) both have the player character running down abstract pathways toward a portal of light at the end.

The golden halls of the High Entia tomb (Xenoblade) make it lightly resemble an Ormus facility (Xenosaga).

Despite belonging to different composers and series, Godsibb and Fatal Fight (Xenosaga), Zanza the Divine (Xenoblade) and Moebius Battle (Xenoblade 3) share a musical identity through the distinctive chanting sound.

The Floating Landmass Temple (Xenosaga) & Spirit Crucible Elpys (Xenoblade 2) feature similar architecture. In both, the party group continue into its depths by means of a hole in the wall.

Accessing the data archives at the start of the third Xenosaga game and unlocking the path to Prison Island in Xenoblade both require player to teleport off to the left and right in order to activate the transporter for the middle path. In both instances activating the switch causes the respective wall to draw closer.

The design of Solaris (Xenogears) is referenced by the orbital stations in Xenosaga and Xenoblade.

Solaris (Xenogears) & Second Miltia (Xenosaga) feature the same kind of architecture. To further this similarity, both Elly and Shion have their homes here.

Second Miltia’s spaceport (Xenosaga) features the same kind of interior design as the Rhadamanthus spaceport (Xenoblade 2).

The name of Mitia Lookout (Xenoblade 3) is strikingly similar to planet Miltia (Xenosaga).

The suspended, mechanical city of Solaris (Xenogears) is somewhat reminiscent of the colony ship Dammurang in which Vector Industries is housed (Xenosaga). Both organisations present themselves as global leaders, yet actually play a prominent role in conspiracy and reprehensible biological experimentation.

Alcamoth (Xenoblade) is the Solaris (Xenogears) of its game. A secluded, floating city which to some extent deems itself above the surface-dwellers, many residents even looking down upon them. Its inner city contains similar sterile white architecture. The Eryth Sea is only accessible by using the warp gate at the top of the large tree that the Nopon call home, somewhat evoking the imagery of climbing Babel Tower to reach the Solaris teleporter.

Wels (Xenogears), corrupt U.R.T.V.s (Xenosaga) and Guldo (Xenoblade 2) are all some form of humanoid mutation.

HaKox (Xenosaga) & Tiger! Tiger! (Xenoblade 2) are both in-universe minigames.

Xenogears’ all-important lore book is titled the “Perfect Works”. In a similar vein, the Xenoblade Definitive Edition rerelease had a special bundle called the “Definitive Works Set”.

Knowing that series creator Tetsuya Takahashi’s script was at one point accepted as an early working draft of what would become Final Fantasy VII, it is notable that Sephiroth may have been adapted from Krelian’s character concept. They have similar long, white hair and Krelian’s ultimate ambition is to attain divinity by walking the Path of Sephirot.

Due to the original game’s link with FFVII, the shared character designer, and Xenoblade 2’s rather celebratory position, Jin is designed to deliberately interact with Sephiroth. They have multiple linkage points in their visuals and plots. Additionally, Acting God Amalthus takes on the visage of the Diamond Weapon.

Sephiroth (FFVII), Krelian (Xenogears) and Jin (Xenoblade 2) are all part of one single design lineage, and all feature a winged transformation of some kind.

FFVII and Xenogears reference each other. When talking to Cloud during his Mako Poisoning episode in Mideel he will mutter references to the “Broken mirror, a million shades of light” lyric in Small Two of Pieces and to the titular Xenogears mech. While in Xenogears, Elly’s house in Solaris has a poster of Tifa on the wall.

The Xenogears (Xenogears) borrows its colour scheme from Final Fantasy VII’s Ultima Weapon.

Chrono Trigger, Final Fantasy VII and Xenogears are all sister projects beginning from the same prompt. An alien being crash-lands on the planet in prehistoric times, in two instances falling dormant in the snowy northern lands. It has come with the intent to steal its inhabitants DNA and then drain the planet of all its energy to prepare for the next journey. The invader is unsealed over the course of the narrative and the party then have to fight it across multiple transformations to prevent it from annihilating the planet.

Xenogears thus adapts certain key imagery from Chrono Trigger. The swinging pendant calls to mind the clock in Chrono Trigger’s intro, Lavos and Deus are both aliens that transform through multiple stages, and the Eldridge has a similar presence to the Black Omen.

Lucca (Chrono Trigger) cameos in Xenogears.