During a battle, each enemy from the world screen is represented by a group, or вЂњunionвЂќ, of enemies ranging from one to five individual units similarly, the playerвЂ™s forces are composed of multiple unions of three to five units each. The game features a battle system labeled by Hiroshi Takai as a вЂњturn-based, command-based system using symbol encountersвЂќ. The player may choose to enter a battle with multiple enemies at once by activating a вЂњtime-shiftвЂќ system, in which time slows down and they may run up to multiple enemies before the battle. Instead of random encounters, players enter the separated battle when they touch an enemy on the main world screen.

On the battle screen, the game has a three-dimensional area like the world screen with a setting reminiscent of the location, where every character and enemy appear. The map screen allows instant travel between different cities and areas, or between different areas within the city. Within the world screen, the player can talk to anyone, enter buildings and other areas, or exit to the map screen. The player controls Rush Sykes, the protagonist, and moves him around the world screen within an area, with the camera floating behind and slightly above him. The game is split between a world area, a battle area, and a world map. The battle screen, showing the moral bar at the top, a compass showing the relative positions for each group, the status of the current fighting union, and the order in which each unit in the two fighting unions will take their turn Gauges and boxes filled with text and numbers ring the perimeter of the image. The game received praise for its art direction and music.ДЄ group of people and monsters in light armor fight, with Rush facing away closest to the viewer. Other issues included complaints about the gameвЂ™s storyline and battle system, though these were not as universal. A common complaint, especially in the original Xbox 360 release, was of graphical problems including low framerates and вЂњtexture pop-inвЂќ where higher resolution textures would suddenly replace lower ones several seconds after a scene had started.

The game received a weak reception, though it was received more positively by Japanese reviewers than ones elsewhere.

The design and dialogue of the game were created to appeal to players worldwide, and motion capture for every character with the English-speaking dialogue. The gameвЂ™s soundtrack was composed by Tsuyoshi Sekito and Yasuhiro Yamanaka and was later released as a three-disc album. It was intended by Square Enix president Yoichi Wada to вЂњbecome a cornerstone for worldwide strategyвЂќ. The Last Remnant is the first Square Enix game to use the Unreal Engine.

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