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Released in January 2011 in Japan, it is the third game in the Valkyria series.
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The game began development in 2010, carrying over a large portion of the work done on Valkyria Chronicles II.
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While it retained the standard features of the series, it also underwent multiple adjustments, such as making the game more forgiving for series newcomers.
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The game's opening theme was sung by May'n.
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It met with positive sales in Japan, and was praised by both Japanese and western critics.
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After release, it received downloadable content, along with an expanded edition in November of that year.
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It was also adapted into manga and an original video animation series.
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Vision would return to the franchise with the development of Valkyria: Azure Revolution for the PlayStation 4.
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Stories are told through comic book-like panels with animated character portraits, with characters speaking partially through voiced speech bubbles and partially through unvoiced text.
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The player progresses through a series of linear missions, gradually unlocked as maps that can be freely scanned through and replayed as they are unlocked.
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Outside missions, the player characters rest in a camp, where units can be customized and character growth occurs.
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Alongside the main story missions are character-specific sub missions relating to different squad members.
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After the game's completion, additional episodes are unlocked, some of them having a higher difficulty than those found in the rest of the game.
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There are also love simulation elements related to the game's two main heroines, although they take a very minor role.
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A character can only act once per-turn, but characters can be granted multiple turns at the expense of other characters' turns.
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Each character has a field and distance of movement limited by their Action Gauge.
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Up to nine characters can be assigned to a single mission.
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Each character has specific "Potentials", skills unique to each character.
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Changing class does not greatly affect the stats gained while in a previous class.
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At the same time, elements within Gallian Army Command move to erase the Nameless in order to protect their own interests.
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Each member then goes their separate ways in order to begin their lives anew.
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Concept work for Valkyria Chronicles III began after development finished on Valkyria Chronicles II in early 2010, with full development beginning shortly after this.
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The director of Valkyria Chronicles II, Takeshi Ozawa, returned to that role for Valkyria Chronicles III.
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Its story was darker and more somber than that of its predecessor.
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A part of this upgrade involved creating unique polygon models for each character's body.
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The music was composed by Hitoshi Sakimoto, who had also worked on the previous Valkyria Chronicles games.
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An early theme he designed around his original vision of the project was rejected.
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The rejected main theme was used as a hopeful tune that played during the game's ending.
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While Sakimoto was most used to working with synthesized music, he felt that he needed to incorporate live instruments such as orchestra and guitar.
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The guitar was played by Mitsuhiro Ohta, who also arranged several of the later tracks.
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Its lyrics were written by Seiko Fujibayashi, who had worked on May'n on previous singles.
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In September 2010, a teaser website was revealed by Sega, hinting at a new Valkyria Chronicles game.
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In its September issue, Famitsu listed that Senjō no Valkyria 3 would be arriving on the PlayStation Portable.
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Its first public appearance was at the 2010 Tokyo Game Show( TGS), where a demo was made available for journalists and attendees.
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During an interview, the development team said that the game had the capacity for downloadable content( DLC), but that no plans were finalized.
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Multiple DLC maps, featuring additional missions and recruitable characters, were released between February and April 2011.
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An expanded edition of the game, Valkyria Chronicles III Extra Edition, released on November 23, 2011.
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People who also owned the original game could transfer their save data between versions.
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Unlike its two predecessors, Valkyria Chronicles III was not released in the west.
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According to Sega, this was due to poor sales of Valkyria Chronicles II and the general unpopularity of the PSP in the west.
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Compatible with the Extra Edition, the patch was released in January 2014.
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On its day of release in Japan, Valkyria Chronicles III topped both platform-exclusive and multi-platform sales charts.
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By early February, the game sold 102, 779 units, coming in second overall to The Last Story for the Wii.
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By the end of the year, the game had sold just over 152, 500 units.
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Famitsu enjoyed the story, and were particularly pleased with the improvements to gameplay.
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Its one major criticism were multiple difficulty spikes, something that had affected the previous games.
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His main criticisms were its length and gameplay repetition, along with expressing regret that it would not be localized.
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Kurt and Riela were featured in the Nintendo 3DS crossover Project X Zone, representing the Valkyria series.
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Vision would return to the series to develop Valkyria: Azure Revolution, with Ozawa returning as director.
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Azure Revolution is a role-playing video game for the PlayStation 4 that forms the beginning of a new series within the Valkyria franchise.
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Valkyria Chronicles 3 was adapted into a two-episode original video animation series in the same year of its release.
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The initially-planned release and availability period needed to be extended due to a stoppage to PSN during the early summer of that year.
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It later released for DVD on June 29 and August 31, 2011, with separate "Black" and "Blue" editions being available for purchase.
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The anime is set during the latter half of Valkyria Chronicles III, detailing a mission by the Nameless against their Imperial rivals Calamity Raven.
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Sakimoto's music for the game was used in the anime.
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The anime's title was inspired by the principle purpose of the Nameless: to suffer in battle for the goals of others.
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A subtitle attached to the project during development was "The Road to Kubinka", which referenced the Kubinka Tank Museum in Moscow.
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Both songs' lyrics were written by their respective artists.
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Two manga adaptations were produced, following each of the game's main female protagonists Imca and Riela.
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Built in 1840, it was part of Little Rock's first military installation.
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Since its decommissioning, The Tower Building has housed two museums.
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It has also been the headquarters of the Little Rock Æsthetic Club since 1894.
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The building receives its name from its distinct octagonal tower.
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It was also the starting place of the Camden Expedition.
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Thirty-six acres were appropriated on the outskirts of Little Rock by Major Robert B. Lee of the U.S. Army.
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The land had been previously used as a racetrack by the local jockey club.
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John Wormley Walker, a builder for the Federal Government, supervised the construction.
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Originally $14, 000 was allocated for the construction of the arsenal, but proved inadequate.
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Work began on the Tower Building in 1840, and it was the first permanent structure of the arsenal to be built.
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Being originally constructed to store ammunition, the building was designed with 3-foot-thick( 0. 91 m) exterior walls.
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The original plans called for it to be built of stone, however, masonry was used instead.
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The Arkansas Gazette referred to the structure as "A splendid specimen of masonry".
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It was planned for February 18; however, events at the arsenal, would not wait.
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The first telegraph wire to span between Little Rock and Memphis had recently been completed.
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Local attorney John M Harrel was asked to compose the first telegraph dispatched from Arkansas's capital.
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In his message, Harrel reported unconfirmed rumors that more federal troops had been sent to reinforce the Little Rock Arsenal.
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The garrison at Fort Smith had been previously transferred to the United States Arsenal in this city( Little Rock).
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The item was intended simply as a piece of news, but telegraph lines quickly spread the news throughout the state, fueling procession sentiment.
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The rumor was interpreted by some Arkansans as a call from the governor to assemble to help expel the federal troops from the arsenal.
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Governor Rector vehemently denied ordering the troops to assemble or giving any order at all in connection with the troops.
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On February 6, he sent a formal demand for surrender of the arsenal to Captain Totten,
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He agreed to surrender the arsenal as long as the governor agreed to three provisions:
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The governor would take possession of the arsenal in the name of the United States.
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The soldiers would be allowed safe passage in any direction carrying any personal and public property besides munitions of war.
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The soldiers would be allowed to march away as men leaving under orders, not as conquered and surrendering soldiers.
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On the morning of February 8, 1861, Rector and Totten signed an agreement placing the arsenal in the hands of state officials.
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That afternoon, the citizen militia marched to the arsenal with Governor Rector at its head.
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Most of these operations were started from scratch through the efforts of the Arkansas Military Board.
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Long arms in the Arsenal's inventory consisted of:
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Of this number, approximately 9600 weapons were serviceable, or ready-for-issue.
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The 9th and 10th Arkansas, four companies of Kelly's 9th Arkansas Battalion, and the 3rd Arkansas Cavalry Regiment were issued flintlock Hall's Rifles.
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Major General Thomas C. Hindman, sent to command the district of Arkansas in May, 1862, found the state nearly destitute of military material.
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Machinery was made for manufacturing percussion caps and small arms, and both were turned out in small quantity, but of excellent quality.
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Most of these works were located at or near Arkadelphia on the Ouachita River, 75 miles south from Little Rock.
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The tools, machinery, and the material were gathered piecemeal or else made by hand labor.
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Two days elapsed before the change could be effected.
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The Confederate ordnance establishment at Little Rock was reactivated in August, 1862.
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Looking around for a suitable person to head this activity, General Hindman turned to the Confederate Navy and borrowed Lieutenant John W. Dunnington.
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Lt. Dunnington was the commander of the gunboat C.S.S. Ponchartrain, which had been brought to Little Rock in hopes of converting it to an ironclad.
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Lt. Col. Dunnington's "Returns for the month of August, 1862, at Little Rock Arsenal, C.S.A.," are found in Vol.
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