This article contains spoilers for both Final Fantasy X and Final Fantasy X-2.
At the end of Final Fantasy X the world has dramatically changed. Sin is no longer a constant threat and major organisations have fallen apart. The game doesn’t actually do much to show you the results of that. A big speech is given and the game ends.
So Final Fantasy X-2 shows very quickly how the world has changed. For a start this isn’t the mostly linear journey like the preceding game. Almost every area is open to be explored from the beginning, which felt a little overwhelming to me.
Yuna, the summoner from FFX, is now a “sphere hunter”, one of many in search of ball-shaped recorded videos showing Spira’s history. Most sphere hunters seem to be doing it for the sense of adventure found in hunting for these items. Yuna started because she received a sphere showing someone who looked like Tidus, who died at the end of the last game.
But how has the world of Spira changed materially? This game has a reputation for being seen as the “fun and frivolous one”, but I was surprised by how bleak it actually seemed from the start. Things have gotten better in some ways (less people are dying from random monster attacks), but it doesn’t feel as though much work is being done to improve the world in other ways.
The Mi’ihen Highroad, a place many summoners walked down, no longer has anyone travelling on foot. When Yuna and the party walk through it, people remark how strange that is. Most travel across it is now done by hovercraft, which costs money. The place is now also patrolled by sentry machines which are supposed to take care of monsters, but haven’t had the best history of safety, and at one point start attacking people.
The former final stop on a summoner’s journey, Zanarkand, is now a tourist hotspot. People travel from all over the world to feel like they’re going on an adventure. There are even treasure chests for sale. The Zanarkand of the old Spira was a very traumatic place. It was the place where many summoners would go to die in order to maintain the lies of Yevon. Now it has been transformed into a theme park.
These are only a few examples. Industry and commerce have moved into places previously dominated by religious dogma, and haven’t proven to be a good replacement either. Factions have been set up with the intention of taking places for themselves. The villain of the game is a victim of a war that took place 1,000 years ago who feels unhappy that the world just hasn’t changed enough.
But it isn’t beyond saving. Final Fantasy X-2 actually has a much more positive and optimistic outlook on all of this, it just makes one thing very clear: it takes a lot of work to fix everything. Yuna looks around at the world and sees that not many people are doing anything to save it, so she feels she has to.
Yuna can stop the dangerous machines at the Mi’ihen Highroad by dismantling them. Yuna can reduce the level of tourism in Zanarkand by encouraging wildlife to breed. Yuna can resolve conflicts between others. It genuinely takes a lot of work for a player to do this and most of it is optional and can be easily missed.
I ended up burning out on it and only resolved a fraction of the problems. Partly because in some cases I couldn’t because of something I missed at an earlier stage. This is all tracked in-game by a completion percentage. I’ve been told by many that to achieve 100% on the first go, a guide needs to be checked considerably often.
Areas have to be visited several times over and over. After a while they get boring to travel through, as most of them retain the same structure as seen in Final Fantasy X, so very few of them have something new. The straight-line structure many of these places have doesn’t suit repeat visits well, and the music that plays in them is annoying and repetitive.
Battles got tiring too. They initially seemed interesting, as they brought back the Active Time Battle system from older games, and also included mechanics that built off of it being in real time. For one example, if party member attacks happen around the same time, they can become a combo which increases the amount of damage done. Eventually my party became powerful enough that I didn’t need to think about that, and I spent most combat encounters on auto-pilot.
It doesn’t feel like these sorts of annoyances are in conflict with the game itself. It’s all things that make it feel as though Spira is very resistant to change. Yuna’s personality also seems to provide context for the game structure too, as she seems to have taken on Tidus’ desires to actively provide help to people, even if it requires a detour.
Putting in all of this effort pays off too. Do enough work and Tidus will be brought back to life. The only way to unlock the game’s perfect ending is by achieving 100% completion (of course that’s not the only way to actually see it, thanks Youtube). This adds on an extra scene which is a conversation where Tidus tells Yuna that there’s a possibility he could still disappear again. This also underscores that they have to actively work to keep things how they want them, much like how Yuna did for the rest of the world.
Playing through Final Fantasy X-2 was a strange experience for me. I wasn’t really enjoying it so much in the second half. When I finished it, I began to put everything together and really appreciated what it was doing. In writing this piece I actually grew fonder for the game. Maybe I’ll like it more on a second go with all of this in mind.
This article contains major spoilers.
The first playable moment of Final Fantasy X put into perspective a lot of what this game does for me. Main character Tidus has to make his way to the big blitzball stadium, he’s the star player for the Zanarkand Abes so he needs to be there on time, especially since it’s a home game. When he almost reaches the stadium he has to push through a crowd to get to it. When this game came out it was a very impressive moment, the crowd reacted to the player’s movement like a real one would react to a celebrity athlete. It’s nearly a 20-year-old game now so the graphical spectacle didn’t hit the same way but I still found something surprising.
I had actually put my controller down when I got to that part. I can’t remember why exactly but because I hadn’t pressed any buttons for a short amount of time Tidus pushed through all by himself. It makes sense of course, there’s no reason for him to be stuck in there being mobbed by fans. It could have been something they put in because people testing the game were spending too long playing with the crowd or couldn’t see where to go on smaller TVs, but it doesn’t just feel like a functional moment. It feels like the character is doing something he reasonably would.
If you take a reductive look at Final Fantasy X, it’s a role-playing game like many others. You control a party of characters as they explore many locations with random bouts of turn-based combat and light puzzle solving serving as interruptions. Every so often there’s a boss or a cutscene too. That could just be a description of several other videogames. What sets this apart from others is how thoughtfully put together many of its aspects are. The game’s systems and structure are closely intertwined with its character writing and worldbuilding.
So what’s that world like? After that opening moment, Tidus only gets to play in his big blitzball for a short amount of time before it’s attacked by a giant monster that sends him 1,000 years into the future. Completely lost in this new world called Spira, he eventually meets a party of adventurers led by a woman named Yuna. She is a summoner, one of many on a pilgrimage to destroy Sin, the monster that attacked Zanarkand earlier. Tidus joins them as one of Yuna’s guardians.
The party’s journey is one that’s constantly moving forward. It’s one many other summoners and their guardians have taken. Most have failed and some have succeeded, but Sin always comes back. It’s a very linear journey, moving from one place to the next without going back. There’s no reason to backtrack as the path to defeating Sin is always forward. Save points also fully heal the party on approach, meaning that there’s very little reason to return to a town. All of that helps the game to move forward at a good pace. It also gives a real sense of adventure because every step forward takes the party further from where they started and into somewhere new.
Summoners also have another job, which is to send the souls of the dead to the afterlife. If this isn’t done and they remain for too long, they will turn into fiends, which are the monsters often encountered in random battles. It gives good reasoning for why the strength of monsters increases as the party gets further through the game, as in later areas summoners and their guardians are more likely to have died, and the ones that made it further are likely to be more powerful.
But what about the biggest monster of them all? Sin is an embodiment of grief; a source of mass destruction and constant reminder of all that has been lost. Even Sin’s origin itself is a way of dealing with loss as it exists to preserve a society which is long dead. Grief and loss is something all of the characters experience. It’s what gives the party motivation to move ahead.
Almost all members of the party have a different experience with loss and a different way of dealing with it. Yuna lost her father at a young age and wants to honour him. Tidus also lost his father at the same age but wants to forget him. Wakka lost his brother Chappu and uses his religious beliefs to help guide himself through mourning. Lulu was also close to Chappu and was previously guardian to summoners who died on their pilgrimage, but she chooses to hide her feelings. Auron saw his friends die trying to defeat Sin and wants that to never happen again. Because of this and the time they spend together, the party gets closer to each other.
Those relationships come through in the game’s cinematic direction too, though a more appropriate phrase would be televisual direction. During cutscenes the camera feels closer than it often did in prior Final Fantasies and its movements don’t seem very intricate. It does give more of a TV drama vibe, but that only serves to further highlight how friendships develop. It’s noticeable when looking at the blocking throughout the game too. The party members seem to initially have scenes in pairs: Tidus and Yuna, Wakka and Lulu, Auron and Tidus. There’s also an early section of the game that takes place on a boat, and to find everyone you have to go through different rooms. As the game progresses further more scenes happen with bigger groups. When the party eventually reaches the ruins of Zanarkand towards the end of the game, they all sit together at a campfire.
Another means in which it demonstrates growing friendships is through its character growth system, the Sphere Grid. It looks like a board game map where many of the spaces provide stat upgrades and abilities. It’s an abstract system to show how characters learn to fight and how they learn from each other. Each character starts off in their own section of the grid upgrading stats and learning abilities that seem tailored for them, before eventually having to move into other sections and gaining skills from the others.
The placement of characters even correlates to how they feel about each other. Tidus and Yuna hit things off very quickly when they first meet and later fall in love with each other. If you follow Tidus’ standard path on the grid, it links up with Yuna’s multiple times. Wakka and Lulu have known each other for a long time too, which is why their paths are close together too. Auron watched Tidus grow up, so they’re next to each other. Kimahri is able to go onto other characters’ sections faster than any other, mostly down to his skill at mimicking others’ abilities. Interestingly the quickest one for him to get into is Tidus’, likely because Kimahri keeps a close eye on him around the start, as he doesn’t know him as well as the others.
Plenty of RPGs have relationship mechanics in them these days because of the popularity of games like Persona (which isn’t an originator itself, but certainly a trendsetter). The thing that tends to irk me with Persona’s friendship systems is that they feel very transactional. You put enough points into a relationship and eventually they will give you something that will make progressing through the game easier. The difference with the Sphere Grid is that it’s not a relationship mechanic, it’s one that happens as a result of relationships.
It’s really cool to see this all play out in battle too. At the start of the game most of the characters are best suited to fight specific enemy types. Once they get more powerful through the Sphere Grid they can start filling in for others. By the end of the game I was only making use of three out of the seven available party members, which I could only do because of what they learned from the other four.
So now I want to focus on one character in particular: Tidus. They made the right sort of protagonist for this kind of RPG. He’s got a very energetic curiosity for the new world that he recently came to and a tendency to get easily distracted. His good nature also results in him taking the party with him to help others off the beaten path. When they all reach the Mi’ihen highroad they hear about a monster called the “Chocobo Eater” which is causing trouble in the area. Tidus says that they should help get rid of the monster because it’s “the right thing to do”. The Chocobo Eater isn’t an optional boss but this is a character moment that justifies the tendency to get sidetracked from the journey like many RPG players do.
It’s also shown through blitzball as well, which is a minigame that plays out very similarly to rugby or football. It’s something that’s likely on Tidus’ mind a lot, as every save point comes with an option to “Play Blitzball”. During portions of the game where playing blitzball isn’t possible, the option still shows at a save point, just greyed out. Even when he can’t play he still thinks of it.
But the reason he starts playing it is because he is helping out a struggling team, the Besaid Aurochs. The first playable match is very difficult, it’s set up so that it’s almost impossible to win. I lost but I couldn’t leave it at that. While there is a whole system of recruiting players to build a better team, I chose not to engage with that and stick with the original team. It made sense to do this, as this game is all about sticking together. Turns out the game supported this too as I ended up winning multiple leagues.
However blitzball is a distraction, both in the fiction and in the game design. It is popular in Spira simply because it allows people to take their minds off of Sin. I was having a lot of fun with it myself, but there was a journey I had to continue with.
One thing I was wondering about while playing the game was why none of the party really gave much resistance to the many distractions they were dragged along to. It’s because they didn’t want to accept the end result of the journey, something which Tidus didn’t know from the start. Going along with the pilgrimage through to the end and defeating Sin results in the summoner dying. None of them want Yuna to die as every single one of the party members has a close relationship with her.
Yuna has a quiet determination to do what she wants, but even she doesn’t want to rush to the end right away. I think about the often misunderstood laughing scene where Tidus and her make fools of themselves. It’s a sweet moment of them stopping to have fun with each other. At the end of that she says she wants her journey to be “full of laughter”. She wants plenty of time in her journey to stop and appreciate the friends she has around her. All of this recontextualizes the standard pacing of an RPG, as it just feels right to have these people stay with each other a bit longer. I’d feel guilty if I chose to rush to that conclusion. It’s no accident that the Calm Lands, an area where more side content begins to crop up, comes soon after a scene where Tidus and Yuna’s romance deepens.
But they find a way to defeat Sin forever where Yuna doesn’t die, but Tidus and Auron go instead. Because of what they’ve gone through with Yuna they don’t tell anyone until it’s too late. Things would just slow down and Sin can’t be left alive. Of course the player is told long before they all are, so you could choose to continue at a slower pace if you wanted.
The importance of slowing down even extends to the music. The Hymn of the Fayth is a motif that recurs throughout the game. It plays at important moments such as when Yuna gains more summons to fight with, when important characters are introduced and when big decisions are made. There’s also a track that sounds very similar to it called The Travel Agency, which plays during visits to certain inns where the party decides to stop and rest. It doesn’t have the exact melody, but it’s very close, almost like a reharmonized version with some of the timing changed. During some parts of the song I could hum the Hymn over it, and it sounded like it belonged. It helps to highlight that moments where the party stops are just as vital.
Of course so much of the music is excellent, though I near enough say this about most Final Fantasy games anyway. It’s all music that fits together perfectly, but surprisingly from three composers who manage to keep their tracks distinct from each other. Nobuo Uematsu keeps true to the dad-prog sensibilities that he is best at. Masashi Hamauzu bolsters beautiful melodies with sustained harmonies that give great depth to his tracks. Junya Nakano layers many melodies to create more atmospheric pieces that sound wonderful. Of course three people working together with their own strengths is true to this game (sorry that is a bit cheesy).
All of these aspects would serve to strengthen a standard JRPG story about friendship and coming together to fight a big bad guy, but there’s a bit more to it than that here. So much of the themes of the game centre around death and grief, so by having a lot of details that put the character relationships to the front it makes all of it hit much harder. They’re only able to make progress in the game by confronting their own fears of death and of losing friends. The Sphere Grid shows that the impressions these characters leave on each other are long lasting. When Tidus disappears at the end after giving Yuna one last embrace, it’s a powerful moment because I saw those characters grow in multiple ways. I know he won’t be forgotten.
Final Fantasy X is such a holistically designed game. Each element of it has me thinking about how it interlinks with others. It’s not as though the sum is greater than its parts because those parts are fantastic. The characters are great, it still looks very nice, and the battle system is so much fun. There are some exceptions to this (I would never like to see the chocobo minigames again), but still so much of these things come together to build an excellent game.
There are so many things about this game I could talk about, but I feel as though that would bloat out the article and it would be less focused. It’s just like how there are so many things to get distracted with travelling across Spira, but at some point this has to end.
If you liked reading this, why not check out other pieces I’ve written on Final Fantasy here!
I would not have anticipated playing fifteen Final Fantasy games in a year but I did it. The really astounding part is that’s not even the halfway point, they made so many of these and they’re still making more! I’m certain that if I do catch up at least a few spin-off games will come out before then.
Anyway that’s the future. This article is actually going to be about something from twenty years ago: Final Fantasy IX. It’s interesting that it is the twentieth anniversary year yet I haven’t seen a lot about it online. It was likely overshadowed by Final Fantasy VII Remake coming out. Let’s talk about the old game.
Final Fantasy IX
There were a couple of things that really struck me when I started playing this recently. The first is that visually this game holds up really well. It seems that while FF8 seemed to take more steps towards realism, 9 goes in the opposite direction and opts for a more exaggerated cartoonish look that plays more to the strengths of what consoles at the time were capable of. It’s nice and colourful, with some great character designs that make it really easy to tell what they’re like at a glance. If you were to only show me a silhouette of them i could probably tell you which one it is (something that gets much less likely with newer games).
The second thing is that battles in Final Fantasy IX are so slow! There is a lengthy load before they even start, and the meters that fill up before a turn starts are just so slow. Normally in these games I would have the battle speed on a medium setting, in this case I put it to the highest possible speed and it still felt like it could have gone faster. The amount of time between picking actions to do on turns and characters actually doing them was long enough that I had sometimes forgotten what I’d picked. Even the battle music has a slow buildup to account for the amount of time it takes to begin. I assumed that this was initially because it was pushing the Playstation to its limits since there’s now four characters in a party instead of three, and a lot more visual effects going off. However it just seems like that slow speed is just baked into the game, as my recent playthrough was on a version that came out last year.
This wasn’t too much to push past as in a lot of other ways this game opens really strongly. This era of Final Fantasy games always seems to start strongly with a lot of forward momentum. There’s new area after new area, with the right amount of intrigue, and new characters come in who are endearing immediately.
One of Final Fantasy IX’s biggest strengths is the cast of characters. Pluckish protagonist Zidane brought a good amount of energy in. Princess Garnet and Freya keeping confidence after horrible tragedies they experience won me over so much. Vivi is one of my favourite characters that they’ve ever put in one of these games. He already began timid and anxious at the opening, so when he found out he was created to be used as a puppet with a short lifespan and used that as forward motivation instead of completely giving in to despair, it was inspiring. It’s even reflected nicely within Zidane’s character arc when he finds that he had a very similar origin.
As strong as the characters are it really feels like a lot of them don’t have enough to do. Outside of Zidane, Vivi, Steiner and Garnet it feels like the game just doesn’t do anything with the rest of the cast past their initial setup.
There are also just characters that aren’t very good. Amarant only ever seemed to exist in my mind when I can see him on the screen. Kuja is a dull villain and largely a mishmash of what came before him.
That last point is indicative of one of the biggest issues that I had with Final Fantasy IX; I’ve seen so much of this before and those older games did it better. It goes with how the game treats these characters in that it brings a lot of these ideas in again and just doesn’t do anything with them, and sometimes damages things that could be better.
Mist being used as a resource to power machines used for warfare that’s destroying many cities is reminiscent of the lifestream in FF7, where it’s misuse is harming the world. However much later it’s found to be something that’s pumped in by a villain from another world to specifically be used in war machines so that the world will destroy itself. Conflict being influenced by a shadowy figure behind the scenes in order to colonise a world is an interesting idea to base a villain on but it ends up disrupting other things that came before it.
Take Garnet, a kind princess who had to reckon with her mother Queen Brahne using heavily destructive magic in order to take over the world. It was something that really drove the story forward, but the resolution to that part of her arc is really unsatisfying. Brahne wasn’t known to be a conqueror by a lot of people, and many cities didn’t have a lot of resources to defend against her because they just didn’t expect this. When she eventually died against Kuja, on her deathbed her greed and lust for power dissipated almost as if she was being influenced by someone else. Finding out that actually the Queen should be kind and someone else did makes it feel that Garnet’s (and also Steiner’s) initial internal struggles were a waste of time.
And the game is content to continue to waste time in the moments just after that. It takes a lot of time to show Garnet becoming the Queen of Alexandria, and what could have been an interesting break to focus a little more on developing characters instead becomes a tedious wait for the plot to start happening. It’s around this point where I felt like I was burning out on the game.
This game having a more traditional character-growth system didn’t help with that. It felt like the games before this were getting really experimental and allowed for decent parties to include any character. In Final Fantasy IX, because every character is now a specific class that has a specific role in combat, I have to include specific characters to have a useful party. The only things that made them stronger were experience points from combat. I missed having to manage things like materia and junctions to build what I wanted. There is an ability system where new moves and passive buffs can be gained from equipment, but it’s a bit of a missed opportunity. It’s an interesting way of making all sorts of equipment useful, but abilities don’t allow for much experimentation as the best moves are ones that do more damage/healing, and the best passive buffs are ones to resist status effects (which could be achieved in prior games with equipment).
My feelings on these systems seem really weird to me now, especially since those are what made the game feel safe to me after I struggled with Final Fantasy VIII almost a decade ago. Now I have a lot more experience with RPGs feeling safe isn’t the only thing I look for. I don’t say this to mean that games shouldn’t be easy to understand, because I appreciate those too and have a great time with them. It’s just that in this case the rest of the game didn’t make up for it, and I was also already finding comfort in the stranger mechanics of prior games.
However there’s still some good stuff here, like the music. It’s an enjoyable soundtrack, but for many of the tracks it feels like there’s something like it in a previous game that sounds better. That said Nobuo Uematsu always has some tracks that just sound weird, and his music in that style is especially fun here. Gargan Roo has a sound that I think is best described as “squelchy”. Black Mage Village creates a walking-pace-tempo town theme out of instruments normally used for 90s rave tunes. The music that plays in the Crystal World being a foreboding rendition of the prelude is also a nice touch.
There are also some other things I really liked, such as the way it showed how other minor characters went about their lives. Sometimes it would cut away to them just to give scenes without the main party present, and at other times a button could be pressed to see more of them (what the game calls the Active Time Event system). It was just cool to see things like guards at their post discussing pickles, poor children plotting to overthrow nobles and a few more. The side-quest to deliver letters to moogles was also neat as the letters would usually include their reactions to events taking place in the game.
When I was planning this whole thing out, I made a decision very early on to play this game on the Nintendo Switch, mostly to be consistent as I’d be playing a few others in the series on this platform. Sadly it’s an imperfect version of the game as it did crash for me a handful of times, but luckily there is an extremely generous auto-save that meant I never lost more than a few minutes of progress. There were only six crashes over the course of 45 hours of playing the game, but so far every other game I’ve played for this has had zero. The extra speed-up option in this one goes at a higher speed than the ones in the ports of FF7 and 8. It’s fast enough that it’s almost unusable at times. The filters put onto the game’s CG backgrounds make them look a bit strange as well, especially when they move as the upscaling filter seems inconsistent on each frame of animation.
Those are mostly nitpicks however, as in other ways it’s a better port than FF7 and 8. It’s not as ridiculously loud as the others and sound effects are often truer to how they were on the original platform. FF8 and 9 featured a reverb on all sounds on the Playstation, which was created using the sound hardware of the console. As current platforms don’t have that, FF8’s port had no reverb and all sound effects sounded much too tinny. In FF9 they actually managed to rework them so that there is reverb included, so it was hard for me to tell if the sounds were more detailed compared to the prior games, or just that they didn’t mess things up this time. The way the character models looked was nice too. The higher resolution textures on them seemed to make them look painted on. Combined with the cartoony proportions and exaggerated movements to emote, it made them look a bit like wooden puppets which fits in really well for this game.
So to close on Final Fantasy IX, I didn’t like this game as much as some of the others. That isn’t me calling this game bad either, I really did enjoy myself while playing it, I just think it could be better. Playing Final Fantasy games mostly in order honestly casts a harsher light on this one. However the weather is now getting much colder, and coming inside after a walk to sit down in a warm room to play this was appreciated and felt very cosy.
If you’re someone that really likes Final Fantasy IX in particular I think you should give Dragon Quest games a go. That’s not meant to be a dig, just I think you’d enjoy them, and I like having excuses to talk about how good Dragon Quest IV is, a game that I’d like to play again some time (no I’m not doing a Playing Dragon Quest from the Start project).
It’s going to be a bit of time before I play anything with Final Fantasy in the title, probably not until the new year. Some other games are coming out, and I do want to take a bit of a break. I do have a few other FF articles planned for the rest of this year so don’t worry about that. If you haven’t read any of the others I’ve written you can check them out here.
So when I was first getting into Final Fantasy in 2011, I asked a friend who I knew had them all on Playstation if I could borrow one, he could decide for me. He handed me Final Fantasy VII. He did not actually, as you might be able to tell from all the pictures this is an article about Final Fantasy VIII, so it was that one actually. If you’re not familiar with that game and were tricked, I’m sorry.
Final Fantasy VIII
It was clear that after FF7, Squaresoft must have felt that they needed to follow up with something that continued to wow people with visuals. I’d believe it likely did back then because to some extent it still does. Final Fantasy VIII has so much more detail than what came before it, they use a lot more tricks to show that off too. The lines between playable set-pieces and cutscenes are blurred a little, at times there are full videos playing in the background while the game also requires input. There’s a real sense here that they became a lot more comfortable with the technology they were using at the time and really started to show off with it.
Even 21 years after the game originally came out I’m impressed by it. I just look at some parts of this game and imagine that it must have taken plenty of effort to get it just right (though the remaster does make some efforts to diminish that but more on that later). This is why I sometimes hesitate to say something is “dated”, as I can still be wowed by something older. Even considering all that it is worth mentioning that by this point Squaresoft did have a lot of resources, especially after releasing one of the best-selling PS1 games of all time, which also had a lot of money poured into it.
I love the colours in this game. There’s a sort of mildly summer-ish look to a lot of it, and for the most part it’s someone understated. The main cast and a large part of the world aren’t overly vibrant, like it’s going for something a little more filmic. However a bunch of the fantasy elements do have a wildly expressive and bright use of colour, which contrasts really well, especially in the extravagantly late-1990s-futuristic city of Esthar.
Because of the higher amount of detail, there’s more consistency in how things look. Characters don’t suddenly grow from a small-scale version of themselves into standard human proportions for a battle, they remain full-sized throughout. The same goes for any bosses you fight as well. While the party is still teleported to an arena to take turns in whenever combat is initiated, the standardisation of scale here does make the game feel a bit less abstract than its predecessors.
I suppose some people would call this “looking more realistic” but I would argue role-playing games especially cannot escape some level of abstraction. There’s no voice acting or facial animation yet in this game, so everything is still conveyed through text and body movement. It feels more unique now considering what these games are like now. Near enough every single line of dialogue in Final Fantasy VII Remake is spoken out loud.
But that line of thought does seem to come through somewhat in the narrative. While it’s still a fantasy story, everything feels a little more grounded. There’s much more of a focus on relationships here. As well as a struggle between the good guys and a powerful sorceress over the fate of the world, this game puts a lot of focus on smaller scale emotional conflicts. And that’s not to diminish the human drama of prior games either. I haven’t forgotten about Cecil’s journey in FF4 to become a better man, Cloud’s struggle to figure out his own identity while also taking on those who abused his trust in the past in FF7, or Ramza feeling betrayed after he found out the true nature of his own family members in Final Fantasy Tactics.
Squall, the main character of Final Fantasy VIII, is a bit different though. He’s initially reserved but in more of a deliberately abrasive sort of way, and not trying to seem cool like with Cloud. Squall was like that because he lost someone at a young age, and decided that preventing himself from forming attachments would mean he wouldn’t have to go through with that again. Of course over time his emotional armour is broken down, but not particularly because of specific events, but because of the continued support of his friends.
It does feel a little like most of the supporting cast of this game have a bit less going on. Most of them don’t really have personal conflicts outside of helping Squall, they don’t have arcs to develop over the course of the game. You’d think it would make them come across as shallow characters with little going on, but this actually manages to make them endearing because of how helpful they are. I will admit though, out of all the party members I do find Irvine to be somewhat forgettable.
Over the course of the game Squall’s confidence builds to where he can really take charge as a leader, and find the determination to do what he truly wants. It’s interesting that the seeds of this are planted fairly early on as well. Firstly and most notably in the waltz scene, where he first meets his love interest Rinoa. She asks him to dance and at first it’s awkward because he keeps bumping into other people, but eventually he takes to it and manages to be good at it, and even admits that he actually learned how to dance well.
The other time is when the party is hired to assassinate the Sorceress Edea (I did forget to mention that they all work for a company that hires out mercenaries). There’s a moment where Irvine really starts to panic and doesn’t feel like his abilities as a sniper are going to be good enough. Squall manages to take control of the situation and gives him a pep talk that seems to work. Even though Irvine misses his shot the mission ends up failing, Squall’s potential as a good leader gets to be demonstrated.
In a documentary on the official Final Fantasy YouTube channel called Inside Final Fantasy VIII, director Yoshinori Kitase mentioned that he wanted to make something that was a bit like a fairy tale. It’s easy to focus on the witches and monsters, but I think the thing to also take away is that this game is about how important it is to care for friends. Squall’s love for Rinoa is one of the things that really drives him forward. The story that happens in parallel about Laguna gaining his own confidence to become a leader happens because of how much he came to care about his step-daughter Ellone. Squall’s rival Seifer actually ends up temporarily losing his friends because he gets too caught up in becoming the sorceress’ knight instead of looking out for others around him.
Even Edea shows her love for the main party characters, as she cared for most of them as children (also all the evil stuff she did was because a sorceress from the future possessed her). Ellone managed to gain more confidence in herself through using her ability to see into the past, so she could witness firsthand how much people cared for her. It’s just really nice for this game to start with a bunch of broken relationships and see them mended over time. It’s just really heartwarming.
One of the peculiar things about Final Fantasy VIII is how it handles levelling up. Doing so actually makes all of the enemies around stronger, so it’s generally advised to keep a low level and take advantage of the game’s “junction” system, a means of getting powerful without actually levelling up. This system allows character stats to be augmented with magic spells, which are now a consumable resource that can be obtained via stealing from enemies, pulling from various spots on the map, or refining items. Certain magic spells increase particular stats better than others, and having more of a spell does mean the stat goes up even more. However if any spell that’s junctioned is used it can reduce stats, though a lot of spells are available so it’s not necessary to use those ones too often. It can also require a bit of grinding to get some of the really powerful spells (which I of course ended up doing but I’ve really discovered lately that I’ve got a high tolerance for grinding).
I called it peculiar but it actually makes sense in the context of what previous Final Fantasy games were doing already. There were systems that allowed players to experiment beyond having preset character classes in FF6 and 7, with the former having ways of gradually moulding characters into almost anything, and the latter giving the means of creating things like classes with equippable items. The problem with the junction system is that it gives a little too much freedom, since I was just able to add the most powerful magic onto every stat, giving all party members the same capabilities.
Despite that I still actually managed to have some fun with the game’s combat. Instead of defeating them the normal way by hitting them until they fall over, I would try and end most encounters with regular monsters by turning them into cards. Doing this often meant that I wouldn’t get any experience points, and I could keep my characters at lower levels. I could also turn those cards into useful items and magic (they’re supposed to be used for some other card game but I tried it and didn’t really enjoy it). The act of making an enemy into a card is kinda like catching a Pokemon, you have to weaken an enemy so that you can transform them more easily. The fun of it came from trying to make sure I didn’t kill the enemy by mistake, and also managing my junctions so that I wasn’t too powerful enough to instantly destroy them. This made it more enjoyable for me as it was an extra layer on top of the standard “kill or be killed” challenge of most RPG battles.
It’s worth keeping an eye on these systems too as they can make the game a lot easier to play if you put the time into them. When I first played it in 2011 I did not, I just tried to push through it with a fairly poor assortment of spells because I just didn’t engage much with gathering magic. I ended up stuck in an area full of enemies who have to be defeated in pairs in order to progress and I wasn’t even strong enough to finish one off. It was an area where I couldn’t go back and gain strength either, and I didn’t keep an earlier save file so I really was screwed. I was a little anxious about returning to this game because of that, but when I actually returned to that place recently it was actually extremely easy for me to get through. I had done a lot of preparation this time.
This is something seemingly common for Final Fantasy so far, because I engaged with things off to the side, or took time to optimize my party, these games have become very easy. I have found some of these games somewhat hard in the past and gotten annoyed at the kinds of people who would tell me they found it very easy because they had done all of the side-content. I think I am becoming that kind of person, due to more of my own experience with the genre as a whole. I do still try to be mindful that plenty of people have completely different experiences playing through games, especially with ones like this. Also not all of this game was a complete cakewalk for me, as a few late-game bosses did actually give me some trouble.
I have to talk about the music here. The soundtrack of Final Fantasy VIII is one of the finest sets of tracks that Nobuo Uematsu has ever produced. It’s still making use of samples like the last few games, and while they’re more detailed than before not many people are going to confuse them for real instruments. There are a few tracks that do sound like they’re recorded with a real orchestra as well, and they do sound wonderful.
While there are tracks that are still in keeping with Uematsu’s prog rock weirdness, there’s certainly more of a Hollywood movie vibe to plenty of tracks. Take the main vocal theme song, Eyes on Me. It’s a very sweet love song, but also the kind of ballad you’d hear in a 90s movie, back when they used to have tie-in songs. The Landing is a great sort of bombastic orchestral piece (though it did replace a song that sounded a bit too similar to something from a movie).
Fisherman’s Horizon is an incredibly beautiful town theme, one of the best of its kind. I even made a cover of it, which I don’t think is as good as the original but it’s hard to think I could do better especially since I adore the song so much. For every track like that there’s also something strange and bizarre sounding like Residents. I do love that he always manages to work in some really odd sounding pieces like this.
There are also some outstanding grandiose rock tracks in here though. The first time I heard the organ chords in the main boss theme, Force Your Way, I was immediately enamored. The synth lead hooked me even more, it’s such a good song. Though the soundtrack to the penultimate fight of the game, Maybe I’m a Lion, is one of my favourite boss themes ever made for these games. It starts with a simple drum beat, then builds into intense taiko drumming with some heavy guitar, before really going into a faster, more complex and well-layered section that really picks up the urgency.
One of the weirder things that I did notice is that some of the music sounds like it’s using motifs written for Final Fantasy VII. Premonition, Silence and Motion and The Successor seem like the more obvious ones to me. However this isn’t the only case of that happening, as I think about how Celes’ Theme from FF6 has some melodies that bring to mind Aerith’s theme (and Eyes on Me too). Nobuo Uematsu does seem to like using these sorts of things again, probably because he likes the sound of them.
To be fair it’s a massive soundtrack lasting almost 4 hours in total. It’s one of my go-tos if I just want some music on and I want a lot of it. So much of the music is of excellent quality, and it manages to really elevate a game that is already excellent.
The version I played this time around was the “Remastered” edition available on most current platforms. I played it on the Nintendo Switch but I may as well have chosen any platform since working from home has made playing anything on a portable system somewhat redundant (I say this because they’re putting out an edition for PS4 with really nice box art).
Anyway in terms of visual quality the remaster doesn’t really do much to make it look better. The characters are made to look more detailed but that just creates a massive contrast to the backgrounds which have had very little work done to them outside of some blurry filtering. There are parts of this game where you can really tell it wasn’t meant to be seen at a resolution this high. Pixelated characters drawn onto backgrounds might have blended in a little more on an older TV, but here they really stick out. The sound mix on this version is also extremely loud for some reason, and there isn’t an in-game option to turn it down that I could find. The Switch port of FF7 has the same problem too but it at least has volume controls.
It’s not an absolute deal breaker though, since this version of the game is much more convenient to play. There’s a button to make everything three times as fast, which I took advantage of to really speed up grinding. Also if you do get stuck, which I thankfully didn’t this time around, there is a button to just significantly boost the strength of the party. I do wish there was a version that looked and sounded a bit more like the original (the Playstation’s reverb isn’t here!) but I managed well with this one. It didn’t stop me loving this game.
As another aside, the game starting at a school seemed like something you’d see more commonly now, especially thanks to games like Persona or The Legend of Heroes: Trails of Cold Steel. In Final Fantasy VIII the main party “graduates” in the first few hours of the game. Do you think if this was made today they’d still be in school by the end? There’s still Final Fantasy Type-0 for me in the future, a game that does appear to also be set at a school. That’s very far ahead, so don’t expect much opinions from me on it for quite some time.
The non-hypothetical actual Final Fantasy VIII is excellent, and up there with the best. I always get a feeling that when I play a game that’s this good, I really want to jump in and see what’s next immediately. A sudden optimism that if they’re all as good as this I could play hundreds of them. It’s Final Fantasy IX after this, a game I enjoyed very much when I played it for the first time. I’m going to start playing it straight away. If you’re reading this piece shortly after it’s been published, I’m probably playing it right now.
Also to add to the earlier story about my friend, once I knew I couldn’t possibly progress through the game anymore I gave it back to him and asked if I could borrow a different one. He gave me Final Fantasy IX and I actually finished it back then. I’m looking forward to finishing it again.
Don’t forget to check out the rest of my writing about Final Fantasy here if you haven’t already. It’s still so much fun to put these together so I have a feeling it will continue for a while.
Until next time!
Since writing my last piece about this series, the trailer for Final Fantasy XVI came out. I thought that when I played Final Fantasy VII Remake I was seeing the trajectory of the series going forward, I was expecting more games exactly like it.
The trailer for FF16 surprised me, since I genuinely thought that game didn’t exist yet. I wrongly assumed that all resources for Final Fantasy were being pushed towards FF7 Remake and the subscription MMORPG FF14.
What also surprised me was that it seems to be going in a dark medieval fantasy direction, not unlike The Witcher or Game of Thrones. Any time someone would try to pitch Final Fantasy Tactics to me they’d mention Game of Thrones, which I assume is shorthand for “fantasy story that’s a bit darker than other ones”. I might as well start talking about that game.
Final Fantasy Tactics
To me this game really doesn’t give off the feeling of an HBO prestige TV show fantasy, or an epic fantasy series of novels. The Game of Thrones comparison didn’t seem to apply to how it looks (though it is apt in other ways considering this is mostly a game about schemes involving royalty).
Theatre seems to feel like the biggest influence on the presentation and story structure of Final Fantasy Tactics. Each location where story sequences a battles play out looks like a small set that would have been built on for a stage, since the lower-fidelity 3D graphics really give it the impression of something that’s been handbuilt. Large scale events such as battles take place out of view, as the game places more importance on how the characters on those sets react to it.
That last aspect is crucial as not only does it come across as an interesting stylistic choice, but helps convey the distance characters have towards those in the larger conflicts, in more ways than one. I need to provide a little context before really getting into it.
The game mostly follows the story of Ramza Beoulve, a man born to a noble family who ran away from them to become a mercenary. Ramza is a goodhearted person who wants to save people, and by saving a kidnapped princess he gets caught up in the middle of a much bigger problem. The king has recently died and two dukes are working against each other to have a line of succession that allows one of them to become a regent, since the king’s own heirs are apparently too young to rule by themselves. Whether the princess lives or dies favours one duke more than the other. This eventually leads to war, which allows other organisations to take advantage of the situation and increase their own power, such as Ramza’s old friend Delita, the Church, and later on a collective of monsters who were banished to another dimension. Ramza ends fighting to stop the latter two plots, as they really do seem to be much more immediately dangerous.
I’ve had to simplify a lot of that to keep it concise, so many things happen over the course of this game.
So back to the use of distance. It’s easy to see how it’s used for the scheming nobles, since they see themselves as above common folk. A large part of the first chapter is used to convey this through a flashback to Ramza’s past. One noble, Argath, talks at length about how much better the upper class are than those who are from “lower birth”. Delita is derided for it as he was from a lower class family and was only adopted into the noble lifestyle. Most nobles see the poorer classes as pawns to be used in their own schemes and wars. This is shown at the start of the game, where a war had just recently finished. The soldiers who fought in it were cast aside without any aid for their future, and some had to become thieves and bandits in order to make their living.
It also feels as though Ramza and his group of fighters are distant from the war as a whole. A lot of the battles they fight in themselves are smaller skirmishes off to the side of them. However, the direction their story takes eventually grows distant from the themes of the initial chapters. The initial focus on how terrible nobles can be diminishes over time, and it becomes about Ramza and crew fighting off a group of strong monsters who want to use this war to resurrect their leader. It’s a real shame that it takes what could have been a really interesting premise to follow through on and abandon it for a stock fantasy story.
There’s also the problem of Ramza’s friend Delita who, through deceit and murder, rises from being a commonder to becoming the next king. I don’t think I’d have too much of a problem with this if it was an isolated story, but it exists here to contrast with Ramza’s goodhearted nature and noble birth. It feels as though the game wants to say that it doesn’t matter where someone is from, it only matters how they act, which sure… I guess that’s true to some extent. However much more loudly in my head I hear the game saying poor people can be just as troubling and damaging to the world as the rich ones. It makes me think a little about the real world. The real world where the divide between the rich and poor is only growing. The real world where over one-third of all carbon emissions come from 20 companies. Honestly Delita comes across as not so believable in this fantasy game.
It’s a good thing I really enjoyed the tactics game aspect. It didn’t end up being as ridiculously difficult as I was expecting it to be. That was because I’ve tried and failed to get into this game before a few times, to the point where I almost accepted that I’d never be able to play through this game. I wasn’t used to the idea of unit positioning in a tactical RPG, so I’d move a party member to the wrong place and they’d be killed very quickly. I was not aware that the game’s random encounters would scale with the highest levelled party member, making it much more difficult for my carelessly levelled party, full of characters at different stages of growth.
Being aware of how these things worked this time around was a huge help, but I also did a lot of grinding so I had a fairly powerful team anyway. It’s interesting because I still had to be mindful of the combat during that, since if I wanted to level up a class with lower defensive stats I would need to have them avoid the heavy-hitting enemies that often get thrown into random encounters. By the time I started to lose patience with the grind, the difficulty level of the game dropped off a cliff anyway, since I was given an extremely powerful party member.
The sudden drop in difficulty was partly appreciated as it wasn’t as mentally taxing as some segments of the game were. While I found the game much easier than my prior attempts, it didn’t stop me running into particularly troubling battles at times. However it coinciding with the drop in quality of the storytelling meant that I was just able to get through the rest of the game at a much faster pace.
I suppose I can’t talk about any of these games without mentioning the music, which has a much different tone compared to the rest of the series. Hitoshi Sakimoto and Masaharu Iwata put together a soundtrack that ranges from quiet and foreboding themes, to bombastic battle tracks. The latter ended up being much more memorable and effective for their use of staccato rhythms and harsh percussion to really ramp up tension (though admittedly this is a trademark of Sakimoto’s work, also used to great effect in Radiant Silvergun). Even though I did enjoy listening to those tracks, they did start to wear thin eventually. The heightened bombast was often at a high level, to a point where if I listened to the soundtrack by itself I wouldn’t as easily be able to determine what the “important” battle themes were.
I don’t really have as much to say about this one, as I did some of the other games. I thought about putting it together with a few more games but that would have meant waiting much longer to get this one out as these games are taking much longer for me to play. I spent over 60 hours on this one. It’s the most time I’ve spent on a game since starting this project, and I expect that some in the future will take me even longer.
That still hasn’t diminished my excitement for moving forward since there’s some very cool games coming up after this. The next couple are Final Fantasy VIII and IX, so I’ll essentially be revisiting some of the first few games in the series I played.
Also to go back to the Final Fantasy XVI trailer, I didn’t find it very exciting. It seems a sort of game I’d probably pay much less attention to if it didn’t have Final Fantasy in the name. There’s something in the back of my mind that thinks they’re holding something back, but I guess I’ll have to wait and see.
Until next time!
While I’ve pitched this as a chronological retrospective on Final Fantasy, it made too much sense to jump ahead with the various games that relate to Final Fantasy VII. Now that I’ve actually played through Final Fantasy VII Remake, I can say that it was a good idea to do it. Having fresh knowledge of them all made it much easier to write this out.
Videogame remakes have been on my mind since I played the reimaginings of Resident Evil 2 and 3 earlier this year. The difference with those is that I didn’t have as much experience with the original source that those were based on, so what I came out of those with was opinions on which one was more effective as a horror game (2 is excellent, 3 is a letdown).
However, since I’ve recently taken a closer look at the original Final Fantasy VII, that familiarity gives me a different lens that makes me unable to compare everything to how it was done before.
I’ll be talking about this game in a fair amount of detail, so if you still want to be surprised by how Remake reinterprets everything, maybe come back and read later. Maybe you could share this article with a friend who’s already played it.
Final Fantasy VII Remake
I was very interested to see what a modern take on FF7 would be. Many of the directorial staff from the original game returned for it, and when creatives return to the same story it’s often either scaled up or used to address different themes.
Actually playing Final Fantasy VII Remake is more like going to see a concert by an old favourite band. They’ll play the hits and have some new and exciting renditions of old songs, but then some of that won’t quite live up to the original quality found in original recordings. There’s also a bunch of new material, some of which is good and some I’m not so sure about.
The band has opted for a much more grandiose sound this time around, since a lot of the dials are turned up here. There’s so much more graphical detail, towns are much larger, characters have bigger personalities, key moments have more dramatic heft, it’s a harder game, and a much longer one too.
It’s strange that this hasn’t been titled “Part 1” because that’s what this is. Square Enix took the first six hours of FF7 and broadened the scope of it to make it into a 30-40 hour epic. Of course there are also some things from later in the original game that have been included, most likely out of an attempt to make this game seem more compelling. For example, Sephiroth shows up a lot more here since you seemingly can’t have Final Fantasy VII without Sephiroth.
I was a little worried that the polluted planet angle would have been a little diluted, but it actually comes in a much more concentrated dosage this time around. Areas outside Midgar look considerably more barren here, Shinra is shown to be just as greedy as ever, and when it’s made clear by the end that Sephiroth is the biggest threat to the planet it’s still mentioned that “this started with Shinra”. It’s reassuring to see this here since so much of it is missing from other FF7-related works.
They’ve done some really good work to add depth to a few of the characters too. Barret is the one that comes across the strongest, as they’ve made him feel like a real political activist here, the sort that would always carry leaflets and posters in their bag just in case. He always has prepared speeches and talking points ready for any moment, and because of that comes across a lot more confident and charismatic. He’s also shown clearly to not be wrong about it all, so you could probably mine a lot of his dialogue for quotes you can pull out in real life.
Aerith shines a lot more in this game, since she’s still the same sort of confident no-nonsense character that she was in the original, it’s just that now she’s a lot funnier. Many of her remarks got a good laugh out of me.
There isn’t much new to Cloud here, and there’s also a sense that a lot of his development is being saved for future parts of Remake, since it didn’t originally happen in Midgar. His traumas are given more focus, but only to acknowledge them. Admittedly the better moments with him are when other characters react to his stoic seriousness, especially Barret and Aerith.
Tifa is the character I’m most disappointed with. It just feels like they’ve taken the same old character from the original and injected her into this game, so compared with everyone else she just seems less interesting. She does get a small arc where she has doubts if the mission to destroy Shinra’s reactors is a good idea, but because of her rather dull characterisation it’s not very interesting to see play out.
Of course even minor characters get a lot more fleshing out. Jessie, Biggs and Wedge have more screen time and at certain parts have more plot-crucial things to do. It also seems to be really going for a 90s throwback thing since Jessie says “psych” a lot. There’s even a lot more minor characters added in, some of which already existed in a novel (I’m sure that gave some FFWiki editor a sigh of relief since they didn’t have to make as many new pages).
Midgar now feels even more like a diverse collective of districts, which helps for sure since everything is so much bigger. Each location has its own distinct aesthetic right down to the colour palettes used. I could see a picture of something close up in either the Sector 7 or Sector 5 slums and tell which location it is. I really liked slowly exploring them too, as this game’s closer third-person moveable camera really lent itself well to these spaces. It would have been nice if there was a first-person view so I could get an even closer look. It really does feel more like a place people live in, especially since you’re given a place to stay in Sector 7 as well. My only frustration was with how townspeople dialogue was handled as it was cool to hear it diegetically as I walked around, but it became a little annoying to hear the same lines again as I went by the same people.
Just about everything in this game is so much bigger. Instead of immediately going into a second reactor attack after finishing the first, there’s more space for downtime with side quests available to take part in, followed by a detour to infiltrate a warehouse. Once I was on my way to the second reactor, I still had to get through two full-sized areas before getting there.
Once I made it to the final segment of the reactor itself, that was when the Air Buster was introduced. In the original game the Air Buster was just a boss that showed up for a fight that lasted a few minutes. In Remake, it’s given a much longer build-up with an opportunity to make choices on how to sabotage it beforehand. Before fighting it members of Shinra appear as gargantuan holographic projections to taunt Cloud and company (and remain doing so throughout the fight). The fight itself is a big and bombastic three-phase boss encounter, one of the more difficult in the game and some of the most fun I had playing it. I’ll get into why I really like the combat a bit later since I want to focus a bit more on the pacing.
Though all the sections I mentioned are much larger than how they were in Final Fantasy VII, I didn’t really feel as though they were padded out. Just before I got bored of each area I was able to move onto a new part. Where I felt it really started to slow down was when I reached Wall Market. It’s the structure of it that really got to me, since characters would dangle the way forward in front of me and then say “but first you have to go and do something else for me”. I get that’s how videogames often work, but it happened too often here and I was getting a little sick of it.
Then it was followed by a sewer area that seemed to go on forever, and after that a train graveyard that felt like it existed only to pad out the game. I wonder if this is because I had recently played the original game. I really felt the length as I’d seen a shorter version of it. I’m absolutely certain that they’ve done this so that this first part is roughly just as long as the original game so people don’t feel ripped off (it actually took me longer since I did a lot of sidequests).
Thankfully some areas after this manage to justify their larger size. The race to stop the Sector 7 plate from falling becomes a much more desperate climb that seems even more tragic when the party fails to stop it. The journey up the wall to reach the game’s final area becomes a moment to pause and see the destruction that Shinra has caused by dropping the plate. It gives a moment for the party to really lay out their motivations, by showing what they want to prevent in the future. However I do wish that I didn’t have an extended stay in Hojo’s laboratory, it’s a good thing that I enjoyed Remake’s combat a lot.
It’s an action RPG combat system this time around, where button presses initiate attacks immediately, and any incoming enemy attacks must be dodged or blocked. When player attacks hit an enemy it builds up a bar which can be spent to use abilities, spells or items. What I love about this is that it brings back the same sort of tension found in turn based games, once the bar’s been spent it has to be built back up again, so care needs to be taken when deciding between big damage abilities or healing spells/items. It did bring about some tense moments where I had to choose between finishing off a weakened boss with a big attack or helping my party recover.
There’s also a stagger bar on every enemy, something which the game has lifted from Final Fantasy XIII. In this game it’s essentially a bar that fills up by just damaging the enemy or doing more specific actions in battle. Once the bar fills up, the enemy is temporarily stunned and takes a lot more damage than normal. It felt great to do this in FF13 and it still feels good here, as it’s a moment when the pressure’s eased off and I was able to do some really big damage.
The game almost requires a player to be constantly engaging with these systems, which meant that I actually found some of it quite hard as I was getting used to it. Air Buster is actually the moment where I found I had to do that. It’s also followed by a really good battle against Reno which shows that switching to an action RPG system lends itself really well for a 1v1 fight.
They did put a lot of minigames in here as well, but they’re mostly bad. I guess that’s true to the original game. The one I disliked the most was a stealth sequence where Cloud has to sneak out of Aerith’s house. The more realistic movement in Remake made it extremely difficult to maneuver around the collections of small items on the floor. The bike chase is still fun at least.
As usual this game is full of excellent music. Masashi Hamauzu and his team have done some brilliant work here but this is really where my metaphor of this being like seeing an old band came from. There’s some great variations of music from the original, such as an exciting take on Fight On, or a rework of the Turks Theme as a boss music. However most of the high points of the music are still when it’s playing with things from the original game. That said there is a new theme to represent Avalanche which sounds great, and ends up with a great melancholic reprise during the climb towards Shinra tower. It’s also very funny to me that Masashi Hamauzu has managed to work in some of his score for Dirge of Cerberus. Just listen to this and this for comparison.
I’ve made this sound like a big tribute act with absolute reverence to itself. For what I’ve mentioned it largely does do that, but the end of this game makes some huge changes that are foreshadowed throughout beforehand. It’s the sort of thing that has me very excited for what comes next in subsequent games.
There are a bunch of moments where it looks like things are going to play out very differently, but then a horde of ghosts show up to ensure that the events of the original game happen. They are eventually revealed to be “Whispers”, arbiters of fate who ensure destiny runs its course. The party eventually decides to fight against these Whispers, and that becomes the penultimate boss fight, but before you fight them the party sees visions of the future which are events that happen later in the original game such as Aerith’s death and Meteor heading towards the world. Those visions are described as “what would happen if we lose today”, so the party fights against the whispers and works to essentially prevent the events of Final Fantasy VII from happening! In the end they seemingly succeed, after the game throws in a fight with Sephiroth because the developers got a little impatient (though the version of One-Winged Angel made for it is stellar).
I would probably have been okay with a new version that stayed mostly true to the original, though I’d still have complaints if it had the same pacing as this. But how this game ends up feels like a clear statement that going forward, things are going to be done a little differently. Before I started Final Fantasy VII Remake, I was thinking about moments I would have liked to have seen recreated and most of them were not in the Midgar section this game is based on. Now that I’ve seen this ending I don’t care about that anymore, I want to see what new things they’re hiding up their sleeve. The end of this game brought in some big dramatic changes and I’m hungry for more of those. I’ve already played Final Fantasy VII before.
With that ending I’m very glad I went through the original Final Fantasy VII beforehand. If I didn’t already have that knowledge going in the ending would have meant nothing to me. Weirdly part of the ending involved a recreation of a scene from Crisis Core, so I can imagine a new player just being very lost to what’s going on.
After having played a bunch of older games in chronological order until the mid-90s, suddenly jumping ahead to Final Fantasy VII Remake feels almost overwhelming. A lot of differences that would have just accumulated over the course of many games have now just all appeared at once like I’ve suddenly jumped into a videogame timehole where I’m seeing the future. Soon I will have to go back in time and start up Final Fantasy Tactics, which I hope I enjoy.
Until next time!
Immediately after releasing my last article about Final Fantasy VII, I was eager to dive into more of that universe. For this article I played:
- Dirge of Cerberus: Final Fantasy VII
- Crisis Core: Final Fantasy VII
I was very interested to see how Square Enix would expand on the world of Final Fantasy VII, but sadly I think they did a poor job. I had a decent amount of fun with one of the games though, so it wasn’t all a waste of time. Let me tell you more about my time with them.
Dirge of Cerberus: Final Fantasy VII
So this is the only one of the games set after Final Fantasy VII. Specifically it takes place after the movie Advent Children, and focuses on the side character Vincent Valentine. It’s funny to me that they chose to base a game on him, especially when it’s possible to go through the entirety of FF7 without meeting him (I didn’t miss out on him though and he did turn out to be very useful). Yuffie, another previously optional party member, shows up frequently as well so I guess they also saw the humour in that.
This is actually the first ever game with Final Fantasy in the name that I ever played. Since I had ended up watching Advent Children, and even though I didn’t really understand it I thought I could get away with playing the sequel game. It looked darker and edgier than what I was used to, the crimson colours and 15 age rating on the box made it look so (near enough every main FF game has a 16+ age rating on it now though so it’s not distinct any more). I had not long finished Kingdom Hearts II, and my only other exposure to Japanese RPGs were Pokemon, Golden Sun, and Unlimited Saga (which was a nightmare game to try to understand when I was 11 years old).
What this also ended up being was one of my first exposures to third-person shooters, because it turns out that this game is a hybrid of that and an RPG (back when it was novel for RPG elements to be in a game and not just an aspect of all major videogames). It has an incredibly generous auto-aim option because I would imagine they were expecting players unfamiliar with the genre to play it. It also has mouse and keyboard support, which is very strange to see on a Playstation 2 game.
It seems as though Square Enix were inspired by Devil May Cry here, since it is an action game that runs at a very smooth 60 frames-per-second (something I tend to associate more with games made by Capcom or Konami). Vincent Valentine’s Limit Break ability is changed to be something more like Dante’s Devil Trigger, the cutscenes feature some very stylish looking action sequences, and there’s even a rail shooting segment towards the end. This game makes no attempt to hide its inspiration.
While it’s nowhere near as good as Devil May Cry, I still was enjoying myself with it. I have a bit of a soft spot for this kind of PS2 action game, even if it isn’t greatly put together. The shooting doesn’t feel awful to do, but I found it very difficult to avoid taking damage. There were plenty of healing items available that it never became much of a problem, I found this to be a very easy game. At the end of every level I could choose between experience points to upgrade Vincent’s stats or money to buy items and upgrade guns. This meant that I did have to think a little about what I really needed to focus on, but also it didn’t come across as the harshest system since this option is also presented upon death as well. In the end putting points into guns didn’t seem to matter too much, since in the final level I was just given an extremely powerful gun that defeated almost every enemy in a single shot.
In terms of plot it actually feels so far removed enough from Final Fantasy VII that I couldn’t really get annoyed with it. Vincent gets wrapped up in a fairly ordinary save-the-world kind of plot here, it is somewhat generic. Essentially an extra-secret branch of Shinra called Deepground just wants to destroy the world in the same way that Sephiroth wanted to. Dirge of Cerberus actually feels more like a spin-off because it puts the spotlight on characters who weren’t the main focus of the original game. There’s a bunch of new characters here too, but they’re forgettable.
There is some stuff in this game about how Vincent has the power of Chaos, some sort of demon-like thing that appears to possess him. Much is said in the cutscenes about how he is really struggling to control that power but it never comes across when playing the game. This is the Limit Break ability, it can be initiated at will from the press of a button, and can be controlled just like a normal videogame character. I wished that it was something weird and uncontrollable, it would have made for something a little more interesting.
The end of the game actually brought to mind another spin-off game about an edgy side character with guns, Shadow the Hedgehog. That’s a game I somehow managed to finish twice as a teenager (don’t ask me how, I tried playing it again a few months ago and couldn’t stand it). Vincent transforms into a superpowered form and fights through enemies while a heavy metal theme song plays. Shadow the Hedgehog does the same thing, but I can’t really say one’s ripping off the other since their Japanese release dates are only a month apart.
There’s some very good music in this game. Masashi Hamauzu is a composer who’s great at creating atmospheric music through how he uses chords and while I wouldn’t say this soundtrack is the high point of his music-making, I still really enjoyed hearing the music as I was playing this game. What I like about the music is that it feels somewhat reminiscent of Final Fantasy VII’s music, but it’s not overbearingly drowning in motifs from that game. It’s more like music built in the same key, rather than recreations of older tunes.
Dirge of Cerberus: Final Fantasy VII is very short compared to most of what I’ve played for this, it took me less than ten hours to finish it. It’s interesting as a weird curiosity to see how Square Enix tried to create a then-trendy action game but it’s far from being a great one of those to actually play. If you’re only after a third-person shooter, or Playstation 2-like action game, I’d suggest looking elsewhere.
Crisis Core: Final Fantasy VII
I’m open to the idea of prequels, since one of my favourite games, Metal Gear Solid 3: Snake Eater, is an excellent example of one. Sadly I didn’t enjoy playing Crisis Core: Final Fantasy VII as much, it ranks for me as quite possibly the dullest Final Fantasy game I’ve ever played. The combat is boring, the story is baffling, and the music is annoying.
How the game actually plays is my biggest problem. There’s some action-RPG combat here that would be mostly serviceable if it wasn’t for another odd addition. Battles have absolutely zero tension in them because of a weird slot machine system that is constantly rewarding huge bonuses to HP, constantly healing and also providing extremely powerful attacks. All of this was out of my control, the slot machine is constantly spinning automatically throughout combat, often interrupting everything to fill up the screen, occasionally presenting a flashback cutscene as well. I’m okay with games being easy, it’s not as though I’ve found many Final Fantasy games to be difficult, but this one is being ridiculous.
I also recognise the irony with my frustration here when I wished for Dirge of Cerberus to have some elements of control being taken away in relation to his demonic powers. This system is not what I would have had in mind.
Level ups are also seemingly determined by it too, which is such a bizarre decision. There’s also equippable abilities that can be strengthened via this system. It’s rather frustrating to work with, because I don’t feel like I’ve worked towards getting these, it just feels like I’ve won them in a slot machine.
Combat on its own mostly feels like a slowed-down Kingdom Hearts. Zack can be moved around a 3D arena, and attacks and abilities can be initiated from a command menu. It seemed to work okay most of the time, though it’s supposed to auto-target the nearest enemy but sometimes Zack would run off to attack one on the other side of the screen instead. It’s an odd choice because positioning is a key aspect of the combat, since hitting an enemy from behind does double damage. This was a little harder to pull off when I was at the game’s whim for who Zack is attacking.
There is actually one fight in the game that I thought was pretty good. It took place on a bridge and if Zack was pushed to the edge of it, the game was over. Because I had focused on increasing physical attack power, it meant that I had an interesting tension between using long ranged spells that did less damage, or moving in closer to hit harder and also risk getting hit by the enemy. I’d probably be a lot more forgiving of it all if there were more interesting gimmicks like this.
A lot of the game involved running through small, empty environments to go between combat encounters and story cutscenes. There’s no stopping in towns because all shops can be accessed via the pause menu at any time. It’s pieces are very bite-sized in the way that a lot of portable games used to be, owing to it being made for the Playstation Portable. At save points extra missions can be accessed, which usually take about five minutes each to finish. None of them are particularly interesting, it’s just more small pieces of game that could fit into short gaps like a commute.
There’s also some occasional minigames that crop up, and most of them are awful. I thought Final Fantasy VII had some rubbishy ones but they are so much worse in this game. My least favourites have to be the seemingly impossible stealth sequence, and a sniping one that controls terribly. They’re rather jarring as well since they seemingly pop up out of nowhere, as if the game is just being interrupted by something else.
The presentation of this game doesn’t do it a lot of favours. Environments mostly being made up of small corridors shown through a camera that sticks close to the controllable character just makes them feel tiny. It’s not as though Final Fantasy VII actually had massive areas that took considerable amounts of time to walk through, it was able to use fixed camera angles in order to make them appear bigger. Junon Airport was an area that seemed massive before now looks tiny in Crisis Core.
A part that really suffers because of this is the Nibelheim incident, originally depicted in a flashback in FF7, which I had highlighted in my last blog post as a really effective sequence. What was previously a quiet and unsettling journey beneath a mansion is now turned into an extremely generic RPG dungeon full of enemy encounters. The camera work in the cutscenes is much worse too, as it fits in some recreated shots that have much less going on. There’s a shot of Sephiroth where the camera is moving away from him instead of him getting more distant and it just comes across as passive. It also shoe horns in its own new characters in ways that just feel clunky.
All of the brand new plot developments added into this game are bad and at times confusing. I found it really difficult to understand the motivations of the new characters. It seems like the game is setting things up for Zack’s former mentor Angeal to betray everyone and then he just kinda doesn’t? It’s weird. Genesis never feels like he actually belongs in the game. It feels like so much of the plot could still happen without him, but he’s there because it seemed like they were setting something up to pay off in a later game which never happened.
I couldn’t stand a lot of the music here as well. There’s a lot of covers of music from Final Fantasy VII that aren’t great, and a lot of the new music sounds incredibly repetitive since a lot of it is playing around a single motif. A lot of the battle themes are metal music that I found incredibly boring. It’s also almost inaudible when played off of a PSP speaker, so to actually hear it you’d need headphones.
This isn’t a very good game, but if I played it when it came out in 2008 I reckon I would’ve loved it. I was 15 then so probably the right age to get really into it, maybe I would be nostalgic for it and be a little more forgiving. However, I played it now and I found it to be incredibly lacking.
These games, the movie Advent Children, and a bunch of other things make up what Square Enix likes to call the “Compilation of Final Fantasy VII”. It’s ended up being a failed experiment to be honest. While I did have a little amount of fun with Dirge of Cerberus, everything else in it was bad.
There’s some tie-in novels that are also part of it that I’ve been reading and they’re terrible. They both attempt to bridge the gap between the original game and Advent Children and somehow manage to make every character even worse. I wouldn’t recommend reading them.
The impression that I get is that everyone responsible for all of this media has no clue what made the original game great. Kazushige Nojima, the man responsible for a lot of the writing in these things, was also one of the main writers on the original as well. I think that it makes it very clear that the team efforts on Final Fantasy VII were more likely what made that game better.
Even though I do have all these complaints, my excitement to play Final Fantasy VII Remake has not diminished at all. That will be what my next article is about, please look forward to it!
Don’t forget to check out the Playing Final Fantasy From the Start hub page to see the rest of the articles I’ve written about the series!
Until next time!
You know what, I’ve been having a really good time writing these so far and I’m looking forward to doing more of them after this one. I’ve played eight games in the Final Fantasy series for these blog posts and I’ve found something interesting about all of them so far.
Playing these games in chronological order has made it much easier to move between them. I’m no longer staring at a massive wall of many games in this series unsure of where to go next, I’m simply just moving ahead through a linear list.
I’m aware that the last article did go on quite long, so I’ve decided to play two games instead of three. For this one I played:
- Final Fantasy V (FF5)
- Final Fantasy VI (FF6)
I decided to play the Game Boy Advance (GBA) ports of these games as they seemed like the more ideal offerings. Prior versions made before it are saddled with translations in a style that I’m not a fan of. More recent editions, such as those available iOS and Steam, have an awful graphical style that looks tacky to me. It was nice to go between these two games and have a somewhat consistent presentation, which only highlighted the major differences both of these games have. Someone did inform me that certain scenes are cropped for GBA versions, meaning they might not make the same impact, but I only found that out as I was approaching the final area of Final Fantasy VI, so I didn’t fancy starting over.
As I was playing the games for this article I essentially saw Final Fantasy transitioning into what I know it for. I’ll get into more specifics on this when I talk about each game but broadly speaking, FF5 feels like a tribute and FF6 is trying something new.
When writing this blog piece, I found that it became increasingly difficult to not mention particular major plot moments. In earlier games I found it much easier to talk in broader terms, but here I’m going to have to address certain spoilers. So I’ll talk about the games now:
Final Fantasy V
Compared to prior games, Final Fantasy V is much more immediate. There’s much less story setup before the game becomes playable. The full party comes together very quickly, and shortly after that it brings in a job system to play with.
Just like in Final Fantasy III, this game has a job system, however much of the frustrations from that initial job system have been removed. Swapping between job classes now has no penalties, and when you assign a job to a character, they already have full access to its capabilities. Levelling up a job lets you carry over its abilities onto others, so if you level up a White Mage, you can get a Monk class to cast White Magic. I found this a much more interesting incentive for strengthening jobs, as it also encouraged me to play around and use all sorts of them for party members.
Once a job is maxed out, all of its passive abilities and stat increases get carried over a class called Freelancer. What that meant is that I ended up finding an ideal grinding spot and spent a large amount of time maxing out several jobs per character in order to have super powerful Freelancers (not all the jobs though, I would probably still be playing the game if that was the case). It was a little repetitive, but I saw it somewhat like slowly carving something. It was a little like I was partially moulding the game into the way I wanted to play it. I don’t have anything physical to show for it, but it was still fun to see strengthened party members used by the end of the game. I do wish the grind could have gone a little faster though…
Battles play out much in the same way they did in FF4, though with a party of four instead of five. The ATB combat system sees continued use up until Final Fantasy X, so re-explaining the system each time would be a little tiresome. While it is using the same systems as 4, FF5 has some battles that take much better advantage of it.
There’s a fight I liked in this game against a monster called Atomos. It’s an interesting puzzle boss and one of the most fun encounters in the game. When the battle starts it instantly kills a party member, but once that member is dead it won’t kill another. The defeated party member then gets slowly sucked towards Atomos and when they get close enough they are removed from the encounter entirely and cannot be brought back. Once that member is gone, Atomos will kill another and repeat the same process. As this all happens in real time, it becomes about finding the right time to revive a party member so that none are lost. It feels much more unique than any of the other battles I encountered in the game, and the real-time combat systems allow battles like this to happen.
All this stuff is cool, but I don’t think that it works well together to tell a story like FF4 did. The job system doesn’t give much of a sense of character in a way that 4’s pre-assigned classes did. Final Fantasy V has a fairly standard save-the-world story with a much more light-hearted tone that didn’t really win me over as much. Characters make jokes about their situation but that’s what characters do in almost every major movie these days. I’ve already seen about twenty Marvel movies.
The party hardly ever changes shape here. The four members you get at the start remain throughout most of the game and initially the game leans into that. There’s a few moments towards the start of the game that make the party feel like they’re all getting closer to each other and I enjoyed that, and they do manage to make them feel like distinct characters. I wish there were more moments like that throughout the game as too much focus was put on the plot of defeating the bad guy.
Graphically and musically it mostly feels like a gradual change from FF4, but there’s some new things here that I liked. Enemy designs get a little more varied with some weird and cute ones. FF4’s music used a lot of samples that were trying to mostly emulate orchestral instruments, but some more synthesizer-like sounds work their way into FF5’s soundtrack.
There’s a lot I do like about Final Fantasy V, but it doesn’t work as a cohesive whole. The job system is cool, there’s some boss fights that are fun, but the narrative isn’t as compelling. In some ways it almost feels like a “remix compilation album” of Final Fantasy in terms of how it’s put together. A lot of plot beats feel like reworks of what was already in FF3 and 4, and bringing in a revitalised job system is absolutely harkening back to FF3 as well. However much like compilation albums, they may be a good set of songs but they weren’t written to flow into each other.
Having that job system did make it really fun to play with, it’s just that I can’t help but compare it with other games. I don’t want to come across as negative here because I did have a very good time with this one, it’s just that I had a better time with Final Fantasy IV.
I’d also like to talk about the Four Job Fiesta, which is a charity run of this game that anyone can take part in from this website. However if you’ve never played the game before I would advise against trying this specific run for your first time, as I made that mistake a few years ago. It seems as though it’s much easier to manage with some familiarity of the game, but I also seemed to just end up with a group of classes that were extremely difficult to use.
It’s all for charity though which I can’t fault that much. This year it’s raising money for Color of Change, the largest racial justice organization in America. Considering recent news stories about horrible injustices against Black people, I think it was a smart decision to choose this charity. It runs until the end of August so you’ve got some time to decide if you want to take part or donate.
Final Fantasy V also had a sequel in the form of an anime, which is absolutely not worth watching. Final Fantasy: Legend of the Crystals is an extremely generic early 90s fantasy-comedy anime. It’s well animated, but doesn’t have much of a unique style. I did call it a comedy, but that’s arguable since much of its jokes aren’t really funny. It’s a real shame since this was directed by Rintaro, who also worked on the excellent 2001 film Metropolis, which if you haven’t seen I think you should as it’s one of my favourite animated movies (I also talked about it on this podcast).
Final Fantasy VI
This game was one of my biggest blind spots. Of all the Final Fantasies I hadn’t played before this was one that I hadn’t heard that much about. I can think of a lot of reasons why but that would take up plenty of space. I know the game now since I’ve played it.
Final Fantasy VI is maximalist. When I think of other RPGs developed for the SNES, they don’t have as many toys to play with as this one does. There are 14 characters to choose for your party, plenty of optional side quests to pursue, a higher amount of graphical detail and a much larger soundtrack. I get a sense that many meetings during the development of this game ended with “yes we’ll try that new idea”.
This also the first game to have more bespoke setpieces with game mechanics specific to them, which is something that I associate with Final Fantasy in general. When I think of memorable moments across the games, many of them use a unique method of control. It’ll be an interesting thing to bring up again when I write about later games.
What this all means is that Final Fantasy VI has a lot more variety, it’s playing a little bit looser with the rules of what makes an RPG. Here’s a few things I did in this game:
- Command multiple parties of moogles to defend a fallen party member
- Sneak through an enemy occupied town by getting around guards and stealing uniforms to use as disguises
- Memorise lines to perform well in an opera.
Every party member now has a unique distinct ability that they can use in combat. Some are just ones that you can select from a menu, but some involve weirder elements such as slot machines, timers or fighting game button inputs.
Magic spells can be learned by almost every party member in the game (and by the end I had a team that knew almost all the spells). Though it seems a little contrary to the idea of variety that everyone can learn the same spells, I feel it actually acts in service of it, since it makes every party member a viable choice. This is Final Fantasy VI’s way of saying that everything is open to play with.
This is bolstered by another mechanic named “Espers”, which are equippable summon attacks that are the game’s way of teaching magic. They can be used to increase character stats as well, so a party member ill-equipped to cast magic can be made into a strong spellcaster. This means that the game does not have to contrive moments where a character with healing abilities show up, it just has to consider who is the right character to show up (this contrasts with Final Fantasy IV’s approach. Because of every character fitting a defined character class, it sometimes felt like characters would show up because they fit a practical role).
However because of these open systems, the game can become incredibly easy. There’s a possibility that my own long experience with the genre has coloured this, but Final Fantasy VI ended up being one of the easiest games in the series I have ever played. Certain items I received from doing side-content almost made me feel like I was cheating, as I could do almost 50,000 damage in a single turn (for reference the final boss of the game has 62,000 HP).
Even though it got very easy, it was really fun to continually outdo myself on my damage output, since I did have a little bit of a challenge closer to the start of the game. Long before I encountered the Espers, there was a moment where I had a party that was only suited to doing physical damage and I had a small supply of healing items. I felt as though I could have gotten badly stuck at that moment, but I managed to scrape by and comparing that to how powerful my party became is very amusing to me.
Rather than take FF4’s approach by having systems tied closely with the story it’s telling, Final Fantasy VI decides to have them work around the story. They hardly get in the way of the plot, especially since they can result in the game getting very easy. I wouldn’t say that this made the storytelling worse at all, I would say more of its failings come from how the characters are written.
For one thing, I felt as though the large cast of characters works against it. Around a third of the party I had never even heard of before, which I don’t think I can say so easily about a lot of other games in the series. I didn’t know of Strago, Relm, Cyan, and if I hadn’t played Kingdom Hearts II before I would never have known of Setzer before. A lot of them don’t feel particularly memorable to me, which is a shame.
I did hear a lot about Kefka before I played this game, he’s one of the Final Fantasy villains that seems to get brought up quite a lot. And it’s actually a twist that he’s the villain by the way, I didn’t know about that before which took a bit of the impact of that reveal. The one advantage Kefka has compared to previous villains is that he actually shows up for more of the game. His entire character is that he is just pure evil, and it’s a bit too one-dimensional for me. It’s not as though the other villains we’ve had so far have had more powerful characterisation (FF4’s didn’t even show up until the end of the game), it’s that I just don’t find this brand of evil for the sake of evil interesting for as much screen time as it takes.
The one neat thing they do with Kefka is the setup for the game’s second half (it was for me, but apparently this is fairly flexible and not far from the end if you avoid side-content). Essentially Kefka wins, defeats the party and destroys most of the world, and then a year passes. From that point a few party members manage to get together and begin a search for the rest of the team (or you can skip all that and go straight to the final dungeon). This part of the game is often called the “World of Ruin”. Kefka has no on-screen presence until the final boss encounter, but the state of the world means that you don’t forget about him. One of the first events in this part involves him destroying a large house because something upset him.
From this point on the structure of the game is blown wide open, and I found it really fun to just explore the map and see where I would find other party members. I somewhat liked how it was used to fleshed out the characters a little more since I got a chance to find out what they would get up to alone.
In my opinion it does a better job with some characters and a lacklustre effort with others. Catching Cyan pretending to be someone else writing letters to a woman was funny, especially since he has a unique manner of old-fashioned speech that is used in the letters. When I was pursuing Locke, the self-proclaimed treasure hunter, I went through a dungeon that had mostly empty chests. After finishing it, he handed me the items that would have been in those chests.
One character that I was really let down by was Terra. Throughout most of the game she has a rather distant personality, likely because of being raised in captivity to be a soldier for the Empire. In the World of Ruin, she is the only one that needs to be convinced to join your party, but mostly because she’s become a mother figure to a big group of orphaned children. It just feels really boring to have one of the few major female characters just settle and become a mother, especially when so many of them have been going off on more exciting adventures. Celes doesn’t fare much better either, as a fair amount of time with her character is spent on how she’s in love with Locke.
For a lot of the World of Ruin, you can bring along whatever party members you want, but the result of that means that no character’s voice really comes through whenever any dialogue needs to be said. It’s usually written so that no name appears on it, so it’s written in a way that any party member can say it, so it’s extremely functional. It persists up until the final encounter with Kefka and I just found it to be very dry. I wonder if it’s likely the version of the game I’ve chosen, maybe there’s other ones out there that write it more interestingly because I wasn’t digging it.
One party member was absent from the World of Ruin for me, and that was Shadow. This was because I let him die by mistake. In most of these games character death is an event determined solely by the game, but here I was partially responsible. I would have never guessed the way to have him survive (there’s a timed escape sequence before the World of Ruin, and you have to wait for the last second before leaving the area) but I did find out I could have prevented it.
In terms of appearance, I think Final Fantasy VI has been one of the best looking games so far. It doesn’t have the same amount of detail as the PSP versions of FF1, 2 and 4, but it does have a more deliberate muted colour palette that suits the steampunk-ish setting. Environments also feel a little bit more natural, they look less like they’re made on a grid (even though character movement is still restricted to four directions).
This game also has the best soundtrack so far out of the games played for this post. It’s larger and like the rest of the game, more varied. Even more electronic instruments come through here, with a chocobo theme that reminded me a little of japanese electronic music group Yellow Magic Orchestra. Prior games would sometimes work in the main theme as a regular motif, but FF6’s music has more use of leitmotif as character themes are woven in through the score. There’s also a track called Epitaph, which I’m certain is a King Crimson reference since the melody sounds very similar to another one of their songs called Moonchild.
I had a good time with Final Fantasy VI, messing around with the growth systems and how they made battles very easy was quite fun for me. I’m just underwhelmed by the character writing in this game. I am aware that this game is beloved, and it is a good game, it’s just that I’ve played better.
It’s easy to think about putting these games into groups, I titled my initial blog post on the first three games “The NES Trilogy”. I can’t really think of FF4, 5 and 6 as a SNES trilogy, even though they have a similar kind of presentation, FF6 feels more like what the series would eventually do on the PlayStation. I’m looking forward to talking more about that soon.
I enjoyed these two games quite a lot, but when I think about my all-time favourite games in the series, they aren’t going to be among the top. There’s a possibility that I might even change my mind by the time I get to the games I adore, though the real hope is that I’ll still love them.
There has been some brilliant music across both the games, which I’ve compiled into this Spotify playlist! I did have some urges to put the entire FF6 soundtrack on, but I decided against that.
Ranking these games hasn’t gotten difficult yet, but once I play a lot more of these I assume it’s going to get harder and I wonder what it will look like after that. The idea of making a gigantic list with all the games on it is very funny to me, even if it is a little potentially unreadable. Anyway here’s the eight games I played for this so far with the best at the bottom of the list:
- Final Fantasy II
- Final Fantasy Mystic Quest
- Final Fantasy Adventure
- Final Fantasy
- Final Fantasy III
- Final Fantasy V
- Final Fantasy VI
- Final Fantasy IV
I’m hoping to take a little break between this article and the next as it’s going to be a big one. Already I’ve got a lot of thoughts in my head about what I’ll be writing for it. I’ll give you a hint, what comes after six?
Until next time!
After having finished the original three Final Fantasy games, you would think that the next thing for me to do is go to 4, 5 and 6. I did play 4, but not 5 and 6 because Final Fantasy is from this point on starting to become a larger franchise that encompasses more than just a direct throughline of numbered sequels.
So for this article I have now played and completed:
- Final Fantasy Adventure (FFA)
- Final Fantasy IV (FF4)
- Final Fantasy Mystic Quest
As I was playing these games, I began to think about how something is identifiably Final Fantasy. It’s more difficult now than it used to be to answer that question. At the time where it was just the first three games, the answer would have been as simple as “a series of turn-based RPGs from Japan”. The modern answer would be something more like “A brand which largely encompasses games which are mostly RPGs or games with RPG elements”.
The biggest defining thing about Final Fantasy to me is weirdly how much it shifts and changes. Initially the most appealing thing to me was that none of the main numbered games actually continue the same story. I could jump into Final Fantasy XIII and not have to worry about what went on in the prior twelve entries (I did actually do that, and I had a great time with it). Eventually I became more aware of direct sequels and spin-offs, which meant that these universes were not so fully isolated, and it makes explanation of what Final Fantasy is slightly more difficult.
The easier way I find to think of it is that Final Fantasy is more like a group of sub-series. For example, Final Fantasy VII with all of its various spin-off games, movies, books may as well be its own individual series. There are also others that have vague connections through story, but much tighter links through gameplay aspects such as Final Fantasy Tactics.
It still doesn’t feel like the series’ name has lost all meaning to me either, while there’s all sorts of games that encompass the series that are radically different from each other, they always seem distinctly Final Fantasy to me, with some exceptions. Which brings me to these games, I played three more of them so I might as well talk about them:
Final Fantasy Adventure
This is the first of what would eventually become known as the “Mana series”. It would receive a few sequels that decided to no longer go by the name of Final Fantasy, such as Secret of Mana and Trials of Mana. All this various naming can seem a little puzzling, but I chose to play this game as it was initially released with the Final Fantasy name attached to it (except in Europe where it came out under the title Mystic Quest, which means that conversations with European players about Final Fantasy Mystic Quest can get very confusing).
It’s an odd game because it doesn’t feel like it neatly fits into Final Fantasy as it’s refocus into an item-gated action RPG pushes it away from that, and it’s more standard high-fantasy presentation feels like it doesn’t quite fit with the bright colours of the Mana series (though it can’t help being colourless, it’s a game for the original Game Boy).
What we have here is something quite similar to Zelda, where you go between dungeons with puzzles in them to get various items used for getting past environmental obstacles. It’s all tied together with a world map that opens up for more exploration once you have more of the useful items.
A lot of what’s needed for puzzle solving and progression is tied to the equippable weapons and learnable magic. Axes can be used to chop down trees blocking the way, chain whips can be used to cross gaps, ice spells can be used to freeze enemies to solve block puzzles.
Certain items have to be bought at shops before venturing into a dungeon, such as keys and mattocks (for breaking rocks), which are consumables as well. With this and the use of equipment, it definitely helps it lean more into the RPG side of things, as it’s about making sure you’re prepared for an adventure. The abundance of keys available for sale is strange though, it would have made more sense for them to be lock picks instead.
Level grinding is an odd thing to do in a Zelda-like game, it’s a little repetitive but doesn’t get tiring as the game is fairly short. Enemies run around in random directions and mostly die after one or two hits. Boss battles don’t offer much more complexity either, as though they do take a fair amount more attacks to defeat, their simplistic patterns make them rather easy. This game isn’t very hard.
When you do level up you actually get to make a choice of how your stats grow. It’s fairly simple as you only get four options to choose from. You can pick from Stamina which increases HP, Power which boosts your attack, Wisdom which strengthens your magic, and Will which lets you cast special moves at a faster rate. I chose to put more points into Stamina, as I was mostly concerned with staying alive, though I did throw more into the others so that I could do more damage. I don’t have the time for multiple playthroughs now but it would be interesting to see if builds based more on magic or high attack power are valid.
As it’s made for the Game Boy, each dungeon is short, making it easy to play for shorter sessions. On days where I put more time into it, I felt like I was making a lot of progress. It can be a little tricky to know exactly where you need to go, so looking up a map or guide may be needed (there is an in-game map but it’s largely useless as it’s mostly blank).
Most dungeon puzzles are very simplistic, they do break up the pace of the game nicely, but ice block puzzles became a hassle (thankfully there’s not a lot of them). There is a really creative dungeon where you ride a minecart that is constantly moving across a track, and you have to use a weapon to hit switches in order to steer it in the right direction. It’s a cool set-piece but it’s a one-off which is a shame, as I would have liked to see more like it, but to be honest I could just play Zelda games instead for something like that.
The writing in this game is fairly strange, as it has to be crammed into small text boxes to fit onto a tiny Game Boy screen. It honestly feels like reading someone’s shorthand notes of a story, it is a little overly succinct. One of the main villains is just named “Dark Lord”, no “the” as they need to save space.
However there is a moment that is really interesting and feels a little more emotional than anything in the prior games (and only a little, I don’t want to oversell it). At a certain point in the game the main character is defeated by the villain and his chocobo (yes you get one of those in this game) has rescued him and taken him back to a nearby village to recover. The hero then confronts his mentor-of-sorts Bogard, yelling at him in frustration that he doesn’t want to be the hero and Bogard should do it instead. What then happens is that Bogard yells at him to get out and will not talk to you anymore. When you talk to another villager, it turns out that Bogard is very badly injured, and the hero is the only one who can do the job now. Even the chocobo got hurt really badly getting you back to the village (don’t worry they turn out okay). In a game where everything is so simple and sparse in terms of dialogue, it took me by surprise.
This story beat like this is something that makes the hero a little more interesting than in any of the prior games. The main characters of FF1-3 have very little interesting aspects about them. The original game does use blank slate characters deliberately, but the other two don’t and don’t feature the most memorable characters here. The biggest difference by comparison is that in most of these games so far, stuff just happens around the major characters. This story beat is defined by the main character doing something himself.
In this game there is character development! It’s a small few minutes of the game but it’s exciting, and not because this game is now a storytelling masterpiece, it’s far from that. What’s really fascinating to me here is the gradual evolution, and that it comes from the first spin-off (though the closeness in release time between this and FF4 makes me believe that they have to have been developed simultaneously, and if we are considering storytelling, FF4 blows it out of the water in that regard).
It’s interesting that this is the first game where the story is by Yoshinori Kitase, who would eventually go on to direct Final Fantasy VI, VII, VIII and X.
If you would like to see a different take on an old Zelda-style action RPG, but with a little more RPG thrown in there, it’s worth trying Final Fantasy Adventure. It’s an easy game and also most likely one of the shortest games I’ll be playing for this blog at about roughly ten hours. It’s also been remade a few times, once as Sword of Mana for the GBA, and again as Adventures of Mana for mobile phones and PS Vita. The remakes seem to want to tie it more into the future Mana games, rather than its Final Fantasy roots. I haven’t tried either of those remakes just yet but maybe someday I will.
Final Fantasy IV
The prior Final Fantasy games didn’t really have much in the way of well-defined characters. Heroes and villains were just that, without much else to distinguish them. Final Fantasy IV makes distinct characters much more central to the game, and is a much better game because of it, but that’s not the only aspect which this one improves upon.
You start off the game with the Dark Knight, Cecil, who will be the only character which remains in the party for the rest of the game. The first moments of this game don’t actually give you control of the party just yet, it does make use of the game’s presentational elements such as the world map and battle screens. It depicts a raid on a town which Cecil is leading and it’s apparent from the start that he is working for the bad guys, as he is fighting seemingly weak and innocent people. It’s a short sequence but it offers more detail and intrigue than in the previous games, especially having just come off of Final Fantasy Adventure’s awkward shorthand.
Once you get control of the game, one of the first actions you can take is to walk over and talk to fellow party member Kain. Instead of a simple response that lasts one or two text boxes, it’s a full conversation where you learn about Kain and Cecil’s place in the ranks, how they feel about their situation in the Kingdom of Baron, and part of Kain’s heritage. Very little time is wasted in order to demonstrate that these are much more interesting characters.
The original Final Fantasy began with a king sending you on a quest to save the world, which you eventually do. Final Fantasy IV contrasts this when you meet the King of Baron for the first time, he comes across as much more greedy and demanding, and is more intent on conquering the world than saving it. The mission he sends the party is actually a punishment, as Cecil had “shown disloyalty” by questioning the king’s motives (as he wasn’t sure he was doing the right thing in the game’s opening sequence). It ends up with even more tragedy, as Cecil is tricked into destroying an entire village, as the people there would have disrupted the king’s plan for conquest.
This paints a much bleaker world than the other games have managed so far. While it is eventually revealed that another villain has been controlling everything from behind the scenes, there’s still something about the way people in the game talk about the militarism of Baron that seems relatable. Townspeople lament about how much their nation has become like this, but also continue to work in it, giving a hint of the all-too-real despair that comes from living in a country that’s too powerful (maybe I am overthinking it a little).
Characters in Final Fantasy IV have so much more character! It feels as though a lot of the game’s systems have been built with that in mind. Every party member is now a defined character class, which will not change over the course of the game (with one exception used to show character development). Cecil is a Dark Knight because he trained as one to serve his kingdom, Kain devoted his life to becoming a Dragoon because of his father, Yang comes from a nation where many learn to become Monks.
The shape of the party changes a lot over the course of the game as well. One or more members leave at certain points, and it may seem a little cruel to have you spend time to level up characters only for them to be taken away, the game never puts you at a big disadvantage. You’re always given a character that can heal and cast spells. Party members come and go on their own terms and when they come back they’re usually at a much higher level, and have learned new skills. It cements each party member as an individual character, as prior games had issues with this (FF1-3’s party characters were poorly defined, it felt as though in those games I was controlling a single character that inhabited multiple bodies).
By the end of the game you will have a party of five suited to take on all the game puts in front of you. In the original SNES version of the game you had no option of changing it, so everything was balanced to accommodate it. Later versions of the game (such as the PSP version I played) let you change it, but you do end up with a lot of equipment clearly meant for that original team, so I kept it.
Having the game define the party makes everything much simpler. I never felt a need to research a good set-up like I did in some of the other games, for fear of investing time into levelling up “useless classes”. I could see why Square chose to bring this game over to the US when it was wary of bringing over FF2 and 3.
There’s another detail that I would like to highlight which is used effectively in the story-telling and that is spells. Rydia is a summoner, who is able to cast a lot of elemental black magic, with the exception of Fire. She is afraid of it as her village was burned down. It serves to create a big moment in the game when she is finally able to cast it because of the party’s encouragement. There’s also a spell called Meteor, initially learned by the Sage Tellah. No matter how high you level up that character, he will never have enough magic points to actually cast it, and this gives more gravitas to the moment in which it is finally unleashed.
The PSP port I played looks great, with nice detailed 2D sprites filled with bright colours that look great on my PSVita’s screen. There’s a few small details added in battle sprites that I liked. When readying an attack Cecil, an experienced fighter, raises his fists ready for action, whereas Rydia, a child, covers her head with her hands and ducks. There is a full-3D remake available on other platforms, but I don’t think it looks as nice and I have been told by many people that it is a much harder game, which I did not fancy.
In Final Fantasy IV a trademark feature of the series’ battles was introduced: the Active Time Battle system (ATB). Instead of everyone’s turns being semi-randomly generated by how high everyone’s speed statistics are, an on-screen bar fills up in real time for each character and when it’s full they can take their turn. I love this system as it allows for me to be more reactive in battle, as every turn is taken as soon as the bar is filled. It’s also very satisfying to cast Haste on party members and see the ATB bar fill up visibly faster. There is an option to change the speed of the battle system as well if you would like the game to go ridiculously fast (I personally think the highest speed is way too quick for me).
Composer Nobuo Uematsu’s work gets much stronger from this game on, as his tendencies for progressive rock bombast, and use of unconventional samples begin to show. Here is a Spotify link to a playlist with my favourite tracks from the game (I would have liked to have made a playlist for all three games, but the others are absent from the streaming service).
This is the first game out of these that I can recommend without caveats, it’s just a great RPG worth getting into. Time would fly by as I played it, I was just very compelled by how well put together so much of this game is. This is absolutely the best game I’ve played so far in this blogging project. If you’re thinking about giving this one a go you absolutely should. If you’re a fan of RPGs in general and haven’t managed to try this one (aka me before this), then I think it’s one of the best things you could play.
NOTE: All of this is specifically referring to the version of the game made for the GBA and PSP, don’t take this as a recommendation for the version available on mobile phones and Steam as it seems to be a very different game. It makes me think that at some point I should seek out the NES version of FF3, as it’s likely quite different to the Steam version of it I played.
Final Fantasy Mystic Quest
To clarify, when I am just saying “Mystic Quest”, I am using it to refer to this game, and not Final Fantasy Adventure. I just want to avoid any confusion over naming.
The narrative around this game is that it was intended to be more of a beginner RPG, something to use to introduce novice players into the genre. It seems a little odd considering how games are built today. If a game wanted to accommodate newer players today, changes would often be made to future entries of the main game. The series itself would do so proudly 24 years later. Final Fantasy XV will proudly state when you open the game that it is “a Final Fantasy for Fans and First-Timers”. It’s weird to see something made with the specific direct intent of easing in newer players.
A game built with the entire purpose of teaching new players how to approach a genre they are unfamiliar with seems to exist as a marketing tool. There’s no point in making an “introductory” game if they didn’t expect people to buy another later. That said I did try to go into this game with a bit of an open mind, as I was genuinely interested in finding out what decisions were made in order to make this game approachable.
So what’s different about this game? For a start random encounters are now gone. Every area now has a limited number of combat encounters, that are on fixed points of the map. It changes the relationship with the space, as to ensure I was levelled up, I had to seek out combat across the map as opposed to walking around one spot in circles.
This paired with lower battle difficulty means that the game also has a much calmer feel to it, there’s no anxiety over suddenly fighting a particularly strong or annoying monster at random. Even if you do die, you can just restart from the same battle. Once enemies in a dungeon are defeated, they’re gone until you leave the area and come back. It feels strange to walk back to the exit of a dungeon after all encounters in the area had been cleared. It actually made me think about having to walk back through levels in Hotline Miami after defeating all enemies, which is a strange comparison as Hotline Miami is extremely ultra-violent and Final Fantasy Mystic Quest is a game for children.
There are only two party members, a player-named character that stays in the party permanently (though apparently the canon name is Benjamin) and other characters who will join your party temporarily throughout the game, similarly to the fourth slot in Final Fantasy II. The permanent party member can gain experience points to increase their levels but the other cannot. They usually join a few levels ahead of what the first party member should be so they act as a sort of benchmark for where the player should get to. It’s another thing the game does to make things a little easier.
The world map is similar to how maps in a Mario game work, which makes each area feel much more like a videogame level than they normally would. Completing an area opens up the ability to travel to another much like it would in Mario maps. There are no forced enemy encounters on the world map, only places called “battlefields” which have around ten random optional fights on them, and offer rewards such as money, experience points and armour.
In some ways it actually feels a little like what if they took Final Fantasy Adventure and made it more of a standard RPG. The puzzle weapons come back here, but the focus on turn-based combat and lack of standard world map make it feel a lot less Zelda-ish. It also does re-use a bunch of assets from that game (which itself did reuse some assets from NES Final Fantasy games).
Much like FFA, the story is much simpler, and while it doesn’t quite have the same condensed dialogue, there is even more of a sense that it just wants to get straight to the point. Outside of a mildly sarcastic protagonist, there’s not much in the way of defined character traits for many people. The main character sprite seems to also have similar proportions to the one in Final Fantasy Adventure, but it’s not exactly the same.
There’s other subtle similarities between the two games. All of the people in towns somehow move at a much lower framerate than the main character, which makes me think this may have been built out of the same engine? This does make it feel a little more like a budget game in comparison to the others, this kind of paired down kind of game would actually feel more at home on something like a Game Boy. That would have been a great platform for it, as you can easily play the game in small sessions.
Everything about this game is extremely straightforward. There’s always rigid solutions to what the game puts in front of you. A lot of enemies have specific weaknesses, most environmental “puzzle” solutions are extremely transparent. This simplification doesn’t really help to highlight what is interesting about the genre either. There’s no interesting customisation, battles are won too easily, and the systems aren’t utilised to tell a compelling story.
Strangely I did actually appreciate the reduction in difficulty in some ways. It’s not a lengthy game and playing it is a much calmer experience than any of the other games I’ve played for this blog. I do actually wish that the game was a little shorter, as it does get considerably more repetitive as it goes on, but sometimes it’s nice to have a game where you can just win.
There’s some cool music in here too. A bunch of tracks lean into more of a hard rock/metal direction and the samples used sound great together. Some of the game’s calmer tracks also sound really good too. It’s odd but I do feel that the lower quality samples are what make this music sound unique and interesting (this is honestly how I generally feel about these kinds of older game soundtracks in general). On a random YouTube browse I did take a listen to some recreations of the battle music with live instruments and many of them sounded much weaker to me. I don’t want to make this about how old styles of game music are better, because Final Fantasy as a series will continue to showcase excellent soundtracks into the present day.
That said I’m not sure that this game really feels like Final Fantasy to me. There’s a moment where you can come across a chocobo, and it stood out to me as a weird surprise, almost as if the bird didn’t belong here. I can see some of the ways it’s connected like the similarities between Final Fantasy Adventure mentioned earlier, but so much else has changed that it doesn’t really fit in. If you would have sat me down with Final Fantasy Mystic Quest, didn’t show me the title screen and told me that it was some other random RPG I might believe you. No wonder Nintendo saw fit to release this game in Europe without the Final Fantasy branding under the name Mystic Quest Legends (technically making it the first Final Fantasy game to release here).
I love seeing how this series is evolving, and I’m even more excited for how it’s going to be as I play more. Yes I have played a lot of them, but being able to see how they change over time is what I’m fascinated by. Going through these games like this is essentially watching the series’ metamorphosis in fast-forward.
Final Fantasy IV is the game that really cemented this project as being worthwhile. Not only by being a great game with so much to talk about, but playing what came before really helped to highlight what it does to improve. The absence of certain things in prior games made me think more about what this one includes, and why those things in particular make it stronger.
I’ve gotten into arguments with people over later Final Fantasy entries, it’s usually XII, XIII or XV. Their argument is often that “those games aren’t Final Fantasy”, which is strange because it’s literally in their name. I’m not going to use this space to argue for those particular games, but generally I push against the idea that they “aren’t Final Fantasy”.
Which makes my feelings on some of these games feel really bizarre. To a lot of people out there Final Fantasy Adventure and Mystic Quest have almost lost the argument about “being Final Fantasy”. FFA became the basis for a completely different series, and remakes of it place it more firmly as being part of the Mana series. The version I played was included in a compilation release for the Switch titled Collection of Mana. Conversations about Mystic Quest seem to relegate it as a dead-end spin-off which it pretty much is to some extent. There hasn’t really been a Final Fantasy game since specifically targeted beginners. They’ve made ones that are easier to get into, though I would argue that FF4 is a really good place to start.
Let’s break down these a little more. I will make no argument against Final Fantasy IV feeling like some other series, and I don’t know anyone else that would do so. It’s laying down structures that later games would build off of, and the ATB system is something I strongly associated with the games as a whole (even if my favourite game in the whole series doesn’t actually feature it). Final Fantasy Adventure does have a character growth system that seems to allow for different kinds of builds. However it being a more Zelda-like action-RPG makes it feel like something else entirely in action. Mystic Quest has no customisation. It has an extremely plain and straightforward battle system using mechanics that I’ve seen done better in other RPGs.
I want to make it clear that by saying these two games feel different I don’t necessarily mean that they are bad. It’s just that if someone was to ask me about getting into Final Fantasy as a whole, my answer wouldn’t be “Final Fantasy Adventure and Mystic Quest”. If you’re interested in those games on their own merits, then by all means give them a shot.
So how do I rank these games with all the others? Like this (from worst to best):
- Final Fantasy II
- Final Fantasy Mystic Quest
- Final Fantasy Adventure
- Final Fantasy
- Final Fantasy III
- Final Fantasy IV
I’m getting a little conscious that these articles are running a little long so in future I’ll be putting less Final Fantasy games into each part. I won’t apologise if I still have a lot to say about them. Funnily enough I had actually intended to include another game in this write-up earlier but decided against it. I’ll get to it later!
Until next time!
Hello! It’s been a long time since I’ve put something on the blog hasn’t it?
Final Fantasy (FF) has been on my mind a lot lately, most likely because some big PlayStation game was released about a week ago. I had realised that I have a lot of blind spots with this series, even though it does contain some games which I have played and adored. Most of the games made before Final Fantasy VII were ones that I had started but never got very far. There were also early games that I had never played before. So what better way to fix this than to start from the beginning.
I’ll be playing most of them in order, but I may jump around a little and play certain games out of order (I will be playing the main numbered games in the order that they came out). As of writing this article I have now played and completed:
- Final Fantasy (FF1)
- Final Fantasy II (FF2)
- Final Fantasy III (FF3)
I couldn’t think of what else to title the collective of games I’m writing about here but “The NES Trilogy” seems to fit because that’s where they come from. What feels weird to me about calling them that is I have played more recent iterations of them because that’s what’s more readily available. The versions of FF1 and 2 which I had played were released for the PSP in 2007. The version of FF3 I’ve been playing released for the PC in 2014 and is still receiving updates in 2020.
I wonder what I would think of the original versions on the NES if I had played those instead. Would I be kinder knowing that they are older and aren’t up to more modern standards? Would I be meaner because they don’t have the small conveniences which have been added into the games over each subsequent re-release? If I’m honest it most likely would be the latter. This caveat I thought worth mentioning since I’m going to be talking about the series’ origins, but by playing these iterations I’m essentially viewing through a modernised lens where Final Fantasy already exists as a gargantuan mega-franchise.
Some of the changes are small conveniences which we take for granted, like attacks auto-targeting onto a different enemy when its initial target has already been defeated. Some are a little more drastic like FF1 switching to a different magic system similar to what is in later games, which I imagine has significant effects on the pace of the game. FF3 has an entirely new presentation being a 3D game featuring 8-directional movement as opposed to its original 2D 4-directional movement, and a pace of combat that feels a little lumbering compared to its predecessors (though the very recent addition of an “auto-battle” feature has quickened it somewhat).
A lot of the revisions in FF1 and 2 come from a compilation release on the PS1, which gives them both strong consistency in aesthetics. The updated visuals and sound brings them closer in line to later games in the series, but their differing approach in game design and storytelling makes them still feel like very distinct games. The PSP releases which I played did not change a lot from that.
FF3’s 3D visual overhaul breaks that consistency, and while the series’ reliance on recurring elements means that any game in the series can always be recognised as such from appearance, this edition of the game really contrasts with the others mentioned here. This edition makes it clearer that when a series lasts as long as this, new talent comes aboard. The character designs really illustrate that difference for me, as newer character designer Akihiko Yoshida’s designs here have a much cleaner and simpler look than original designer Yoshitaka Amano’s wispier style.
While these direct comparisons are fun to make, I think it’s also worth highlighting what each game is like individually. I also think it’s worth mentioning that this article contains plot spoilers for Final Fantasy II.
This is a weird one, it’s so early on that it feels more like a framework to eventually build on since certain “defining characteristics of Final Fantasy” are absent, and what is there feels almost incomplete. For one example, the prologue music which is a staple of the games shows up here, but only the quarter note arpeggios feature in the song, the chords that define so much of the song for me are not here yet (and won’t appear until Final Fantasy IV).
There’s also not a lot of mandatory exposition throughout the game except for a text-based narration at the opening and closing, a lot of details are left for villagers and townspeople to tell you, so it’s very easy to assume that the game has little story outside of dialogue from a few boss characters that you have to encounter. It’s an interesting method of storytelling but it’s easy to see why it was dropped for subsequent games, as it’s so easily missable.
Character classes are picked at the start and kept for the rest of the game. Later on you get to upgrade to stronger classes, but they are still based off of the one you picked at the start. This feels more in line with a Western RPG to me, since when I think of class based Japanese RPGs, they usually have extreme flexibility in changing classes at any time. There are of course exceptions to this on both sides, as there always is.
The game didn’t offer a lot of challenge so it was quite breezy to get through, with the exception of the final boss which was a tough battle but I managed it without a game over. It’s also short for an RPG at about 15 hours, and is simple enough to feel very approachable especially in its more modernised GBA, PSP and mobile phone incarnations. If you’re interested in taking a look at the comparably humble beginnings of one of the most well-known RPG series, I would say that Final Fantasy is worth a shot.
Final Fantasy II
This one opens with an action-packed cutscene demonstrating the setup for the game, an Evil Emperor taking over the world with demons he has summoned. The playable party of heroes is seen making an escape attempt, but it is unsuccessful as you are then forced to actually take part in a fight against the Emperor’s knights using the game’s battle mechanics. You will lose, it is impossible to win the fight as the enemy strength outmatches yours considerably. Once you do fall in this battle, the game carries on as normal, but from that moment one of your initial party members is now missing. This is a statement that Final Fantasy II is going to be doing a lot more to tell a story. While this game does have some moments like that throughout, it still feels much less often than what you would see in more modern games.
There’s some very cool stuff that happens in it. You defeat the Emperor two-thirds of the way through the game, and then he eventually comes back having just conquered Hell and brings more armies of demons with him. There’s also an evil dark knight who’s related to some of the party members, so it does feel kinda Star Wars-ish (another series which Final Fantasy does love making reference to).
The progression system feels incredibly experimental compared to the other games I’m talking about here. Character statistics are increased at the end of a battle based on specific actions taken during it; max HP goes up when you take hits, attack goes up when you hit something, magic gets stronger when you use it. It’s a weird system that’s fun to play with initially but eventually it reveals its drawbacks.
It was surprising for a game in which every possible stat can be grinded up to max, that my party of characters managed to feel distinct. This is because of the sheer amount of time it takes in order to max every stat, so for a normal length playthrough it’s much better to create a party of specialists. You need a black magic caster, a healer and a physical attacker and you can’t quickly be all of those at once. There’s also only a limited amount of magic slots on each character, so no one can learn every spell.
The biggest drawback of this system is that every stat has to be increased from usage. It leads to some bizarre strategies in order to get a stronger party. I would attack my own party members in order to increase their HP, which would in turn increase attack.
Magic was one of the biggest issues I had with this game, as every spell would be earned as a “level 1 spell” and required constant use in order to make it stronger. This became a problem as spells earned much later in the game would still start at level 1 when all my others were at level 10, which meant that I had to spend some time repeatedly using spells against weak enemies to make them worth casting in battle against stronger foes.
The ideas FF2’s character progression system includes are interesting in theory, but in practice here they make the experience a little more tedious. Thankfully this wasn’t a dead end for it and they would be utilised in Square’s other RPG series SaGa (lead by FF2 designer Akitoshi Kawazu). This style of stat growth is also very similar to the one found in the Elder Scrolls games, and in my short experience with them, it seemed to work well there.
Over the course of the game the fourth party member slot is filled with different characters. From a storytelling perspective I liked it, as it meant I wasn’t always spending large portions of the game with only the same party members. What made it less interesting was that because they were temporary, I didn’t want to spend as much time levelling them up to be as strong as the rest of the party, meaning that they were often very weak compared to other members.
As I played more of FF2 I really came to dislike the dungeons. They went on a bit long and got a little too labyrinthine. Even when I had to look up a map for a dungeon online I felt as though I was playing one of those mazes from a child’s activity book. This, coupled with the character progression systems, was what really made playing the game feel dull at times.
If you’re curious about this one it might be worth playing to see the systems at work. I was initially very intrigued by it until it became tiring. With its more clearly defined story I could see how this series did end up evolving, and I thought that was neat to experience. You could just as easily take a look at how the game does its story by looking up YouTube videos.
Final Fantasy III
This game reintroduces the character classes found in FF1 but now with a lot more flexibility. The second game had gone a little too far in its systems of making fully malleable party members, but Final Fantasy III finds something in-between that I much preferred. You can now change classes (now named “jobs”) at any time as long as you’re not in a battle.
This sounds great but I had a few problems with it. Not all jobs are available to start, and I guess it’s useful so that players can get an understanding of the systems at a gradual enough pace so that they are not overwhelmed, but I just wanted to get to the stage where all the jobs that I wanted to play with were available. I already had an idea of the party I wanted to form and just wanted to work towards that, though it did feel good once I had earned all the jobs I wanted.
There are also points in the game in which certain jobs are clearly better suited than others. You will get to a town and everyone will talk to you about the next area you are going to, they’ll mention how the monsters there are easily bested by a “dark knight” or a “dragoon” and a lot of the items you find there are more suited towards those classes. So if you want to have an easier time against those enemies, you best have a dark knight or dragoon in your party.
The game also has systems to discourage changing jobs too often as well, as each job needs to be levelled up individually per character, and getting them to effective levels at times can be very grindy, especially as some useful jobs are unlocked very close to the end of the game. There is also a mechanic called “job sickness”, which makes a party member weaker for a few battles when they begin a new job.
A lot of other games with similar job systems also have this kind of levelling but with a much smaller ceiling so that you don’t have to spend quite as much time getting the job up to a usable level. I haven’t encountered many of these sorts of games that feature job sickness either.
Even though I do have complaints, the jobs themselves are good, they feel like they have more distinguishing features from each other than the ones in FF1 (where melee-damage-dealing classes just felt very similar to each other). Knights will guard weakened party members from attacks, Dragoons can jump into the air to do a massive attack, Vikings can provoke enemies to hit them instead of the other members. It doesn’t have the diversity that newer games bring, but as a starting point it’s still fun to play with these ones.
The battle system itself feels more well-tuned compared to the previous games, with combat encounters that offer a fun sort of challenge at times, and I didn’t find them too overwhelming. Being able to take newer jobs into them also makes them feel a little more varied.
Dungeons are also much simpler than in the previous game, and are relatively short by comparison. Progressing through them felt quick, and while it doesn’t have a lot of big story moments to go through, it really does feel like the game has very little downtime, except for when I needed to grind for jobs.
And I haven’t really got a lot to say about the story in this one, it’s standard “save-the-world” stuff, and it doesn’t have an emperor coming back from the dead bringing the armies of hell with him so I didn’t find it as cool. It doesn’t feel like a huge step up from FF2 in terms of how it presents its story.
Out of the three games I had the most fun with Final Fantasy III. If I could only recommend one of this original set to someone, this would be it. It feels like the most well-balanced out of them, with decent pacing and battles that offer a good challenge. While it is a bit grindy I would say it’s still an alright game. There are a bunch of other Final Fantasy games I like considerably more than this one but those are for another time.
I have a feeling this will be a fitting name for this section, since like the namesake fantasy of the series as I play more games in the series I’ll continue having thoughts on prior entries since comparison is inevitable.
Old games have a reputation for being harsh, and I’m surprised how much these games weren’t, but I don’t know if that’s down the habits I had when playing them. If possible I will grind until I am overpowered in a lot of games.
I have to admit that the way I am playing these games is specifically because of the modern structure of information availability and communication. If I bought FF3 in 2007 for the DS, I would not have put anything up on Twitter and other places about how I was playing it, and less people would have responded about how difficult it was. Because I was told by multiple people that the game was difficult, I looked into ways to make it easier on myself and those worked.
Some of those walkthroughs and maps I made use of would have probably existed in 2007. The fact that UK releases of these games used to take much longer than the Japanese and US releases meant a lot of that sort of information was already collected by the time it reached this country (fun fact: Mario & Luigi: Dream Team was a game that came out in the UK before it did in Japan and the US, I got stuck on it once and tried to look up a walkthrough, none of them existed at that point so I just had to figure the game out myself).
I do wish that I had a little more to say about the story that these games tell, but that aspect feels so much simpler and scaled down compared to future entries that I don’t feel like I can say a lot about it. It’s much easier for me to talk about the systems at play since that’s what I spent much more time with these games. Maybe if I ever revisit these games at another time, I might be able to poke at the narrative aspects a little more.
Final Fantasy is also a series known for it’s fantastic music, and while I did refer to it earlier as “incomplete” in these games I think that was a little unfair. When these games were initially made, they were complete, it’s just that future entries added more on top of it. Because these are some of the earlier games, there is less music than what later games have. Dungeon and battle themes repeat, and while some of the tunes are indeed catchy, they don’t quite reach the very high strengths that later games in the series do.
The versions which I played all feature much newer sounding versions of the music than the bleeps and bloops found in the original NES editions. I found the rearranged music in FF1 and 2 to be very good (1 even includes some extra music to add a slight bit more variety since the original game only included a single battle theme). FF3’s new soundtrack I found to be weaker than its original, the instrumentation on it made it sound a little generic. The final boss theme has a good rearrangement, but mostly because it is a fusion of both the new style and old to make something that sounds a little more unique. Here is a link to a Spotify playlist I have made including my favourites from these three games.
I did have issues with Final Fantasy 1-3, and a lot of people would argue that it’s likely because of how old these games are. They were initially designed 30+ years ago, and I don’t think this is what makes them flawed. Dragon Quest IV is a very strong example of classic RPG design, and I would put it up there along with my favourites in the genre. It was also released around the same time as FF3. All of these games in this era were somewhat experimental, I just feel that some experiments come across more successful than others.
I’m going to continue to keep playing more of these games, and I’m looking forward to seeing what they bring. I know for a fact that I’m going to enjoy revisiting ones I’ve played before, but filling in the blindspots is what’s most exciting to me.
I suppose you might want to know where I rank these? From worst to best:
- Final Fantasy II
- Final Fantasy
- Final Fantasy III
Until next time!