This game seems like an odd one. Final Fantasy XII is certainly a fan favourite, but the sequel for the Nintendo DS seems like a bit of a blindspot for many. Many fans of the original game I’ve come across online seem a little too self-serious to have interest in its portable companion. When the thing they’re proud to shout is how FF12 is a “serious fantasy game” a more cartoony looking sequel might not be of interest.
Being a different genre doesn’t help either. Nobody came to Final Fantasy XII for a real-time strategy game, so it’s not a surprise that they didn’t fancy the follow-up. It’s not a genre I’m interested in, mostly because I’m terrible at them. However, my curiosity in what a sequel to FF12 looks like pushed beyond that and I liked… parts of it.
I don’t know if this is because I often look too much into who makes a game, but I could really feel that Final Fantasy XII: Revenant Wings came from a different team than its predecessor. The credited director on this was Motomu Toriyama who was also responsible for Final Fantasy X-2, Final Fantasy XIII, and more recently Final Fantasy VII Remake (as one of multiple directors). Many of his games have recurring story elements.
They usually take place in a world that’s very set in its ways. Spira in Final Fantasy X is an example of this, as the people there were stuck in a routine of battling Sin with a very specific method that wouldn’t stop harm to the world, without trying any alternatives. Eventually someone comes into the world, and through forging strong relationships helps to change the state of everything. This is much like Tidus from the same game. While he wasn’t the lead director for that, it lays a framework that’s seen in his other work. To me it’s clearly demonstrated in Final Fantasy XIII and Final Fantasy VII Remake.
The world Final Fantasy XII: Revenant Wings takes place in is Ivalice, an already established setting, but for this game Vaan and his friends are sent off to an isolated continent of islands in the sky. These are populated by the Aegyl, who have been summoning monsters in order to help them in battle, at the cost of anima, a resource found in the soul that helps control emotions. These monsters were summoned so that the Aegyl could defend themselves, but by doing so allowed even worse creatures to eventually take form, leading to even more self-defence summoning. This ends up in a cycle where the Aegyl drain themselves of all emotion.
What leads to this cycle breaking is the arrival of Vaan and friends. Through working together with Llyud (one of the Aegyl), they manage to defeat the godlike being who has set all of this in motion, and end the state of this society by literally destroying the sky continent. Because of this the Aegyl regain their emotions, but they’re left to find a new life somewhere else.
It’s a very hopeful ending in that they finally have their freedom, but Ivalice doesn’t have much in the way of that. The ending of Final Fantasy XII puts a big emphasis on how the systems of the world carry on even after the day is saved. The friendlier, cartoony tone of Revenant Wings doesn’t seem to sit with this well.
Even though this is a solid framework to build a story on, what lets it down is the lack of interesting characters. There’s no new memorable ones, and those returning from the original game don’t have much to add either. Ashe, Basch, and Larsa are present but have little presence, as everything they say feels a little too functional. This all made it very hard for me to connect with the game’s plot.
After all of that, I’m still interested in what happens next with the Aegyl, and I’d also like to see it handled by the same director. In Final Fantasy X-2, he proved fully capable of handling a game about what it’s like to rebuild a world once the day is saved. I’ve enjoyed enough of his works to know that there’s still potential in it.
While I did have mixed feelings on the narrative, the real-time strategy battles that make up most of the game actually ended up being fun once I got used to them. They work on two layers of rock-paper-scissors, with three types of units (melee, ranged, and flying), and four elemental affinities (fire, water, lightning, and earth). I had a good time building teams to suit each battle, and deploying them in the right formations to deal with certain enemies ended up being enjoyable. There were times where the small screen became cramped enough that it became more difficult to micromanage certain unit types, which was annoying but mostly manageable.
The more annoying parts were significant difficulty jumps as a result of the game’s levelling curve. If you stick with only the game’s main missions which progress the story, the party will always be underleveled, which at times made this one of the most difficult games I’ve ever played for this blog. To get my levels to match, it seemed like a considerable amount of grinding needed to be done. It’s that or maybe I am even worse at real-time strategy than I assumed.
This game ended up feeling like a bizarre mashup. A real-time strategy with RPG growth mechanics. A story in Ivalice with a plot that fits elsewhere. It doesn’t quite mesh together perfectly but I can’t hate the effort. They didn’t seem to make another Final Fantasy RTS after this either, but I’d like to see another attempt.
Screenshots sourced from Mobygames.
This article contains spoilers.
I can remember a time where Final Fantasy XII seemed more contentious. It still was largely well-liked, but when the game came up in a room full of nerds there was always someone who would react strongly to mere mention of it. They’d usually have some point about how it “isn’t Final Fantasy” mostly because of things like the big differences in combat, or the structural changes.
The years since have been kinder to the game. I’ve seen more rankings put this game at the top, and while I wouldn’t take these as fully definitive, it does seem to signify a change of consensus opinion. It may be because of the more recently released port of the game, Final Fantasy XII: The Zodiac Age, which featured many changes and is the version I chose to play for this article.
That’s the version of the game that I ended up enamoured with after playing. I felt such a high with it, also declaring it one of the greatest Final Fantasy games when it was released on Playstation 4. This time around I’ve cooled down on it a little, but I still think it’s an excellent game. Playing it a second time meant that I noticed a few things that I hadn’t before.
The plot of this game is a war story (and not a particularly subtle one) about the effects of an arms race on the world. Most of the party members have dealt with tragedy related to this, especially Vaan, Ashe and Basch who all lost so much from one single event. The assassination of the King of Dalmasca by the Archadian Empire resulted in Basch losing his freedom, Vaan losing his brother, and Princess Ashe losing her father, husband, and country.
Despite what a lot of promotional material seems to show, Ashe is the central character of the story. It’s her motivation to take revenge on the Empire that drives everything forward. She is the character who most interfaces with the nethicite, the artefact central to the plot.
The nethicite is a blatant metaphor for nuclear power. In a previous war, the city of Nabudis was destroyed by nethicite. The Empire’s attempted meddling with it also caused an accidental explosion in its own fleet. These had devastating effects on the environment as well. It was initially provided by the godlike beings known as the Occuria, but the game’s villain, Vayne Solidor, sees it his mission to cut these beings off by beginning to have the Empire manufacture their own nethicite.
Throughout the game it feels as though Ashe cannot win. If she takes revenge by using the nethicite, she will only end up causing even more mass destruction. Many other options she’s given don’t feel like victories for herself, they feel more like acting in the interests of others, both man and godlike. When she gets the opportunity to destroy the Sun-Cryst, the source of nethicite, that’s when it really begins to feel like she gets a win because it also goes against the Occuria’s will.
The most striking details for me came from something completely missable: the NPC dialogue. Particularly from the people living in Rabanastre, a city in the kingdom of Dalmasca. It’s a shame that some of these conversations didn’t make their way onto the game’s critical path. More modern games may have recorded lines play out as a player passes by people, but that simply feels like passive eavesdropping. Walking up to them to initiate a conversation feels like taking an interest in their lives.
After a tutorial section elsewhere, Vayne Solidor, the new Consul of Rabanastre, arrives in the city to introduce himself. After his big speech the player is able to explore the place and talk to people. The area is divided in two, the surface and an underground area called Lowtown. Up above there’s a mix of opinions. Some people feel he might not be trustworthy since he comes from the country that defeated Dalmasca, but just as many people voice opinions that he’s going to sort the place out.
Down below in Lowtown it’s different. Many of the people there are locals who have been priced out of their own homes, barely scraping by to survive. The place has fallen into disrepair, almost out of deliberate neglect. The guards stationed around the city don’t even go into the place. The people there all don’t trust the new rulers, and some don’t even share opinions because they’re too busy worrying about their own life. A lot of this information is simply found from looking around and having conversations with people.
I feel as though it’s important to highlight this precisely because it reinforces the game’s narrative as a whole. There are also other areas with play with a similar situation, such as the Empire’s capital city, Archadia. The party members all come from different socioeconomic backgrounds. Vaan and Ashe especially and Final Fantasy XII uses that as an opportunity for good storytelling. Both of them lost family in the war, but their circumstances are very different. Many upper class people in Ivalice have a lot of interest in Ashe because of her status as a princess (but many of them have ulterior motives), but Vaan had to look out for himself often. He is introduced in a scene where he fights rats in a sewer to pass the time, before having to do menial tasks and thievery to earn a living.
Vaan is the one with first-hand experience of the effect of war on poor people because of what happened to him and many other people he knows. While Ashe is the central character of the story, it’s Vaan who’s controlled in all non-combat areas. He’s the one doing all the talking to the NPCs. He’s the one hearing about their experiences. He is the one who encourages Ashe to destroy the Sun-Cryst and not use it for revenge. Even though he has lost a lot because of the Empire, he knows that when the privileged choose violence, it’s the poor that get the biggest casualties.
Stories of haves and have-nots have been done before throughout Final Fantasy, and they’ve been done well, in the case of Final Fantasy VII. The story of a thief joining with an escaped princess was also done before in Final Fantasy IX, but that wasn’t without its flaws. Final Fantasy XII does better at this because it keeps things grounded. There’s more perspectives to consider, and the villains aren’t afflicted by darkness that makes them evil, they’re simply infected with selfish ideas which they rationalise with morals. Bringing the “reins of history back into the hands of man” becomes a reasoning for the erosion of democracy.
There’s a real struggle going on in the world of Ivalice, but that wasn’t felt by me when I went to explore the world. The battles of Final Fantasy XII use a real-time system where each action takes place after a small per-character timer. It’s backed up with an automation mechanic referred to as “Gambits”, which a player can program themselves with simple if statements (for example if an ally’s health is below a certain percentage, a cure spell should be cast). With the right kind of planning it means that the game’s combat ends up playing itself. While it is nice to see a plan come together nicely, it is very easy to do so and most enemies don’t need much more than “if you see it, attack it”. There’s much more satisfying encounters in some of the game’s sidequests, but I do wish I didn’t have to go out of my way for that. For a large portion of the game I was simply running through areas on fast-forward, watching enemies fall over and picking up the loot to sell later.
That’s another thing, the fast-forward function was a later addition to this game. There’s a reason I didn’t simply write “Final Fantasy XII” for the title of this blog post. The Zodiac Age is a complete rebalancing of the game with all sorts of things changed like character progression, item placement and many more small changes. When I wrote about Final Fantasy X, I stressed the importance of how that game’s mechanics work in tandem with the storytelling. One thing I didn’t mention in that piece was that the optional Expert Sphere Grid found in later versions of the game removes that mechanic’s ties to the game’s narrative because the character’s positions on that grid are no longer tied to their relationships. I wondered how many more changes like that are present here. Though I might have had more fun and an easier time with this version, would that have meant that I missed out on a version of the game where other systems better inform the narrative?
Even the visuals have had a big overhaul in order to suit higher resolutions. While it still keeps somewhat true to how it originally looked on the Playstation 2, it’s still different. This is still an excellent looking game, with some brilliant use of lighting, fantastic facial animation and great cutscene direction but the increase in detail makes the imperfections more apparent. I suppose it’s in the nature of games moving onto platforms that they were not intended for, they do end up losing something in the process.
Before I finished Final Fantasy XII: The Zodiac Age, I made one last trip to Rabanastre. I had to have a talk with the NPCs again. Not much had changed except that Lowtown was a little more full. It served as a good reminder for what the party was fighting for.
The game’s ending initially comes across as triumphant. Vayne Solidor has been defeated, Dalmasca has been reinstated, and the Occuria’s meddling has been cut off. It’s actually more of a quiet tragedy. In becoming Queen of Dalmasca, Ashe has been forced to cut herself off from the party due to her much higher status. Life has returned to normal, but in this world normal means that the class divide doesn’t go because the bad apples have been thrown out. While the party was able to come together to avert a crisis, the systems of the world ensured it couldn’t stay that way.
This article contains spoilers.
For me there are two moments when I am most excited about a good game: when I start it and when I finish it. I get the appeal of a game I can go back to and keep playing continuously, but in my experience that usually fizzles out after a while. When I had recently played Final Fantasy XI, I found it overwhelming that the game seemed to go on forever (though that game does have “endings” to its own story arcs and ironically I wasn’t even able to reach the first one). The protagonist’s primary objective in Final Fantasy Tactics Advance isn’t to defeat a villain or save the world, it’s to end the videogame.
In this game Marche, his brother Doned, and a few of his friends from school end up being transported by a magic book into the world of “Final Fantasy”. It’s not the setting from any particular game in the series, even though the world does share the name Ivalice with Final Fantasy Tactics. The main characters are people who’ve played a game called “Final Fantasy” that is very similar to the place they’ve ended up. Within this new world the kids find that things they have wished for have been granted, and they have much more freedom here. But Marche knows that it’s just a game, and because of this he makes it his mission to end it and return home.
A tactical RPG is an excellent sort of game to tell this story. The structure of turn-based combat, the blocky terrain found in all environments, the fact that all situations have to be resolved through fighting. All of these things highlight the artificiality of the world. The job system this game has also feels more appropriate than it ever has since Marche has more freedom in this world, so he’s able to easily change his role in combat. That this game makes it much easier to unlock more jobs for everyone to change into highlights that even more. These are all systems that have seen use in many other games in the genre, but here they feel like they were purpose built for what Final Fantasy Tactics Advance is doing (it’s also similar to how Final Fantasy X used this to great effect).
However, those freedoms contrast harshly against certain restrictions which is the nature of living in a systems-driven videogame. The most blatant way in which it demonstrates this is through the use of “laws”. Most combat encounters will feature a seemingly arbitrary set of laws that will prevent certain skills or weapons from being used. They also reward other actions, encouraging a player to work those into combat as well. Marche’s school friend Mewt has some control over this world, so these regulations do fit in with a child’s idea of changing a game’s rules to suit themself. As this is a videogame, these laws work like a fundamental rule of the world and cannot be broken without making use of another system to do so. Choosing to ignore the laws will only result in progressively harsher punishments that eventually lead to losing the fight. The judges that enforce them also prevent people from being killed in combat, further emphasizing how much this is simply a game.
Fights are what make up most of this game. Any location where a fight doesn’t take place exists to either facilitate missions that lead to combat, or provide items for sale which are used in combat. After a while, no matter how fun these fights can be (which they are, I’ve had a great time playing this game) it can’t go on forever otherwise it would be fatiguing. Even children have a limit to their energy. There are also other people around from the world of Ivalice who aren’t there to fight, who often end up as victims as a result of bandit or monster attacks. The world being in a state of constant conflict for the sake of a child’s wish fulfilment is causing harm to the people that live there.
I also can’t help but view this game as somewhat reflective of the state of Squaresoft at the time. This is speculative since I haven’t come across any first-hand accounts of this game’s development. Producer Yasumi Matsuno has gone on record saying that Final Fantasy Tactics, a previous game he directed, was inspired by his own experience at the company. The company was also working on Final Fantasy XI around the same time, a game with odd and at times punishing systems that still looks like it will go on forever. Having played both games so closely together and knowing they released fairly close to each other, I can’t help but think about this comparison.
In many other contexts I could see the ending of this game as being a little weak. It moves much too fast towards its conclusion and feels a little sudden when it gets there. Within Final Fantasy Tactics Advance it makes perfect sense. This is a game about children playing and after a child spends enough time playing an adult often comes to tell them to finish. It doesn’t take a pessimistic view on the whole subject either. The game begins and ends with a snowball fight, showing that even though playtime has to end eventually, that doesn’t mean it can’t begin again.
Knowing when to stop has been a key part of my own project to play through a lot of Final Fantasy for this blog. If I simply wanted to play through all of them I could have been much further along through the games, but I took breaks when I felt as though I needed to. I’m only roughly halfway through this series, and I haven’t felt too tired from it all yet. Square Enix hasn’t stopped making Final Fantasy, and I can’t picture them stopping any time soon. I could still be playing these games for a very long time, but if I allow myself time to rest it will be easier.
Covering Final Fantasy games on this blog has been great because of how different each one is. Even with the games I don’t like as much there’s a lot for me to think about. The hardest part about writing those other pieces was cutting them down into something readable, as I could personally ramble on about all of those games for quite some time. I have hundreds of pages of notes relating to the series so far.
Now I’ve come to a game where I barely managed to muster half a page of notes. There’s just not many interesting things to say about Chocobo Racing. It’s a derivative game lacking in its own identity, which makes it hard for me to not constantly compare it to other games.
This is a kart racing game, where items litter each track which racers can use to gain advantages or hinder competitors. It’s like Mario Kart, you probably know what Mario Kart is like and if you don’t, you know someone who does. Nintendo has a cultural near-monopoly on kart racing videogames, which means that no matter how good it is, every other game in the genre has to be compared to Mario Kart, even if it’s better but especially if it’s worse. While it’s unfair on many games (Sonic & All-Stars Racing Transformed is a great game in its own right) the copycat nature of Chocobo Racing actively invites comparison. Pre-rendered sprites in 3D environments, the particular theming of the stages, and even the fonts used just scream Mario Kart 64.
It’s not a good version of that either. The characters control well enough on the race tracks, but the items are constant interruptions. Items in Mario Kart are varied and act as boosts or hazards which also help give racers behind the leader a chance to catch up. Most of the items in Chocobo Racing just stop other players from moving temporarily and can easily be used to increase the gap between the leader and everyone else.
There’s also a “Story Mode” to play here that has some amusing writing, but it’s brief and mostly acts as a tutorial for the items. Unlike in Mario Kart it’s very difficult to tell what a lot of them do by simply playing the game and seeing them in action, you have to be told. A manual that came with the game probably would have done the same thing.
After finishing the story I was given some points which could be spent to increase statistics on a racer. Once I improved the speed, grip, and acceleration on a chocobo I attempted some races with it but I was getting so far ahead of everyone else I lost interest in playing. There was no challenge. No item could stop me (well actually they could literally stop me, that’s what they do, but they didn’t prevent me from winning).
I hate that I’m comparing everything to Mario Kart here, but it’s difficult to take this game on its own terms when they’re liberally borrowed. When I say all this I don’t mean that games shouldn’t copy from others; they should be doing it with good reasons. The strengths of games like Final Fantasy X come from building on existing RPG ideas, many of which Squaresoft didn’t invent themselves. I also don’t want to paint it as though Mario Kart is the “right way” to do things, I’m just certain Chocobo Racing has found the wrong one. All this game has done is made me think of kart racing games where I’ll have more fun. Does anybody fancy playing some Sonic and All-Stars Racing Transformed?
It feels weird to start playing Final Fantasy XI in 2021. There’s a 20-year history to this game that’s immediately apparent from the title screen. A version number of “30210327_1” is in the corner. Pictures representing the game’s expansions are also listed here to show off the sheer amount of stuff that’s been added in since it first came out. It’s not even over as Square Enix are still adding more. I got a distinct feeling that they will never truly be finished with this.
When I started playing it was overwhelming. There were a lot of things I didn’t fully understand, so I had to do research. It’s not as easy to just pick up and play this one, which is what I’ve managed for several other Final Fantasy games. This one is more of a commitment (a commitment I abandoned after a few weeks but I’ll get to that). Even just getting this game ready to play required more effort than usual, as I had to set up an account and also change some settings to make sure the game actually ran on my PC.
It’s not surprising why many longtime Final Fantasy fans I’ve spoken to choose to write off this game entirely. The immense scope of it gives completionists plenty of anxiety, and it still continuing to require a subscription fee is off-putting. I’ve gone through this as part of a larger project to play through Final Fantasy from the start and it’s always seemed like the one that would be too much work.
So what was it actually like for me to play this? Surprisingly lonely. One thing added into the game at some point was something called “Trusts”, which are simply AI-controlled party members which you can summon to assist in battle. This gives an impression that the game can be played alone, as trusts of many different classes can be summoned to accommodate what the playable character can’t do. They were somewhat limited in how they could help, so they weren’t a full replacement for real players. Even with that caveat they helped me make a fair amount of progress.
The game’s cutscenes also emphasize a solo nature to the game. They position every player as a lone hero, which is normal for most RPGs, but strange in a game purpose built for grouping people together. I do understand that writing a videogame where you’re told that millions of people are also doing the same things to save the world is potentially difficult, but sticking to conventions here doesn’t feel quite right.
Because the main character is also a player-created silent protagonist, it brings a much different style of storytelling compared to what I was used to with the series. The protagonist of Final Fantasy XI is effectively an extension of the player. A blank slate for anyone to project their own feelings on or roleplay with. With main characters from prior games, such as Cloud, Squall, and Tidus, I was able to see how they grew over time because I spent most of the game with them. Although some of those characters started off emotionally isolated, they weren’t always lonely because the characters that followed them gave support, both emotionally and in combat. Those games were big open doors into pivotal points in their lives. To contrast, my created character would almost never speak, and the party of trusts that accompanied me didn’t say much either.
Defined characters that develop over time exist here as the NPCs but those are still limited by comparison. I only had small amounts of time with them before having to spend many hours on an adventure before I could see them again. It felt as though I was only peering in small windows into their lives. The moments I had to find out more about people were often when they were giving me missions. Short functional scenes with a bit of character flavour.
I also didn’t find many other players when I was adventuring. There were crowds of them in towns and cities, but forests, fields, and dungeons had significantly lower amounts of players hanging around.
On the day I began playing I found another player in a starting dungeon. They were killing all of the enemies before I even had a chance to, meaning that I had to wait like I was in a queue for a theme park ride. They did apologise for this, but I didn’t know the right buttons for sending messages at that moment so I just left an awkward silence. It gave a bad first impression of the game, but it turned out this would not be a common occurrence for me.
I also encountered another player who seemed very proud that they were controlling two characters at once. It was very bold of them to tell me through the in-game chat function. They were having the second character follow them, but I wonder if they ever tried having them in two different places at the same time.
While it might have been more convenient for me to not come across many players, as my initial anecdote suggested, these moments highlighted how much time I was spending entirely alone.
It’s an odd feeling as many of the systems seem intended to encourage cooperation. There isn’t much in the way of tutorials and the game doesn’t always pinpoint on a map where you need to go (and the version I bought on Steam doesn’t seem to come with a manual either). I would assume that this would have encouraged players to work together in order to figure some things out back in the day.
These days it’s become more common to share information through indirect methods such as fan wikis and Reddit. These are also a small window into the communities that still exist, and the history of the game too. Sometimes I would read a comment thread complaining about something that led to people joining forces. There were also plenty of “back in my day” posts which often brought up how comparably convenient the game has become.
I looked through a fair amount of these so that I could know what I was doing and where I needed to go. This would lead to me having the game display in a smaller on-screen window so that I could have pages up on the screen while I was playing. It could have created more distance from the game but I actually felt a little more connected to it, as it meshed well with the in-game systems.
This is more of an involved game than any of the other Final Fantasies I’ve played so far. Having to do research in order to understand the game feels like preparing for an adventure. The game itself features a few systems to make it feel that way too. Maps have to be bought from vendors, many areas have to be reached on foot (or by mount), enemies can be sized up to see if they’re safe to fight, and quest items have to be handed in using the same systems used to trade with players. What’s interesting is that they are all simply options in a menu. It evokes enough to spark my imagination without the need to recreate a physical gesture within the game to seem “immersive”.
There became a point where I started to feel comfortable with Final Fantasy XI. I was gaining levels at a fast rate. Travelling around the world was much easier to do once I was able to connect more fast-travel points. With the help of the trusts I was able to get through many encounters quite easily. Until they failed me.
I was almost finished with the base game. All that was left to do was a fight with the big bad, the Shadow Lord. A boss fight that ended up becoming a brick wall. After a certain amount of time in the encounter, he becomes immune to physical attacks. My trusts had foolishly used up all of their magic points before that moment, so they just kept trying to hit him with attacks that did no damage at all. The Shadow Lord then proceeded to slowly defeat each party member one by one until the fight was over. I tried the fight multiple times with all sorts of different trusts and it just didn’t work out. There were things I could have done to become stronger, but it was so much of a grind that I decided to give up on the game.
If anything I don’t necessarily feel that this is a fault with the game. I made assumptions that I could power through a game built for multiplayer on my own. I could have taken the opportunity to engage with the community of Final Fantasy XI but it seemed unfair for me to do so, as I was only planning on being a tourist on a short stay in Vana’diel.
It really feels as though I can’t give a fair assessment on this game as a whole because I wasn’t able to break past that wall. Things I disliked could have gotten better, things I liked could have gotten worse. So much could have been different or even the same after it, but at this point I won’t know.
Maybe if I had roped some other people in before starting, I might have been able to see more of it. For now I’m going to move on to something else.
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!