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!
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!
Proteus is weird. There’s not much else like it out there, however that doesn’t mean to say it’s better than everything else because it’s different.
This is a game of pure exploration, and not much else. It’s a virtual nature-walk with old-school graphics.
There is fun to be had in that, it’s bright colours allow it to look very pretty, and the games music sounds fantastic.
Speaking of music, it is a strong point of the game. The players movement and location controls it, with sombre tracks on high lonely hills, and upbeat melodies in the lush green forests. Each kind of animal you encounter adds their own flourish to the soundtrack, giving the game that extra bit of personality.
All this sight and sound comes together to something pretty lovely. A short and sweet little game.
The problem however is that it isn’t really much beyond that, it doesn’t offer a lot that the traditional videogame would.
And that could lead some to being very oppositional to it, Proteus is just a game that a lot of people aren’t going to understand, but that’s absolutely fine.
It does make this much harder to write about the game, I’m unsure of the type of person who would like it. I know I did, but people have also told me that it’s the worst thing they’ve played in a while, because it lacks the ‘core parts of being a videogame’.
I’m of the opinion that Proteus is most certainly a videogame, it does fun things with it’s interactivity, and I feel something can easily become a game with the smallest amount of interactivity.
There’s no winning and losing in Proteus, no roadblocks, no challenges, no boss fights. You walk around a little island that looks and sounds really nice. I honestly can’t say whether or not you would like that. It might be worth giving a go, but don’t say I told you it was amazing.
The version of Proteus played for review was on PSVita, it is also available on PS3 and PC. Review code was supplied by Curve Studios.
For PC players, Lone Survivor has been out for a year and a half. Now it’s come to PlayStation Network and hasn’t lost anything in the transition.
It’s the same game with more content put on top of it, which isn’t a bad thing at all, the existing game is an incredibly creepy and tense psychological horror, with clear influences from Silent Hill and David Lynch films.
If anything the game evokes a very similar sense of foreboding dread to Silent Hill, and if it was released under that franchise it wouldn’t seem weird at all. Both games are set in very dark, ruined places. Both games feature weird and twisted human-like enemies. Both games feature deliberately awkward combat in order to bring up the tension.
There are a lot of mechanics to do with survival in the game, you have to stop yourself from being too tired, hungry or make sure you don’t get killed by some monster. The game doesn’t have so much of a hunger or tiredness meter on display, or even a health bar. This is both a weakness and a strength.
The lack of clarity can make for a very frightening experience, but for some a very frustrating one. However it’s what makes the game what it is, you have to take risks in order to learn everything in the game. You have to risk starving to know that you have to eat, you have to risk confronting enemies to know how you can deal with them and if you have the resources.
Risk is an important part this game, it’s what creates tension. Walk into an area in the dark and risk bumping into a group of creatures without seeing them, but go in with your flash-light on and you could risk drawing attention to yourself. Take on a bad guy with your handgun and risk another three or four coming in and taking you down with ease.
Some could write the game off as old-fashioned and clunky, but it just goes to show that horror games aren’t truly for everyone. Aspects from this game in most other genres would come across as annoying, but here it works because horror is about having a bad time. You have to be made to panic and scramble across the place, it can’t be too easy for you.
That all said you can’t justify all of the game’s issues by just saying ‘it’s what horror does’. The in-game map takes a bit of getting used to, and there are a few moments where the game’s scares come across as a bit obviously scripted.
The version of the game I was playing was on the PlayStation Vita, and the game doesn’t lend itself too much to being ‘portable’. You’re better off playing it with headphones or external speakers because the game would sound otherwise too tinny. Also the game’s intended effect of scaring the living daylights out of you when you’re playing it in daylight sat on a bus somewhere.
If you’re the sort who can’t get into a game because the controls are a bit clunky, or the game doesn’t explain enough to you, this isn’t for you. It’s for the horror game fans, who will understand that the game does what it can to make you feel very afraid.