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.
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.