While I’ve pitched this as a chronological retrospective on Final Fantasy, it made too much sense to jump ahead with the various games that relate to Final Fantasy VII. Now that I’ve actually played through Final Fantasy VII Remake, I can say that it was a good idea to do it. Having fresh knowledge of them all made it much easier to write this out.
Videogame remakes have been on my mind since I played the reimaginings of Resident Evil 2 and 3 earlier this year. The difference with those is that I didn’t have as much experience with the original source that those were based on, so what I came out of those with was opinions on which one was more effective as a horror game (2 is excellent, 3 is a letdown).
However, since I’ve recently taken a closer look at the original Final Fantasy VII, that familiarity gives me a different lens that makes me unable to compare everything to how it was done before.
I’ll be talking about this game in a fair amount of detail, so if you still want to be surprised by how Remake reinterprets everything, maybe come back and read later. Maybe you could share this article with a friend who’s already played it.
Final Fantasy VII Remake
I was very interested to see what a modern take on FF7 would be. Many of the directorial staff from the original game returned for it, and when creatives return to the same story it’s often either scaled up or used to address different themes.
Actually playing Final Fantasy VII Remake is more like going to see a concert by an old favourite band. They’ll play the hits and have some new and exciting renditions of old songs, but then some of that won’t quite live up to the original quality found in original recordings. There’s also a bunch of new material, some of which is good and some I’m not so sure about.
The band has opted for a much more grandiose sound this time around, since a lot of the dials are turned up here. There’s so much more graphical detail, towns are much larger, characters have bigger personalities, key moments have more dramatic heft, it’s a harder game, and a much longer one too.
It’s strange that this hasn’t been titled “Part 1” because that’s what this is. Square Enix took the first six hours of FF7 and broadened the scope of it to make it into a 30-40 hour epic. Of course there are also some things from later in the original game that have been included, most likely out of an attempt to make this game seem more compelling. For example, Sephiroth shows up a lot more here since you seemingly can’t have Final Fantasy VII without Sephiroth.
I was a little worried that the polluted planet angle would have been a little diluted, but it actually comes in a much more concentrated dosage this time around. Areas outside Midgar look considerably more barren here, Shinra is shown to be just as greedy as ever, and when it’s made clear by the end that Sephiroth is the biggest threat to the planet it’s still mentioned that “this started with Shinra”. It’s reassuring to see this here since so much of it is missing from other FF7-related works.
They’ve done some really good work to add depth to a few of the characters too. Barret is the one that comes across the strongest, as they’ve made him feel like a real political activist here, the sort that would always carry leaflets and posters in their bag just in case. He always has prepared speeches and talking points ready for any moment, and because of that comes across a lot more confident and charismatic. He’s also shown clearly to not be wrong about it all, so you could probably mine a lot of his dialogue for quotes you can pull out in real life.
Aerith shines a lot more in this game, since she’s still the same sort of confident no-nonsense character that she was in the original, it’s just that now she’s a lot funnier. Many of her remarks got a good laugh out of me.
There isn’t much new to Cloud here, and there’s also a sense that a lot of his development is being saved for future parts of Remake, since it didn’t originally happen in Midgar. His traumas are given more focus, but only to acknowledge them. Admittedly the better moments with him are when other characters react to his stoic seriousness, especially Barret and Aerith.
Tifa is the character I’m most disappointed with. It just feels like they’ve taken the same old character from the original and injected her into this game, so compared with everyone else she just seems less interesting. She does get a small arc where she has doubts if the mission to destroy Shinra’s reactors is a good idea, but because of her rather dull characterisation it’s not very interesting to see play out.
Of course even minor characters get a lot more fleshing out. Jessie, Biggs and Wedge have more screen time and at certain parts have more plot-crucial things to do. It also seems to be really going for a 90s throwback thing since Jessie says “psych” a lot. There’s even a lot more minor characters added in, some of which already existed in a novel (I’m sure that gave some FFWiki editor a sigh of relief since they didn’t have to make as many new pages).
Midgar now feels even more like a diverse collective of districts, which helps for sure since everything is so much bigger. Each location has its own distinct aesthetic right down to the colour palettes used. I could see a picture of something close up in either the Sector 7 or Sector 5 slums and tell which location it is. I really liked slowly exploring them too, as this game’s closer third-person moveable camera really lent itself well to these spaces. It would have been nice if there was a first-person view so I could get an even closer look. It really does feel more like a place people live in, especially since you’re given a place to stay in Sector 7 as well. My only frustration was with how townspeople dialogue was handled as it was cool to hear it diegetically as I walked around, but it became a little annoying to hear the same lines again as I went by the same people.
Just about everything in this game is so much bigger. Instead of immediately going into a second reactor attack after finishing the first, there’s more space for downtime with side quests available to take part in, followed by a detour to infiltrate a warehouse. Once I was on my way to the second reactor, I still had to get through two full-sized areas before getting there.
Once I made it to the final segment of the reactor itself, that was when the Air Buster was introduced. In the original game the Air Buster was just a boss that showed up for a fight that lasted a few minutes. In Remake, it’s given a much longer build-up with an opportunity to make choices on how to sabotage it beforehand. Before fighting it members of Shinra appear as gargantuan holographic projections to taunt Cloud and company (and remain doing so throughout the fight). The fight itself is a big and bombastic three-phase boss encounter, one of the more difficult in the game and some of the most fun I had playing it. I’ll get into why I really like the combat a bit later since I want to focus a bit more on the pacing.
Though all the sections I mentioned are much larger than how they were in Final Fantasy VII, I didn’t really feel as though they were padded out. Just before I got bored of each area I was able to move onto a new part. Where I felt it really started to slow down was when I reached Wall Market. It’s the structure of it that really got to me, since characters would dangle the way forward in front of me and then say “but first you have to go and do something else for me”. I get that’s how videogames often work, but it happened too often here and I was getting a little sick of it.
Then it was followed by a sewer area that seemed to go on forever, and after that a train graveyard that felt like it existed only to pad out the game. I wonder if this is because I had recently played the original game. I really felt the length as I’d seen a shorter version of it. I’m absolutely certain that they’ve done this so that this first part is roughly just as long as the original game so people don’t feel ripped off (it actually took me longer since I did a lot of sidequests).
Thankfully some areas after this manage to justify their larger size. The race to stop the Sector 7 plate from falling becomes a much more desperate climb that seems even more tragic when the party fails to stop it. The journey up the wall to reach the game’s final area becomes a moment to pause and see the destruction that Shinra has caused by dropping the plate. It gives a moment for the party to really lay out their motivations, by showing what they want to prevent in the future. However I do wish that I didn’t have an extended stay in Hojo’s laboratory, it’s a good thing that I enjoyed Remake’s combat a lot.
It’s an action RPG combat system this time around, where button presses initiate attacks immediately, and any incoming enemy attacks must be dodged or blocked. When player attacks hit an enemy it builds up a bar which can be spent to use abilities, spells or items. What I love about this is that it brings back the same sort of tension found in turn based games, once the bar’s been spent it has to be built back up again, so care needs to be taken when deciding between big damage abilities or healing spells/items. It did bring about some tense moments where I had to choose between finishing off a weakened boss with a big attack or helping my party recover.
There’s also a stagger bar on every enemy, something which the game has lifted from Final Fantasy XIII. In this game it’s essentially a bar that fills up by just damaging the enemy or doing more specific actions in battle. Once the bar fills up, the enemy is temporarily stunned and takes a lot more damage than normal. It felt great to do this in FF13 and it still feels good here, as it’s a moment when the pressure’s eased off and I was able to do some really big damage.
The game almost requires a player to be constantly engaging with these systems, which meant that I actually found some of it quite hard as I was getting used to it. Air Buster is actually the moment where I found I had to do that. It’s also followed by a really good battle against Reno which shows that switching to an action RPG system lends itself really well for a 1v1 fight.
They did put a lot of minigames in here as well, but they’re mostly bad. I guess that’s true to the original game. The one I disliked the most was a stealth sequence where Cloud has to sneak out of Aerith’s house. The more realistic movement in Remake made it extremely difficult to maneuver around the collections of small items on the floor. The bike chase is still fun at least.
As usual this game is full of excellent music. Masashi Hamauzu and his team have done some brilliant work here but this is really where my metaphor of this being like seeing an old band came from. There’s some great variations of music from the original, such as an exciting take on Fight On, or a rework of the Turks Theme as a boss music. However most of the high points of the music are still when it’s playing with things from the original game. That said there is a new theme to represent Avalanche which sounds great, and ends up with a great melancholic reprise during the climb towards Shinra tower. It’s also very funny to me that Masashi Hamauzu has managed to work in some of his score for Dirge of Cerberus. Just listen to this and this for comparison.
I’ve made this sound like a big tribute act with absolute reverence to itself. For what I’ve mentioned it largely does do that, but the end of this game makes some huge changes that are foreshadowed throughout beforehand. It’s the sort of thing that has me very excited for what comes next in subsequent games.
There are a bunch of moments where it looks like things are going to play out very differently, but then a horde of ghosts show up to ensure that the events of the original game happen. They are eventually revealed to be “Whispers”, arbiters of fate who ensure destiny runs its course. The party eventually decides to fight against these Whispers, and that becomes the penultimate boss fight, but before you fight them the party sees visions of the future which are events that happen later in the original game such as Aerith’s death and Meteor heading towards the world. Those visions are described as “what would happen if we lose today”, so the party fights against the whispers and works to essentially prevent the events of Final Fantasy VII from happening! In the end they seemingly succeed, after the game throws in a fight with Sephiroth because the developers got a little impatient (though the version of One-Winged Angel made for it is stellar).
I would probably have been okay with a new version that stayed mostly true to the original, though I’d still have complaints if it had the same pacing as this. But how this game ends up feels like a clear statement that going forward, things are going to be done a little differently. Before I started Final Fantasy VII Remake, I was thinking about moments I would have liked to have seen recreated and most of them were not in the Midgar section this game is based on. Now that I’ve seen this ending I don’t care about that anymore, I want to see what new things they’re hiding up their sleeve. The end of this game brought in some big dramatic changes and I’m hungry for more of those. I’ve already played Final Fantasy VII before.
With that ending I’m very glad I went through the original Final Fantasy VII beforehand. If I didn’t already have that knowledge going in the ending would have meant nothing to me. Weirdly part of the ending involved a recreation of a scene from Crisis Core, so I can imagine a new player just being very lost to what’s going on.
After having played a bunch of older games in chronological order until the mid-90s, suddenly jumping ahead to Final Fantasy VII Remake feels almost overwhelming. A lot of differences that would have just accumulated over the course of many games have now just all appeared at once like I’ve suddenly jumped into a videogame timehole where I’m seeing the future. Soon I will have to go back in time and start up Final Fantasy Tactics, which I hope I enjoy.
Until next time!
You know what, I’ve been having a really good time writing these so far and I’m looking forward to doing more of them after this one. I’ve played eight games in the Final Fantasy series for these blog posts and I’ve found something interesting about all of them so far.
Playing these games in chronological order has made it much easier to move between them. I’m no longer staring at a massive wall of many games in this series unsure of where to go next, I’m simply just moving ahead through a linear list.
I’m aware that the last article did go on quite long, so I’ve decided to play two games instead of three. For this one I played:
- Final Fantasy V (FF5)
- Final Fantasy VI (FF6)
I decided to play the Game Boy Advance (GBA) ports of these games as they seemed like the more ideal offerings. Prior versions made before it are saddled with translations in a style that I’m not a fan of. More recent editions, such as those available iOS and Steam, have an awful graphical style that looks tacky to me. It was nice to go between these two games and have a somewhat consistent presentation, which only highlighted the major differences both of these games have. Someone did inform me that certain scenes are cropped for GBA versions, meaning they might not make the same impact, but I only found that out as I was approaching the final area of Final Fantasy VI, so I didn’t fancy starting over.
As I was playing the games for this article I essentially saw Final Fantasy transitioning into what I know it for. I’ll get into more specifics on this when I talk about each game but broadly speaking, FF5 feels like a tribute and FF6 is trying something new.
When writing this blog piece, I found that it became increasingly difficult to not mention particular major plot moments. In earlier games I found it much easier to talk in broader terms, but here I’m going to have to address certain spoilers. So I’ll talk about the games now:
Final Fantasy V
Compared to prior games, Final Fantasy V is much more immediate. There’s much less story setup before the game becomes playable. The full party comes together very quickly, and shortly after that it brings in a job system to play with.
Just like in Final Fantasy III, this game has a job system, however much of the frustrations from that initial job system have been removed. Swapping between job classes now has no penalties, and when you assign a job to a character, they already have full access to its capabilities. Levelling up a job lets you carry over its abilities onto others, so if you level up a White Mage, you can get a Monk class to cast White Magic. I found this a much more interesting incentive for strengthening jobs, as it also encouraged me to play around and use all sorts of them for party members.
Once a job is maxed out, all of its passive abilities and stat increases get carried over a class called Freelancer. What that meant is that I ended up finding an ideal grinding spot and spent a large amount of time maxing out several jobs per character in order to have super powerful Freelancers (not all the jobs though, I would probably still be playing the game if that was the case). It was a little repetitive, but I saw it somewhat like slowly carving something. It was a little like I was partially moulding the game into the way I wanted to play it. I don’t have anything physical to show for it, but it was still fun to see strengthened party members used by the end of the game. I do wish the grind could have gone a little faster though…
Battles play out much in the same way they did in FF4, though with a party of four instead of five. The ATB combat system sees continued use up until Final Fantasy X, so re-explaining the system each time would be a little tiresome. While it is using the same systems as 4, FF5 has some battles that take much better advantage of it.
There’s a fight I liked in this game against a monster called Atomos. It’s an interesting puzzle boss and one of the most fun encounters in the game. When the battle starts it instantly kills a party member, but once that member is dead it won’t kill another. The defeated party member then gets slowly sucked towards Atomos and when they get close enough they are removed from the encounter entirely and cannot be brought back. Once that member is gone, Atomos will kill another and repeat the same process. As this all happens in real time, it becomes about finding the right time to revive a party member so that none are lost. It feels much more unique than any of the other battles I encountered in the game, and the real-time combat systems allow battles like this to happen.
All this stuff is cool, but I don’t think that it works well together to tell a story like FF4 did. The job system doesn’t give much of a sense of character in a way that 4’s pre-assigned classes did. Final Fantasy V has a fairly standard save-the-world story with a much more light-hearted tone that didn’t really win me over as much. Characters make jokes about their situation but that’s what characters do in almost every major movie these days. I’ve already seen about twenty Marvel movies.
The party hardly ever changes shape here. The four members you get at the start remain throughout most of the game and initially the game leans into that. There’s a few moments towards the start of the game that make the party feel like they’re all getting closer to each other and I enjoyed that, and they do manage to make them feel like distinct characters. I wish there were more moments like that throughout the game as too much focus was put on the plot of defeating the bad guy.
Graphically and musically it mostly feels like a gradual change from FF4, but there’s some new things here that I liked. Enemy designs get a little more varied with some weird and cute ones. FF4’s music used a lot of samples that were trying to mostly emulate orchestral instruments, but some more synthesizer-like sounds work their way into FF5’s soundtrack.
There’s a lot I do like about Final Fantasy V, but it doesn’t work as a cohesive whole. The job system is cool, there’s some boss fights that are fun, but the narrative isn’t as compelling. In some ways it almost feels like a “remix compilation album” of Final Fantasy in terms of how it’s put together. A lot of plot beats feel like reworks of what was already in FF3 and 4, and bringing in a revitalised job system is absolutely harkening back to FF3 as well. However much like compilation albums, they may be a good set of songs but they weren’t written to flow into each other.
Having that job system did make it really fun to play with, it’s just that I can’t help but compare it with other games. I don’t want to come across as negative here because I did have a very good time with this one, it’s just that I had a better time with Final Fantasy IV.
I’d also like to talk about the Four Job Fiesta, which is a charity run of this game that anyone can take part in from this website. However if you’ve never played the game before I would advise against trying this specific run for your first time, as I made that mistake a few years ago. It seems as though it’s much easier to manage with some familiarity of the game, but I also seemed to just end up with a group of classes that were extremely difficult to use.
It’s all for charity though which I can’t fault that much. This year it’s raising money for Color of Change, the largest racial justice organization in America. Considering recent news stories about horrible injustices against Black people, I think it was a smart decision to choose this charity. It runs until the end of August so you’ve got some time to decide if you want to take part or donate.
Final Fantasy V also had a sequel in the form of an anime, which is absolutely not worth watching. Final Fantasy: Legend of the Crystals is an extremely generic early 90s fantasy-comedy anime. It’s well animated, but doesn’t have much of a unique style. I did call it a comedy, but that’s arguable since much of its jokes aren’t really funny. It’s a real shame since this was directed by Rintaro, who also worked on the excellent 2001 film Metropolis, which if you haven’t seen I think you should as it’s one of my favourite animated movies (I also talked about it on this podcast).
Final Fantasy VI
This game was one of my biggest blind spots. Of all the Final Fantasies I hadn’t played before this was one that I hadn’t heard that much about. I can think of a lot of reasons why but that would take up plenty of space. I know the game now since I’ve played it.
Final Fantasy VI is maximalist. When I think of other RPGs developed for the SNES, they don’t have as many toys to play with as this one does. There are 14 characters to choose for your party, plenty of optional side quests to pursue, a higher amount of graphical detail and a much larger soundtrack. I get a sense that many meetings during the development of this game ended with “yes we’ll try that new idea”.
This also the first game to have more bespoke setpieces with game mechanics specific to them, which is something that I associate with Final Fantasy in general. When I think of memorable moments across the games, many of them use a unique method of control. It’ll be an interesting thing to bring up again when I write about later games.
What this all means is that Final Fantasy VI has a lot more variety, it’s playing a little bit looser with the rules of what makes an RPG. Here’s a few things I did in this game:
- Command multiple parties of moogles to defend a fallen party member
- Sneak through an enemy occupied town by getting around guards and stealing uniforms to use as disguises
- Memorise lines to perform well in an opera.
Every party member now has a unique distinct ability that they can use in combat. Some are just ones that you can select from a menu, but some involve weirder elements such as slot machines, timers or fighting game button inputs.
Magic spells can be learned by almost every party member in the game (and by the end I had a team that knew almost all the spells). Though it seems a little contrary to the idea of variety that everyone can learn the same spells, I feel it actually acts in service of it, since it makes every party member a viable choice. This is Final Fantasy VI’s way of saying that everything is open to play with.
This is bolstered by another mechanic named “Espers”, which are equippable summon attacks that are the game’s way of teaching magic. They can be used to increase character stats as well, so a party member ill-equipped to cast magic can be made into a strong spellcaster. This means that the game does not have to contrive moments where a character with healing abilities show up, it just has to consider who is the right character to show up (this contrasts with Final Fantasy IV’s approach. Because of every character fitting a defined character class, it sometimes felt like characters would show up because they fit a practical role).
However because of these open systems, the game can become incredibly easy. There’s a possibility that my own long experience with the genre has coloured this, but Final Fantasy VI ended up being one of the easiest games in the series I have ever played. Certain items I received from doing side-content almost made me feel like I was cheating, as I could do almost 50,000 damage in a single turn (for reference the final boss of the game has 62,000 HP).
Even though it got very easy, it was really fun to continually outdo myself on my damage output, since I did have a little bit of a challenge closer to the start of the game. Long before I encountered the Espers, there was a moment where I had a party that was only suited to doing physical damage and I had a small supply of healing items. I felt as though I could have gotten badly stuck at that moment, but I managed to scrape by and comparing that to how powerful my party became is very amusing to me.
Rather than take FF4’s approach by having systems tied closely with the story it’s telling, Final Fantasy VI decides to have them work around the story. They hardly get in the way of the plot, especially since they can result in the game getting very easy. I wouldn’t say that this made the storytelling worse at all, I would say more of its failings come from how the characters are written.
For one thing, I felt as though the large cast of characters works against it. Around a third of the party I had never even heard of before, which I don’t think I can say so easily about a lot of other games in the series. I didn’t know of Strago, Relm, Cyan, and if I hadn’t played Kingdom Hearts II before I would never have known of Setzer before. A lot of them don’t feel particularly memorable to me, which is a shame.
I did hear a lot about Kefka before I played this game, he’s one of the Final Fantasy villains that seems to get brought up quite a lot. And it’s actually a twist that he’s the villain by the way, I didn’t know about that before which took a bit of the impact of that reveal. The one advantage Kefka has compared to previous villains is that he actually shows up for more of the game. His entire character is that he is just pure evil, and it’s a bit too one-dimensional for me. It’s not as though the other villains we’ve had so far have had more powerful characterisation (FF4’s didn’t even show up until the end of the game), it’s that I just don’t find this brand of evil for the sake of evil interesting for as much screen time as it takes.
The one neat thing they do with Kefka is the setup for the game’s second half (it was for me, but apparently this is fairly flexible and not far from the end if you avoid side-content). Essentially Kefka wins, defeats the party and destroys most of the world, and then a year passes. From that point a few party members manage to get together and begin a search for the rest of the team (or you can skip all that and go straight to the final dungeon). This part of the game is often called the “World of Ruin”. Kefka has no on-screen presence until the final boss encounter, but the state of the world means that you don’t forget about him. One of the first events in this part involves him destroying a large house because something upset him.
From this point on the structure of the game is blown wide open, and I found it really fun to just explore the map and see where I would find other party members. I somewhat liked how it was used to fleshed out the characters a little more since I got a chance to find out what they would get up to alone.
In my opinion it does a better job with some characters and a lacklustre effort with others. Catching Cyan pretending to be someone else writing letters to a woman was funny, especially since he has a unique manner of old-fashioned speech that is used in the letters. When I was pursuing Locke, the self-proclaimed treasure hunter, I went through a dungeon that had mostly empty chests. After finishing it, he handed me the items that would have been in those chests.
One character that I was really let down by was Terra. Throughout most of the game she has a rather distant personality, likely because of being raised in captivity to be a soldier for the Empire. In the World of Ruin, she is the only one that needs to be convinced to join your party, but mostly because she’s become a mother figure to a big group of orphaned children. It just feels really boring to have one of the few major female characters just settle and become a mother, especially when so many of them have been going off on more exciting adventures. Celes doesn’t fare much better either, as a fair amount of time with her character is spent on how she’s in love with Locke.
For a lot of the World of Ruin, you can bring along whatever party members you want, but the result of that means that no character’s voice really comes through whenever any dialogue needs to be said. It’s usually written so that no name appears on it, so it’s written in a way that any party member can say it, so it’s extremely functional. It persists up until the final encounter with Kefka and I just found it to be very dry. I wonder if it’s likely the version of the game I’ve chosen, maybe there’s other ones out there that write it more interestingly because I wasn’t digging it.
One party member was absent from the World of Ruin for me, and that was Shadow. This was because I let him die by mistake. In most of these games character death is an event determined solely by the game, but here I was partially responsible. I would have never guessed the way to have him survive (there’s a timed escape sequence before the World of Ruin, and you have to wait for the last second before leaving the area) but I did find out I could have prevented it.
In terms of appearance, I think Final Fantasy VI has been one of the best looking games so far. It doesn’t have the same amount of detail as the PSP versions of FF1, 2 and 4, but it does have a more deliberate muted colour palette that suits the steampunk-ish setting. Environments also feel a little bit more natural, they look less like they’re made on a grid (even though character movement is still restricted to four directions).
This game also has the best soundtrack so far out of the games played for this post. It’s larger and like the rest of the game, more varied. Even more electronic instruments come through here, with a chocobo theme that reminded me a little of japanese electronic music group Yellow Magic Orchestra. Prior games would sometimes work in the main theme as a regular motif, but FF6’s music has more use of leitmotif as character themes are woven in through the score. There’s also a track called Epitaph, which I’m certain is a King Crimson reference since the melody sounds very similar to another one of their songs called Moonchild.
I had a good time with Final Fantasy VI, messing around with the growth systems and how they made battles very easy was quite fun for me. I’m just underwhelmed by the character writing in this game. I am aware that this game is beloved, and it is a good game, it’s just that I’ve played better.
It’s easy to think about putting these games into groups, I titled my initial blog post on the first three games “The NES Trilogy”. I can’t really think of FF4, 5 and 6 as a SNES trilogy, even though they have a similar kind of presentation, FF6 feels more like what the series would eventually do on the PlayStation. I’m looking forward to talking more about that soon.
I enjoyed these two games quite a lot, but when I think about my all-time favourite games in the series, they aren’t going to be among the top. There’s a possibility that I might even change my mind by the time I get to the games I adore, though the real hope is that I’ll still love them.
There has been some brilliant music across both the games, which I’ve compiled into this Spotify playlist! I did have some urges to put the entire FF6 soundtrack on, but I decided against that.
Ranking these games hasn’t gotten difficult yet, but once I play a lot more of these I assume it’s going to get harder and I wonder what it will look like after that. The idea of making a gigantic list with all the games on it is very funny to me, even if it is a little potentially unreadable. Anyway here’s the eight games I played for this so far with the best at the bottom of the list:
- Final Fantasy II
- Final Fantasy Mystic Quest
- Final Fantasy Adventure
- Final Fantasy
- Final Fantasy III
- Final Fantasy V
- Final Fantasy VI
- Final Fantasy IV
I’m hoping to take a little break between this article and the next as it’s going to be a big one. Already I’ve got a lot of thoughts in my head about what I’ll be writing for it. I’ll give you a hint, what comes after six?
Until next time!
So there was a point in time in which I would write about video game music every Saturday. I liked that, I wanted to get back to it. However there will be changes made to the format. Last time I did this I would put up a single piece of music and write a little bit about that. This time I don’t want to be as rigid with it, if I have something on my mind to say about music, I’m writing it down. Anyway here goes.
Recently I started listening to the Pat Metheny Group, an old Jazz Fusion band, admittedly I became aware of them through a recent anime JoJo’s Bizarre Adventure. At the end of their album Still Life (Talking) this piano track comes on and every time I hear it I think of some small village at night-time in a Japanese Role-Playing Game.
There are certain musical artists I’ve listened to and it’s been very clear how they’ve influenced game composers. Stick on Emerson, Lake and Palmer and you’ll hear where some of the battle music from Final Fantasy comes from. Stick on Yellow Magic Orchestra and you’ll hear where a lot of inspiration for NES music.
While I don’t have a lot to say about this, I thought it would be interesting to bring it up. Maybe I could dive deeper in the future.
I would really appreciate feedback on this because I’m trying something new here. Feel free to leave a comment or bug me on Twitter.
I have a few ideas for some new features on PixPen, this being one of them. It might seem a bit simple, well it is, this is basically “some music wot Samuel likes”. And what’s wrong with that? You might like some of the music I put on here. That said you might not, it’s music, it can be fairly subjective.
For the first track I thought I’d pick a recent game, Bravely Default. I’m not picking a major theme from an emotionally resonant moment, or the main battle theme. I’m picking an optional boss theme, that’s technically a remix of music from another game, Final Fantasy: The 4 Heroes of Light.
I haven’t played that game. I’ve had a listen to the original track and I don’t quite like it as much as this version.
What I like about this song is there’s a level of hopefulness and happiness about it, not something you get much of in videogame boss themes. It’s nice to have a positive feeling going into battle, as insane as that just sounds there. But it makes it feel a little more fun, and I like fun, don’t you?
Anyway, I hope I can make this a weekly thing, depending on the music I can find. I am sure there are thousands of tracks in ready supply, I’m not going to be afraid to repeat games if I have to as well.