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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.

The whole game is written like this, it’s a bit much to be honest…

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.

Final Thoughts

I don’t really have as much to say about this one, as I did some of the other games. I thought about putting it together with a few more games but that would have meant waiting much longer to get this one out as these games are taking much longer for me to play. I spent over 60 hours on this one. It’s the most time I’ve spent on a game since starting this project, and I expect that some in the future will take me even longer.

That still hasn’t diminished my excitement for moving forward since there’s some very cool games coming up after this. The next couple are Final Fantasy VIII and IX, so I’ll essentially be revisiting some of the first few games in the series I played.

Also to go back to the Final Fantasy XVI trailer, I didn’t find it very exciting. It seems a sort of game I’d probably pay much less attention to if it didn’t have Final Fantasy in the name. There’s something in the back of my mind that thinks they’re holding something back, but I guess I’ll have to wait and see.

Until next time!


While I’ve pitched this as a chronological retrospective on Final Fantasy, it made too much sense to jump ahead with the various games that relate to Final Fantasy VII. Now that I’ve actually played through Final Fantasy VII Remake, I can say that it was a good idea to do it. Having fresh knowledge of them all made it much easier to write this out.

Videogame remakes have been on my mind since I played the reimaginings of Resident Evil 2 and 3 earlier this year. The difference with those is that I didn’t have as much experience with the original source that those were based on, so what I came out of those with was opinions on which one was more effective as a horror game (2 is excellent, 3 is a letdown).

However, since I’ve recently taken a closer look at the original Final Fantasy VII, that familiarity gives me a different lens that makes me unable to compare everything to how it was done before. 

I’ll be talking about this game in a fair amount of detail, so if you still want to be surprised by how Remake reinterprets everything, maybe come back and read later. Maybe you could share this article with a friend who’s already played it.

Final Fantasy VII Remake

I was very interested to see what a modern take on FF7 would be. Many of the directorial staff from the original game returned for it, and when creatives return to the same story it’s often either scaled up or used to address different themes.

Actually playing Final Fantasy VII Remake is more like going to see a concert by an old favourite band. They’ll play the hits and have some new and exciting renditions of old songs, but then some of that won’t quite live up to the original quality found in original recordings. There’s also a bunch of new material, some of which is good and some I’m not so sure about.

The band has opted for a much more grandiose sound this time around, since a lot of the dials are turned up here. There’s so much more graphical detail, towns are much larger, characters have bigger personalities, key moments have more dramatic heft, it’s a harder game, and a much longer one too.

It’s strange that this hasn’t been titled “Part 1” because that’s what this is. Square Enix took the first six hours of FF7 and broadened the scope of it to make it into a 30-40 hour epic. Of course there are also some things from later in the original game that have been included, most likely out of an attempt to make this game seem more compelling. For example, Sephiroth shows up a lot more here since you seemingly can’t have Final Fantasy VII without Sephiroth.

I was a little worried that the polluted planet angle would have been a little diluted, but it actually comes in a much more concentrated dosage this time around. Areas outside Midgar look considerably more barren here, Shinra is shown to be just as greedy as ever, and when it’s made clear by the end that Sephiroth is the biggest threat to the planet it’s still mentioned that “this started with Shinra”. It’s reassuring to see this here since so much of it is missing from other FF7-related works.

They’ve done some really good work to add depth to a few of the characters too. Barret is the one that comes across the strongest, as they’ve made him feel like a real political activist here, the sort that would always carry leaflets and posters in their bag just in case. He always has prepared speeches and talking points ready for any moment, and because of that comes across a lot more confident and charismatic. He’s also shown clearly to not be wrong about it all, so you could probably mine a lot of his dialogue for quotes you can pull out in real life.

Aerith shines a lot more in this game, since she’s still the same sort of confident no-nonsense character that she was in the original, it’s just that now she’s a lot funnier. Many of her remarks got a good laugh out of me.

There isn’t much new to Cloud here, and there’s also a sense that a lot of his development is being saved for future parts of Remake, since it didn’t originally happen in Midgar. His traumas are given more focus, but only to acknowledge them. Admittedly the better moments with him are when other characters react to his stoic seriousness, especially Barret and Aerith.

Tifa is the character I’m most disappointed with. It just feels like they’ve taken the same old character from the original and injected her into this game, so compared with everyone else she just seems less interesting. She does get a small arc where she has doubts if the mission to destroy Shinra’s reactors is a good idea, but because of her rather dull characterisation it’s not very interesting to see play out.

Of course even minor characters get a lot more fleshing out. Jessie, Biggs and Wedge have more screen time and at certain parts have more plot-crucial things to do. It also seems to be really going for a 90s throwback thing since Jessie says “psych” a lot. There’s even a lot more minor characters added in, some of which already existed in a novel (I’m sure that gave some FFWiki editor a sigh of relief since they didn’t have to make as many new pages).

Midgar now feels even more like a diverse collective of districts, which helps for sure since everything is so much bigger. Each location has its own distinct aesthetic right down to the colour palettes used. I could see a picture of something close up in either the Sector 7 or Sector 5 slums and tell which location it is. I really liked slowly exploring them too, as this game’s closer third-person moveable camera really lent itself well to these spaces. It would have been nice if there was a first-person view so I could get an even closer look. It really does feel more like a place people live in, especially since you’re given a place to stay in Sector 7 as well. My only frustration was with how townspeople dialogue was handled as it was cool to hear it diegetically as I walked around, but it became a little annoying to hear the same lines again as I went by the same people.

Just about everything in this game is so much bigger. Instead of immediately going into a second reactor attack after finishing the first, there’s more space for downtime with side quests available to take part in, followed by a detour to infiltrate a warehouse. Once I was on my way to the second reactor, I still had to get through two full-sized areas before getting there. 

Once I made it to the final segment of the reactor itself, that was when the Air Buster was introduced. In the original game the Air Buster was just a boss that showed up for a fight that lasted a few minutes. In Remake, it’s given a much longer build-up with an opportunity to make choices on how to sabotage it beforehand. Before fighting it members of Shinra appear as gargantuan holographic projections to taunt Cloud and company (and remain doing so throughout the fight). The fight itself is a big and bombastic three-phase boss encounter, one of the more difficult in the game and some of the most fun I had playing it. I’ll get into why I really like the combat a bit later since I want to focus a bit more on the pacing.

Though all the sections I mentioned are much larger than how they were in Final Fantasy VII, I didn’t really feel as though they were padded out. Just before I got bored of each area I was able to move onto a new part. Where I felt it really started to slow down was when I reached Wall Market. It’s the structure of it that really got to me, since characters would dangle the way forward in front of me and then say “but first you have to go and do something else for me”. I get that’s how videogames often work, but it happened too often here and I was getting a little sick of it.

Then it was followed by a sewer area that seemed to go on forever, and after that a train graveyard that felt like it existed only to pad out the game. I wonder if this is because I had recently played the original game. I really felt the length as I’d seen a shorter version of it. I’m absolutely certain that they’ve done this so that this first part is roughly just as long as the original game so people don’t feel ripped off (it actually took me longer since I did a lot of sidequests).

Thankfully some areas after this manage to justify their larger size. The race to stop the Sector 7 plate from falling becomes a much more desperate climb that seems even more tragic when the party fails to stop it. The journey up the wall to reach the game’s final area becomes a moment to pause and see the destruction that Shinra has caused by dropping the plate. It gives a moment for the party to really lay out their motivations, by showing what they want to prevent in the future. However I do wish that I didn’t have an extended stay in Hojo’s laboratory, it’s a good thing that I enjoyed Remake’s combat a lot.

It’s an action RPG combat system this time around, where button presses initiate attacks immediately, and any incoming enemy attacks must be dodged or blocked. When player attacks hit an enemy it builds up a bar which can be spent to use abilities, spells or items. What I love about this is that it brings back the same sort of tension found in turn based games, once the bar’s been spent it has to be built back up again, so care needs to be taken when deciding between big damage abilities or healing spells/items. It did bring about some tense moments where I had to choose between finishing off a weakened boss with a big attack or helping my party recover. 

There’s also a stagger bar on every enemy, something which the game has lifted from Final Fantasy XIII. In this game it’s essentially a bar that fills up by just damaging the enemy or doing more specific actions in battle. Once the bar fills up, the enemy is temporarily stunned and takes a lot more damage than normal. It felt great to do this in FF13 and it still feels good here, as it’s a moment when the pressure’s eased off and I was able to do some really big damage. 

The game almost requires a player to be constantly engaging with these systems, which meant that I actually found some of it quite hard as I was getting used to it. Air Buster is actually the moment where I found I had to do that. It’s also followed by a really good battle against Reno which shows that switching to an action RPG system lends itself really well for a 1v1 fight.

They did put a lot of minigames in here as well, but they’re mostly bad. I guess that’s true to the original game. The one I disliked the most was a stealth sequence where Cloud has to sneak out of Aerith’s house. The more realistic movement in Remake made it extremely difficult to maneuver around the collections of small items on the floor. The bike chase is still fun at least.

As usual this game is full of excellent music. Masashi Hamauzu and his team have done some brilliant work here but this is really where my metaphor of this being like seeing an old band came from. There’s some great variations of music from the original, such as an exciting take on Fight On, or a rework of the Turks Theme as a boss music. However most of the high points of the music are still when it’s playing with things from the original game. That said there is a new theme to represent Avalanche which sounds great, and ends up with a great melancholic reprise during the climb towards Shinra tower. It’s also very funny to me that Masashi Hamauzu has managed to work in some of his score for Dirge of Cerberus. Just listen to this and this for comparison.

I’ve made this sound like a big tribute act with absolute reverence to itself. For what I’ve mentioned it largely does do that, but the end of this game makes some huge changes that are foreshadowed throughout beforehand. It’s the sort of thing that has me very excited for what comes next in subsequent games.

There are a bunch of moments where it looks like things are going to play out very differently, but then a horde of ghosts show up to ensure that the events of the original game happen. They are eventually revealed to be “Whispers”, arbiters of fate who ensure destiny runs its course. The party eventually decides to fight against these Whispers, and that becomes the penultimate boss fight, but before you fight them the party sees visions of the future which are events that happen later in the original game such as Aerith’s death and Meteor heading towards the world. Those visions are described as “what would happen if we lose today”, so the party fights against the whispers and works to essentially prevent the events of Final Fantasy VII from happening! In the end they seemingly succeed, after the game throws in a fight with Sephiroth because the developers got a little impatient (though the version of One-Winged Angel made for it is stellar).

I would probably have been okay with a new version that stayed mostly true to the original, though I’d still have complaints if it had the same pacing as this. But how this game ends up feels like a clear statement that going forward, things are going to be done a little differently. Before I started Final Fantasy VII Remake, I was thinking about moments I would have liked to have seen recreated and most of them were not in the Midgar section this game is based on. Now that I’ve seen this ending I don’t care about that anymore, I want to see what new things they’re hiding up their sleeve. The end of this game brought in some big dramatic changes and I’m hungry for more of those. I’ve already played Final Fantasy VII before.

Final Thoughts

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!


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.



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