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FINAL FANTASY VI
review | SUPER NINTENDO
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Released as FInal Fantasy III in North America.
Publisher: Squaresoft. Developer: Squaresoft. Released: October 1994 (US). Genre: JRPG. Posted 30th June 2026. By Tom Clare © 2026 |
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Though European gamers had to wait until a 2002 PlayStation port to experience Final Fantasy VI, import-savvy Super Nintendo players would have the chance to experience this wonderful game in 1994, in the guise of a North American release titled Final Fantasy III. Before the venerable series made the leap to 3D and international acclaim, its final 16-bit instalment would prove a remarkable parting gift to fans of top-down JRPGs. Whilst it’s perhaps not as eye-catching or adventurous as some of the developer’s other works of the time, no other RPG could claim so complete an experience as Final Fantasy VI. A huge step forward from its predecessors, it remains one of the most emotive and rewarding games of its time.
Final Fantasy V centred the lion’s share of its focus on a nifty Job system, which rather served to paper over what was an otherwise comparatively underwhelming experience, hindered by a derivative story and themes that felt like retreading old ground. It’s instantly clear that with FFVI, Squaresoft were determined not to make the same mistake. Set in a world experiencing an industrial revolution and with many of its population centres either occupied or resisting attacks by a relentless imperial empire, there’s a markedly weightier tone to proceedings. Steampunk undertones, particularly in the memorable mountain town of Narsche, are themes the series would return to with greater impetus over the years that followed. The evolution is clear, however. FFVI delivers a more reflective, nuanced tone, with townsfolk preoccupied with personal dilemmas, worrying about lost loved ones, mourning relatives lost in the conflict, and trying hard to endure (and perhaps even forget) as the world around them falls apart. There’s hardship, but there’s hope, and FFVI is so compelling because it maintains this delicate balance.
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A nuanced tale of strife and cautious optimism helps drive a game that is outstanding in almost every regard
Nowhere better can we measure Final Fantasy’s growth than in its superb ensemble of characters. Terra is perhaps the most significant: the series’ first female lead, a half-human, half-magical being known as an Esper, she is introduced in the impactful opening as a brainwashed soldier forced into doing the Empire’s bidding, inflicting a deadly massacre on the mining town of Narsche. Despite being under magical manipulation at the time, the magnitude of this event continues to weigh on her throughout the adventure. She’s soon joined by the likeable Locke, a talented thief whose initial reticence to help her is later pinpointed to events in his own troubled past. Then there’s the more light-hearted heir-and-the-spare brothers of Edgar and Sabin; mercenary-for-hire in Shadow; and the grandfather/granddaughter pairing of Strago and Relm, who share an amusing dynamic.
Two of the best protagonists are Cyan, a man haunted by his perceived failure to uphold his duty in protecting his King, wife and child during the invasion of Doma Castle; and Celes, a former General who, following imprisonment, switches allegiance to the resistance. Her conscience is regularly in conflict with her emotional connection to those in the Empire. She takes centre stage in a beautifully scripted scene following the ruination of the world, which captures her despair and isolation, marking one of the series’ most impactful moments. Nearly all the characters have a satisfying, defined arc to work through, though many of them do not need to be present at the end to beat the game.
Two of the best protagonists are Cyan, a man haunted by his perceived failure to uphold his duty in protecting his King, wife and child during the invasion of Doma Castle; and Celes, a former General who, following imprisonment, switches allegiance to the resistance. Her conscience is regularly in conflict with her emotional connection to those in the Empire. She takes centre stage in a beautifully scripted scene following the ruination of the world, which captures her despair and isolation, marking one of the series’ most impactful moments. Nearly all the characters have a satisfying, defined arc to work through, though many of them do not need to be present at the end to beat the game.
FOCAL POINT: NO ONE MAN SHOULD HAVE ALL THAT POWER
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It’s not just the protagonists who are top-notch. Kefka steals the show as one of Final Fantasy’s greatest villains. A colourful, increasingly demented narcissist, Kefka hides his malevolent ruthlessness behind a loud, theatrical platform of buffoonery. Through his flamboyant temper tantrums, we see an unbridled lust for power. He makes no secret of his contempt for the lives of the soldiers he commands. He is roundly disliked and distrusted. So how does he succeed? Kefka is never taken seriously by those wielding power. General Leo is disgusted by the man’s lack of honour, but opts to play by the rules in the hope that the situation within the Empire will fix itself. Emperor Gestahl foolishly believes Kefka is aiding his plans for world domination, when he is in reality a puppet himself. After ruin sweeps the world, you can find a Cultists’ Tower erected in Kefka’s honour, his brainwashed disciples shambling around in lines at its base. The villain’s attempt to attain the power of the Gods is depicted in a remarkable, three-tiered final boss encounter. A monstrous, magnificent mockery of Michelangelo, his form a complicated amalgam of angels and demons, reaching tortuously toward the heavens. A spellbinding, charismatic force, Kefka is a brilliant antagonist who you’ll love to hate.
This is because FFVI takes a brilliant, unpredictable turn around the mid-point. With a year passing and the party scattered amid the World of Ruin, the game changes up a gear, as you travel the world investigating what has changed, and what has become of your allies. Whilst you’ll bump into a couple along the way as a matter of course, certain key figures, notably Locke, require a fair bit of work to locate. Revisiting locations proves highly rewarding, providing a catalogue of side-quests to help reconnect with your party, as well as useful items and new Espers. Towns offer their own unique quirks: Jidoor has an auction house that plays host to a number of amusing scenes and also allows players to bid on a couple of Espers, as well as an entertaining haunted house, which harbours some quirky, dangerous paintings among its displays. Elsewhere, highlights and curios abound: a battle colosseum from which to gamble items; Narsche, with its labyrinth of mines housing a trove of secrets; and an opera house, where at one stage Celes must stand in for the leading lady, delivering lines and prompts on cue. Visit the treacherous town of Zozo, and you’ll find all of its inhabitants lie: working out the code to a clock puzzle is therefore a process of elimination.
A sparkling evolution of FF’s trademark turn-based battle system helps retain an energetic pace. A host of character-specific abilities mix with a greatly expanded set of magic spells. Characters can be assigned an Esper, each accompanied by a specific list of spells to be learned at varying rates of experience, and building a repertoire of these is crucial to progression. Enemies are pretty devious, however, often inflicting awkward status effects that cannot be cured via usual Remedy magic, including being frozen, or being turned into a zombie or an imp. For the final dungeon, the party splits into three teams, meaning you’re given greater incentive to nurture all of your party, rather than just a select few.
A sparkling evolution of FF’s trademark turn-based battle system helps retain an energetic pace. A host of character-specific abilities mix with a greatly expanded set of magic spells. Characters can be assigned an Esper, each accompanied by a specific list of spells to be learned at varying rates of experience, and building a repertoire of these is crucial to progression. Enemies are pretty devious, however, often inflicting awkward status effects that cannot be cured via usual Remedy magic, including being frozen, or being turned into a zombie or an imp. For the final dungeon, the party splits into three teams, meaning you’re given greater incentive to nurture all of your party, rather than just a select few.
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Final Fantasy VI marks a sizeable improvement visually, too, crafting one of the most beautiful 16-bit worlds you’ll ever experience. As well as gorgeously drawn landscapes and expressive character sprites, there are some great subtle effects too, such as bubbling lava, roiling rivers, the fog that settles over Narsche, and the lazy light of cave lanterns. Other aspects are more grandiose, such as the ability to explore the world map in 3D via an airship, and the game’s many extravagantly designed bosses, with the beastly Atma Weapon, the humorous octopus Ultros and Kefka’s intimidating final form among countless highlights. Fans will love the extensive array of Esper summons, where deities such as Alexand[e]r, Bahamut, Raiden and series favourites Shiva and Ifrit rein down their various stylish attacks.
Nobuo Uematsu had never been short of a bombastic fanfare or a catchy melody, but with Final Fantasy VI’s music, the great composer outdid himself. It’s a truly stunning soundtrack; a momentous journey through 60 or so tunes. The stirring patter of “The Mines of Narsche” and “Under Martial Law” maintain the series trademark hum-along qualities, whilst also evoking a trace of anxiousness and unease. “The Veldt” delivers an unusually percussive track to evoke tribal associations, whilst the various chocobo, battle, and boss themes are some of the series’ most anthemic. “Terra’s Theme”, which accompanies world map exploration, is the game’s crowning glory: a flute-driven melody with a marching beat that’s emotionally uplifting, though accompanied by an undercurrent of melancholy and foreboding. In this respect, it’s a pitch-perfect fit for the story it accompanies.
Nobuo Uematsu had never been short of a bombastic fanfare or a catchy melody, but with Final Fantasy VI’s music, the great composer outdid himself. It’s a truly stunning soundtrack; a momentous journey through 60 or so tunes. The stirring patter of “The Mines of Narsche” and “Under Martial Law” maintain the series trademark hum-along qualities, whilst also evoking a trace of anxiousness and unease. “The Veldt” delivers an unusually percussive track to evoke tribal associations, whilst the various chocobo, battle, and boss themes are some of the series’ most anthemic. “Terra’s Theme”, which accompanies world map exploration, is the game’s crowning glory: a flute-driven melody with a marching beat that’s emotionally uplifting, though accompanied by an undercurrent of melancholy and foreboding. In this respect, it’s a pitch-perfect fit for the story it accompanies.
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Celes finds herself alone with the world in ruins, leading to one of Final Fantasy's most affecting scenes
A tough final encounter with Kefka and numerous tricky side-ventures should see the adventure ticking over 35 hours, and it’s one where a trove of secrets and Easter eggs ensures ample replayability. Discovering additional characters, magics, and story arcs means that, even in the later stages, exploring never feels rote, and FFVI feels tremendously rewarding. Its story is tremendous, representing a collection of motivations and perhaps the only instance when an FF game has placed the importance of its world above those of the individual motivations and narratives of its protagonists. Among a golden period of RPGs, Final Fantasy VI still shines bright: a big step forward for the series, and one of Squaresoft’s greatest works.
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VERDICT
"A giant of JRPGs, and a big step forward for Final Fantasy. A tremendous storyline lit up by wonderful characters, a world-beating soundtrack, gorgeous graphics and mega-addictive, endlessly rewarding gameplay. FFVI is a game that has it all." OVERALL: 10/10 |
OTHER 16-BIT US-IMPORT RPGs REVIEWED
Lunar: The Silver Star (1993, Mega-CD)
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Chrono Trigger (1995, Super Nintendo)
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