FINAL FANTASY VII (PS)
Looking back over some old issues of The Official UK PlayStation magazine (remember them?), I happened across a rather nice micro-summary of Final Fantasy VII, that read: ‘in years to come they’ll celebrate this as one of the all-time classics”. Handing out maximum scores and ‘classic’ tags in the heat of the moment meant running the risk of looking a little daft down the line (Driver 2 and Tomb Raider: Chronicles anyone?), but credit where it’s due, that particular synopsis proved an entirely accurate (and indeed, prophetic) one. Fifteen years on, as the RPG genre struggles with limp narratives, plasticky leads, heightened development costs and minimal gameplay, Final Fantasy VII remains a beacon of brilliance. Showcasing a stunning mix of fresh, far-reaching ideas, articulate storytelling, imaginative fantasy settings, powerful music and, in its day, real technical excellence, it remains a definitive role-playing game.
It was the first 3D Final Fantasy, and the first to receive a global release. VII dazzled with its depth, style and content, spanning three CDs and housing the still barely-believable sum of an hour and a half’s worth of FMV sequences. The story follows blonde, spiky-haired protagonist Cloud Strife, who joins the eco-rebel group AVALANCHE as they fight the all-powerful ShinRa mega-corporation, who are draining the planet of Mako, its life source. Things branch out as he travels the world, attaining help from an unusual crew of allies, whilst following the ominous trail of destruction left by a mysterious swordsman whom Cloud once knew and admired.
Final Fantasy VII’s driving force remains its story and characters, something that’s easy to forget given Squaresoft’s (now Square Enix) naff recent exploits. If you’ve grown up with Dissidia or Kingdom Hearts, then you’ll mistakenly have come to the conclusion that Cloud Strife is a winy emo simpleton. In 1997 however, this couldn’t have been further from the truth. Cloud was a multifaceted hero, very different from the norm. Talented but flawed, emotionally damaged due a mixture of the traumas that lead to FFVII and sequences that unfold during it. But through it all, he’s a likable lead and, more importantly, entirely empathetic. Arch-villain Sephiroth (similarly sullied in the above titles through his portrayal as a posturing pantomime villain) is similarly magnificent, achieving what precious few JRPG villains have done in the past by carrying an almost-messianic presence throughout the entire adventure. Biblically powerful and making each appearance a memorable one, flashbacks reveal his and Cloud’s past together as members of ShinRa’s SOLDIER unit, revealing a tantalising, almost-contradictory glimpse into the once-revered, human side of the maniacal swordsman.
Final Fantasy VII is a joy to play, with Squaresoft repeatedly challenging themselves in a number of fields and sub-genres. As well as introducing much of Europe to the series’ innovative ATB system (allowing more of a real-time feel to battle commands as opposed to the sequential inputs of old) and the divisive joys of random battles – perhaps the gameplay’s singular Achilles heel as there are certain, more cerebral scenarios where you’d rather not be interrupted – there’s all manner of memorable moments in the field. Stopping a runaway train before it crashes into the town of Corel carries an action-film excitement to it as the timer ticks down, whilst Cloud also has to snowboard down a mountain, partake in a submarine battle, and dabble in a bit of Tower Defence in a fight to protect a Fort. Perhaps the best occurs as Cloud and co. escape ShinRa HQ, as in trying to escape their pursuers attentions, you find yourself caught up in an awesome, Akira-esque motorbike chase through the night, helped significantly by some pulsating music. All of these mini-games and can be played in the Gold Saucer; an amusement park with its own arcade (I completed the basketball game in its entirety, oh yes), rides and even a battle arena where some potent equipment can be won. Then there are the Chocobo races, where you can bet, or race your own. There’s even the ability to breed special varieties that can be used as transport on the World Map. Breed a Gold Chocobo and you’ll be able to traverse pretty much anywhere, including mountains and across the ocean. The satisfaction is immense, with the acquiring of the devastating Knights of the Round summon proving the icing of the cake.
One facet integral to the success of FFVII is its never-bettered Materia system. Essentially, each Materia would allow for a specific magic use, a certain number of which could then be equipped to weapons and armour, and it took many guises. Green covered offensive/curative magic like ‘Fire’ and ‘Restore’. Materia would gain EXP with use, and the higher the level, the more useful, so levelling up ‘Restore’ grants progressively more potent healing spells, as well as a spell with a continual, regenerative effect. There’s pink Materia that automatically adds an effect: ‘HP Plus’ grants an additional quantity of health to your overall tally, whilst ‘Counter Attack’ and ‘Pre-Emptive’ each provide for greater likelihood of these advantages occurring when you fight. Summons (red) show off the graphical clout with some marvellously extravagant animations, including the fearsomely powerful Bahamut, whilst yellow ones grant additional commands such as Coin Toss (damages enemies based on money carried) and Steal. What’s really clever however is the blue support Materia. Simple but ingenious, blue could be equipped to other Materia for an additional effect; ‘All’ would spread the offensive spell to every enemy rather than just the one, likewise ‘Cure’ would heal the whole party. The much-sought after Final Attack would grant a final move following the death of the character – so when teamed with Phoenix, a summon magic that resurrected characters with no HP, would make the player nearly invincible. It’s a vastly rewarding system with a mind-boggling array of possibilities.
The game scores big for its graphics and general presentation. In the most generic sense, it’s attractive; high-production FMVs with slick animation, dynamic battle sequences featuring elaborate, hi-res summons pulling off all kinds of special effects wizardry, as well as smooth, clean and flaw-free pre-rendered backgrounds through the adventure. But aesthetics are only part of its visual appeal, as the rest lies in how imaginative and expansive the locations are. Having been comfortable for many years in the old-skool top-down castles ‘n’ hamlets trope of design, Final Fantasy VII’s fantastical, futuristic settings, most notably the multi-tiered slum city of Midgar, the epic Gold Saucer theme park and the pagoda-dominated town of Wutai, are like a revelation. One tiny bug-bear lies with the super-deformed characters who, in the field of play, look a touch incongruous amidst the finery. They’re not a problem as they don’t affect the atmosphere or running of the game, so their individual look belongs within the series cannon, as they frequently amuse.
One facet integral to the success of FFVII is its never-bettered Materia system. Essentially, each Materia would allow for a specific magic use, a certain number of which could then be equipped to weapons and armour, and it took many guises. Green covered offensive/curative magic like ‘Fire’ and ‘Restore’. Materia would gain EXP with use, and the higher the level, the more useful, so levelling up ‘Restore’ grants progressively more potent healing spells, as well as a spell with a continual, regenerative effect. There’s pink Materia that automatically adds an effect: ‘HP Plus’ grants an additional quantity of health to your overall tally, whilst ‘Counter Attack’ and ‘Pre-Emptive’ each provide for greater likelihood of these advantages occurring when you fight. Summons (red) show off the graphical clout with some marvellously extravagant animations, including the fearsomely powerful Bahamut, whilst yellow ones grant additional commands such as Coin Toss (damages enemies based on money carried) and Steal. What’s really clever however is the blue support Materia. Simple but ingenious, blue could be equipped to other Materia for an additional effect; ‘All’ would spread the offensive spell to every enemy rather than just the one, likewise ‘Cure’ would heal the whole party. The much-sought after Final Attack would grant a final move following the death of the character – so when teamed with Phoenix, a summon magic that resurrected characters with no HP, would make the player nearly invincible. It’s a vastly rewarding system with a mind-boggling array of possibilities.
The game scores big for its graphics and general presentation. In the most generic sense, it’s attractive; high-production FMVs with slick animation, dynamic battle sequences featuring elaborate, hi-res summons pulling off all kinds of special effects wizardry, as well as smooth, clean and flaw-free pre-rendered backgrounds through the adventure. But aesthetics are only part of its visual appeal, as the rest lies in how imaginative and expansive the locations are. Having been comfortable for many years in the old-skool top-down castles ‘n’ hamlets trope of design, Final Fantasy VII’s fantastical, futuristic settings, most notably the multi-tiered slum city of Midgar, the epic Gold Saucer theme park and the pagoda-dominated town of Wutai, are like a revelation. One tiny bug-bear lies with the super-deformed characters who, in the field of play, look a touch incongruous amidst the finery. They’re not a problem as they don’t affect the atmosphere or running of the game, so their individual look belongs within the series cannon, as they frequently amuse.
And classics have a habit of delivering right across the board. Take the soundtrack for instance; FFVII’s is one of the absolute finest ever to grace a video game. You’ll remember the tunes in tandem with the memories, it’s fantastically diverse, incredibly evocative and remarkably consistent. ‘Anxious Heart’, an ominous, but achingly beautiful lament infuses an emotional relevance to the locations where the events of the past lie heavy on Cloud’s shoulders, contrasting with the funky bops of the Wall-Market, and again with the zany Chocobo themes. Amongst a stellar line-up, there are some incredible highlights; ‘Chasing the Black-Caped Man’ is a haunting, goosebump-raising melody that greets many of the caverns; there’s the tribal-flavoured brilliance of the Cosmo Canyon theme; the orchestral psychosis of Sephiroth’s own anthem and the mind-blowing Boss Battle theme (fittingly pair with some stunning, epic conflicts) that is so good, you literally won’t mind dying so as to hear it again; it’s no exaggeration to say I’ve never quite been able to stop humming it.
It’s one thing to complete a game that will take around 80 hours of gameplay time, but it takes a special endeavour to be worth playing through multiple times. I’ve played the game through three or four times, each time coming across tonnes of new bits I missed previously. In a show of astounding depth, two party members (Vincent and Yuffie), are non-essential to the plot and require significant seeking-out to attain their services through extensive side-missions: the former through a fabulous sequence of puzzles in a creepy abandoned mansion, and the latter after she steals all of your Materia and sends you on a wild goose chase.
The story enchants and the gameplay engrosses. It’s still so beloved that calls for a remake remain frequent, but really it isn’t necessary. FFVII is lovable because of its occasional eccentricities and non-P.C. moments (look up the Honey Bee Inn) and excellent characterisation, whilst its more recent successors conversely seem blighted by clichéd, unimaginative dialogues and convoluted narratives. Not everything technology allows for is an automatic progression: the lack of voice-acting in FFVII has turned out, in time, to be very much a plus, as has the lack of horrid cinematic cut-scenes. In other words: just enjoy FFVII as it was meant to be. As good a JPRG, and indeed as good a PlayStation game, as you’re ever likely to play.
It’s one thing to complete a game that will take around 80 hours of gameplay time, but it takes a special endeavour to be worth playing through multiple times. I’ve played the game through three or four times, each time coming across tonnes of new bits I missed previously. In a show of astounding depth, two party members (Vincent and Yuffie), are non-essential to the plot and require significant seeking-out to attain their services through extensive side-missions: the former through a fabulous sequence of puzzles in a creepy abandoned mansion, and the latter after she steals all of your Materia and sends you on a wild goose chase.
The story enchants and the gameplay engrosses. It’s still so beloved that calls for a remake remain frequent, but really it isn’t necessary. FFVII is lovable because of its occasional eccentricities and non-P.C. moments (look up the Honey Bee Inn) and excellent characterisation, whilst its more recent successors conversely seem blighted by clichéd, unimaginative dialogues and convoluted narratives. Not everything technology allows for is an automatic progression: the lack of voice-acting in FFVII has turned out, in time, to be very much a plus, as has the lack of horrid cinematic cut-scenes. In other words: just enjoy FFVII as it was meant to be. As good a JPRG, and indeed as good a PlayStation game, as you’re ever likely to play.
VERDICT
Visual: 10/10
Audio: 10/10 Gameplay: 9/10 Longevity: 10/10 OVERALL: 10/10 |
PIXEL SECONDS: FINAL FANTASY VII (PS)
It’s a testament to how tremendous FFVII was at launch that, despite twenty years having passed since its initial release, it still holds up remarkably well. FFVII stands as a technological leap from the classic 2D sprites to stunning 3D characters and animations during fight sequences, as well as gorgeous FMVs and beautiful pre-rendered backgrounds. But it’s so much more than that. The storytelling remains concise yet deep, entertaining yet dark (including one of the most memorable, shocking party member deaths in JRPG history) and is never self-indulgent. From the emotional backstory of Red XIII to the magnificent scenes with Sephiroth, there are simply too many memorable moments to count. The music, from the enchanting Temple of the Ancients to the driving battle theme, is nigh-on perfect. But above all else, it’s the gameplay which remains timeless, with its deep materia system having never been bettered. It allows for customisation far beyond what any convoluted sphere grids could manage, and even when you can get bogged down by random encounters, it never feels dull. When you factor in the main story, chocobo racing and breeding, the Golden Saucer and the legendary hidden bosses, FFVII is mountainous. For JRPGs, this is the gold standard most struggle to meet. [10] – Shane Battams © 2017
It’s a testament to how tremendous FFVII was at launch that, despite twenty years having passed since its initial release, it still holds up remarkably well. FFVII stands as a technological leap from the classic 2D sprites to stunning 3D characters and animations during fight sequences, as well as gorgeous FMVs and beautiful pre-rendered backgrounds. But it’s so much more than that. The storytelling remains concise yet deep, entertaining yet dark (including one of the most memorable, shocking party member deaths in JRPG history) and is never self-indulgent. From the emotional backstory of Red XIII to the magnificent scenes with Sephiroth, there are simply too many memorable moments to count. The music, from the enchanting Temple of the Ancients to the driving battle theme, is nigh-on perfect. But above all else, it’s the gameplay which remains timeless, with its deep materia system having never been bettered. It allows for customisation far beyond what any convoluted sphere grids could manage, and even when you can get bogged down by random encounters, it never feels dull. When you factor in the main story, chocobo racing and breeding, the Golden Saucer and the legendary hidden bosses, FFVII is mountainous. For JRPGs, this is the gold standard most struggle to meet. [10] – Shane Battams © 2017