After a five day delay it finally freaking came in the mail. I don’t normally get on crazy fan-girl hype trains like this but this, for me, is a truly unique game. I got hooked on Final Fantasy VII around 2000 on the PC version but I played it for the first time in 1997, when PlayStation in general was new to me. I was around nine years old and I got my mom to rent it from Blockbuster.
By 2000, the Zelda series and a monster-hunting PS1 game called Jade Cocoon were my two favorite games. And then Final Fantasy VII happened. And I still don’t think I’ve encountered a game that has a story that’s quite like it. Like I mentioned in my earlier FFVII entry, I think a lot of that may have been a series of happy accidents, of a ton of cooks pulling off a good soup against the odds.
However it happened, though, it happened, and if you clicked on this then I probably don’t need to catch you up. So because my nutty lil fan-girl heart won’t let me keep this to myself:
By the way, the FFIX Moogles are from an Etsy dealer called nhimconshop ^^
Between today and yesterday I’ve played for over twelve hours and I’m only just getting to the Airbuster fight. Still nowhere near finished, and I’ll definitely upload a post later when I’ve played all the way through. I’m completely spazzing out over this though and I gotta get something out now.
I’ve written at length on this blog about how scenarios originally written for sprites and dialogue boxes don’t always make the best one-to-one adaptations for modern graphics and voice acting. From what I’ve seen so far, though, the early portions of this game definitely justify the use of both. During the bombing of Mako Reactor 1 in the beginning, I quickly noticed something that FFVIIR did better than XV: meaningful use of size and proportion.
FFXV is a good looking game, don’t get me wrong, and it has some really cool moments with summoning Astrals- Leviathan and Bahamut in particular. Not to mention flying around in the Regalia. But the sense of size in FFVIIR seems to hit harder, somehow. Inevitably, this has got to do with my love for the original tempting me to compare the different versions. And…well…nostalgia: if you remember locations and events in a story fondly you would naturally enjoy seeing a beautiful and thorough reinterpretation.
Not that there isn’t depth to be appreciated in that comparison: I played through the original multiple times and I always wondered A. is mako a gas or a liquid and B. although it is made from the Lifestream does that mean that it is the same as the Lifestream? Is that why they’re both pale green? In the first Reactor, you see a giant pool of churning, luminous liquid with crashing waves folding in on each other like whirlpools.
At the same time, though, there is an appearance of thematic consistency to the presentation of size. When you first descend the ladders in the actual Reactor core at the beginning, you are coming out of a series of infiltration obstacles that make you feel both cramped and like you are being watched. The hugeness of the room with the mako pool and the Reactor core shocks you. Barret also asks an interesting question as you navigate the catwalks and ladders: if you fell in, would you just keep falling until you reached the heart of the planet? Anyone who has played the original game knows how important those words are.
Also loved the use of size and distance in Sector 7. Parts of it are cramped and dilapidated, but there’s also these gorgeous, sprawling distances, stretching out from beneath the plate.
Callbacks and contrasts are also implemented through music. A song called Lurking In The Darkness in the original soundtrack is heard for the first time in the remake in a new scene. Cloud is taken aside by some goons that look and sound like they work for Don Corneo, attempting to dig up dirt on Avalanche. (Remember, this is about my first impressions so I’m still early in the game).
A few different songs from the original soundtrack are used in different ways. The song On Our Way, in the original, isn’t heard until Kalm, before Cloud tells his version of the Nibelheim incident. In the remake, we hear it in Sector 7. In the original, we first hear Words Drowned By Fireworks when Cloud takes Aerith (or whoever) on a date in the Golden Saucer. In the remake, we hear Words Drowned By Fireworks in the flashback to Cloud and Tifa as kids.
(Is that true about the Golden Saucer date? I feel like I remember Words Drowned By Fireworks before then….even if the song is named after the scene)
Another cool bit of foreshadowing and cosmology-building is the story of what happened to Jessie’s father: mako poisoning. He never wakes up and Jessie has a theory on why: mako is the Lifestream, the Lifestream is the flow of transmigrating souls between lives. All souls pass through the center of the planet on their way to the next life. If her father’s body and brain are poisoned by mako energy it makes sense that his soul would be suspended between the center of the planet and his body.
She deduced this through a discipline called planetology. I don’t know if the word / concept of planetology existed before Dune, but that’s where I first encountered it. Not that this means that there’s some kind of epic Dune tie-in, but I think it’s cool that a related concept is now involved in FFVII. (It’s just an elaboration on ecology: when humans discovered space travel and started to own and buy and sell entire planets, they realized that the well being of an ecosystem hinges on the whole planet. So it’s changed to planetology)
All that about Jessie’s theory establishes an important concept that has a big role in the original story. I also appreciated how the clones are introduced earlier in the story. It validated a theory of mine that both Sephiroth and Jenova are not only controlling them but can actually possess the bodies of the clones and transform them. Ifalna tells us that Jenova is a shapeshifter in the original game, so that would account for Sephiroth’s apparent ability to travel vast distances instantly and Jenova’s different forms. Anyway, in the remake Cloud runs into a clone super early and Sephiroth possesses him. He actually makes Cloud hallucinate Sephiroth’s old appearance, black cape and all.
The combat system is also great. It’s not stupid simple like XV where you’re basically mashing one button over and over again and you can freely play as other party members. It also requires that you strategize in many of the same ways you did in the original- like pairing the elemental materia with a relevant element spell so you aren’t forced to constantly tap out your MP in order to exploit elemental weaknesses. There is also just as much necessity to consider how different materia impact your stats when doling them out.
If those of you who have played through the game already noticed my mention of the elemental materia, that means what you think it means: I did the big annoying Easter egg hunt en route to Mako Reactor 5. It bugged the hell out of me but I couldn’t let it go, I just had to get the materia. I also snagged the chocobo / moogle materia from inside the fan. This game has side quests, and they rope you in, but they don’t run the risk of derailing the story’s entire dramatic momentum like they do in XV.
Loving the shit out of this so far and can’t wait to keep playing ❤
The play-through continues below: