After the example of the famous Chinese NES bootleg, this version was made to be a closer reflection of the PS1 original. These adaptations were made by Lugia2009 with patching and translation support from Lindblum, who also provided the English translation for the first Chinese version.
The 2005 Chinese “Famiclone” is widely credited to Shenzhen Nanjing Technology, which tempts me to assume that the game engine is original. There are however unmistakable resemblances to the first three Final Fantasy games, including reused assets. For the most part, it plays like an early FF as well. A notable improvement is that your party has armor, weapons and materia from the very beginning, which I’m happy with since I’ve recently dealt with FF1’s initial grinding slog.
Of course, when I say materia, what I mean is magic that works the same way as the spells you learn in shops in FF1. Each party member has a single piece of materia when they join you and each one will grow its own roster of spells as you accumulate AP. Each party member can only equip a single materia at a time. Perhaps that was the best way to reconcile the materia system with the early FF scaffolds- simply integrate it into the existing equipment mechanic. It also simplifies strategy- even streamlines it.
To an extent, anyway. It gives each party member a distinct function. This comes through in the mid to late stages of the game when more healing spells are likely to develop (excluding Aerith’s Light materia- the only one with healing magic enabled from the beginning). The majority of your strategic freedom concerns elemental affinities, which is accommodated by the ability to equip and unequip materia in your inventory mid-battle.
On the other hand…elemental affinities are infuriatingly difficult to keep track of. Especially since the whole range of random encounter monsters could potentially show up at any point. Like in the image above- you can run into Christopher and Tonberries and stuff as early as the bombing mission at the start of the game. Sometimes there are vague encounter patterns, but you could potentially run into any monster anywhere. Some reasonable consistency is still maintained by how tough they are, though, relative to location and progression route.
This rom-hack retains a few of the base game’s sudden difficulty spikes but, fortunately, not all of them. In an NES format it would be maddening.
After the unpredictability of the monster encounters, the next biggest combat annoyance is the scarcity of group healing magic. Even without Aerith, you’ll probably end up having one of your party members carrying her Light materia. Then again, you could simply cough up for a ton of group healing items, depending on whether you prefer to rely on magic points or money. The former can increase its max limit with usage and regular stops at “magic shops.”
Which brings us to another key mechanic change- materia and weapon enhancement. Your character builds will hinge on two point values: conventional “grinding” by winning battles and the frequency with which you use both weapon and magic.
EXP, of course, raises your level and therefore stats, etc. AP is accumulated every time you use a weapon or a materia-based spell. When you reach a given maximum limit, you’ll need to stop at either a weapon or materia enhancement station to move the ball forward. Neglecting this can make you feel extremely naked and challenged early on so luckily it doesn’t take long to put it together.
Stat + items are also dropped way more frequently than they were in the base game, which is interesting. 4-8Productions, on YouTube, has a video about the only non-finite source of stat+ items: using the morph materia on any monster in the crashed Gelnika. This is, naturally, a huge pain in the ass because that means whittling down a ton of really strong monsters to roughly below 10 HP so the morph ability can knock them below 0. However, if you’re patient and persistent enough, you can unlock a HUGE work-around the leveling system. (Yes I’ve done this and yes it’s every bit as grueling as it sounds)
This can either be good or bad. Good because it enables more character build freedom or bad because it makes a group of PCs that feel kinda same-y even less unique. As much of a fanatical Final Fantasy VII fan girl as I am, I still can’t help noticing that the combat system lurched between stilted and fluid to the point of emptiness. In order to notice and take interest in the subtleties of FFVII’s character build avenues, you would almost certainly need to like the story and the fictional world enough to pay close attention. While I’m one of those people, it’s still kinda sad that the character build experimentation was not more accessible.
Since this is an 8-bit, NES demake of Final Fantasy VII, it is necessarily shorter which means less time to stop and smell the mako. Which means the finer points of gameplay need to carry more weight. Perhaps the frequent stat+ item drops from monsters were meant to add an extra layer of build variability. This, like healing magic from non-Light materia, will likely be at its most noticeable near the end. Chiefly because you’ll have the ability to travel between the different land masses and observe which stat + items are dropped where.
Essentially, the progression route follows the original as closely as it can. Some of the music, early on, is a little tinny, but evens out once Cloud makes it to the Seventh Heaven. The chip-tuney version of Lurking In The Darkness was a pleasant and charming surprise, especially since it gets used in a few more dungeons. Those Who Fight Further was converted nicely which matters- in graphically simple turn-based RPGs, music carries a lot of weight.
As per the necessary shortening, certain musical cues are adjusted. During Cloud’s brief dream dialogue before waking up in Aerith’s flower bed, I was surprised to hear Listen to the Cries of the Planet (the music from the Forgotten Capital in the original game). Reunion is heard for the first time inside Gaia’s Cliff, which I appreciated. I realize that Reunion is basically Aerith’s Theme with a lower, mysterious-sounding key change. But I always thought it was unfairly overlooked.
One interesting consequence of the shortening was a new presentation of Cloud’s mental struggles. We simply hang out at the Inn room in Kalm as Cloud tells everyone. No actual flashback. Which means, when the party gets to Nibelheim, the player is seeing it for the first time. Unless you hang out nearby for the grinding, you won’t see it again until the illusion just outside of the Northern Crater. It’s a neat way to build tension; a series of small, gradual reveals that create questions about why Cloud told things the way he did.
Obviously there are far less side quests and stuff like Wall Market are pretty linear in comparison. I noticed some collision detection oddities on the world map (which, mechanically, functions no different from anywhere else) which made me wonder. I’ve been playing through the second quest on the Challenge Games Legend of Zelda rom hack, so I have been doing some compulsive wall-testing lately.
Maybe the Zelda hack is making me obsessive…but after I found a short length of mountain you can walk over in the Icicle area, I immediately doubled back and started testing other terrain barriers. Particularly around Wutai and the area between the Mythril Mines and the place where Fort Condor is in the original. You can see little entrances under mountain ranges and house sprites in inaccessible areas.
Like…you can see the entrance to the cave with the old miner who gives you Aerith’s Great Gospel limit break in the original. If you explore in the northern oceans, you can see a house that looks like it might be the home of the Chocobo Sage. On the southwestern continent, you can get a view of a circular pond collected from a waterfall that then feeds into a lake, like Lucrecia’s hideout.
Then again, the moogle construction site of Wutai was obviously there just to…pay tribute to the original and add a bit of cute, aesthetic consistency. Sort of a wink and a nod saying “Yeah, we get it, it should be there, but what do you expect? It ain’t like we got three discs!” Maybe the miner’s cave and the Chocobo Sage’s house are decorative, as well.
In an objective and qualitative assessment, this is equivalent to a streamlined NES-era Final Fantasy. Other than this one, I’ve played some of the very first FF and the very beginning of the second. This reimagining of FFVII has an intuitive and accessible combat system and some simple “high score” rewards that let you enhance your weapons and materia. The adaptation of the soundtrack from the original also adds to its stylistic distinction from other NES Final Fantasy games. But this second iteration of NES Final Fantasy VII doesn’t exactly “push boundaries.”
But for FFVII fans who also like retro gaming, this game is rather more than the sum of its 8 bits. Also like the original Final Fantasy VII, the storytelling is the main distinction here. The portrayal of Cloud’s background is significantly altered, as is the date with Aerith in the Gold Saucer. The location within the Northern Crater where Sephiroth’s original body is located, right next to Sapphire, Ultima and Diamond WEAPONs, is named “The Mako Tree” and the Prelude music is heard there, like the crystal chambers in FFIV and FFV. Since the original FFVII was such a huge tone shift from all others before it, I was both bemused and charmed to see this thematic tie-in with the older, “swords and sorcery” games.
The “tree” part is also an interesting touch. Especially given the shortening of Sephiroth’s name during combat. I know it’s an NES remake which means that menu commands, item names, monster names etc. get shortened sometimes, what with the limited information storage. But when you name the antechamber of Sephiroth’s stronghold “The Mako Tree” and you drop the “h” from the end of his name…it kinda puts the whole Tree of Life symbolism closer to the foreground. Maybe it’s not the biggest deal in the world, but I think it’s cool.