Whispers from a Forgotten Past: Final Fantasy VII Remake

There probably isn’t much that hasn’t been said about Final Fantasy VII Remake, but that’s okay. I’m not here to make some grand, unique contribution to the conversation. I have a lot of thoughts, though (and even more screenshots), and I want to start sharing as I often do – with a bit of personal history. This game, more than almost any other, requires it, I think. I should, of course, give a pretty explicit [SPOILER WARNING] for those who haven’t played it yet.

The original Final Fantasy VII came out in January of 1997 to much pre-release marketing and post-release fanfare. I wouldn’t get my PlayStation console until the end of that year, mainly for Resident Evil 2, so I was in a bit of a rough spot. In the year or two prior to FFVII’s release, I had fallen deeply in love with JRPGs. After Chrono Trigger sucked me in, I sought similar games, and Final Fantasy III (VI) had a similar art style (in my young mind, with not much to compare them to, anyway) and was made by the same company, so it was a logical follow-up for me. Like Chrono Trigger and EarthBound before it, it entranced me. I loved the characters, the story, the systems, and, of course, the music. The title sequence and opening scene is still one of my favorites of all time, and its score is a big part of that. I played all of these on the SNES, of course, and like a devoted Nintendo fan I dutifully pre-ordered and picked up an N64 on day one.

So when the hype for FFVII began to spread like wildfire, I was a little sad. A little bitter. A little without the ability to adequately convince my parents that I needed a second video game console (until later that year, as mentioned). I had to suffer through hearing how incredible and amazing and groundbreaking and massive this fantastic JRPG and follow-up to my beloved FFIII was. I wouldn’t play it until the following year, and to this day I have to wonder if playing it at launch would have allowed me to appreciate it more. Don’t get me wrong, I liked it. It really was massive, the cinematic cutscenes were rad, and the music, again, was top notch. I found such joy in seeing callbacks to previous games, like the moogles and chocobos. But I absolutely hated the character models, especially because the environments were so much more realistic and not bizarrely proportioned. Overall, I didn’t love it like so many others had, and since then it has occupied the middle of my list of favorite Final Fantasy titles.

How could I not be excited for a remake, though? Since playing VII I have played every mainline FF game, plus a few of the spinoffs and one of the MMOs, and I have loved most of them. Some of the elements shared between games – summons and chocobos and moogles and airships and such – have become woven tightly into the fabric of my gaming identity (and, in the case of moogles, inked right into my skin). So any new FF game is cause for celebration in my mind. But people have been asking for a FFVII remake for years, and I was always curious about how Square would pull off such a feat, so I did end up getting more hyped than expected for this game.

I’m sure if you’ve gotten this far you’re thinking something like “uh, okay, can you just get to the point?” or “why do we need all of this context? Just show me the pretty screenshots,” or “oatmeal raisin cookies are better than chocolate chip cookies,” and with that last thought you are absolutely out of line and have ruined any semblance of credibility you might have had so I will be dismissing any further criticism from you.

The reason I wanted to share so much of my backstory is that it mattered more to me and my experience with this game than I would have imagined. I’ve had strong emotional ties to FF games and characters and stories, but I wouldn’t have claimed the same for my time with the original FFVII. But as the game booted up and “The Prelude” played, I felt strange stirrings of nostalgia. With every familiar shot – Aerith on the street, a high view of Midgar, Cloud looking up at a Mako Reactor – I felt my eyes tingle with the threat of tears. The moment it really dawned on me that I was nearly choking on nostalgia was when I heard “Mako Reactor 1” play out as I made my way through the game’s first chapter. The previous cues, visual and audio, had prompted some nostalgic whispers, but this track really made everything swell forth. I remembered the small apartment in Chicago that my family lived in at the time. Just off Belmont and Laramie, right behind Jade Dragon Tattoo, where I told myself I’d get my first tattoo. It was the end of my freshman year at Lane Tech High School. An unusually warm spring. We didn’t have an air conditioner so we had the windows open and box fans puttering along. I played on one of those big, old, floor TVs. My family was falling apart. I was depressed but excited for summer. I thought I might get to go to summer camp and maybe, just maybe, have my first kiss with my first “real” girlfriend. I made nachos with too much cheap cheese and Kool-Aid with way too much sugar. We had an infestation of giant ants with wings near a window in our living room, so occasionally one would smack me in the face when I was playing late into the night. I had dreams of becoming a rock star.

It might seem dramatic, and maybe I’m expanding on what were much briefer flashes of memory and emotion, but all of this sprang from just the opening scenes of the game. These characters, this music, this story that I had once felt was just pretty okay and not nearly my favorite, suddenly they meant everything. They are and were a part of my life. A more important part than I’d realized, I guess. I’m not trying to overstate anything. I understand that this is just one of many, many games I’ve played, and it does mean less to me than, say, Final Fantasy III or VIII. But I don’t know that I’ve ever had such a strong nostalgic reaction to a game before. It might be because I haven’t played the original in, what, 22 years? Whereas with games like Chrono Trigger and EarthBound, I play them every so often so the nostalgia is tempered. One core reason for starting this blog was to chronicle some of my gaming memories, so I wanted to share this as well.

After all of that, you might be sleeping. Or you’re still fuming over my justified criticism of your taste in cookies, you absolute monster. So let’s get to the game itself. In short, nostalgic kick in the feels aside, I loved it. This is not a review so I won’t go through all of the systems and every facet of the story, but the combat was fun and pleasantly reminiscent of FFXV. And like FFXV, I wish there were more summons. The six that I have (and I think there might be one more?) are pretty great, but I miss the days of having a healthy number of dazzling magical beings to call to my side (yes, this is just the first installment, I know). I also wish there was a dedicated photo mode, but I was able to capture some decent shots. Like this little gem:

I mean look…

…at that face.

Speaking of faces: damn. The characters in this version look so good. It seems like they may have cut some corners on some other visual assets, because there were some less-than-crisp textures here and there, but the faces, eyes, hair, clothes, skin textures… all looked stellar. I was also impressed by the work they put into mouth movement, to make them match the English voices. I appreciated that even more after watching Final Fantasy VII: Advent Children (for the first time, despite owning the special edition DVD since the day it was released *nervously sweating emoji*), where a lack of regionalized facial animation meant some truly awkward looking and sounding lines.

One of my absolute favorite things about this version is how much they expand on the characters and really round them out. I haven’t played the original in a very long time, true, but I feel like I know these characters more and have a deeper connection with them after this game, compared with how I felt after the entirety of the original game. The writing, voice acting, and animation brought so much life and energy to the smallest of interactions. FFVIIR’s writer, Kazushige Nojima, recently said that he wanted to make Cloud a more complex character in this version, not so “lame.” I think they pulled that off. In the original, Cloud felt a little like a brat. He comes off as cold in this version, but not exactly bratty. More distant, jaded, hesitant to trust, maybe. I also love how they built out Barret, Tifa, Aerith, and even Biggs, Wedge, and Jessie. They are not only cool, full characters on their own, but their interactions with Cloud and the rest of the party are important and help to further develop those characters, too.

I probably won’t write much about this game in my dissertation because it takes place in a fantasy setting (and I’m looking at Japanese depictions of real places), but I did think there was a lot of cultural stuff ripe for analysis. This is already running long so I will just briefly discuss one: the controversial Honeybee Inn scene, where in the original, Cloud is dressed like a woman and some insensitive, homophobic remarks/suggestions are made. Japanese games have a complicated history with queer representation. They have, for a long time, been more willing than big Western developers to include women and queer characters in prominent roles in games, but this increase in inclusion has meant an increase in problematic representation as well. I think it’s important to note that much of the criticism of Japanese games and their portrayals of queer characters comes from a Western perspective, with a Western sense of what is “right and wrong,” or “good and bad.” Having said that, I am not defending every warped depiction of queerness in Japanese games. There are plenty of examples of (usually) gay male characters that are used to create fear in straight characters, or are made to be over-the-top, clownish caricatures that are problematic in any culture, I would argue, because regardless of audience they remove or lessen the humanity of these characters and create an unrealistic trope which real queer people are then unfairly expected to mirror.

That said, I have noticed a trend in Japanese games where queerness and queer characters are treated with increasing respect and realism. From the explicit statement of LGBTQ+ support in AI: The Somnium Files, to Atlus’s inclusion of a new, datable trans character in Catherine: Full Body, their acknowledgment of the issues with queer representation in Persona 5 and their edits in Persona 5 Royal to correct such issues, to overt discussions of gender and identity in Punch Line, to, well, the new Honeybee Inn scene in FFVIIR. In this scene, I was waiting for signs of Cloud’s refusal to participate in the dance or makeover, but he is all in and the entire scene is big, exciting, and fun. Cloud expresses a desire to not talk about it afterward, but given his stoic, guarded nature, they seem to have made it more about his discomfort with being in the spotlight and not his dressing as a woman. Andrea, a queer-appearing character, even makes a comment that “True beauty is an expression of the heart. A thing without shame, to which notions of gender don’t apply.” This echoes some of the remarks made about gender in Punch Line, and seem to align with a Japanese sense that gender is something that is, for lack of a better word at this point in my studies, spiritual, rather than cultural, psychological, or scientific. None of this is to say that any of the examples I’ve given are perfect in their representation of LGBTQ+ characters, and of course this is coming from the perspective of a straight man who is still learning much about queer representation in media, but I was happily surprised by how well they pulled this scene off.

Speaking of true beauty, however, you know I have to comment on the classic debate among old school FFVII fans: Tifa or Aerith? Who is more worthy of Cloud’s romantic attention (or the player’s, for that matter)? I never really had much of a horse in that race. I never really developed a crush on either when I played the original game, in part because their character models looked like plastic dolls that had been mostly melted and then put back together by a near-sighted Popeye fanatic. With the new character models and expanded personalities, though? A much more difficult choice.

I chose Aerith as my date in the Gold Saucer segment of the original game, and I figured I would probably go with her in this one as well, to stick with the choice the narrative seems to want me to make. But in the scene where I could choose to help either of them up after a fall, fully knowing that this choice was significant and would probably affect the story down the line, my gut instinct was to help Tifa. Don’t get me wrong, I love this version of Aerith. She is funny, kind, optimistic, powerful, and quite beautiful. I would 100% offer to be her bodyguard (even when she clearly doesn’t need it).

But Tifa… I don’t know. I guess I really connected with the indecision and sense of powerlessness that she so often seems to struggle with. She is clearly a badass and has some really kickass scenes where she’s, well, kicking ass. But from the beginning she’s dealing with the mixed emotions that come with seeing her childhood best friend (and crush) back from war, but seemingly different and with some pretty clear memory issues. Yet she doesn’t express this to Cloud. She represses it to focus on her role in this revolution against Shinra. Maybe not the healthiest approach, but I can relate. And, like Aerith, she too is gorgeous.

And so it seems in the next installment(s) Cloud will be forced to choose between the safe comfort of his childhood friend or the exuberant warmth of this bright new girl. As for me, I have a new crush: Jessie Rasberry.

I mean, no question. As with the other characters, she is fully developed with an interesting backstory, in which she came to the big city to be an actress but ended up joining a militant group trying to take down Shinra in order to enact justice for her father. So we see that, like Aerith, she has this cheerful, flirty persona that hides a serious side that fights for justice and is willing to sacrifice everything to help others. And, again, like everyone in this damn game, she is breathtakingly beautiful. Not to mention, she throws herself at Cloud! How was he able to resist! I mean, look:

Where is the “yes, absolutely, 100%, what time should I be there, I will do anything, please” option!? Look at how she’s looking at him! Sorry, I’m yelling. I just can’t understand how Cloud could so casually cast her aside. “But she’s so desperate!” I hear you shriek between disgusting mouthfuls of oatmeal raisin cookies. Well so am I! Even if I weren’t, though, come on. She is a catch. She’s cute. She’s tough. She’s talented. She’s dressed like a knight ninja. And:

I will hear no further arguments. Jessie for life. That headband in the ending cinematic better fucking mean she’s coming back in the next game.

Okay, this is approaching the length of a bad fantasy novel, so I need to end this. I have many more thoughts, but I just want to comment on one final thing: the Whispers, of which Barret says:

I took the Whispers to be symbolic of the struggle that must have come with remaking such an iconic game. Video game development is part business, part art, and I’ve heard many creative-minded developers (including some from Square) express no desire to revisit old ideas. They want to create new worlds, characters, and stories. So for them to return to such a venerable game, they must have faced immense pressure from within and without to both stick to the old formula and shake things up. These Whispers seem to represent that struggle. They, and maybe fans, want something new and exciting to happen in this familiar world, but they also kind of want what they know they already love. So, for most of FFVIIR, we get the safe, the recognizable. Prettied up, expanded, bulked out… but mostly the same. But when you defeat the Whispers at the end of the game, that would suggest that these safety nets, these shackles of the past, are no more, right? If so, and we’re looking forward to games that deviate in some ways from the original game (like Aerith surviving? Or Sepheroth joining your team to face a greater foe, à la Magus from Chrono Trigger? Or Cloud ending up with Jessie because she’s clearly the best choice, no more arguments?), I am so excited for what the future of this series might bring. I guess you can call me a FFVII convert.

Don’t Speak: Silent Protagonists

I’m using video games as illustrative texts in the first year composition course I’m teaching this semester, and we’re focusing a lot of our attention on identity. It’s a topic I think about a lot, particularly when I’m playing narrative-heavy games or games that are meant to be especially immersive. I wouldn’t say I actively or consciously think about it, though. It just kind of buzzes around my head when I’m creating a new character or interacting with people in RPGs. “Would I have really said that?” I might wonder as my character says something particularly barbarous to a party member who I actually kind of like. Moments like this, in games like Mass Effect, or Fallout, or Final Fantasy make me think of the days when the silent protagonist was the default lead character in RPGs. While they’re still around, they’ve mostly been replaced by protagonists that do speak, even if prompted by specific user input. Were they better at creating immersive narratives?

EarthBound Ness

Well I’m not here to answer that, but I wanted to sort of work my thoughts out about it. I don’t remember thinking about the fact that my character was ‘silent’ in NES games like Faxandau or The Legend of Zelda. It was just how things were. ‘You’ were Link, or Mega Man, or the countless and nameless other lead characters of many classic games. But when I made the move to RPGs like Chrono Trigger, Final Fantasy III, and EarthBound (a console generation later) I found myself thinking about my character, or ‘me’ more, likely due to how much dialogue there is in games like these and the fact that you actually interact with characters and make decisions that affect the story.

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I had some things in common with Crono. We were both teenagers who lived at home and had a particularly hard time waking up in the morning. But he had pretty bulky biceps for a ‘kid,’ spiky red hair, and he ended up being pretty fierce with a katana. I had pretty average biceps, a shaved head, and was only fierce with an SNES controller. I knew I wasn’t Crono, but I named him ‘Joey’ anyway, because I wanted to pretend that I was him for the adventure I was about to embark on. In fact, Chrono Trigger was the first game I remember having a party of characters who I could name, and it is where I began the tradition of naming the main character for myself and my supporting cast for my friends and/or celebrities. It didn’t really matter if I matched up very well with the main character; I was the one playing so I was the character who would make the most difference in how the story played out. It makes sense, given that as a child I wanted to be the main character whenever I played, whether it be something with a clear main character (as with Batman action figures) or with an ensemble (like make-believe Teenage Mutant Ninja Turtles). It makes me wonder about roles and identity in play outside of gaming, but I’ll have to dig into that in a later blog. I’m rambling enough as it is.

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James Paul Gee talks about the idea of identity in narrative games, with there being three distinct identities at play: the player, the character (a reflection of the developer’s own identities), and the character with the player’s identity projected onto it. The player brings their own identity to a game: they are, let’s say, adventurous but cautious. The character is written in a way that might be somewhat different than the player: maybe they are adventurous but brash and not very cautious. So the player projects their identity onto the character, reading those moments where the character does something brash as momentary lapses in judgement on their own (fictional) behalf. The player does not become brash in real life, and they can only make the character be cautious some of them time (because the developers choose points in the game where the character must act brashly to develop the plot how they want to).

Dragon Age Inquisition

With silent protagonists, it seems like developers are careful and very conscious of this interplay of identity. They want players to feel like they are in charge of the character’s actions and motivations, but not so much so that they mess up the game’s plot. Even in more recent RPGs, that have speaking protagonists but offer many choices for how your character interacts with other characters, you usually can’t do things that would spoil the main story of the game. You can’t simply leave the Capital Wasteland in Fallout 3, searching for a better life. You can’t build a little house on a remote planet in Mass Effect 3 and live out the rest of your days with Tali. The games give you many choices, sure, but it’s never really you in the role. You can make all of the choices that your character might make, but not all the choices that you might make if you truly had the options.

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The same could be said about your interactions with characters in these games. The BioWare RPGs are especially known for giving the player a host of dialogue choices and relationship options when it comes to your party members, but again, you can’t truly say whatever you want. If you’re trying to woo Dragon Age’s Morrigan, who is easily offended and put off (but worth the effort, because holy crap, I mean, come on), and you say something that angers her, the game doesn’t let you immediately apologize or try and smooth things over. Usually, you’ve blown your chance to advance your relationship with her and have to wait for the next opportunity to try again.

Morrigan

I’m not trying to make a point about limitations and reality, because I understand that for every player action, the developers have to code for a reaction, and coding for enough reactions to cover the breadth of human creative input is impossible. I’m just thinking about how these choices impact the player’s sense of projected identity. Games that allow you to choose how you interact with the game’s social world and shape your relationships with party members almost certainly make for a more immersive identity experience, even if it means that the character will say and do things that the player doesn’t necessarily want them to. Silent protagonists allow the player to fill in the blanks, imagining what the character would say to party members or how they would react to plot events. This may allow for a different kind of immersion, but it seems difficult to argue that it would be more effective than the characters that you create and use to carry out conversations with party members.

Visas Marr

I’m also a little curious about why they’ve fallen from popularity, especially in western RPGs. They were, at one point, a bit of a punchline (as many tropes end up), but I don’t recall hearing many complaints about their use in games like Dragon Age: Origins, Knights of the Old Republic or The Elder Scrolls: Skyrim. It will be interesting to see if their use declines further, and even more interesting to see if they make it to the (eventual) virtual reality RPGs. With language detection becoming more widely used, I can easily imagine an RPG that shows you your dialog choices and gives you the option of saying them out loud. Anyway, I’m rambling again. I’m not so silent about this topic (see what I did there?), and I could go on and on, but I just wanted to work some of my thoughts out for later use.

Final Fantasy XV Forever

I spent the last two weeks of my winter break playing as much Final Fantasy XV as I could. I’d hoped to beat it before the semester started and things got busy, but of course that didn’t happen. I’ve since completed the story, using every scrap of free time I had, but it still wasn’t enough. FFXV is the kind of game that I don’t want to stop playing. I don’t want the game to be over. Luckily, this entry in the series is in line with some of the old-school Final Fantasy games in that it has tons of post-game stuff to do, like super hard dungeons to conquer and ultimate weapons to hunt down and wrestle from the jaws of some particularly nasty creatures.

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I’m sad just thinking about not having anything left to do once I complete my last few objectives. I’m currently grinding AP to unlock some of the pricier Ascension skills that I feel like I’ll need to take on the hardest secret dungeon in the game and Adamantoise, the enormous turtle that apparently takes hours to defeat. That will take care of the ‘big’ things, so if I’m really feeling depressed about finishing I’ll just have the high level hunts left to do.

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Prior to the game’s release I avoided virtually all hype or even discussion about it. I learned the dangers of buying into hype long ago, so for games I’m already excited for, I play it safe and stay away from news and previews (I still get burned, on occasion, but it’s pretty rare). There’s something about the purity of experiencing a game with little expectation. Anyway, I say this because I’m glad I avoided previews and reviews, because apparently some people really didn’t like the game (or some parts of it, anyway), and I can’t help but wonder if seeing that stuff ahead of time would have subconsciously affected my enjoyment of it. Would I have gotten to the section that seems most harshly judged and been looking for it to be bad, making me appreciate it less? Retrospectively, I don’t feel the way others do about that part of the game. I won’t be too specific, in case anyone except Russian bots (thanks, Google Analytics) reads this, but the complaints are mostly based on the sudden change of pace and a change in your party’s line-up. That’s sort of a Final Fantasy thing, though. It doesn’t happen in every game, but some of them definitely have major shifts in pace when the world map becomes inaccessible due to apocalyptic events, or cases like FFIII (VI), where you are forced to split your party into three groups for the final dungeon. Sure, it was a little annoying because I was so used to having my friends back me up in combat, and a little quiet because they weren’t there to add color commentary, but the change in atmosphere felt purposeful. I was on my own, a little anxious about what I’d have to face, a little worried about my friends’ safety… it was an effective change to the cadence of the game to that point.

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That aside, I just genuinely loved playing this game. I was resistant when Square-Enix began messing with (modernizing?) their traditional turn-based/active-time battle system, but I ended up loving the fast-paced and fluid combat in FFXII, and the combat in FFXV reminds me a lot of it, but even better. Initially I was hoping for a return of the gambit system from FFXII as well, where you can essentially program your party’s behavior, but I didn’t miss it all that much. I was always aware of my partner’s location, weaknesses, and strengths, and once I found a balance between using that information with my own attacks, it was incredibly fulfilling, especially against large, difficult monsters.

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While I had reservations going in, the world and characters ended up becoming a natural part of the Final Fantasy landscape for me, too. I know the worlds in previous games have been drastically different from each other, but the few screenshots I’d seen of FFXV before playing made me worry it was going to be too slick, modern, and realistic to feel like a, well, fantasy. I was wrong. I mean, there are better characters, but these characters seem to have more personality and are more memorable than most of those in FFXII and FFXIII.

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I was a little disappointed that I couldn’t build and customize my group for a fair chunk of the game, but after a while I grew used to and appreciative of my bromantic partners and the chemistry we’d built. [Some spoilers ahead, dear non-bot readers] Still, I wanted to see a lot more of Aranea Highwind, and I wanted her to be a (permanent) party member even more. It almost seems like she was meant to be, at some point, given that you fight her, temporarily join her later, and she has her own set of moves and weapons/armor. I would definitely play a Final Fantasy XV-2 that starred a group led by (or including) her. From the early days of my Final Fantasy playing, I wished you could choose and woo the romantic partner of your choice, as you can with BioWare games now. Sorry, FFVIII’s Rinoa – I would have gone to the moon for Quistis, and you would have had to help me get there. Aranea would have probably been the object of my romantic efforts in FFXV. She is, as the kids say, bae.

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Aranea was far from the only bit of beauty in the game though, as I was almost constantly catching myself in awe of how gorgeous the world, characters, and almost everything is. One of the weird things I pay close attention to in games is geography/geology. I appreciate open world games that seem natural and realistic in terms of how the land is shaped and the land features work together. FFXV’s canyons, mountains, volcanoes, hills, forests, etc. all seem to have spawned from actual geologic events, even if some of those events might have been more powerful or variable due to the magic-and-god-infused universe in which they reside. The grass, trees, boulders, bushes, etc. seem to be where they should and not just dropped in by the god-hand of some invisible programmer.

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I also caught myself appreciating how similar the CG scenes looked to the in-world graphics. I remember seeing the trailer for Final Fantasy VIII and feeling so awed by how stunning it looked… but then a little sad because I knew the game itself wouldn’t look nearly that good. We’ve come a long way, though. Still, the CG in the middle of the game, when you meet Leviathan and just after, has some of the most incredible and breathtaking graphics I’ve ever seen. I found myself crying during one of those scenes, and I can’t help but wonder how much of it was what was happening in the story and how much of it was how overwhelming the visuals were.

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I could go on and on (chocobos were cool, I like the car stuff, the post-game flying car sucked, etc.), but I just wanted to get some of my thoughts down before finishing the game. I’m sad to see it go, but I’m happy I had a chance to play it. I don’t know if it’s my favorite Final Fantasy game ever, but it’s easily top three. It’s hard to say, either way, because the series is filled with games that are so different from one another, but if I gauge it by how sad I am that I’m almost done playing it, FFXV is probably number 2 or maybe even number 1. I’ll end this blog by posting some of the pictures taken by my characters in-game, along with a few screenshots that I took myself so that I can look back nostalgically at some distant point in time. Farewell, beautiful friend.

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