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Game Review: Final Fantasy VI

 

07-16-16 03:24 PM
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https://www.youtube.com/watch?v=sLpjPht5mvg

Final Fantasy VI was one of the last grand RPGs for the 16-bit consoles (the last one, in my opinion, being Chrono Trigger). The game had some of the best graphics of the time, one of the most complex (not complicated, though) scenario and, of course, one of the best soundtracks. Definitely more at ease with the technology, Nobuo Uematsu pushed the SNES sound chip to its limit with some of the most complex arrangements of the time – at a higher degree than Yasunori Mitsuda for CT.

It shows very well early on with the battle theme and the victory fanfare; both classical themes are its best rendition (up to Final Fantasy X). The former finally has realistic trumpets playing at the right pitch, and the violins in the second part of the loop add a good touch of epicness. Its tempo is also perfect, and the unnamed “instrument” that introduces the theme is excellent to introduce a battle theme. The victory fanfare, on its side, also has realistic trumpets and they sound very joyful; it sounds like a sweeping victory (like Grandia I’s victory fanfare when the enemy doesn’t hit you).

The (very) many characters also get a theme each, and they are reflective of their persona. Locke, a “treasure hunter”, has a kind of quiet heroism tone, i.e. it sounds just epic enough so we know he’s not the main character but he still is an integral part of the plot. Setzer too has this “quiet hero” tone, although his theme is more epic because he does own the world’s only airship – a little like Cid’s theme in Final Fantasy VII. Cayenne (Cyan), the disciplined warrior, sounds just like that with the excellent flute arrangements in the first part of his loop and the somewhat sad strings in the second part showing his inner struggles. Shadow, the lone wolf, has a kind of Western theme which is perfect for this solitary warrior on his own.

However (to my ears), not all themes were done well. Gau’s theme uses cellos that are too loud and dramatic for my taste. Yes, he did have a rough childhood but since his role in the quest isn’t that big I think it was pushed too far. Cellos were put to better use in the Castle theme (and dungeon theme) in Dragon Quest VI. Similarly, Relm’s theme sounds too childish. She may be just 10 years old or so, but I just don’t like how it sounds. Her grandfather’s theme, Stragus, just sounds too weird and ordinary to be a mature character’s theme (maybe Mog’s). Finally, Celes’ theme is a rendition of Aria di Mezzo Carattere and that theme sounds better. Celes’ version sounds too sad.

There are also several dungeon themes that are also an excellent fit in their use. Mt Koltz reminds me a little of the Mountain theme in Final Fantasy IV, but the violins used here help make the theme more epic, despite the weird organ in the second part of the loop. The Phantom Forest has excellent arrangements to reflect the mysterious ambiance of this haunted maze. The flute may be loud at time but it still sounds relaxing. Devil’s Lab (the Magitek plant) has an interesting modern touch (as if people were hitting metal pipes in the background) with its bass and synth arrangements. You can still hear violins that add the right touch of epicness. Speaking of which (even though it’s really a battlefield theme), Save Them is also excellent. Its quick tempo shows you that you must move very quickly in order to keep the enemy from reaching a strategic person you must protect.

Even recurring themes inside villages are adapted to the situation. The regular one (Kids Run Through the City) does feel like we’re in a peaceful place where children can run around without worries. Under Martial Law, on the other hand, sounds much heavier and slower, showing that soldier have the upper hand and control everything. The Day After (ruined village) sounds very sad with its flute, as if to remind people that days have been better in the past. Speaking of which, the difference between the first overworld theme (Tina’s theme) and the second one (Dark World) is even better than the overworld themes differences in Final Fantasy V. The former had a very epic flute playing through the loop to reflect the greenry all around with military drums to show that there is still trouble around, while the latter sounds very creepy with its dark organ arrangements and even a wind howling in the background to match the desolate state of the world after the crashing of the New Continent.

FF VI also boasts the most epic final dungeon theme ever. It starts slow and synthesized, but once the trumpets kick in you know that your quest is about to end. After a small violin sequence the trumpets get even more epic in the second part of the loop, help by the drums in the background. Dancing mad, the final battle theme, includes all four “stages” of the final battle. Because it lasts 16 minutes in total, it might have been better to separate them.

But like any soundtracks, FF VI has it weaknesses. Edgar and Mash (Figaro Castle theme) has its trumpet much too loud to be enjoyable. Mind you, it does sound regal but Dragon Quest VI did it much better with its cellos. Searching for Friends, while it does sound full of hope that you will find your team mates once again with the flute, is completely spoiled with the background beat that is completely out of place. Finally, the chocobo theme was WAY overdone; it sounds like cheap techno music with New Wave synths.

In short Final Fantasy VI should be part of every video game music maniacs’ library. It features among the best 16-bit arrangements (and sometimes of all times) that set the bar so high I was a little disappointed with FF VII. 

https://www.youtube.com/watch?v=sLpjPht5mvg

Final Fantasy VI was one of the last grand RPGs for the 16-bit consoles (the last one, in my opinion, being Chrono Trigger). The game had some of the best graphics of the time, one of the most complex (not complicated, though) scenario and, of course, one of the best soundtracks. Definitely more at ease with the technology, Nobuo Uematsu pushed the SNES sound chip to its limit with some of the most complex arrangements of the time – at a higher degree than Yasunori Mitsuda for CT.

It shows very well early on with the battle theme and the victory fanfare; both classical themes are its best rendition (up to Final Fantasy X). The former finally has realistic trumpets playing at the right pitch, and the violins in the second part of the loop add a good touch of epicness. Its tempo is also perfect, and the unnamed “instrument” that introduces the theme is excellent to introduce a battle theme. The victory fanfare, on its side, also has realistic trumpets and they sound very joyful; it sounds like a sweeping victory (like Grandia I’s victory fanfare when the enemy doesn’t hit you).

The (very) many characters also get a theme each, and they are reflective of their persona. Locke, a “treasure hunter”, has a kind of quiet heroism tone, i.e. it sounds just epic enough so we know he’s not the main character but he still is an integral part of the plot. Setzer too has this “quiet hero” tone, although his theme is more epic because he does own the world’s only airship – a little like Cid’s theme in Final Fantasy VII. Cayenne (Cyan), the disciplined warrior, sounds just like that with the excellent flute arrangements in the first part of his loop and the somewhat sad strings in the second part showing his inner struggles. Shadow, the lone wolf, has a kind of Western theme which is perfect for this solitary warrior on his own.

However (to my ears), not all themes were done well. Gau’s theme uses cellos that are too loud and dramatic for my taste. Yes, he did have a rough childhood but since his role in the quest isn’t that big I think it was pushed too far. Cellos were put to better use in the Castle theme (and dungeon theme) in Dragon Quest VI. Similarly, Relm’s theme sounds too childish. She may be just 10 years old or so, but I just don’t like how it sounds. Her grandfather’s theme, Stragus, just sounds too weird and ordinary to be a mature character’s theme (maybe Mog’s). Finally, Celes’ theme is a rendition of Aria di Mezzo Carattere and that theme sounds better. Celes’ version sounds too sad.

There are also several dungeon themes that are also an excellent fit in their use. Mt Koltz reminds me a little of the Mountain theme in Final Fantasy IV, but the violins used here help make the theme more epic, despite the weird organ in the second part of the loop. The Phantom Forest has excellent arrangements to reflect the mysterious ambiance of this haunted maze. The flute may be loud at time but it still sounds relaxing. Devil’s Lab (the Magitek plant) has an interesting modern touch (as if people were hitting metal pipes in the background) with its bass and synth arrangements. You can still hear violins that add the right touch of epicness. Speaking of which (even though it’s really a battlefield theme), Save Them is also excellent. Its quick tempo shows you that you must move very quickly in order to keep the enemy from reaching a strategic person you must protect.

Even recurring themes inside villages are adapted to the situation. The regular one (Kids Run Through the City) does feel like we’re in a peaceful place where children can run around without worries. Under Martial Law, on the other hand, sounds much heavier and slower, showing that soldier have the upper hand and control everything. The Day After (ruined village) sounds very sad with its flute, as if to remind people that days have been better in the past. Speaking of which, the difference between the first overworld theme (Tina’s theme) and the second one (Dark World) is even better than the overworld themes differences in Final Fantasy V. The former had a very epic flute playing through the loop to reflect the greenry all around with military drums to show that there is still trouble around, while the latter sounds very creepy with its dark organ arrangements and even a wind howling in the background to match the desolate state of the world after the crashing of the New Continent.

FF VI also boasts the most epic final dungeon theme ever. It starts slow and synthesized, but once the trumpets kick in you know that your quest is about to end. After a small violin sequence the trumpets get even more epic in the second part of the loop, help by the drums in the background. Dancing mad, the final battle theme, includes all four “stages” of the final battle. Because it lasts 16 minutes in total, it might have been better to separate them.

But like any soundtracks, FF VI has it weaknesses. Edgar and Mash (Figaro Castle theme) has its trumpet much too loud to be enjoyable. Mind you, it does sound regal but Dragon Quest VI did it much better with its cellos. Searching for Friends, while it does sound full of hope that you will find your team mates once again with the flute, is completely spoiled with the background beat that is completely out of place. Finally, the chocobo theme was WAY overdone; it sounds like cheap techno music with New Wave synths.

In short Final Fantasy VI should be part of every video game music maniacs’ library. It features among the best 16-bit arrangements (and sometimes of all times) that set the bar so high I was a little disappointed with FF VII. 

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