In the fall of 2019, my wife and I started climbing at our local gym. We fell in love immediately. It was a cathartic challenge—physical, yes, but also deeply mental. There’s something uniquely satisfying about staring at a wall of coloured holds, mapping out a route, failing, adjusting, and finally sticking that move that felt impossible ten minutes earlier. And because I am obsessed with maximizing my value of something, we both bought our own harnesses and shoes, paid into the monthly membership plan and started going three times a week. For months!
Then, spring of 2020 happened. The gym shut down. We moved, had a baby. The membership lapsed. We’ve never made it back, even though it’s one of those activities we both agree we genuinely loved. Fast-forward to January 2026. My five-year-old daughter has just started bouldering. We sign her up for a climbing class, and suddenly I’m spending three days a week back in that chalk-dusted environment, watching people try a problem over and over again. And just like that, the itch is back. I miss that carnal feeling of accomplishment, that feeling of strength of pushing my body past previous limits.
So imagine my surprise when I boot up my Steam Deck and saw that someone in my Steam Family has purchased Cairn. I’d heard nothing about it, but I saw it had strong reviews (I’m pretty good at dodging video game media).
A climbing game? Sure. Why not. What have I got to lose?
Cairn casts you as expert mountaineer Aava attempting to summit Mount Kami, the most dangerous mountain in the world. If you take the time to explore the posters in the tutorial area, you’ll learn that around 30 people attempt the climb each year. Few ever return. None have ever reached the summit.
Past the tutorial area, the game begins simply. You’re on the mountain, starting your ascent. Better get climbing.
The climbing system initially defaults to an automatic limb-selection mechanic. You move hands and feet individually with the left thumb stick. Up, sideways, diagonally, everywhere you’d think your limbs can go. While the game automatically suggests which limb should move next, it’s tactile, deliberate, and slow. You don’t just “hold forward to climb.” You’re supposed to think through every placement. Just planting your foot against a smooth rock and counting on your smear to hold is going to result in a bad time.
Also, Aava is absurdly flexible. At one point I had her hooking a foot somewhere near her own ear to gain leverage. As I often tell my daughter, video games are not real.
But this system is also where my first major frustration surfaced. Sometimes the “obvious” move like adjusting the bottom-left foot as I’m moving to the left, wasn’t the move the game wanted. Instead, it would shift the bottom-right foot, which then I couldn’t even see behind Aava’s back. Suddenly her leg is dragging across her body, toes reaching where her hands should be, and she’s clinging to the wall by fingertips, and I’m scrambling to fix a problem I didn’t mean to create.
More than one fall happened that way.
On most difficulty levels, you can place pitons into the rock to act as checkpoints. If you fall, you’re hauled back up to your last placed piton. They’re limited, though. If you misuse them or fall too often, you’ll need to collect scraps to forge new ones. and Falling in Cairn stings. Not just because you failed, but because of the time and resources that arelost.
Cairn is a slow game. A tricky problem can take 5–10 minutes to work through. Sometimes 20. One time, 25. And inevitably, you’ll be right at the end of a brutal stretch, one final foothold between you and a cave or hidden discovery… and then Aava’s foot slips. You scramble. You panic. You fall.
Aava’s voice actress has a couple of great screams and curses that I feel in my soul when this happens. If you haven’t placed a piton recently, then you’re falling the way down until your rag-doll body stops rolling. If you’re lucky, you’ll just die and restart from the last save. Otherwise, you now need to climb out of whatever crevice Aava’s body just fell into. And when you get back to solid ground and look up at that climb that you just failed at, you have to ask yourself if you really want to try it again. Spend another 20 minutes scampering up that wall and face the risk of falling again. And when you’re low on food, low on water, freezing, and exhausted, that lost time also means lost resources.
I don’t think Cairn intentionally wastes your time, not like other games that make you backtrack unnecessarily or have runs ruined by randomness. Cairn demands time through the slow, methodical, and purposeful gameplay. It’s the kind of game that every step is slow, but you’re always progressing. You focus on only the next hand or foot hold, and after a few minutes, you’ll pan your camera around and be a little breathless at how far you’ve gone.
That being said, when you finally conquer that tricky section? When you stick the move that previously sent you plummeting? It’s absolutely euphoric. The dopamine rush is so real. It mirrors real-world climbing in a way I did not expect from a video game.
Cairn isn’t just a game about limb placement. It’s also about survival. You’ll need to manage your hunger, thirst, warmth, and stamina. You’ll need to shake your pack to cram as many supplies as possible in, as you scavenge abandoned backpacks, derelict cable cars, and broken vending machines. The real treat is when you come cross a delicious egg in a nest during a climb. The survival mechanics and lack of a firm restocking point creates a tension that triggers my hoarding psychology.
I have “Final Fantasy Elixir Syndrome.” I never use the rare, powerful items because what if I need them later? So I end most games with a stack of elixirs and a pile of regret. Cairn pokes that exact nerve. You don’t want to use your good food. What if there’s something worse ahead? What if there’s no food beyond this point? But if you don’t use your best foods and benefit from the stat boosts they give you, you might fail the next section
And that brings me back to the fall. If you fall and have to climb again, all that food and water you consumed is just… gone. You’re no further up the mountain than when you started, but you have less resources to get you to the next checkpoint.
It’s brutal. It’s effective. It feels bad. But that bad feeling is clearly intentional design.
The HUD (heads up display) is wonderfully immersive. Your survival meters fade away unless they demand attention. Most of the time, it’s just you and the mountain. As you climb higher, you’ll discover remnants of those who came before you. Abandoned infrastructure, old campsites, backpacks from climbers who never returned, and most interestingly, artifacts and stories from the troglodytes, a group of people who once lived on Mount Kami.
Your only consistent companion is a small robot called a Climbot, a boxy robot on four spider-esque legs that skitter along the rocks, carrying your ropes and retrieving your pitons. Occasionally, Climbot will receive voicemail messages from her manager gently asking how her progress is going, or her partnerchecking in, seeing if she’s okay on her death hike. Aava’s responses to those messages can vary from indifferent to abrasive or dismissive. She resents the distraction. How dare they interrupt her focus while she attempts something this monumental?
Early on, you meet Marco, another mountaineer. He climbs for the love of climbing. He doesn’t believe he’ll reach the summit, but he’s just here for the good times. Aava tears into Marco for that mindset. Calls him defeated. Weak. It’s one of the first times she really speaks, and it’s not flattering. Aava does soften slightly over time, but so much of her characterization left a sour taste in my mouth. I understand she’s undertaking something life-threatening. I understand obsession. But her abrasiveness made it hard for me to enjoy her company.
Near the summit, you encounter another climber who has lived on the mountain for twelve years. He’s too close to the summit to turn back, but he’s unable to reach the top. He shows you dozens upon dozens of backpacks from those who tried and failed. a graveyard. Here, Marco decides he’s done. He’s going back down. Then the game asks you to choose. Do you descend with Marco? Or do you continue your ascent, despite every warning?
On my first play through, I went down. The reward for choosing that is a quiet montage of descent. Marco gives Aava a ride home in his van. The final scene shows her sitting on her bed, staring into space. Disappointed, but alive. Her partner calls out that friends are coming over. Marco is on his way.
This ending felt human. Bittersweet. Real.
On my second play through, I chose to go up. Shortly after that decision, An avalanche crashed on your head, and reduces your survival meters to a third of what they once were. You claw your way through the final ascent, which, surprisingly, isn’t dramatically harder than what came before. On the final wall, Climbot succumbs to the elements. For his mechanical failure, Aava beats it with her climbing picks, berating it for failing her. You can choose to drag it along anyway, or cut it loose. The choice here, doesn’t matter.
Then, Aava reaches her summit. She trudges through the snow cap, to the highest point of mount Kami. There is nowhere else to climb. She screams, a visceral, guttural howl. Then, she sits down in the snow, quiet. Finally, she reaches toward the stars, grabs them, and climbs into the sky.
Some players will find transcendence there. The culmination of obsession. The ultimate accomplishment. But for me, it felt unsatisfying. There is no joy in the accomplishment, no one to share your victory with. Just a tired woman sitting quietly on all she’s conquered. Maybe she dies there, and maybe she heads back down. The ending is poetically ambiguous, to me, it felt like descending with Marco was the good ending, and reaching the summit was the bad one.
Cairn will not win my Game of the Year.
But it was a cathartic, memorable experience, especially given where I am in life right now. It gave me an echo of the real-world climbing rush I’ve been missing since 2020.
The first ascent in Cairn is magical because of the discovery. Peaking your head into a cave to find an indestructible piton, or an angry bear gave me such rushes of excitement. Subsequent climbs lose some of that magic. Now, you know where the food is. You know the shortcuts. You know which caves you should explore, and which you can skip. The mystery fades.
Still, finishing Cairn felt like a real accomplishment.
I wouldn’t want every game to use this limb-by-limb climbing system. I cannot imagine playing Breath of the Wild or Assassin’s Creed, and having to individually manage my feet every time I try to scale a hill.
But for a game wholly committed to simulating mountaineering, Cairn does something special. It captured the frustration. It captured the obsession. It captured the fall.
But most importantly, It captured the feeling that climbing gives you. It reminded me why I got obsessed with it in the first place in 2019. And any game that manages to evoke strong feelings, is a special one indeed.
Disclaimer: A review copy of Inkborn was provided during early access. All impressions are based on the game’s current January 2026 state.
Listen, it’s going to be real hard to not directly compare Inkborn to Slay the Spire throughout this review. Both are rogue-lite deck building card game. The similarities and influences are obvious from the first moments of the game. Also, I have over 300 hours logged in Slay the Spire, its gameplay is ingrained into my brain, so when something like Inkborn shows up, standing on the shoulders of that giant, it’s going to draw comparisons at every turn.
That said, I’ll do my very best to focus on what makes Inkborn its own thing, and save the direct comparisons to Slay the Spire for when they’re absolutely necessary. This isn’t a question of whether Inkborn is “the next Slay the Spire.” It’s about whether it brings enough new ideas, systems, and personality to justify its existence in a genre that’s already very crowded.
As I’ve said above, Inkborn is a rogue-lite deckbuilding game, designed by Acram Digital. Acram is well known for their visually appealing board game adaptions. From Concordia, to Charterstone, to Istanbul, Acram has proven themselves to be proficient in adapting tabletop games to PC and mobile devices. Unlike their previous output, Inkborn isn’t based on an existing tabletop game, instead it’s an original game, built from the ground up for PCs (and Steam Decks).
In Inkborn, your character moves from encounter to encounter, battling enemies and reaping rewards, until you either succeed in beating the final boss, or die trying. The rewards can be new cards, upgrades to existing cards, potions, and augments to your character, giving you persistent benefits for the rest of your run. The core loop of Inkborn is immediately comfortable to anyone who’s sunk even a little bit of time into any of the (many) other rougelite deck building games.
What really sets Inkborn apart, is its presentation and style. Everything in the world is built of, and revolves around paper. The enemies are ornate origami creatures with scissor blades for claws, the black and white backgrounds feature papercraft trees. As you or the enemies take damage, the character model gets covered in black, splotchy ink. It’s moody, atmospheric and engaging.
Further to the theme, your buffs and debuffs are also thematically named. Specifically, ‘sharpness’, ‘crumpled’, and ‘torn’ (Sharpness grants +1 to attacks, a crumpled character takes 50% more damage, and a torn character receives damage for every point of torn, then loses one point of torn). These thematic terms for status conditions are a little unintuitive, I constantly have to remind myself that crumpled means vulnerable in Slay the Spire-speak, but it’s probably more of a byproduct of my extensive time with the other game, and not something that Inkborn has done wrong.
Instead of potions, your character gets ideas, one time bonuses to be used in battle and expire at the end of each fight, forcing you to use them instead of hoard them. Quotes take the place of relics. Kind of. Instead of having being able to hold an unlimited number of relics to provide passive buffs to your character, you inscribe quotes to your body parts. These do all the things you’d expect a relic to do, such as make you immune to specific status debuffs, but you are limited by the amount of appendages that your body has. You’re often asked to make trade-offs on which quotes you want to carry with you, instead of collecting them like a rabid pack rat, which is my go-to strategy.
Combat starts off familiar, you draw a hand of cards, select which ones you want to use and the targets, and keep doing that until either side runs out of HP. Inkborn introduces a combo system, where if you play your cards in a certain order, like ‘skill, skill, attack’, you’ll get a bonus attack, or playing two status cards and then a skill will earn you a bonus buff. Personally, I loved this system right from the start. Discovering new combos is exciting, and being able to pull off a clutch combo to deal that final 4 damage to an enemy is utterly satisfying. Some combos even utilize those useless curse cards, turning a bane into a boon.
This is really where Inkborn begins to separate itself from Slay the Spire. Rather than pushing players toward specific archetypes or established builds, Inkborn’s systems encourages flexibility, adaptation, and occasional deviation from your intended build. It’s less about executing a perfect plan and more about learning how the systems talk to each other.
The map between encounters is a bit of a mixed bag. You start out in the centre of a map shrouded in shadows, with paths to follow spiralling out. You can take your time to hit extra combats and encounters, or, you can beeline to the Act Boss if you so desire. There is a timer, called the Chronicle Metre at the top of the screen that progresses every time you enter a new map node, that will inflict a curse upon you once it fills up, gently nudging you towards your destination, lest the curses undo all the grinding you’ve just gone through. It’s a neat risk vs reward system that works well.
Something else that makes Inkborn stand out is the town that offers some meta-progression that persists from run to run. It’s unlike Slay the Spire where you start from fresh every single run and have only your knowledge and skill to rely on to get you though. If you don’t get good, you won’t ascend the spire. Inkborn feels a bit more like Hades where the intersection of your skill and the persistent benefits you’ve earned will eventually carry you over the finish line.
Inkborn as an early access game is already really strong. The core gameplay is strong, and the unlockable combos are varied and interesting. The one character that is available feels really solid, and had me coming back again and again to try different builds. Heck, cards can be upgraded in different ways to suit your current deck, meaning taking the same card run after run can still feel fresh. I know that I will really appreciate the variety when the other characters get released, but the one that’s currently in the game offers a really solid gameplay experience.
I don’t know how well Inkborn is balanced, and I’m almost tempted to say that commenting on the balance doesn’t really matter right now, because the game is in early access. You can be sure that there will be lots of changes and tweaks as the game works its way towards its full release, which is currently planned for Q1 2027. Between then and now, two more classes are planned, more cards and skills, more combos and quotes, enemies and bosses are all planned to roll out throughout the year.
I did mostly play Inkborn on my steam deck, and generally found the UI to be passable, but sometimes confusing. The D-pad is used as shortcuts for various things, and I kept trying to use it to select my cards. Every now and then I felt like the timing for the animations were a bit off, but nothing really game breaking. I suspect that as time goes on, the UI will get tightened on various devices. I didn’t have any of these nitpicks while I was playing on my PC with the keyboard and mouse.
Inkborn is a pretty and well-made rougelite deck builder, but it isn’t finished. The theme is well executed, the systems are interesting and engaging, and I’m excited to see more content get added to the game to expand the breadth and depth. In it’s current state, Acram Digital has laid a strong foundation, and their ongoing updates suggest a team committed to refining and expanding the experience. If you’re the kind of person who likes to see a game change over development, or value being part of the early adopter crowd and having your input help shape the direction that Inkborn moves in, then Inkborn gets a solid recommendation from me.
Welcome back to the Final Fantasy Project. It’s literally been months since I finished Final Fantasy VII, and it’s not because Final Fantasy VIII is a very long game, it’s more that I so deeply disliked it, that it literally made me want to do anything else. But I persevered, because if I can’t commit to self-imposed challenges, then I don’t even deserve to have a blog!
Final Fantasy VIII was released on September 9th, 1999. 9/9/99, about two and a half years after the hugely successful Final Fantasy VII. I wasn’t aware at the time, as I grew up in the middle of nowhere, but I think it’s hard to understate just how big Final Fantasy VII was, and I often wonder what it would have been like to be on the team at Squaresoft during this time. Having a monumental hit is no doubt exciting, but the thought of following it up is terrifying. Suddenly you have millions of people watching, and comparing it to your previous works.
World and Characters
Final Fantasy VIII starts off with a montage of scenes and characters. One scene that keeps popping up is a vicious sword fight between a young man wearing black, and a young man wearing white. The scene ends with blood splattering the ground, and both boys sporting a large gash across their noses in opposite directions.
When the game starts in earnest, you’re in control of the young man in black, Squall Leonhart, who is laying in bed in the infirmary. You’re told to get to class, where the boy in white, Seifer, sits next to you. Your instructor, Quistis, chastises Seifer, reminding everyone that you shouldn’t hurt your sparring partners.
You and your classmates are all SeeD candidates in Balamb Garden. SeeD’s are mercenaries for hire, and Squall and Seifer are on the precipice of testing to become full-fledged members. First, Quistis takes Squall on a mission to claim a Guardian Force, which will augment your abilities.
Final Fantasy VIII has really abandoned the fantasy aesthetic. The world is much more modern, with touches of magical or technological flair. Unlike Final Fantasy VII grimy aesthetic, this world is brighter and cleaner, more optimistic, which lines up nicely considering the main cast of characters are all a bunch of late teenagers hanging around their school.
As Squall and Seifer prepare for their mission, he’s joined by Zell to round out the team. The mission, secure the town square in Dollet, which is currently under occupation by the Galbadian Army. They do so, also uncovering a plot about the army securing an old radio tower, but Seifer, being rash, begins to disobey orders and runs off on his own. The next party member, Selphie, arrives and gives the order to evacuate. The team is chased by a mechanical spider thing, which can be felled, but stands back up fairly quickly. Once the team manages to hit the beach where the evacuation boats are being held, Quistis breaks out a gatling gun and blows the whole thing to smithereens. Badass.
Back at the Garden, Squall, Selphie, and Zell have passed the test and are now SeeDs. Seifer, having disobeyed orders, has failed. At the graduation party, a girl asks Squall to dance, then disappears.
The next day, the party is given a new mission. Go to Timber and provide assistance to an underground resistance group, the Timber Owls. Also Quistis has quit being an instructor, so she can come along too.
My first major qualm with Final Fantasy VIII is the characters. They’re all children, and act like it. Squall is edgy and emo, and most of his dialogue happens inside his head in parentheses. Most of his spoken dialogue is dismissive and rude. Zell is brash and goofy. He’s earnest, but he often comes across like a caricature, and is often sidelined. Selphie acts like a teenage girl, she’s a cheerleader and just wants everyone to do their best! She never really develops, despite her having a ton of potential. Quistis started the game with a bit of a romantic interest in Squall, which is wildly inappropriate, but thankfully that thread was quickly dropped and never spoken of again. She seems to be the party mom, providing a level-headed comment when the children just want to run in and start punching faces.
At the point in the story, the party falls over, and the story picks up with 3 new characters, Laguna, Kiros, and Ward. These are Galbadian Army soldiers as they live out events that happened over 17 years ago. These scenes feel like random, non-sequiters, but over time they set the stage and show reoccuring characters that become important in the present.
Upon arriving in Timber, the leader of the Forest Owls is Rinoa, the girl who danced with Squall at the graduation party. Their plan is to kidnap the Galbadian President, but their plot is foiled when the person on the train they hijacked turns out to be a body double. After that failure, a TV broadcast reveals that the president is making a sorceress the new ambassador. During the TV broadcast, Seifer bursts in and takes the president hostage, but the sorceress appears and takes Seifer away, seemingly willingly.
The next mission is to try to assassinate the sorceress, where the final main party member, Irving joins the group. He’s a sharpshooter, so the plan is to get him into position, and when the sorceress is having a parade, for Irving to snipe her. Flash forward a couple of hours of gameplay, Irving chokes. He falls into a pit of shakes and can’t take the shot. Squall talks Irving into taking the shot, but the sorceress blocks it with a magical field. Squall takes the fight directly to her, and fights her head on. He fights Seifer, who is protecting the sorceress, and while he defeats Seifer, he takes an ice bolt to the shoulder, and falls unconscious. Thus ends the first disc.
What follows is a winding plot of time travel, memory loss, body possession, leadership, and love. The story swaps between teenage love, to global politics, to being fired into space, and then crashing back to earth without really taking a moment to breathe. Certain plot threads seem like they’re going to be important, but are then just largely dropped. For example, using GFs is supposed to cause memory loss, which is why the main party don’t remember being together as children. But once that revelation is revealed, it never really comes back into play again. It provides context for some of the events that happened in disc 1, but memory loss didn’t really come back up again.
One of my favourite parts of JRPGs is exploring all the characters and the struggles they face. In Final Fantasy VIII, this is squarely Squall and Rinoa’s story, everyone else feels in service to that tale. Zell, Irving, Quistis, and Selphie don’t get the spotlight. It’s not like Final Fantasy VII where you get to explore Barrett’s history, or travel to Yuffie’s village and see why she is the way she is. And the love story between Squall and Rinoa feels shallow. Squall does NOTHING to earn Rinoa’s affection, he’s callous and unkind, and yet she throws herself at him, flirting and teasing him, trying to catch his attention. Until about halfway through disc 3 when he seems to turn on a dime. With Rinoa rendered unconcious, his inner monolgue is entirely focused on how much he misses her, how much he needs to hear her voice again. To me, it feels forced.
I do wonder how much I’ve missed. Like in the scene where Squall leaps out of a space shuttle as it hurtles back to Earth to catch an adrift Rinoa, a seemingly random ship appears in the black of space, and after clearing out a small monster infestation, you’re able to pilot it back to land. I know there are plenty of scenes that give texture to the side characters of the party, but I didn’t spend much time seeking out all the side quests.
The plot of Final Fantasy VIII, summarized
Gameplay Mechanics
When you first start the game, the only option you have in battle is to “Attack”. As you collect Guardian Forces, they’ll give you the options to use Magic, to summon them in battle, to use items, and to Draw. Each party member can have 4 commands, including attack, which means if you’ve been paying attention, you’ll need to leave one of the other commands off your party. Magic, is no longer innate or learned, and the MP bar is totally gone. Instead, Magic has become itemized. To stock up on Magic, you need to Draw it out of your opponents, and hoard up to 99 of each spell. Each character needs to draw their own spells, but they can swap their spells between each other, if one character needs to leave the party for any reason.
The GFs, in addition to giving you more actions, augment your stats, mainly by allowing you to junction one of your magic spells to a stat, increasing its power. The amount the stat is increased is directly related to how strong the spell is, and how many of those spells you have drawn. Life will boost your Max HP dramatically, but as you use the life spell, the Max HP will start to diminish. Some will even allow you to junction spells to augment your attacks and defence with different effects, It’s great when your basic attack also inflicts sleep, or when your main spell caster is totally immune to silence, or absorbs a rogue fire spell.
This system, is interesting in theory. In practise, it means I spend a dozen minutes in every battle checking for new magic and drawing so every character gets 99 of that spell. Then, because the junctions may need to move around depending on what situation we’re going into, it just means that I never really used my magics until the final bosses.
Many of the skills the GFs learn also augment your stats directly. One annoying on was HP +40%, because in some story segments you need to swap your characters frequently. But every time that skill moved on and off someone, it would leave them with their base HP. While it was satisfying hitting 9999 HP with a character, it was annoying when I moved that GF over to someone and then back, only for that character to just lose all that HP. It’s a super minor complaint, I was drowning in cure spells, but still. Just another aspect that I found annoying.
So all this talk about GFs and junctions affecting your stats, let’s talk about levels. As per usual, each character gains EXP and gains levels. But the levels don’t affect your stats all that much in the end, at least nowhere near the effect that the GFs give you. The enemies do scale to your party’s average level, meaning you could do a low-level run and be viable for the end-game. By keeping your level low, enemy levels are kept low, but you have the option to bolster your stats by junctions, allowing you to beat down weak enemies easily.
Speaking of stats, Final Fantasy VIII does away with most equipment. There’s no accessories, no armor, and only a handful of weapons per character that needs to be crafted. Call me boring, but I miss seeking out treasure chests in dungeons and getting cool new armor right before a boss.
You can use the Guardian Forces in battle as a summon, usually dealing out some very impressive damage, but there are a couple drawbacks to using them. First, your active time battle bar has to fill up so you can choose which GF to summon, then the GF’s HP covers your character’s HP, and another active time battle bar has to fill up. Once it has, the summon occurs, including a 30-second animation. Every single time. If you take damage while your GF is readying, your GF loses HP, and can potentially get knocked out. Make sure you stock up on the GF specific potions, as regular healing spells and items don’t affect your GFs. I stopped using GF summons pretty early on because I just didn’t want to watch that animation over and over again. At this point, I’m desperate for a skip animation button.
Another thing I’m desperate for, is for a menu of names that I can just pick from. When you are choosing your target during battle, a little pointer lets you select which character you want to target. The battle camera is quite dynamic, and it’s not uncommon for characters to become hidden behind enemies or even just the menu, so selecting which one you’re going to target with your cure spell can be a bit of a crap-shoot. What infuriates me is when a summon animation is ongoing, it pops up a menu of names to easily pick from. DO THAT, FOR ALL THE TARGETS!
Visual Presentation
This is where Final Fantasy VIII really shines. Unlike the blocky, polygonal overworld characters and more detailed battle sprites, Final Fantasy VIII uses the more detailed battle sprites in the overworld. The characters are much more realistically proportioned. The backgrounds are detailed, and when compared to Final Fantasy VII, it’s usually pretty apparent which aspects of the background you’re able to interact with.
Final Fantasy VIII also uses the Full Motion Video liberally, and often to great effect. I suspect back in 1999, the effects of the videos under the gameplay sprites would have been breathtaking. Even today, I found myself appreciating the videos and most of the visuals. The character sprites are often well detailed, but the faces can clip in a weird and funny way. Like in the below screenshot, Rinoa’s cheek and chin jut out in an awkward way.
Triple Triad
A major part of Final Fantasy VIII is a card game called Triple Triad. By pressing square against almost any character in the world, you can challenge them to a game of triple Triad. In Triple Triad, both players have a hand of 5 cards, and take turns placing one of those cards on a 3×3 grid. Each card has a number corresponding to the 4 adjacent directions. If you place a card next to another card, you compare the number on both cards, and whoever has the higher number wins. If the losing card flips belong to the opponent, the card flips over to the other colour. Once 9 cards have been played, whoever controls the most cards is the winner.
The only good thing about Triple Triad is that it’s over quick. It’s a brain-dead simple area control game that reeks of power creep. You can’t tactically master Triple Triad, you can only get stronger cards and wait for your opponent to make a stupid play and capitalize on their folly. Maybe it’s my board game snobbery showing up, but as a game, I don’t think Triple Triad is any more compelling than Tic-tac-toe.
When you win or lose in Triple Triad, the winner gets to steal a card from the loser, Yu-Gi-Oh style. You can also turn monsters from the random encounters into cards as well. Considering you only need 5 cards, you might wonder what you can do with the extra cards? Well, some of the GF abilities allow you to turn the cards into various items, or even turn cards directly into magic spells.
It’s this system that allows you to utterly break the early game. You can obtain Squalls ultimate weapon before the end of disc one, and if you feel like spending a couple of hours in Triple Triad, have a fully kitted out party before leaving for Timber.
You Have to Play it Right
Listen, I know that a lot of my complaints about Final Fantasy VIII have counterpoints. For all my complaining about drawing magic, I know you can play Triple Triad to grind out cards, refine the cards into items, which you can then refine into magic spells, eliminating the need to draw entirely. If you just spend 6 hours at the start of the game, you can set your junctions up for the majority of the rest of the game. Put in another few hours of tedium and you can even unlock Squall’s ultimate weapon before the end of disc one.
I know that earning and refining cards is the technically more efficient way to manage the junction system, but I rebel on following a guide THAT closely for a game I’m going to play the first time. Also, I chafe at the idea of spending so much time making the battles trivial. On some level, the challenge of the battles is the point of playing the game!
I did have a guide open for most of the playthrough that I would reference now and again when I couldn’t remember where to go next. But every now and then I’d find myself skipping whole paragraphs as the author laid out incredibly specific steps to managing certain side quests, which include losing specific cards to a certain character, seeking out specific members of a club and beating them at Triple Triad, and a few optional GFs. There’s also the bonus bosses, Omega Weapon, Ultima Weapon, and Bahamut. I didn’t chase any of these side quests because really, Final Fantasy VIII made me not care.
The one thing I appreciated having the guide open for, was for hinting at who to have in my party for certain scenes. Now and then throughout the game, certain characters will offer some small comments or have a bonus scene if they’re in your party. This feels most prevalent at Fishermen’s Horizion and choosing the right instruments has Rinoa and Squall share a pretty important scene. Choose wrong, and that scene simply passes you by.
I’m obviously not against having a guide on hand, but Final Fantasy VIII feels particularily bound to it. Without the expert advice readily available, you’ll find yourslef fighting against tedious systems. While they can be exploited for massive benefits, it’s fairly obtuse and time consuming if you don’t have a guide to follow.
Final Thoughts
I started to enjoy Final Fantasy VIII about halfway through Disc 3, when Squall stopped being an edgy jerk. And, it was about that point where I encountered an enemy with some really strong spells that took my basic attack from doing 800 per hit to nearly 3000. That allowed me to fly through the last chapters of the game.
The entirety of Disc 4 is dedicated to the final dungeon, upon which entering, a bunch of your skills are sealed away. Everything but the basic attack option. As you defeat some optional bosses, you’ll unlock your abilities. I… skipped most of this, somewhat accidently. I was just wandering around the castle and then I just found the final chamber. I had only unlocked Magic, so, decided to give the final boss a go with a limitied skill set.
I did enjoy the final boss, Ultimecia. Starting the fight you’ll be given a random party. During the actual fight with her, she can make you randomly lose a whole stacks of your magic spells, which can poke holes in your character like Swiss cheese. If any characters fall, you have a small window of time to revive them, if you don’t, they’re “absorbed by time” and removed by the battle. During the final form, Squall lost Ultima, which was his attack junction, dropping his damage output from 4000 per hit back to 800. Then Ultimecia alternated between a spell that dropped everyone to 1hp, and a powerful AOE spell, keeping my characters on their toes.
Depending on which of the spells that get lost, this fight can be a cake walk, or a struggle. I enjoyed it, as it kept me on my toes and required me to pivot when certain spells got lost, but anyone who takes umbrage with its random nature is completely valid in calling this fight unfair. It took me 2 tries to beat her, as the first try I was unaware of any of her abilities and was caught a bit off guard.
I’ve often heard of Final Fantasy VII through Final Fantasy X as a “Golden Era” for Final Fantasy, but Final Fantasy VIII is the strange middle child of the PS1 era. It’s bold and confused, and often deeply irritating. It has sky-high ambition and the technical chops to back it up, yet it constantly feels at odds with itself. For every emotional high point like Squall finally thawing in Disc 3, the iconic space sequence, or the tense unpredictability of the final battle, there are at least three moments of head-scratching narrative whiplash, undercooked character arcs, or mechanical decisions designed to test the player’s patience.
The junction system turns magic into a hoarded resource rather than a tool of expression. The level-scaling and GF-centric progression make levelling feel meaningless. Plot threads like childhood amnesia via Guardian Forces appear with fanfare and then evaporate. Meanwhile, huge character beats are shoved aside to make room for the next bizarre twist involving sorceresses, time travel, or surprise field trips to space.
I can’t call the game soulless. At its heart is a coming-of-age story wrapped inside a love story wrapped inside a political thriller wrapped inside a time-compression fever dream. When it works, it really works. When it doesn’t, it leaves you wondering how such talented storytellers missed the mark so many times.
Final Fantasy VIII was ambitious, and it had gargantuan shoes to fill, following in the wake of Final Fantasy VII, so I can’t fault it for shooting for the moon. I know those who enjoy Final Fantasy VIIIreally enjoy it, but I’m not in that camp. Final Fantasy VIII didn’t just fail to win me over, but it actively pushed me away. I’m glad I’ve finished it, and I’m glad I never need to draw another spell again.
Unless that’s a mechanic in Final Fantasy IX. Gosh, I hope not.
For those of you keeping track, it’s been nearly 3 months since I reviewed Final Fantasy VII. I promise, I started Final Fantasy VIII immediately after, but I’ll be really honest. I found it to be so unfun that I struggle to play it. Every time I turn the game on to keep progressing, I get into a single battle, roll my eyes and shut it down again. So instead of progressing on the main story, today’s post is another adventure into one of the spin-off games, Theatrhythm Final Fantasy. Specifically Final Bar Line, the most entry in the series.
Theatrhythm is a rhythm game set to the music of the Final Fantasy universe. When you first launch the game, you’re given a key, and a carousel of the main line titles, along with a choice selection of some of the more popular spin-off games. Your key will unlock one game, along with a few chibi representations of party members from that specific title.
You’re tasked with building a party to take into each one of these rhythm game missions, and the characters are largely separated into different types. Attack type, defense type, support, summoner, and so on. As they go on missions, they level up and unlock new skills.
But wait, you might be asking. Why are you getting levels and skills in a rhythm game? That’s a great question, and one that is never really answered. Each game presents you with a linier path of songs, starting from the beginning of the game, and progressing through the major plot beats. Each level has various dots scrolling from left to right, and all you need to do when the dot hits the right side of the screen is press a button. Literally, any button will suffice. You can choose to use the shoulder buttons, the face buttons, d-pad, anything. If two buttons hit the right side bar at one time, you’ll need to hit two buttons. There’s also green lines, when make you hold a button for a while, and if that green line slants up or down, you’ll need to hold the joystick in that direction to satisfy the note. There’s also arrows mixed in with the buttons, asking you to press one of the joysticks in that direction.
And that’s the entirety of the gameplay. But literally behind the rhythm game aspect, your party of characters is walking in the background from right to left, letting the scenery scroll by, and occasionally encountering monsters. Your party will automatically battle the baddies they encounter, and should they defeat them, they’ll just keep on walking to the left until the song ends. After a couple songs, you’re rewarded with another key, so you can unlock another game’s music, and if you manage to complete all the songs for a game, you’ll be able to add that games antagonist to your party, just for kicks.
To encourage you to build your party out a little bit, each song has a mission for you to accomplish, and most of them have to do with the party defeating a certain number of baddies, or using certain types of skills. It can be quite difficult to nearly impossible to defeat enough enemies when you first start the game, meaning you’ll likely need to return once your party has levelled up enough to lay the smack down on the enemies. That said, some characters synergize with each other incredibly well to really ratchet up the damage they’re able to output, making previously impossible challenges an utter breeze.
I find the RPG elements of Theatrhythm to be banal and superfluous. It literally does not matter how you build out your party, or if they fail to accomplish whatever the goal of the song is. The only thing that matters is that you hit enough notes to complete the song. I will concede that some of the characters trade defense for attack, and if you stack too many of those characters together, then missing just a handful of notes is enough to make you fail the song.
The rhythm game itself is simple and generally relaxing. The music of the Final Fantasy franchise is beautiful, and it’s actually been really lovely to revisit the past 7 games I’ve played in this way. The musical themes stirring up the memories of my adventures was more nostalgic that I originally expected. Some of the songs really ratchet up the difficulty, putting this game into the “easy to play, difficult to master” territory. Thankfully, each song has several difficulty levels, letting you push yourself on the easier songs, and pull back on the more devilish ones.
I use the term ‘master’, loosely. Theatrhythm is very forgiving, with generally wide range for accepting a button input, to the directional arrows just needing to be within the correct 90 degree arc. Add this to the dual stick and any button approach, and sometimes just spamming things at the right general direction is enough to get you through a difficult spot.
I was surprised at just how many songs were packed into this game. Every main title has at least 10 songs to deliver, and Final Fantasy XI shows up with a whopping 44 songs. With the DLC added, there’s over 400 songs to play through, although some of the most popular songs end up repeated and remixed several times (looking at you, Battle on the Big Bridge).
Theatrhythm ends up being a wonderful and charming celebration of Final Fantasy music, and one that I thoroughly enjoyed. Although the RPG elements are pointless, they do provide a fun little background for my daughter to watch while I focus on the dots flying across the screen.
If you’re being picky, you’ll start to notice that not all note tracks are particularly well-matched to each song. Some dots will fly by and ask for button presses off-beat, but it’s hard to really complain too much when all of the music is just so good. As a celebration of Final Fantasy’s 35th anniversary, Theatrhythm absolutely succeeds in being a big package of fan service to long-time fans. I don’t think the gameplay is engaging enough to make you want to sink hundreds of hours into it, nor will you be organizing multiplayer Theatrhythm parties any time soon, like you used to do with your favourite rhythm games. But if you’re a Final Fantasy fan, I think you’ll find yourself surprisingly touched when the themes of your favourite games come on, and the caricatures of the heroes you’ve spent dozens of hours with bob across the screen. Just don’t show up expecting deep, satisfying RPG gameplay, you won’t find it here.
If you ask “What is the best Final Fantasy game?”, or read any Final Fantasy games tier-list or top list, you’ll find Final Fantasy VI and Final Fantasy VII most often cited as the best Final Fantasy games every. Alongside those two, manywill cite Final Fantasy Tactics as their favourite game of all time, let alone of the Final Fantasy franchise. The cult following that adores Final Fantasy Tactics is strong and pervasive.
I originally played Final Fantasy Tactics: The War of the Lions on the PSP back in 2009. At that time, I was already a pretty big fan of Final Fantasy Tactics: Advance, the Gameboy Advance follow-up, so I figured I was in for a good time. Unbeknownst to me, is there are a couple point in the game where you are required to do a couple of battles back to back, with no opportunity to respec your team between those battles. One of those fights has the main character fighting all on his own. I stupidly only had one save file throughout the game, and soft locked my progress, as I had set Ramza into a weaker job temporarily so I could unlock a better job in a few fights. At that point I put the game down, and never came back.
Until now! Final Fantasy Tactics recently got a new remaster in the form of the Ivalice Chronicles, with an updated UI, voice acting, auto save, multiple difficulty levels, fast-forward, better camera control, enhanced, smoothed out graphics, and the ability to return to the world map at any point (thank goodness). Unfortunately, I’m too cheap to buy new games, so I decided to load up my PSP emulator and start a play through of the 2007 remaster, The War of the Lions
Gameplay
If you’ve played an SRPG or “tactics” game before, things should be familiar to you. Final Fantasy Tactics puts you in control of a small squad of 4 – 5 units. These units face off against other squads of similiar size on a grid based battlefield, and through any tactical advantage you can muster (or via sheer overwhelming force), you hope to be the one left standing at the end of the day.
Each unit has a job, giving them special abilities to use during combat. Starting as a Squire or Chemist, most characters will just walk around the map and bop enemies on their heads. As you do that, that character will earn EXP to level up and get stronger, and JP, or Job Points, which they can use to learn new skills. As you level up a job, you’ll unlock new jobs. Some make sense, like getting to a level 2 Squire unlocks the Knight job. Knights can equip swords, shields, and heavy armor for beefy HP bonuses, and their abilities all focus around breaking your opponent’s equipment or skills. Chemists, on the other hand, level up to White and Black mages, which in turn unlock Summoners, Time Mages, Mystics, and the powerful Arithmetician.
When a character changes job, they gain the inherent abilities of the job they’re currently using, like the Knight being able to equip heavy armor, or the Archer being able to use bows. As you spend JP to learn skills, you can apply them to your character, even after their job has changed. Further to that, every character has two action ability slots. One is automatically used by the job you have, like Black Magic for a Black Mage. But that second action slot can be filled by any job that character has previously dabbled in. In my case, my Black Mage also has extensive experience as a white mage, giving them great offensive and defensive versatility.
Menus over menus
This system is wonderfully open, allowing you to mix and match jobs and skills to create units that feel truely unique and distinct from one another. You’ll mourn when a character goes down, suddenly feeling the loss of the abilities they were offering your team. You’ll struggle to decide if you should keep an extra character with items so they can use a phoenix down when your main healer falls, or, if you are willing to let go of the skill that increases your chance to hit in favour of being able to hold two swords at once. These trade-offs will have buried in the menus inbetween every battle, constantly tweaking your units to shore up and weaknesses that were discovered in the last battle.
The core gameplay loop of engaging in battles, earning JP, spending JP on skills, tweaking jobs and abilities, and then using those new skills in another battle, is utterly addicting. Final Fantasy Tactics: The War of the Lions has stolen a few hours of sleep from me as I push my bedtime into the wee hours of the morning, saying “Just one more battle. I’ve almost unlocked the Ninja, then I’ll go to sleep…”
The downsides of the battles, however, is that they can be long and unfair. More than once I’ve had my whole party wiped out by a random battle, only to reload a save, try again, and steam roll the competition. A well-timed block, the opponents choosing to pile onto your healer, or any number of other factors can cause a snowball effect that makes a map nearly impossible. One time my white mage missed reviving Ramza 4 times in a row (it had a 64% chance to hit), then he disappeared from the battlefield, triggering a game over.
Pictured above: Tactical Advantage
Reloading and bashing your head against a brick wall seems to be a core feature of Final Fantasy Tactics. There are a couple of battles near the end of chapter 3 that, even after grinding, took several attempts and a string of good luck to complete. There was one mission where you had to protect an AI controlled character, and literally before any of my characters had a chance to move, she was KO’d by the 3 opposing assassins. I ended up re-speccing my team to be thieves with high speed so they’d be able to move sooner, then just threw them into the line of fire and hoped the opposing AI opponents would take the bait.
In these situations, you’re almost railroaded into having a specific team composition or loadout. This feels like the anthesis of the open-ended team building that the entire game is built around. If you wanted Ramza to be a support character or a spell caster, there’s a boss battle that forces him into a one on one duel. Even if you’re prepared for the fight, the opponent will KO you in 2 hits, forcing you to change your character into one that is specifically built to counter that fight.
Some of these fights will teach you an imporant lesson in having multiple save slots, as there are several battles in the second half off the game that take place right after the other, and if you find yourself unable to progress, without having a backup save, you’ll be softlocked within that battle screen, as a failure will kick you back out to the title screen to either continue from a save, or, start a whole new game.
Story
The story of Final Fantasy Tactics is one of intrigue, plots, villainy, and backstabbing. Ramza is the youngest of a prestigious house, and after a series of unfortunate decisions by those in power, he is thrust into a world embroiled in war. The Black and White lions fight for power and control over the crown, while the church manipulates both sides from the shadows, hoping to capitalize on the chaos. There are dozens of characters, allegiances are ever shifting, and there’s an undercurrent of class struggle that’s particularly present in the first quarter of the game. Ramza, after seeing the callousness of the ruling class, takes a step back and instead fights for justice and peace.
I’m going to start folding in Delita’s insults into my everyday vocabulary
The last act of the game devolves into a supernatural mystery of characters fighting over the Zodiac stones, which transform the holder into monsters of terrible power, which Ramza is quick to put down, and gets labelled as a heritc in the process. The story culminates with the kidnapping of Ramza’s sister to be the host for the resurrection of Ultima, which, again, Ramza is tasked with preventing the coming of the other worldly horror.
What’s interesting about the story of Final Fantasy Tactics, is that Ramza doesn’t come out a hero in the end. He does manage to save is sister and prevent the demons from ruling the world, but very few even know of their existence, and even less know of Ramza’s involvement with stopping the plot. Instead, after the credits, he and Alma take to the road to live out the rest of their lives in quiet peace.
Presentation
I played the PSP War of the Lions remake, which includes a number of upgrades from the original. The animated cutscenes are beautiful and have good voice acting. The localization mostly makes sense, with some really great dialogue that sets the tone for the game. The curses and insults mixed in with the complex political intrigue remind me of reading some really good fantasy novels, instead of the simple childlike dialogue that most JRPGs treat their players to.
Samantha is my mage, Turstin is my knight, but is my archer Alison or Ayleth?
The user interface, on the other hand, could use some work. In Final Fantasy Tactics, the order in which the units will take their next turn is vitally important. But to see the order of your turn, you need to back out of your action menu, press triangle, and select order list, where you’re given a list of names. Hopefully you’ve memorized the names of your units, but the opposing team is basically a guessing game. You can click on each of the names in red and see which one is going to move next, but it’s a pain to do. The character portraits do have a little indicator when you move the cursor over them, giving a rough indication of what order that character is going to go it, but it’s a right pain when you’re trying to figure out which spell to cast and if the charging time will run out before your target takes their next move.
While I generally really enjoy the isometric view of most Tactics games, the camera in Final Fantasy Tactics was constantly giving me trouble. Some maps play with elevation and will have your units fighting in a narrow alleyway. But this makes it impossible to see all the units. More than once I found myself spinning the map around and around, only catching glimpses of units hiding in the corners, and I had to hunt with the cursor to find them. Even worse would be when an enemy mage would start to cast a spell behind a wall that I couldn’t see who or where they were casting. I do like the 3D environments, they do create some interesting battlefields, but the implementation of them leaves much to be desired.
There’s a lot of action going on behind those walls
I spoke before about being buried in menus, and I wasn’t kidding. Every time you want to check on the equipment or abilities of your units, you’ll be going 4 menus deep. While I really loved the job system and customizing my characters, the menu system was clunky and unintuitive. Swapping between characters wasn’t always possible, sometimes you need to back out to the second layer of menus so you could drill down deeper on the next character. Even in the middle of combat, you’ll be selecting which of your action skills to use, then which action, then which target, and if you want to target the unit or the tile, filling the whole screen with cascading menus. This was less onerous, but it is ugly.
I will say that I’ve been looking at screenshots of The Ivalice Chronicles remake with some significant envy. The newest remaster looks pretty great, has full voice acting, the graphics and UI is cleaned up, and actually looks like they address all of my issues from War of the Lions
Final Thoughts
As with most of the Final Fantasy games I’ve been playing for the first time, I asked myself, “Is this worth playing in 2025?” For Final Fantasy Tactics, the answer is a resounding yes. The job system remains endlessly satisfying, so much so that I’d happily start a new run right now if Final Fantasy VIII weren’t already looming on my backlog. The War of the Lions remaster still holds up beautifully, thanks to its excellent writing and deep, rewarding mechanics. And if you have access to The Ivalice Chronicles remake, it looks to be the definitive way to experience this classic.
That said, Final Fantasy Tactics isn’t flawless. The clunky menus, uneven difficulty, and occasional cheap battles can test your patience. But even with its rough edges, it’s an easy game to recommend. I’m glad I finally returned to it after all these years, older, more patient, and better able to appreciate its ambition. If I’d played this as a teenager, I probably would have been obsessed. As it stands now, I can at least recognize Final Fantasy Tactics for what it is: a landmark in tactical RPG design that commands respect, even decades later.
It’s the start of a new trilogy. Leaving the SNES behind and moving boldly towards the PS1 means bigger, flashier Final Fantasy games. Final Fantasy VII released in 1997 for the PlayStation, and at the time, boasted absolutely revolutionary graphics. While the overworld polygonal characters were rudimentary, the in-battle models were more detailed, and during many of the most important moments, pre-rendered cutscenes captured the imagination of anyone who was lucky enough to experience this game before the turn of the century.
I was not one of those people. I was a Nintendo kid, so when Final Fantasy moved over to the Sony home consoles, I didn’t have the opportunity to play another Final Fantasy game until Final Fantasy Tactics: Advance came out for the Game Boy Advance in 2003. Final Fantasy VII became a cultural juggernaut, however. Even without playing the game myself, I became intimately familiar with many of the characters, from spiky-haired Cloud and his comically broad Buster Sword to antagonist Sephiroth and his comically long katana, the Masamune. Tifa, Aerith, and Vincent also seeped into my consciousness, including the big event that occurs at the end of Disc 1.
With that in mind, it’s weird playing Final Fantasy VII with so much of the story spoiled for me. Knowing what to expect robs the biggest moments of their emotional impact. Instead of an out-of-left-field surprise, I’m waiting with bated breath for the event that I know is looming on the horizon. And beyond losing the emotional weight, it seeps into the mechanics of the game, influencing and informing my choices because I know how some things end.
Mechanics
I think one of the biggest criticisms of Final Fantasy VI was the Magicite system. Yes, it was cool, but it was also tedious. You needed to constantly swap Magicite between all your characters so everyone could learn the magic you’d need to overcome any challenge. In Final Fantasy VII, they turn the system on its head. Instead of Magicite giving specific characters new abilities, the Materia itself is the ability, and the more a specific Materia is used in battle, the better it becomes. So if you manage to level up your Restore Materia to a higher level, then you can give that Cure3 spell to any of your party members. A huge improvement.
Further to that, you can swap Materia between any of your characters at any time, even if they’re not in your party. And the game is extra kind to you: when a character leaves the party, their Materia is automatically unequipped, so you can slot those skills onto whichever character replaces them. Hallelujah.
The Materia is more than just magic spells, too. Your weapon and armor will have a certain number of Materia slots, indicating how many of those precious gems that character can hold, and some of those slots will be linked. Some of the Materia offers enhancements to the linked slot, such as the All Materia, which makes the Materia ability connected to that slot affect all the characters on the field instead of just one. Some of the extra commands, such as Steal, Throw, Enemy Skills, and Summons that have been class abilities in the past are now achievable by any character via a specific Materia. It’s a pretty great evolution of the Magicite system.
The characters themselves are mechanically bland and interchangeable. Sure, some will have stats that lend them to being more of a spellcaster or summoner, but if I’m being really honest, any character can fill any role. Some characters such as Yuffie, Barret, and Vincent have long-range weapons, so they can be put into the back row for a defensive boost, but there is no clear ‘white mage’ or ‘black mage’ of the party. Everyone can do everything, it just depends on who you want to give the appropriate Materia to. In my game, Tifa ended up holding the All Cure and All Revive, so she was the one responsible for keeping the other characters alive. I suppose in theory she’s supposed to fill the Monk role, considering she pummels enemies with her fists, which she still did with aplomb. But in moments where Tifa wasn’t in my party, it was easy to give those skills to someone else.
Aside from the characters with long-range weapons being allowed to sit in the back row, they’re all totally interchangeable. The only thing that really makes them unique is their Limit Breaks, which, while having unique animations, all just do major damage. The exception to that is Aerith, whose Limit Breaks heal the party or inflict status conditions.
One big mechanical downside of Final Fantasy VII is just how damn slow the game can be. Like, some of the best and biggest attacks you can do are the Summons. But every summon has an unskippable animation that sometimes goes surprisingly long. This is even more frustrating when you’re in a time-limited section of a game, and you use a summon that just eats 45 seconds of your time with an unskippable animation.
Speaking of being slow, Final Fantasy VII employs pre-rendered backgrounds, which allow for an amazing level of detail and give every single location a unique and distinct aesthetic and vibe. Some of the dungeons, however, are zoomed way out, so Cloud is just a little speck on the screen, and you need to run across a wide expanse. Sometimes, it’s also nearly impossible to tell what is background detail and what is an interactive element. More than once, I found myself pressing against a wall mashing the action button, just looking for the magic spot that let me progress through an area.
The above screenshot is the worst, but not only offender in the game. To progress, you actually need to go down the girder on the right, go under the street tunnel, then walk onto the red tube going to the north end of the screen
Final Fantasy VII does have a lot of levity. There are plenty of cutscenes and mini-games to break up the flow and pacing of the generic run-around-and-have-encounters style of a traditional JRPG. It’s mildly frustrating when you come to a mini-game, though, you get a brief flash of the controls, and then you get one attempt to do well, like in the marching mini-game or snowboarding. If you want to practice or try for a higher score, you just need to reload your previous save and try again.
Unlike Final Fantasy VI and more like Final Fantasy IV, this game has a distinct main character, Cloud. The other main storyline characters (Barret, Tifa, Red XIII, Aerith, Cid, and Cait Sith) all get varying amounts of screen time and character development, while the two optional characters have optional side quests you can undertake to develop their stories more. And while these other characters do develop, the focus of the story is on Cloud and Sephiroth.
The Story
The story of Final Fantasy VII starts with a train. Eco-terrorist group AVALANCHE burst out of the train, followed closely by a back-flipping Cloud. They storm the train station, slaying guards, and rushing into the Mako reactor, hacking past doors, and descending into the heart of the machinery. Barret and Cloud plant a bomb, defeat a robot scorpion, then escape just as the whole reactor explodes into flames.
Back at the hideout, you learn that Mako is the lifeblood of the planet, and a mega corporation called Shinra is extracting that lifeblood through the reactors to create energy and wealth for themselves. AVALANCHE, lead by Barrett from the slums of Midgar, wants to stop them. Cloud, an ex-SOLDIER, a decorated military veteran, is a mercenary, not interested in saving the planet, but only sticking around long enough until he gets paid.
What’s immediately apparent is the tone shift the Final Fantasy series has undergone. Moving beyond the high fantasy aesthetic of the past 6 games, FInal Fantasy VII is rooted in science fiction. Sure, Cloud still wields a sword, but the Shinra soldiers come at you with rifles, Barrett has a gun attached to his arm, and instead of a castle casting a shadow across a quaint village, a massive building stands in the centre, surrounded by 8 mako reactors, and massive plates hold homes for wealthy citizens to reside in, while leaving the dirty ground below for the slums. Midgar casts an impressive profile, and by putting the players in the slums, instantly creates a feeling of inequity. AVALANCHE are justified in their quest to destroy the Mako reactors, they are the sympathetic Robin Hood of this world.
Avalanche is using the basement of a bar as it’s hideout, and as Cloud shows up to get paid, the bar’s owner, and Cloud’s childhood friend, Tifa, convinces him to join in on another reactor raid. During that next excursion, however, things go awry. They plant the bomb, but are cornered by the president of Shinra, who sicks a robot soldier after the party. They defeat it, but it explodes, destroying the catwalk the party was standing on, and leaving Cloud hanging. After the bomb AVALANCE planted explodes, Cloud loses his grip, and missing Tifa’s outstretched hand, falls from the upper plate to the depths below. He crashes through a church ceiling and wakes up to Aerith looking over him, as he lays amongst her flowerbed.
Tangent, in the original Final Fantasy VII, the in-game default name for this character is Aeris, but the intended name was supposed to be Aerith. The manual says Aerith, all subsequent media refers to her as Aerith, but I just stuck with the game default Aeris for my play through.
Aerith is soon visited by Reno, a Turk (think the FBI of this world), and Cloud helps her escape. She and Cloud eventually meet up with Tifa and Barrett and learn that the Shina’s response to AVALANCHE destroying the Mako reactors is to collapse the plate that sits above the slums they call home. They race to stop it, but are moments too late. In addition to this, Aerith is captured by the Turks. Cloud, Tifa, and Barrett narrowly escape the Sector 7 Slums as the plate comes crashing down, killing untold numbers of people.
Cloud and the party stage a raid on Shinra HQ in an effort to save Aerith. On their way, they’re captured and come face to face with the Shinra president who tells them only the last surviving Ancient (Aerith), can lead them to the promised land, a mythical land of limitless potential. He plans on finding the promise land and building another city on top of it, harvesting the Mako for even more wealth and power. He then imprisons the party. Cloud wakes up after some time has passed to find his cell door mysteriously open and the guard at the end of the hallway dead. The party follows the trail of blood up to the Shinra presidents office, and find him also murdered, with Sephiroth’s iconic sword lodged in his back.
The president’s son, Rufus appears on scene and vows to rule the company and the people who depend on it via fear. Cloud and the Party manage to escape Shinra, and the city of Midgar all together. And thus begins Final Fantasy VII
All of that takes about 5 or 6 hours of gameplay. But it really sets the stage and tone for the rest of the game. What follows is a mystery of Grand proportions. Aeris is the last surviving Ancient, which Shinra is chasing. Sephiroth has gone rogue, causing death and chaos, and Cloud’s singular ambition is to chase him down. Unlike previous games where there was a singular antagonist, Final Fantasy VII is more nuanced in the characters roles.
Shortly after leaving Midgar, Cloud tells his tale. He recounts the events of 5 years ago, when he was in SOLDIER, and he and Sephiroth were dispatched to his and Tifa’s hometown of Nibelheim. Tifa is hired as their guide as they make their way to the local Mako reactor. Inside the reactor, they find pods containing monsters. It’s revealed that Shinra creates SOLDIERS via inhumane experiments on humans, by injecting cells of Jenova into people and exposing them to Mako energy. Sephiroth finds records of the experiments done to him, and goes mad. He burns Nibelheim, townspeople slain. Cloud and Tifa confront Sephiroth at the reactor, who easily overpowers them, and then pulls Jenova from its pod.
If this all sounds confusing, it’s because it is. A lot of Final Fantasy VII is about unravelling the murky history of Cloud and the events that happened 5 years ago. Much closer to the end of the game, it’s revealed that Cloud’s retelling of Nibelheim isn’t accurate. Cloud never made it into the elite SOLDIER, he failed. He was a common Shinra goon for a while, and Zack was the SOLDIER partnered with Sephiroth, although Cloud was there at the events. Cloud was a failed Shina experiment, where Sephiroth was a successful one. The Mako energy fractured Cloud’s psyche, and all those who underwent the Jenova experiment do experience some connection with one another. A calling, a voice, something drawing them all to a ‘reunion’. Aerith asserts that she’s the only one who can stop Sephiroth. She goes to the city of the Ancients, and when Cloud follows her, he’s overcome with an urge to pick up his sword and slay her. When he successfully resists, Sephiroth depends from the ceiling, and does it himself.
Except was it actually Sephiroth? In a much later flashback, it’s revealed that Cloud managed to throw Sephiroth into the life stream 5 years ago, so, how is Sephiroth back and causing troubles? How does he keep getting his iconic Masamune back if he left it impaled in the Shinras presidents back? These questions do have answers, but they require a bit of research to find them.
The second half of the story is unwravelling the mystery of Jenova, Shina, Hojo, alien calamities, and shape-shifting villains, and how Cloud fits into the whole story. Cloud eventually regains his mental state and memories, the crew destroy some WEAPONS, they jump into a rocket ship and fly into space in a futile attempt to divert the incoming Meteor, and eventually descend into the northern crater to the centre of the planet to confront Jenova and Sephiroth. They succeed, and Cloud asserts that now it’s up to the power of Holy to save the planet. In the final cutscene, it’s shown that the Meteor is pressing down on Midgar, and the Holy barrier is failing. As the city begins to crumble however, green energy rushes forward, pushing meteor back. Aerith’s face is briefly shown bathed in green light, and the credits roll. Post credits, 500 years later, Red XIII is seen running through the plains with two cubs. They jump up some cliffs and reveal a abandoned and ruined Midgar, overgrown with greenery.
Experience
I think I’ve said it before, but I’ve never really played Final Fantasy VII. At the very least, I’ve never gotten very far in any of my past attempts, barely out of Midgar, if at all.
The story was quite convoluted, and a lot of the nuance of the mystery is easily missed and is found in optional areas or hidden text boxes if you check a character’s desk or something. As this was my first time playing FFVII, I did spend more than an hour after the final credits rolled just Googling some of my questions. Why was Sephiroth frozen in the Northern Crater? Who actually killed Aerith if Sephiroth was thrown into the Lifestream five years earlier? Why didn’t Tifa speak up when Cloud recounted the Nibelheim event? A lot of the game could have been avoided if Tifa spoke up and addressed Cloud’s schizophrenic episodes.
I have to say that for a 1997, first 3D game, Final Fantasy VII would have been absolutely earth-shattering to all those who played it back in the day. But for someone playing it for the first time in 2025, I think it’s a little overhyped. Considering it’s capped many best-game-of-all-time lists, it’s literally impossible to call it underhyped. The 3D graphics were astounding in 1997, but in the modern day, the visuals haven’t aged well, which is a shame.
I also don’t get the fandom for Sephiroth. He was present in Cloud’s flashbacks, and he killed Aerith, but he was largely missing from most of the game. This is probably a byproduct of Final Fantasy VII employing several antagonistic parties. Sephiroth was more of an ethereal threat and less of a foil to the party or someone pushing events forward. It’s a stark contrast to Final Fantasy VI‘s Kefka, who was constantly in your face, causing death and destruction, foiling your plans, while Sephiroth is just someone you’re chasing.
Some of the characters are bland or one-note in Final Fantasy VII. Cait Sith joins your party and is barely a character other than to spy on you for Shinra, and then, for that same person to grow a conscience and be a part of the final battle. Red XIII’s whole character arc is just, he’s young and brash and he learns to warm up to humans. Yuffie is a jerk who steals your Materia at least twice, after which the party just shrugs and lets her keep tagging along. I know a lot of these characters receive a lot more characterization in plenty of the content that followed the original release, but in the original game, they’re quite one-note. The story really revolves around Cloud, Tifa, Barret, and Aerith, with the rest of the team having much smaller roles.
I think taking into account all of the content that has come out for Final Fantasy VII, especially the remake, I think it eventually becomes a really amazing series. But taking Final Fantasy VII for the PS1 on it’s own, I don’t think it’s a particularly amazing game. At the very least at this point on my Final Fantasy pilgrimage, I’d say I prefer all 3 of the SNES games over this one. It may be sacrilege to say so, but hey, this is a subjective blog. My opinions are what they are. And I will concede that now that I’ve played this game, I can see the influence it had on several of my favourite games that came after it. It was a groundbreaking achievement, I’m just terribly late to the party.
I will say that seeing how some of the iconic cutscenes have been rendered in the remake, makes me really want to play the Remake series. When I do, I will come back and revise my opinion here.
