The entire soul of Final Fantasy X hinges on this scene, and the delicate and fragile voice of singer, Riki, really drives it home for the audience. They then share a moment of intimacy (putting it bluntly: the entire cut scene is a visual metaphor for sex), and emerge, resolved and now deeply in love. Yuna, wracked with doubt and fear over her quest, is comforted by the naïve but well-meaning Tidus. Suteki Da Ne plays in the background of the most critical moment of Final Fantasy X. This is the most purely emotional song across all Final Fantasy games. In this way the song continues to be one of the highlights in all of Final Fantasy. These days, there are (many) more complex and powerfully orchestrated pieces of music in much bigger JRPGs, but the FF1 theme evokes a sense of nostalgia that series fans will recognise in just a few notes, and it will invariably send shivers down the spine. It promised a massive, world-changing adventure that few other games of the era had even come close to, and that soaring melody that played in the background was rousing and epic. It’s hard to conceive today, given how far along games have come, but that simple little cut scene featuring a band of heroes looking out over the castle, as they cross the bridge and embark on their quest, was a powerfully impactful scene back in the day. In other ways, however, it’s become an even more potent piece of music. In some ways, the main theme of Final Fantasy 1 has lost a little of its impact over the years. Somehow, Nobuo Uematsu managed to capture all of this and more, creating one of the most thematically complex pieces of music in Final Fantasy to date. It also needed to establish Terra as a melancholic, tragic figure, and, as one of the first pieces of music in the game, it needed to settle players in for the biggest and most epic game available at that time. It needed to set up the militarism that so pervades the setting. This song had to do a lot of heavy lifting in a lot of different ways. Terra’s Theme is right up there with favourite uses of the flute in music, ever. It is designed to accompany one of the highest impact moments of the game, where players learn some startling revelations, and given the relatively primitive graphics (and lack of voice acting), it really was down to the music to create the emotional context. Cosmo Canyon (FFVII)įinal Fantasy VII has so much great music, but the earthy and ethereal beauty of Cosmo Canyon really helps it to stand out as the one that you’ll be humming at the end. It’s unfair to pick just one favourite, but the sheer character of Good King Mog, and the way it enhances my favourite side-story of all within the game, is what gets it over the line. Final Fantasy XIV has a lot of amazing music in it, of course. I love this song (as anyone who tunes into the podcast regularly well knows). It’s my favourite moment in the whole game, because it’s colourful, cheerful, silly, and the perfect way to bring Moogles into the massive MMO world. This song is very Danny Elfman, and accompanies a battle that is very whimsical, Tim Burton-like thing. Good King Moggle Mog XII is a really good reason to keep playing Final Fantasy XIV until at least the end of the second expansion (Stormblood). These are of course just my personal picks, but if I were able to select the music list for a new Final Fantasy symphony tour, these are the tracks I would choose: Good King Moggle Mog XII (FFXIV) One of the reasons I love this series as much as I do is because of the music, so, while it’s fresh in my mind, I thought I’d list out all my favourite pieces of Final Fantasy music. With the release of Theatrhythm this week, I’ve found myself going through all my Final Fantasy CDs and setting up playlists on my iPhone.
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