Tag: Final Fantasy X

The director of Final Fantasy VII Remake is clear: young people do not connect with Final Fantasy

At Square Enix, they have a problem: Final Fantasy no longer connects with young people. A franchise historically known for connecting with teenagers and young adults is having trouble reaching its target audience. This is evidenced by the latest data from Circana, which states that 70% of players who bought Final Fantasy VII Rebirth in the United States were over 30 years old. Naoki Hamaguchi, the game’s director, claims to be “very aware of the need to consider how we can expand the potential of the Final Fantasy franchise as a whole for the next generation” and that at Square […]

At Square Enix, they have a problem: Final Fantasy no longer connects with young people. A franchise historically known for connecting with teenagers and young adults is struggling to reach its target audience.

Something that is demonstrated by the latest data from Circana, which states that 70% of players who bought Final Fantasy VII Rebirth in the United States were over 30 years old.

Naoki Hamaguchi, the game director, claims to be “very aware of the need to consider how we can expand the potential of the Final Fantasy franchise as a whole for the next generation” and that at Square Enix, when they finish the trilogy of Final Fantasy VII remakes, they want to “think about that expansion towards new audiences“.

On the other hand, this is not a new occurrence among the important leaders in the company. The director of Final Fantasy XIV and producer of Final Fantasy XVI, Naoki Yoshida, has also said something similar in the past. Stating that “the release intervals have stretched so much that some players simply have not had the chance to connect with the series as veteran fans did,” he believes that one of the reasons younger audiences connected with Final Fantasy was its fast release pace.

The numbers fit and do not add up

The data holds up. Between Final Fantasy VI and Final Fantasy X, the peak of the franchise’s popularity, seven years passed. Between Final Fantasy XII, XIII, XV, and XVI, seventeen years have passed. A whole lifetime for any child, teenager, or young adult.

For this reason, while it is impossible to prove that this is the cause of the franchise’s lack of popularity among young people, it seems to be a likely cause. Whether Square Enix will intervene on this, making more games faster or in another way, remains to be seen. Especially when Final Fantasy XVI, the latest game in the franchise, is from 2023 and a new installment has not yet been announced.

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If Expedition 33 can be easily broken, blame Final Fantasy X, says its director

The director of Clair Obscur, Guillaume Broche, has recently acknowledged that the title Expedition 33 might be too easy for some players, especially in the final boss fight. During a conversation with Edge magazine, Broche explained that many players chose to complete side content before facing the climax of the game, which led to a combat experience that was less challenging than the team had anticipated. A game inspired by the classics, for better or worse The structure of Expedition 33 is inspired by classic RPGs from the PS2 era, such as Final Fantasy 10, […]

The director of Clair Obscur, Guillaume Broche, has recently acknowledged that the title Expedition 33 might be too easy for some players, especially in the final boss fight. During a conversation with Edge magazine, Broche explained that many players chose to complete side content before facing the climax of the game, which led to a combat experience that was less challenging than the team had anticipated.

A game inspired by the classics, also for the bad

The structure of Expedition 33 is inspired by classic RPGs from the PS2 era, such as Final Fantasy 10, where players have the freedom to either advance directly to the final boss or dedicate themselves to exploring additional content. Broche admitted that, while the intention was to allow those focused on the narrative to jump from the end of Act Two directly to the end of the game, it resulted in many players completely surpassing the recommended difficulty levels.

Since the last update, players have discovered ways to inflict extremely high damage, which has impacted the gaming experience. Some users have begun to raise their damage statistics to astronomical figures, reaching tens of billions, something that Broche considers a success in terms of game design. “If you go back and look at Final Fantasy 10, you can take down the final boss in one hit if you’re overpowered,” Broche explained, personalizing the reflection with his own experiences in the genre.

Before the launch, the Sandfall team had modest expectations, betting that Expedition 33 would score around 80 on Metacritic. Despite the challenges in the difficulty of the final combat, Broche and his team feel satisfied with the overall results and their approach to RPGs in the gameplay formula.

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The director of Expedition 33 is blunt: "it's not about following processes, but about making a game that you want to play"

Clair Obscur: Expedition 33, the recent development by Sandfall Interactive, has become a benchmark of the JRPG genre in the Double A gaming scene. Directed by Guillaume Broche, the project is a tribute to classics from the golden age of Japanese role-playing games like Final Fantasy X, with a combat system reminiscent of the Dark Souls saga. Broche has defended the studio’s creative philosophy, which prioritizes enjoying the development process over conforming to player expectations: “It’s not about following processes, but about making a game that you want […]

Clair Obscur: Expedition 33, the recent development by Sandfall Interactive, has become a benchmark in the JRPG genre in the Double A gaming scene. Directed by Guillaume Broche, the project is a tribute to classics from the golden age of Japanese role-playing games like Final Fantasy X, featuring a combat system reminiscent of the Dark Souls saga. Broche has defended the studio’s creative philosophy, which prioritizes enjoying the development process over conforming to player expectations: “It’s not about following processes, but about making a game that you want to play.”

The player is not that important

Jennifer Svedberg-Yen, the lead writer of the game, highlighted the collaborative nature of the development, where art, narrative, and music influenced each other. This approach has allowed for the creation of a cohesive world that reflects the team’s passion for the work. The influence of iconic titles on character design and the combat system underscores the team’s dedication to honoring their sources of inspiration while seeking to provide a unique and engaging experience for players.

Despite its initial success, the game faces a controversy that has marked its trajectory. Clair Obscur was disqualified from the Indie Game Awards just one day after being recognized as Game of the Year and Best Debut, due to the use of AI-generated images during its development. Although these elements were removed shortly after the release, the strict policy of the competition regarding the use of generative artificial intelligence invalidates its nomination. This situation highlights the challenges developers face in an ever-evolving environment with increasingly strict regulations.

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The creator of Dragon Quest is clear about what differentiates his franchise from Final Fantasy, and it is what his protagonists talk about

The Dragon Quest and Final Fantasy franchises, fundamental pillars of the JRPG genre, have maintained a relationship of competition and comparison over the years. In a recent interview, Yuji Horii, creator of Dragon Quest, shared his vision on the narrative differences that characterize both sagas, highlighting how their design has influenced the player’s experience. Emphasis on narrative or immersion Horii pointed out that in Final Fantasy, characters have voice and personality, allowing them to build their own identities. Protagonists like Cloud from Final Fantasy VII or Tidus from Final Fantasy X […]

The Dragon Quest and Final Fantasy franchises, fundamental pillars of the JRPG genre, have maintained a relationship of competition and comparison over the years. In a recent interview, Yuji Horii, creator of Dragon Quest, shared his vision on the narrative differences that characterize both sagas, highlighting how their design has influenced the player experience.

Emphasis on narrative or immersion

Horii pointed out that in Final Fantasy, characters have voice and personality, which allows them to build their own identities. Protagonists like Cloud from Final Fantasy VII or Tidus from Final Fantasy X are examples of heroes who guide the narrative through their emotions and dialogues. This approach, while rich in narrative content, presents a marked contrast with the approach of Dragon Quest, where the protagonist remains silent, allowing the player to identify with the character. For Horii, this silence does not imply a lack of depth, but rather is a deliberate resource for the player to identify with the main character.

This divergence in design philosophies reflects two distinct ways of telling stories within the world of Japanese role-playing: silent immersion versus guided narrative. Both formulas have proven to be successful and have greatly contributed to the development of the genre, inspiring new generations of developers and players.

Horii also emphasizes that this historical rivalry is not negative, but rather represents a creative diversity that enriches the landscape of Japanese role-playing games. By observing how both sagas have evolved with remakes and new releases, their reflection remains alive in the hearts of players, who today can choose to become the silent hero of Dragon Quest or accompany the protagonists of Final Fantasy in their emotional stories.

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Nobuo Uematsu, the renowned composer of Final Fantasy, claims that he has not used and will never use AI

The renowned composer of the Final Fantasy saga, Nobuo Uematsu, has expressed his strong opinion on the use of artificial intelligence (AI) in music creation during a recent interview with JASRAC Magazine. Despite the technology allowing the emerging appearance of “musicians” generated by AI, such as The Velvet Sundown, Uematsu claims he has never used this tool and probably never will. A complete disinterest in it, Uematsu argues that music produced by human beings has instabilities and peculiarities that make it unique. “What makes it sound so satisfying are precisely those […]

The renowned composer of the Final Fantasy saga, Nobuo Uematsu, has expressed his strong opinion on the use of artificial intelligence (AI) in music creation during a recent interview with JASRAC Magazine. Although technology has allowed for the emerging appearance of “musicians” generated by AI, such as The Velvet Sundown, Uematsu claims that he has never used this tool and probably never will.

A complete disinterest in it

Uematsu argues that music produced by humans has instabilities and peculiarities that make it unique. “What makes it sound so satisfying are precisely those fluctuations and imperfections,” commented the composer. This perspective is part of a broader critique of the evolution of music in video games, where he points out a concerning trend towards more “Hollywood” styles and the lack of originality in current compositions. According to him, the use of AI tools can inhibit composers by preventing them from delving into their personal experiences and expressing unique aspects of their creativity.

Although Uematsu acknowledges that AI could be useful in certain technical aspects of music creation, such as the smooth transition between sounds, he emphasizes that the creative process remains more rewarding when musicians are allowed to face their own challenges. “When you listen to music, you also enjoy discovering the background of the person who created it. AI doesn’t have that kind of story,” he stated.

Regarding technological innovations in audio production, Uematsu mentioned achievements such as studio recording and binaural audio, which has already been implemented in Final Fantasy X. However, there are questions about how players will react to these innovations in the future, raising a debate about the future of music in video games.

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Classic game programmer like Chrono Trigger and Final Fantasy X explodes: why would anyone want to resemble their games?

Veteran programmer Koji Sugimoto, known for his work on iconic titles like Chrono Trigger and Final Fantasy X, has expressed his discontent with the recent trend in modern video games that seeks to emulate the visual errors of the PlayStation 1 era. Sugimoto believes that this practice, fueled by the release of a new tool by Unity Japan that makes it easier for developers to replicate the characteristic texture distortion of the PS1 hardware, is unnecessary and goes against his work as a developer. There are no longer limitations, why imitate them? In a comment reacting to […]

The veteran programmer Koji Sugimoto, known for his work on iconic titles such as Chrono Trigger and Final Fantasy X, has expressed his discontent with the recent trend in modern video games that seeks to emulate the visual errors of the PlayStation 1 era. Sugimoto believes that this practice, fueled by the release of a new tool by Unity Japan, which makes it easier for developers to replicate the characteristic texture distortion of the PS1 hardware, is unnecessary and goes against his work as a developer.

There are no limitations anymore, why imitate them?

In a comment reacting to a tweet from Unity Japan, Sugimoto reflected on the hard work he and his team dedicated to avoiding texture distortion, something that is now glorified as a “charming” aspect of retro video games. “Back then, we put in exhausting effort to avoid this distortion, only for it to be considered a character trait today,” Sugimoto stated, emphasizing his bewilderment at this current appreciation.

The criticism is not new; as early as 2019, Sugimoto had described the trend of intentionally replicating such imperfections as “detestable,” arguing that he had spent hours of work struggling against the problem. Despite his frustration, the interest in visual defects evokes a broader debate about the value of imperfections in digital media.

The renowned musician and composer Brian Eno has also addressed this phenomenon. In his book A Year With Swollen Appendices, he argues that elements that now seem strange or ugly in a new medium, such as CD distortion or 8-bit sound, will eventually be valued and emulated over time. This trend reflects a nostalgic look at the aesthetics of the past, which continues to influence the artistic direction of contemporary video games.

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These are Brandon Sanderson's favorite video games

Brandon Sanderson, renowned author of literary sagas such as The Stormlight Archive and Mistborn, has revealed his personal list of the ten video games that have impacted him the most, a fact that reflects his deep connection with the world of gaming. Something we have all wondered at some point, what are your 10 favorite games? Through a recent post on his official website, the writer shared his favorite titles, a topic he had already addressed in a previous video. This relationship with video games is not casual; Sanderson participated in the development of […]

Brandon Sanderson, a renowned author of literary sagas such as The Stormlight Archive and Mistborn, has revealed his personal list of the ten video games that have impacted him the most, a fact that reflects his deep connection with the world of gaming. Something we have all wondered at some point, what are your 10 favorite games? Through a recent post on his official website, the writer shared his favorite titles, a topic he had already addressed in a previous video. This relationship with video games is not casual; Sanderson participated in the development of games like Infinity Blade and Moonbreaker, and had the opportunity to see one of his characters, Kelsier, integrated into Fortnite.

A little bit of everything, but there is one title that has taken up more hours

One of the most notable surprises on his list is the absence of Elden Ring, a title that has captured the attention of many players in recent times. However, Sanderson pays tribute to other great games in the industry, such as Bloodborne, also from FromSoftware. His selection includes iconic classics like Super Mario World, The Curse of Monkey Island, and Halo 2, as well as acclaimed works like Final Fantasy X and The Legend of Zelda: Breath of the Wild.

At the top of the list, Civilization VI stands out as the title that Sanderson has dedicated the most time to throughout his life, with his experience with the saga etched since his first year in college. Over that time, he has enjoyed countless gaming nights, a passion that has clearly influenced his narrative approach as a writer. Sanderson’s list highlights that his love for video games not only fuels his leisure time but can also inspire his creative work in writing and story development.