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The furry fandom is a subculture interested in anthropomorphic animal characters with human personalities and characteristics.^[1][2][3] Examples of anthropomorphic attributes include exhibiting human intelligence and facial expressions, speaking, walking on two legs, and wearing clothes. The term 'furry fandom' is also used to refer to the community of people who gather on the internet and at furry conventions.^[4]

• 3Activities

History

According to fandom historian Fred Patten, the concept of furry originated at a science fiction convention in 1980,^[5] when a character drawing from Steve Gallacci’s Albedo Anthropomorphics started a discussion of anthropomorphic characters in science fiction novels. This led to the formation of a discussion group that met at science fiction conventions and comics conventions.

The specific term furry fandom was being used in fanzines as early as 1983, and had become the standard name for the genre by the mid-1990s, when it was defined as 'the organized appreciation and dissemination of art and prose regarding 'Furries', or fictional mammalian anthropomorphic characters'.^[6] However, fans consider the origins of furry fandom to be much earlier, with fictional works such as Kimba, The White Lion released in 1965, Richard Adams' novel Watership Down, published in 1972 (and its 1978 film adaptation), as well as Disney's Robin Hood as oft-cited examples.^[5] Internet newsgroup discussion in the 1990s created some separation between fans of 'funny animal' characters and furry characters, meant to avoid the baggage that is associated with the term 'furry'.^[7]

During the 1980s, furry fans began to publish fanzines, developing a diverse social group that eventually began to schedule social gatherings. By 1989, there was sufficient interest to stage the first furry convention.^[8] It was called Confurence 0, and was held at the Holiday Inn Bristol Plaza in Costa Mesa, California.^[9] The next decade, the internet became accessible to the general population and became the most popular means for furry fans to socialize.^[10] The newsgroupalt.fan.furry was created in November 1990, and virtual environments such as MUCKs also became popular places on the internet for fans to meet and communicate.^[11]

The furry fandom is male-dominated, with surveys reporting around 80% male respondents.^[12][13][14]

Inspiration

Allegorical novels, including works of both science fiction and fantasy, and cartoons featuring anthropomorphic animals are often cited as the earliest inspiration for the fandom.^[5] A survey conducted in 2007 suggested that, when compared with a non-furry control group, a higher proportion of those self-identifying as furries liked cartoons 'a great deal' as children and recalled watching them significantly more often, as well as being more likely to enjoy works of science fiction than those outside of the community.^[15]

Activities

According to a survey from 2008, most furries believe that visual art, conventions, literature, and online communities are strongly important to the fandom.^[13]

Crafts

Fans with craft skills create their own plush toys, sometimes referred to as plushies, and also build elaborate costumes called fursuits,^[16] which are worn for fun or to participate in parades, convention masquerades, dances, or fund-raising charity events (as entertainers).^[17] Fursuits range from designs featuring simple construction and resembling sportsmascots^[15] to those with more sophisticated features that include moving jaw mechanisms, animatronic parts, prosthetic makeup, and other features. Fursuits range in price from $500, for mascot-like designs, to an upwards of $10,000 for models incorporating animatronics.^[18] While about 80% of furries do not own a full fursuit,^[12][13][15] often citing their expensive cost as the decisive factor,^[15] a majority of them hold positive feelings towards fursuiters and the conventions in which they participate.^[12][13] Some fans may also wear 'partial' suits consisting simply of ears and a tail, or a head, paws, and a tail.^[15]

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Furry fans also pursue puppetry, recording videos and performing live shows such as Rapid T. Rabbit and Friends and the Funday PawPet Show, and create furry accessories, such as ears or tails.^[19]

Role-playing

Anthropomorphic animal characters created by furry fans, known as fursonas,^[20] are used for role-playing in MUDs,^[21] on internet forums, or on electronic mailing lists.^[22] A variety of species are employed as the basis of these personas, although many furry fans (for example over 60% of those surveyed in 2007) choose to identify themselves with carnivorans.^[23][24] The longest-running online furry role-playing environment is FurryMUCK, which was established in 1990.^[25] Many furry fans had their first exposure to the fandom come from multiplayer online role-playing games.^{[26][unreliable source?]} Another popular online furry social game is called Furcadia, created by Dragon's Eye Productions. There are also several furry-themed areas and communities in the virtual worldSecond Life.^[27]

Conventions

Sufficient interest and membership has enabled the creation of many furry conventions in North America and Europe. A furry convention is for the fans get together to buy and sell artwork, participate in workshops, wear costumes, and socialize.^[28] The world's largest^[29] furry convention, Anthrocon with more than 5,861 participants, held annually in Pittsburgh in June,^[30] was estimated to have generated approximately $3 million to Pittsburgh's economy in 2008.^[31] Another convention, Further Confusion, held in San Jose each January, closely follows Anthrocon in scale and attendance. US$470,000 was raised in conventions for charity from 2000–9.^[32] The first known furry convention, ConFurence,^[5] is no longer held; Califur has replaced it, as both conventions were based in Southern California. A University of California, Davis survey suggested that about 40% of furries had attended at least one furry convention.^[12]

Websites and online communities

The internet contains a multitude of furry websites and online communities, such as art community websites Fur Affinity, Inkbunny, SoFurry and Weasyl; social networking sites Furry 4 Life, FurNation; and WikiFur, a collaborative furry wiki.^[33] These, with the IRC networksFurNet and Anthrochat, form a key part of furry fandom. Usenet newsgroups such as alt.fan.furry and alt.lifestyle.furry, popular from the mid-1990s to 2005, have been replaced by topic-specific forums, mailing lists and LiveJournal communities.

There are several webcomics featuring animal characters created by or for furry fans; as such, they may be referred to as furry comics. One such comic, T.H.E. Fox, was first published on CompuServe in 1986, predating the World Wide Web by several years,^[34] while another, Kevin and Kell by Bill Holbrook, has been awarded both a Web Cartoonists' Choice Award and an Ursa Major Award.^[35][36]

Furry lifestylers

The phrases furry lifestyle and furry lifestyler first appeared in July 1996 on the newsgroup alt.fan.furry during an ongoing dispute within that online community. The Usenet newsgroup alt.lifestyle.furry was created to accommodate discussion beyond furry art and literature, and to resolve disputes concerning what should or should not be associated with the fandom; its members quickly adopted the term furry lifestylers, and still consider the fandom and the lifestyle to be separate social entities. They have defined and adopted an alternative meaning of the word furry specific to this group: 'a person with an important emotional/spiritual connection with an animal or animals, real, fictional or symbolic.'^[37]

In their 2007 survey, Gerbasi et al. examined what it meant to be a furry, and proposed a taxonomy in which to categorise different 'types' of furries. The largest group—38% of those surveyed—described their interest in furry fandom predominantly as a 'route to socializing with others who share common interests such as anthropomorphic art and costumes.'^[38] However they also identified furries who saw themselves as 'other than human', or who desired to become more like the furry species which they identified with.^[10][15]

Sexual aspects

When compared with the general population, homosexuality and bisexuality are over-represented in the furry fandom^[15] by about a factor of 10. Of the US population, about 1.8% of persons self-identify as bisexual and 1.7% as homosexual according to a 2011 study from scholars at UCLA.^[39] In contrast, according to four different surveys 14–25% of the fandom members report homosexuality, 37–52% bisexuality, 28–51% heterosexuality, and 3–8% other forms of alternative sexual relationships.^{[12][14][40][41]} Approximately half of the respondents reported being in a relationship, of which 76% were in a relationship with another member of furry fandom.^[12] Examples of sexual aspects within furry fandom include erotic art and furry-themed cybersex.^[42][43] The term 'yiff' is sometimes used to indicate sexual activity or sexual material within the fandom—this applies to sexual activity and interaction within the subculture whether in the form of cybersex or offline.^[44][45]

Sexual attraction to furry characters is a polarizing issue. In one survey with 4,300 furry respondents, 37% answered that sexual attraction is important in their furry activities, 38% were ambivalent, and 24% answered that it has little or nothing to do with their furry activities.^[41] In a different online survey, 33% of furry respondents answered that they have a 'significant sexual interest in furry', another 46% stated they have a 'minor sexual interest in furry', and the remaining 21% stated they have a 'non-sexual interest in furry'. The survey specifically avoided adult-oriented websites to prevent bias.^[14] Another survey found that 96.3% of male furry respondents reported viewing furry pornography, compared with 78.3% of female; males estimated 50.9% of all furry art they view is pornographic, compared with 30.7% female. Furries have a slight preference for pornographic furry artwork over non-pornographic artwork. 17.1% of males reported that when they viewed pornography it is exclusively or near-exclusively furry pornography, and only about 5% reported that pornography was the top factor which got them into the fandom.^[46]

A portion of the fandom is sexually interested in zoophilia (sex with animals), although a majority take a negative stance towards it. An anonymous survey in 2008 found 17% of respondents reported zoophilia. An earlier survey, conducted from 1997 to 1998, reported about 2% of furry respondents stating an interest in zoophilia, and less than 1% an interest in plushophilia (sexually aroused by stuffed animal toys). The older, lower results, which are even lower than estimated in the general population, were due to the methodology of questioning respondents face-to-face, which led to social desirability bias.^[40][47] In contrast, one comparative study from 1974 and 1980 showed 7.5% of sampled students at University of Northern Iowa reporting zoophilia,^[48] while other studies find only 2.2%^[49] to 5.3%^[50] expressing fantasies of sex with animals.

Public perception and media coverage

Early portrayal of the furries in magazines such as Wired,^[51]Loaded,^[52]Vanity Fair,^[53] and the syndicated sex column 'Savage Love' focused mainly on the sexual aspect of furry fandom. Fictional portrayals of furry fandom have appeared on television shows such as ER,^[54]CSI: Crime Scene Investigation,^[55]The Drew Carey Show,^[56]Sex2K on MTV,^[57]Entourage,^[58]1000 Ways to Die,^[59]Tosh.0,^[60][61] and 30 Rock.^[62] Most furry fans claim that these media portrayals are misconceptions,^[63][64][65] while the recent coverage focuses on debunking myths and stereotypes that have come to be associated with the furry fandom.^[66] A reporter attending Anthrocon 2006 noted that 'despite their wild image from Vanity Fair, MTV and CSI, furry conventions aren't about kinky sex between weirdos gussied up in foxy costumes', that conference attendees were 'not having sex more than the rest of us',^[67] and that the furry convention was about 'people talking and drawing animals and comic-book characters in sketchbooks.'^[44] In October 2007, a Hartford Advocate reporter attended FurFright 2007 undercover because of media restrictions. She learned that the restrictions were intended to prevent misinformation, and reported that the scandalous behavior she had expected was not evident.^[68] Recent coverage of the furry fandom has been more balanced. According to Ian Wolf, a 2009 article from the BBC entitled 'Who are the furries?' was the first piece of journalism to be nominated for an Ursa Major Award, the main awards given in the field of anthropomorphism.^[10][69][70]

Milwaukee Brewers broadcaster Jim Powell was sharing a hotel with Anthrocon 2007 attendees a day before the convention and reported a negative opinion of the furries.^[71] Several downtown Pittsburgh businesses welcome furries during the event, with local business owners creating special T-shirts and drawing paw prints in chalk outside their shops to attract attendees.^[72] Dr. Samuel Conway, CEO of Anthrocon, said that 'For the most part, people give us curious stares, but they're good-natured curious stares. We're here to have fun, people have fun having us here, everybody wins'.^[73] Positive coverage was generated following a furry convention that was held in a Vancouver hotel where a number of Syrianrefugees were being temporarily housed. Despite some concerns and warnings by staff that there could be a seriously negative culture clash if the two groups interacted, the refugee children were on the whole delighted to meet the convention goers who seemed like cartoon characters come to life.^[74][75]

According to Furry survey, about half of furries perceive public reaction to the fandom as negative; less than a fifth stated that the public responded to them more negatively than they did most furries.^[13] Furry fans' belief that they will be portrayed as 'mainly obsessed with sex' has led to mistrust of the media and social researchers.^[10]

Sociological aspects

The International Anthropomorphic Research Project, a team of social scientists from various disciplines led by Plante, Reysen, Roberts, and Gerbasi, has been collecting data on the furry fandom using numerous methodologies. Their 2016 publication collects several peer-reviewed and self-published studies into a single volume.^[76][77] Among their findings were that the average adult furry is between 23–27 years of age, with more than 75% of adult furries reporting being 25 years of age or younger, and 88% of adult furries being under the age of 30. Minors were not included in the study for professional ethics reasons.^[77]:4–7 78–85% of furries identify as male, nearly 2% of furries identify as transgender, the remaining identify as female.^[77]:10 83–90% of furries self-identify as White, with small minorities of furries self-identifying as Asian (2–4%), Black (2–3%), and Hispanic (3%).^[77]:7–10 21% of furries consider themselves to be a brony, 44% consider themselves to be anime fans, and 11% consider themselves sport fans.^[77]:32–33 Furries, as a group, are more politically liberal and less religious than the average American or other comparable fan groups such as anime fans,^[77]:18 while still containing contentious groups such as neo-Nazis and alt-right activists whose affiliation is partly in jest and partly in earnest.^[78] Religion: 54% of furries self-identified as atheist or agnostic, 23% as Christian, 4% as Pagan, 2% as Wiccan, and the remainder identified with other religions.^[77]:16 Approximately 70% of adult furries have either completed, or are currently completing post-secondary education.^[77]:12

One of the most universal behaviors in the furry fandom is the creation of a fursona – an anthropomorphic animal representation or avatar. More than 95% of furries have a fursona – an anthropomorphic avatar or representation of themselves. Nearly half of furries report that they have only ever had one fursona to represent themselves; relatively few furries have had more than three or four fursonas; in part, this is due to the fact that, for many furries, their fursonas are a personally significant, meaningful representation of their ideal self. The most popular fursona species include wolves, foxes, dogs, large felines, and dragons. Data suggest that there are generally no associations between personality traits and different fursona species.^[77]:50–74 However, furries, along with sport fans, report different degrees of personality traits when thinking of themselves in their everyday identity compared with their fan identity.^{[77]:129–133} Some furries identify as partly non-human: 35% say they do not feel 100% human (compared with 7% of non-furries), and 39% say they would be 0% human if they could (compared with 10% of non-furries).^[77]:78

Inclusion and belongingness are central themes in the furry fandom: compared with members of other fandoms such as anime or fantasy sport, furries are significantly more likely to identify with other members of their fan community. On average, half of a furry's friends are also furry themselves.^{[77]:123–133} Furries rate themselves higher (compared with a comparison community sample of non-furries) on degree of global awareness (knowledge of the world and felt connection to others in the world), global citizenship identification (psychological connection with global citizens), and environmental sustainability.^[77]:18

See also

References

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77. ^ ^{abcdefghijklm}Plante, Courtney N.; Reysen, Stephen; Roberts, Sharon E.; Gerbasi, Kathleen C. (2016). FurScience! A summary of five years of research from the International Anthropomorphic Research Project. Waterloo, Ontario: FurScience. ISBN978-0-9976288-0-7. Retrieved December 27, 2016.
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Further reading

• Ferreday, Debra. 'Becoming deer: Nonhuman drag and online utopias.' Feminist Theory 12.2 (2011): 219-225.
• Hilton, Craig. 'Furry Fandom — An Insider's View from the Outside', parts 1 & 2. South Fur Lands #2 & #3, 1995, 1996.
• Martin, Watts. Mange: the need for criticism in furrydom 1994, 1998 (Archive.org mirror)
• Morgan, Matt. Creature Comfort: Anthropomorphism, Sexuality and Revitalization in the Furry Fandom. Diss. Mississippi State University, 2008.
• Probyn-Rapsey, Fiona. 'Furries and the Limits of Species Identity Disorder: A Response to Gerbasi et al.' Society and Animals 19.3 (2011): 294-301.
• Plante, C. N., Reysen, S., Roberts, S.E., & Gerbasi, K. C. (2016). FurScience! A summary of Five Years of Research from the International Anthropomorphic Research Project. Waterloo, Ontario: FurScience.

External links

• Furry fandom at Curlie
• Adult furry sites at Curlie

Final Fantasy^[a] is a Japanesescience fantasymedia franchise created by Hironobu Sakaguchi, and developed and owned by Square Enix (formerly Square). The franchise centers on a series of fantasy and science fantasy role-playing video games (RPGs/JRPGs). The first game in the series was released in 1987, with 14 other main-numbered entries being released since then. The franchise has since branched into other video game genres such as tactical role-playing, action role-playing, massively multiplayer online role-playing, racing, third-person shooter, fighting, and rhythm, as well as branching into other media, including CGI films, anime, manga, and novels.

Final Fantasy installments are generally stand-alone stories, each with different settings, plots and main characters, but the franchise is linked by several recurring elements, including game mechanics and recurring character names. Each plot centers on a particular group of heroes who are battling a great evil, but also explores the characters' internal struggles and relationships. Character names are frequently derived from the history, languages, pop culture, and mythologies of cultures worldwide. The mechanics of each game involve similar battle systems and maps.

The Final Fantasy video game series has been both critically and commercially successful, selling more than 144 million games worldwide, making it one of the best-selling video game franchises of all time. The series is well known for its innovation, visuals, and music, such as the inclusion of full-motion videos (FMVs), photorealistic character models, and music by Nobuo Uematsu. It has been a driving force in the video game industry, and the series has affected Square Enix's business practices and its relationships with other video game developers. It has popularized many features now common in role-playing games, also popularizing the genre as a whole in markets outside Japan.

• 1Media
  • 1.1Games
  • 1.2Other media
• 2Common elements
• 3Development and history
• 4Reception

Media[edit]

Games[edit]

The first installment of the series was released in Japan on December 18, 1987. Subsequent games are numbered and given a story unrelated to previous games, so the numbers refer to volumes rather than to sequels. Many Final Fantasy games have been localized for markets in North America, Europe, and Australia on numerous video game consoles, personal computers (PC), and mobile phones. Future installments will appear on seventh and eighth generation consoles. As of November 2016, the series includes the main installments from Final Fantasy to Final Fantasy XV, as well as direct sequels and spin-offs, both released and confirmed as being in development. Most of the older games have been remade or re-released on multiple platforms.^[1]

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Main series[edit]

Three Final Fantasy installments were released on the Nintendo Entertainment System (NES). Final Fantasy was released in Japan in 1987 and in North America in 1990.^[2][3] It introduced many concepts to the console RPG genre, and has since been remade on several platforms.^[3]Final Fantasy II, released in 1988 in Japan, has been bundled with Final Fantasy in several re-releases.^[3][4][5] The last of the NES installments, Final Fantasy III, was released in Japan in 1990;^[6] however, it was not released elsewhere until a Nintendo DSremake in 2006.^[5]

The Super Nintendo Entertainment System (SNES) also featured three installments of the main series, all of which have been re-released on several platforms. Final Fantasy IV was released in 1991; in North America, it was released as Final Fantasy II.^[7][8] It introduced the 'Active Time Battle' system.^[9]Final Fantasy V, released in 1992 in Japan, was the first game in the series to spawn a sequel: a short anime series, Final Fantasy: Legend of the Crystals.^[3][10][11]Final Fantasy VI was released in Japan in 1994, titled Final Fantasy III in North America.^[12]

The PlayStation console saw the release of three main Final Fantasy games. Final Fantasy VII (1997) moved away from the two-dimensional (2D) graphics used in the first six games to three-dimensional (3D) computer graphics; the game features polygonal characters on pre-rendered backgrounds. It also introduced a more modern setting, a style that was carried over to the next game.^[3] It was also the second in the series to be released in Europe, with the first being Final Fantasy Mystic Quest. Final Fantasy VIII was published in 1999, and was the first to consistently use realistically proportioned characters and feature a vocal piece as its theme music.^[3][13]Final Fantasy IX, released in 2000, returned to the series' roots by revisiting a more traditional Final Fantasy setting rather than the more modern worlds of VII and VIII.^[3][14]

Three main installments, as well as one online game, were published for the PlayStation 2 (PS2).^[15][16][17]Final Fantasy X (2001) introduced full 3D areas and voice acting to the series, and was the first to spawn a direct video game sequel (Final Fantasy X-2, published in 2003).^[18][19] The first massively multiplayer online role-playing game (MMORPG) in the series, Final Fantasy XI, was released on the PS2 and PC in 2002, and later on the Xbox 360.^[20][21] It introduced real-time battles instead of random encounters.^[21]Final Fantasy XII, published in 2006, also includes real-time battles in large, interconnected playfields.^[22][23] The game is also the first in the main series to utilize a world used in a previous game, namely the land of Ivalice, which had previously featured in Final Fantasy Tactics and Vagrant Story.^[24]

In 2009, Final Fantasy XIII was released in Japan, and in North America and Europe the following year, for PlayStation 3 and Xbox 360.^[25][26] It is the flagship installment of the Fabula Nova Crystallis Final Fantasy series^[27] and became the first mainline game to spawn two direct sequels (XIII-2 and Lightning Returns).^[28] It was also the first game released in Chinese & High Definition along with being released on two consoles at once. Final Fantasy XIV, a MMORPG, was released worldwide on Microsoft Windows in 2010, but it received heavy criticism when it was launched, prompting Square Enix to rerelease the game as Final Fantasy XIV: A Realm Reborn, this time to the PlayStation 3 as well, in 2013.^[29]Final Fantasy XV is an action role-playing game that was released for PlayStation 4 and Xbox One in 2016.^[30][31] Originally a XIII spin-off titled Versus XIII, XV uses the mythos of the Fabula Nova Crystallis series, although in many other respects the game stands on its own and has since been distanced from the series by its developers.^{[32][33][34][35][36][37]}

Remakes, sequels and spin-offs[edit]

Final Fantasy has spawned numerous spin-offs and metaseries. Several are, in fact, not Final Fantasy games, but were rebranded for North American release. Examples include the SaGa series, rebranded The Final Fantasy Legend, and its two sequels, Final Fantasy Legend II and Final Fantasy Legend III.^[38]Final Fantasy Mystic Quest was specifically developed for a United States audience, and Final Fantasy Tactics is a tactical RPG that features many references and themes found in the series.^[39][40] The spin-off Chocobo series, Crystal Chronicles series, and Kingdom Hearts series also include multiple Final Fantasy elements.^[38][41] In 2003, the Final Fantasy series' first direct sequel, Final Fantasy X-2, was released.^[42]Final Fantasy XIII was originally intended to stand on its own, but the team wanted to explore the world, characters and mythos more, resulting in the development and release of two sequels in 2011 and 2013 respectively, creating the series' first official trilogy.^[28]Dissidia Final Fantasy was released in 2009, a fighting game that features heroes and villains from the first ten games of the main series.^[43] It was followed by a prequel in 2011.^[44] Other spin-offs have taken the form of subseries—Compilation of Final Fantasy VII, Ivalice Alliance, and Fabula Nova Crystallis Final Fantasy.

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Other media[edit]

Film and television[edit]

Square Enix has expanded the Final Fantasy series into various media. Multiple anime and computer-generated imagery (CGI) films have been produced that are based either on individual Final Fantasy games or on the series as a whole. The first was an original video animation (OVA), Final Fantasy: Legend of the Crystals, a sequel to Final Fantasy V. The story was set in the same world as the game, although 200 years in the future. It was released as four 30-minute episodes, first in Japan in 1994 and later in the United States by Urban Vision in 1998. In 2001, Square Pictures released its first feature film, Final Fantasy: The Spirits Within. The film is set on a future Earth invaded by alien life forms.^[45]The Spirits Within was the first animated feature to seriously attempt to portray photorealistic CGI humans, but was considered a box office bomb and garnered mixed reviews.^[45][46][47]

In 2005, Final Fantasy VII: Advent Children, a theatrical CGI film, and Last Order: Final Fantasy VII, a non-canon OVA,^[48] were released as part of the Compilation of Final Fantasy VII. Advent Children was animated by Visual Works, which helped the company create CG sequences for the games.^[49] The film, unlike The Spirits Within, gained mixed to positive reviews from critics^[50][51][52] and has become a commercial success.^[53]Last Order, on the other hand, was released in Japan in a special DVD bundle package with Advent Children. Last Order sold out quickly^[54] and was positively received by Western critics,^[55][56] though fan reaction was mixed over changes to established story scenes.^[57]

A 25-episode anime television series, Final Fantasy: Unlimited, was released in 2001 based on the common elements of the Final Fantasy series. It was broadcast in Japan by TV Tokyo and released in North America by ADV Films.

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Two animated tie-ins for Final Fantasy XV were announced at the Uncovered Final Fantasy XV fan and press event, forming part of a larger multimedia project dubbed the Final Fantasy XV Universe. Brotherhood: Final Fantasy XV is a series of five 10-to-20-minute-long episodes developed by A-1 Pictures and Square Enix detailing the backstories of the main cast. Kingsglaive: Final Fantasy XV, a CGI movie set for release prior to the game in Summer 2016, is set during the game's opening and follows new and secondary characters.^{[58][59][60][61]}In February 26, 2019 Square Enix released a Short Anime called Final Fantasy XV: EPISODE ARDYN - PROLOGUE on their YouTube channel which acts as the background story for the final piece of Dlc for Final Fantasy 15 giving insight into Ardyn's past.

Square Enix also released Final Fantasy XIV: Dad of Light, an 8-episode Japanese soap opera. It features a mix of live-action scenes and Final Fantasy XIV gameplay footage. It premiered in Japan on April 16, 2017 and became available worldwide via Netflix in September of the same year.

It was announced in June 2019 that Sony Pictures Television is working on a first ever live-action adaptation of the series with Hivemind and Square Enix. Jason F. Brown, Sean Daniel and Dinesh Shamdasani for Hivemind will be the producers while Ben Lustig and Jake Thornton will write for the series and will serve as executive producers.^[62]

Other media[edit]

Several video games have either been adapted into or have had spin-offs in the form of manga and novels. The first was the novelization of Final Fantasy II in 1989, and was followed by a manga adaptation of Final Fantasy III in 1992.^[63][64] The past decade has seen an increase in the number of non-video game adaptations and spin-offs. Final Fantasy: The Spirits Within has been adapted into a novel, the spin-off game Final Fantasy Crystal Chronicles has been adapted into a manga, and Final Fantasy XI has had a novel and manga set in its continuity.^{[65][66][67][68]} Seven novellas based on the Final Fantasy VII universe have also been released. The Final Fantasy: Unlimited story was partially continued in novels and a manga after the anime series ended.^[69] The Final Fantasy X and Final Fantasy XIII series have also had novellas and audio dramas released. Two games, Final Fantasy Tactics Advance and Final Fantasy: Unlimited, have been adapted into radio dramas.

A trading card game named the 'Final Fantasy trading card game' is produced by Square Enix and Hobby Japan, first released Japan in 2012 with an English version in 2016.^[70] The game has been compared to Magic: the Gathering, and a tournament circuit for the game also takes place.^[71][72]

Common elements[edit]

Although most Final Fantasy installments are independent, many gameplay elements recur throughout the series.^[73][74] Most games contain elements of fantasy and science fiction and feature recycled names often inspired from various cultures' history, languages and mythology, including Asian, European, and Middle-Eastern.^[75] Examples include weapon names like Excalibur and Masamune—derived from Arthurian legend and the Japanese swordsmith Masamune respectively—as well as the spell names Holy, Meteor, and Ultima.^[74][75] Beginning with Final Fantasy IV, the main series adopted its current logo style that features the same typeface and an emblem designed by Japanese artist Yoshitaka Amano. The emblem relates to a game's plot and typically portrays a character or object in the story. Subsequent remakes of the first three games have replaced the previous logos with ones similar to the rest of the series.^[74]

Plot and themes[edit]

The central conflict in many Final Fantasy games focuses on a group of characters battling an evil, and sometimes ancient, antagonist that dominates the game's world. Stories frequently involve a sovereign state in rebellion, with the protagonists taking part in the rebellion. The heroes are often destined to defeat the evil, and occasionally gather as a direct result of the antagonist's malicious actions.^[3][75] Another staple of the series is the existence of two villains; the main villain is not always who it appears to be, as the primary antagonist may actually be subservient to another character or entity.^[3] The main antagonist introduced at the beginning of the game is not always the final enemy, and the characters must continue their quest beyond what appears to be the final fight.^[75]

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Stories in the series frequently emphasize the internal struggles, passions, and tragedies of the characters, and the main plot often recedes into the background as the focus shifts to their personal lives.^[23][76] Games also explore relationships between characters, ranging from love to rivalry.^[3] Other recurring situations that drive the plot include amnesia, a hero corrupted by an evil force, mistaken identity, and self-sacrifice.^[3][77][78] Magical orbs and crystals are recurring in-game items that are frequently connected to the themes of the games' plots.^[75] Crystals often play a central role in the creation of the world, and a majority of the Final Fantasy games link crystals and orbs to the planet's life force. As such, control over these crystals drives the main conflict.^[75][79] The classical elements are also a recurring theme in the series related to the heroes, villains, and items.^[75] Other common plot and setting themes include the Gaia hypothesis, an apocalypse, and conflicts between advanced technology and nature.^[75][77][80]

Characters[edit]

The series features a number of recurring character archetypes. Most famously, every game since Final Fantasy II, including subsequent remakes of the original Final Fantasy, features a character named Cid. Cid's appearance, personality, goals, and role in the game (non-playable ally, party member, villain) vary dramatically. However, two characteristics many versions of Cid have in common are 1) being a scientist or engineer, and 2) being tied in some way to an airship the party eventually acquires. Every Cid has at least one of these two traits.

Biggs and Wedge, inspired by two Star Wars characters of the same name, appear in numerous games as minor characters, sometimes as comic relief.^[23][74] The later games in the series feature several males with effeminate characteristics.^[81][82] Recurring creatures include Chocobos and Moogles.^[23] Chocobos are large, often flightless birds that appear in several installments as a means of long-distance travel for characters. Moogles, on the other hand, are white, stout creatures resembling teddy bears with wings and a single antenna. They serve different capacities in games including mail delivery, weaponsmiths, party members, and saving the game. Chocobo and Moogle appearances are often accompanied by specific musical themes that have been arranged differently for separate games.^[3][23][74] Final Fantasy is also well known for its enemy monsters and creatures.^[83]

Gameplay[edit]

In Final Fantasy games, players command a party of characters as they progress through the game's story by exploring the game world and defeating opponents.^[3][75] Enemies are typically encountered randomly through exploring, a trend which changed in Final Fantasy XI and Final Fantasy XII. The player issues combat orders—like 'Fight', 'Magic', and 'Item'—to individual characters via a menu-driven interface while engaging in battles. Throughout the series, the games have used different battle systems. Prior to Final Fantasy XI, battles were turn-based with the protagonists and antagonists on different sides of the battlefield. Final Fantasy IV introduced the 'Active Time Battle' (ATB) system that augmented the turn-based nature with a perpetual time-keeping system. Designed by Hiroyuki Ito, it injected urgency and excitement into combat by requiring the player to act before an enemy attacks, and was used until Final Fantasy X, which implemented the 'Conditional Turn-Based' (CTB) system.^[3][23][84] This new system returned to the previous turn-based system, but added nuances to offer players more challenge.^[19][85]Final Fantasy XI adopted a real-time battle system where characters continuously act depending on the issued command.^[86]Final Fantasy XII continued this gameplay with the 'Active Dimension Battle' system.^[87]Final Fantasy XIII's combat system, designed by the same man who worked on X,^[88] was meant to have an action-oriented feel, emulating the cinematic battles in Final Fantasy VII: Advent Children. The latest installment to the franchise, Final Fantasy XV, introduces a new 'Open Combat' system. Unlike previous battle systems in the franchise, the 'Open Combat' system (OCS) allows players to take on a fully active battle scenario, allowing for free range attacks and movement, giving a much more fluid feel of combat. This system also incorporates a 'Tactical' Option during battle, which pauses active battle to allow use of items.^[89]

Like most RPGs, the Final Fantasy installments use an experience level system for character advancement, in which experience points are accumulated by killing enemies.^{[90][91][92][93]}Character classes, specific jobs that enable unique abilities for characters, are another recurring theme. Introduced in the first game, character classes have been used differently in each game. Some restrict a character to a single job to integrate it into the story, while other games feature dynamic job systems that allow the player to choose from multiple classes and switch throughout the game. Though used heavily in many games, such systems have become less prevalent in favor of characters that are more versatile; characters still match an archetype, but are able to learn skills outside their class.^[23][74][75]

Magic is another common RPG element in the series. The method by which characters gain magic varies between installments, but is generally divided into classes organized by color: 'White magic', which focuses on spells that assist teammates; 'Black magic', which focuses on harming enemies; 'Red magic', which is a combination of white and black magic, 'Blue magic', which mimics enemy attacks; and 'Green magic' which focuses on applying status effects to either allies or enemies.^[3][74][84] Other types of magic frequently appear such as 'Time magic', focusing on the themes of time, space, and gravity; and 'Summoning magic', which evokes legendary creatures to aid in battle and is a feature that has persisted since Final Fantasy III. Summoned creatures are often referred to by names like 'Espers' or 'Eidolons' and have been inspired by mythologies from Arabic, Hindu, Norse, and Greek cultures.^[74][75]

University physics young and dman 13th edition solutions manual pdf download. Different means of transportation have appeared through the series. The most common is the airship for long range travel, accompanied by chocobos for travelling short distances, but others include sea and land vessels. Following Final Fantasy VII, more modern and futuristic vehicle designs have been included.^[75]

Development and history[edit]

Origin[edit]

In the mid-1980s, Square entered the Japanese video game industry with simple RPGs, racing games, and platformers for Nintendo's Famicom Disk System. In 1987, Square designer Hironobu Sakaguchi chose to create a new fantasy role-playing game for the cartridge-based NES, and drew inspiration from popular fantasy games: Enix's Dragon Quest, Nintendo's The Legend of Zelda, and Origin Systems's Ultima series. Though often attributed to the company allegedly facing bankruptcy, Sakaguchi explained that the game was his personal last-ditch effort in the game industry and that its title, Final Fantasy, stemmed from his feelings at the time; had the game not sold well, he would have quit the business and gone back to university.^[94][95][96] Despite his explanation, publications have also attributed the name to the company's hopes that the project would solve its financial troubles.^[95][97] In 2015, Sakaguchi explained the name's origin: the team wanted a title that would abbreviate to 'FF', which would sound good in Japanese. The name was originally going to be Fighting Fantasy, but due to concerns over trademark conflicts with the roleplaying gamebook series of the same name, they needed to settle for something else. As the word 'Final' was a famous word in Japan, Sakaguchi settled on that. According to Sakaguchi, any title that created the 'FF' abbreviation would have done.^[98]

The game indeed reversed Square's lagging fortunes, and it became the company's flagship franchise.^[46][95] Following the success, Square immediately developed a second installment. Because Sakaguchi assumed Final Fantasy would be a stand-alone game, its story was not designed to be expanded by a sequel. The developers instead chose to carry over only thematic similarities from its predecessor, while some of the gameplay elements, such as the character advancement system, were overhauled. This approach has continued throughout the series; each major Final Fantasy game features a new setting, a new cast of characters, and an upgraded battle system.^[5] Video game writer John Harris attributed the concept of reworking the game system of each installment to Nihon Falcom's Dragon Slayer series,^[99] with which Square was previously involved as a publisher.^[100] The company regularly released new games in the main series. However, the time between the releases of Final Fantasy XI (2002), Final Fantasy XII (2006), and Final Fantasy XIII (2009) were much longer than previous games. Following Final Fantasy XIV, Square Enix stated that it intended to release Final Fantasy games either annually or biennially. This switch was to mimic the development cycles of Western games in the Call of Duty, Assassin's Creed and Battlefield series, as well as maintain fan-interest.^[101]

Design[edit]

For the original Final Fantasy, Sakaguchi required a larger production team than Square's previous games. He began crafting the game's story while experimenting with gameplay ideas. Once the gameplay system and game world size were established, Sakaguchi integrated his story ideas into the available resources. A different approach has been taken for subsequent games; the story is completed first and the game built around it.^[102] Designers have never been restricted by consistency, though most feel each game should have a minimum number of common elements. The development teams strive to create completely new worlds for each game, and avoid making new games too similar to previous ones. Game locations are conceptualized early in development and design details like building parts are fleshed out as a base for entire structures.^[73]

The first five games were directed by Sakaguchi, who also provided the original concepts.^[75][103] He drew inspiration for game elements from anime films by Hayao Miyazaki; series staples like the airships and chocobos are inspired by elements in Castle in the Sky and Nausicaä of the Valley of the Wind, respectively.^[104] Sakaguchi served as a producer for subsequent games until he left Square in 2001.^[75][103]Yoshinori Kitase took over directing the games until Final Fantasy VIII,^{[105][106][107]} and has been followed by a new director for each new game. Hiroyuki Ito designed several gameplay systems, including Final Fantasy V's 'Job System', Final Fantasy VIII's 'Junction System' and the Active Time Battle concept, which was used from Final Fantasy IV until Final Fantasy IX.^[75][105] In designing the Active Time Battle system, Ito drew inspiration from Formula One racing; he thought it would be interesting if character types had different speeds after watching race cars pass each other.^[108] Ito also co-directed Final Fantasy VI with Kitase.^[75][105]Kenji Terada was the scenario writer for the first three games; Kitase took over as scenario writer for Final Fantasy V through Final Fantasy VII. Kazushige Nojima became the series' primary scenario writer from Final Fantasy VII until his resignation in October 2003; he has since formed his own company, Stellavista. Nojima partially or completely wrote the stories for Final Fantasy VII, Final Fantasy VIII, Final Fantasy X, and Final Fantasy X-2. He also worked as the scenario writer for the spin-off series, Kingdom Hearts.^[109]Daisuke Watanabe co-wrote the scenarios for Final Fantasy X and XII, and was the main writer for the XIII games.^{[110][111][112]}

Artistic design, including character and monster creations, was handled by Japanese artist Yoshitaka Amano from Final Fantasy through Final Fantasy VI. Amano also handled title logo designs for all of the main series and the image illustrations from Final Fantasy VII onward.^[103]Tetsuya Nomura was chosen to replace Amano because Nomura's designs were more adaptable to 3D graphics. He worked with the series from Final Fantasy VII through Final Fantasy X;^[75][103] for Final Fantasy IX, however, character designs were handled by Shukō Murase, Toshiyuki Itahana, and Shin Nagasawa.^[113] Nomura is also the character designer of the Kingdom Hearts series, Compilation of Final Fantasy VII, and Fabula Nova Crystallis: Final Fantasy.^[114] Other designers include Nobuyoshi Mihara and Akihiko Yoshida. Mihara was the character designer for Final Fantasy XI, and Yoshida served as character designer for Final Fantasy Tactics, the Square-produced Vagrant Story, and Final Fantasy XII.^[40][115]

Graphics and technology[edit]

Because of graphical limitations, the first games on the NES feature small sprite representations of the leading party members on the main world screen. Battle screens use more detailed, full versions of characters in a side-view perspective. This practice was used until Final Fantasy VI, which uses detailed versions for both screens. The NES sprites are 26 pixels high and use a color palette of 4 colors. 6 frames of animation are used to depict different character statuses like 'healthy' and 'fatigued'. The SNES installments use updated graphics and effects, as well as higher quality audio than in previous games, but are otherwise similar to their predecessors in basic design. The SNES sprites are 2 pixels shorter, but have larger palettes and feature more animation frames: 11 colors and 40 frames respectively. The upgrade allowed designers to have characters be more detailed in appearance and express more emotions. The first game includes non-player characters (NPCs) the player could interact with, but they are mostly static in-game objects. Beginning with the second game, Square used predetermined pathways for NPCs to create more dynamic scenes that include comedy and drama.^[116]

In 1995, Square showed an interactive SGI technical demonstration of Final Fantasy VI for the then next generation of consoles. The demonstration used Silicon Graphics's prototype Nintendo 64 workstations to create 3D graphics.^[116][117] Fans believed the demo was of a new Final Fantasy game for the Nintendo 64 console; however, 1997 saw the release of Final Fantasy VII for the Sony PlayStation.^[117][118] The switch was due to a dispute with Nintendo over its use of faster but more expensive cartridges, as opposed to the slower and cheaper, but much higher capacity Compact Discs used on rival systems.^[119][120]Final Fantasy VII introduced 3D graphics with fully pre-rendered backgrounds.^[119][121] It was because of this switch to 3D that a CD-ROM format was chosen over a cartridge format.^[119][122] The switch also led to increased production costs and a greater subdivision of the creative staff for Final Fantasy VII and subsequent 3D games in the series.^[73]

Starting with Final Fantasy VIII, the series adopted a more photo-realistic look.^[123][124] Like Final Fantasy VII, full motion video (FMV) sequences would have video playing in the background, with the polygonal characters composited on top. Final Fantasy IX returned to the more stylized design of earlier games in the series, although it still maintained, and in many cases slightly upgraded, most of the graphical techniques used in the previous two games.^[124]Final Fantasy X was released on the PlayStation 2, and used the more powerful hardware to render graphics in real-time instead of using pre-rendered material to obtain a more dynamic look; the game features full 3D environments, rather than have 3D character models move about pre-rendered backgrounds. It is also the first Final Fantasy game to introduce voice acting, occurring throughout the majority of the game, even with many minor characters.^[19] This aspect added a whole new dimension of depth to the character's reactions, emotions, and development.^[19][125]

Taking a temporary divergence, Final Fantasy XI used the PlayStation 2's online capabilities as an MMORPG.^[126] Initially released for the PlayStation 2 with a PC port arriving six months later, Final Fantasy XI was also released on the Xbox 360 nearly four years after its original release in Japan.^[127] This was the first Final Fantasy game to use a free rotating camera. Final Fantasy XII was released in 2006 for the PlayStation 2 and uses only half as many polygons as Final Fantasy X, in exchange for more advanced textures and lighting.^[128][129] It also retains the freely rotating camera from Final Fantasy XI. Final Fantasy XIII and Final Fantasy XIV both make use of Crystal Tools, a middleware engine developed by Square Enix.^[130][131]

Music[edit]

The Final Fantasy games feature a variety of music, and frequently reuse themes. Most of the games open with a piece called 'Prelude', which has evolved from a simple, 2-voice arpeggio in the early games to a complex, melodic arrangement in recent installments.^[23][74][96] Victories in combat are often accompanied by a victory fanfare, a theme that has become one of the most recognized pieces of music in the series. The basic theme that accompanies Chocobo appearances has been rearranged in a different musical style for each installment. A piece called 'Prologue' (and sometimes 'Final Fantasy'), originally featured in the first game, is often played during the ending credits.^[74] Although leitmotifs are common in the more character-driven installments, theme music is typically reserved for main characters and recurring plot elements.^[46]

Nobuo Uematsu was the chief music composer of the Final Fantasy series until his resignation from Square Enix in November 2004.^[46] Other composers include Masashi Hamauzu, Hitoshi Sakimoto^[132][133] and Junya Nakano. Uematsu was allowed to create much of the music with little direction from the production staff. Sakaguchi, however, would request pieces to fit specific game scenes including battles and exploring different areas of the game world.^[134] Once a game's major scenarios were completed, Uematsu would begin writing the music based on the story, characters, and accompanying artwork. He started with a game's main theme, and developed other pieces to match its style. In creating character themes, Uematsu read the game's scenario to determine the characters' personality. He would also ask the scenario writer for more details to scenes he was unsure about.^[135] Technical limitations were prevalent in earlier games; Sakaguchi would sometimes instruct Uematsu to only use specific notes.^[134] It was not until Final Fantasy IV on the SNES that Uematsu was able to add more subtlety to the music.^[116]

Reception[edit]

Overall, the Final Fantasy series has been critically acclaimed and commercially successful, though each installment has seen different levels of success. The series has seen a steady increase in total sales; it sold over 10 million units worldwide by early 1996,^[136] 45 million by August 2003, 63 million by December 2005, and 85 million by July 2008.^{[137][138][139]} In June 2011, Square Enix announced that the series had sold over 100 million units,^[140] and by March 2014, it had sold over 110 million units.^[141] Its high sales numbers have ranked it as one of the best-selling video game franchises in the industry; in January 2007, the series was listed as number three, and later in July as number four.^[46][142] As of 2018, the series has sold over 142 million units worldwide.^[143]

Several games within the series have become best-selling games. At the end of 2007, the seventh, eighth, and ninth best-selling RPGs were Final Fantasy VII, Final Fantasy VIII, and Final Fantasy X respectively.^[144]Final Fantasy VII has sold more than 11 million copies worldwide,^[145] earning it the position of the best-selling Final Fantasy game.^[146] Within two days of Final Fantasy VIII's North American release on September 9, 1999, it became the top-selling video game in the United States, a position it held for more than three weeks.^[147]Final Fantasy X sold over 1.4 million Japanese units in pre-orders alone, which set a record for the fastest-selling console RPG.^[144][148] The MMORPG, Final Fantasy XI, reached over 200,000 active daily players in March 2006^[149] and had reached over half a million subscribers by July 2007.^[46]Final Fantasy XII sold more than 1.7 million copies in its first week in Japan.^[150] By November 6, 2006—one week after its release—Final Fantasy XII had shipped approximately 1.5 million copies in North America.^[151]Final Fantasy XIII became the fastest-selling game in the franchise,^[152] and sold one million units on its first day of sale in Japan.^[153]Final Fantasy XIV: A Realm Reborn, in comparison to its predecessor, was a runaway success, originally suffering from servers being overcrowded,^[154] and eventually gaining over one million unique subscribers within two months of its launch.^[155]

The series has received critical acclaim for the quality of its visuals and soundtracks.^[46] In 1996, Next Generation ranked the series collectively as the 17th best game of all time, speaking very highly of its graphics, music and stories.^[156] It was awarded a star on the Walk of Game in 2006, making it the first franchise to win a star on the event (other winners were individual games, not franchises). WalkOfGame.com commented that the series has sought perfection as well as having been a risk taker in innovation.^[157] In 2006, GameFAQs held a contest for the best video game series ever, with Final Fantasy finishing as the runner-up to The Legend of Zelda.^[158] In a 2008 public poll held by The Game Group plc, Final Fantasy was voted the best game series, with five games appearing in their 'Greatest Games of All Time' list.^[159]

Many Final Fantasy games have been included in various lists of top games. Several games have been listed on multiple IGN 'Top Games' lists.^{[160][161][162][163][164][165]} Eleven games were listed on Famitsu's 2006 'Top 100 Favorite Games of All Time', four of which were in the top ten, with Final Fantasy X and Final Fantasy VII coming first and second, respectively.^[166] The series holds seven Guinness World Records in the Guinness World Records Gamer's Edition 2008, which include the 'Most Games in an RPG Series' (13 main games, seven enhanced games, and 32 spin-off games), the 'Longest Development Period' (the production of Final Fantasy XII took five years), and the 'Fastest-Selling Console RPG in a Single Day' (Final Fantasy X).^[144][167] The 2009 edition listed two games from the series among the top 50 consoles games: Final Fantasy XII at number 8 and Final Fantasy VII at number 20.^[168] In 2018, Final Fantasy VII was inducted as a member of the Video Game Hall of Fame.^[169]

However, the series has garnered some criticism. IGN has commented that the menu system used by the games is a major detractor for many and is a 'significant reason why they haven't touched the series.'^[23] The site has also heavily criticized the use of random encounters in the series' battle systems.^[170][171] IGN further stated the various attempts to bring the series into film and animation have either been unsuccessful, unremarkable, or did not live up to the standards of the games.^[11] In 2007, Edge criticized the series for a number of related games that include the phrase 'Final Fantasy' in their titles, which are considered inferior to previous games. It also commented that with the departure of Hironobu Sakaguchi, the series might be in danger of growing stale.^[46]

Several individual Final Fantasy games have garnered extra attention; some for their positive reception and others for their negative reception. Final Fantasy VII topped GamePro's '26 Best RPGs of All Time' list,^[172] as well as GameFAQs 'Best Game Ever' audience polls in 2004 and 2005.^[173][174] Despite the success of Final Fantasy VII, it is sometimes criticized as being overrated. In 2003, GameSpy listed it as the seventh most overrated game of all time, while IGN presented views from both sides.^[175][176]Dirge of Cerberus: Final Fantasy VII shipped 392,000 units in its first week of release, but received review scores that were much lower than that of other Final Fantasy games.^{[177][178][179]} A delayed, negative review after the Japanese release of Dirge of Cerberus from Japanese gaming magazine Famitsu hinted at a controversy between the magazine and Square Enix.^[180] Though Final Fantasy: The Spirits Within was praised for its visuals, the plot was criticized and the film was considered a box office bomb.^{[45][46][47][181]}Final Fantasy Crystal Chronicles for the GameCube received overall positive review scores, but reviews stated that the use of Game Boy Advances as controllers was a big detractor.^[118][182] The predominantly negative reception of the original version of Final Fantasy XIV caused then-president Yoichi Wada to issue an official apology during a Tokyo press conference, stating that the brand had been 'greatly damaged' by the game's reception.^[183]

Rankings and aggregators[edit]

Several video game publications have created rankings of the mainline Final Fantasy games. In the table below, the lower the number given, the better the game is in the view of the respective publication. By way of comparison, the rating provided by the review aggregator Metacritic is also given; in this row higher numbers indicate better reviews.

Legacy[edit]

The Final Fantasy series is credited for introducing and popularizing many concepts that are today widely used in console RPGs.^[3][118] The original game is often cited as one of the most influential early console RPGs, and played a major role in legitimizing and popularizing the genre. Many console RPGs featured one-on-one battles against monsters from a first-person perspective. Final Fantasy introduced a side view perspective with groups of monsters against a group of characters that has been frequently used.^[3][96][118] It also introduced an early evolving class change system,^[197][198] as well as different methods of transportation, including a ship, canoe, and flying airship.^[199]Final Fantasy II was the first sequel in the industry to omit characters and locations from the previous game.^[5] It also introduced an activity-based progression system,^[200] which has been used in later RPG series such as SaGa,^[201]Grandia,^[202] and The Elder Scrolls.^[200]Final Fantasy III introduced the job system, a character progression engine allowing the player to change character classes, as well as acquire new and advanced classes and combine class abilities, at any time during the game.^[203]Final Fantasy IV is considered a milestone for the genre, introducing a dramatic storyline with a strong emphasis on character development and personal relationships.^[204]Final Fantasy VII is credited as having the largest industry impact of the series,^[119] and with allowing console role-playing games to gain mass-market appeal.^[205]

The series affected Square's business on several levels. The commercial failure of Final Fantasy: The Spirits Within resulted in hesitation and delays from Enix during merger discussions with Square.^[47][96] Square's decision to produce games exclusively for the Sony PlayStation—a move followed by Enix's decision with the Dragon Quest series—severed their relationship with Nintendo.^[3][118]Final Fantasy games were absent from Nintendo consoles, specifically the Nintendo 64, for seven years.^[102][119] Critics attribute the switch of strong third-party games like the Final Fantasy and Dragon Quest games to Sony's PlayStation, and away from the Nintendo 64, as one of the reasons behind PlayStation being the more successful of the two consoles.^{[3][118][122]} The release of the Nintendo GameCube, which used optical disc media, in 2001 caught the attention of Square. To produce games for the system, Square created the shell companyThe Game Designers Studio and released Final Fantasy Crystal Chronicles, which spawned its own metaseries within the main franchise.^[38]Final Fantasy XI's lack of an online method of subscription cancellation prompted the creation of legislation in Illinois that requires internet gaming services to provide such a method to the state's residents.^[206]

The series' popularity has resulted in its appearance and reference in numerous facets of popular culture like anime, TV series, and webcomics.^{[207][208][209]} Music from the series has permeated into different areas of culture. Final Fantasy IV's 'Theme of Love' was integrated into the curriculum of Japanese school children and has been performed live by orchestras and metal bands.^[210] In 2003, Uematsu co-founded The Black Mages, a instrumental rock group independent of Square that has released albums of arrangedFinal Fantasy tunes.^[211][212]Bronze medalistsAlison Bartosik and Anna Kozlova performed their synchronized swimming routine at the 2004 Summer Olympics to music from Final Fantasy VIII.^[144] Many of the soundtracks have also been released for sale. Numerous companion books, which normally provide in-depth game information, have been published. In Japan, they are published by Square and are called Ultimania books.^[213][214]

Replay Media Catcher 7.0.1.27 + patch is a desire to acquaint you with the program that I liked earlier, because it was necessary, the essence of the development is that it is able to capture digital reproductions from a large number of Internet sources. Free media catcher 1.2.

The series has inspired numerous game developers. Fable creator Peter Molyneux considers Final Fantasy VII to be the RPG that 'defined the genre' for him.^[215]BioWare founder Greg Zeschuk cited Final Fantasy VII as 'the first really emotionally engaging game' he played and said it had 'a big impact' on BioWare's work.^[216]The Witcher 3 senior environmental artist Jonas Mattsson cited Final Fantasy as 'a huge influence' and said it was 'the first RPG' he played through.^[217]Mass Effect art director Derek Watts cited Final Fantasy: The Spirits Within as a major influence on the visual design and art direction of the series.^[218] BioWare senior product manager David Silverman cited Final Fantasy XII's gambit system as an influence on the gameplay of Dragon Age: Origins.^[219]Ubisoft Toronto creative director Maxime Beland cited the original Final Fantasy as a major influence on him.^[220]Media Molecule's Constantin Jupp credited Final Fantasy VII with getting him into game design.^[221]Tim Schafer also cited Final Fantasy VII as one of his favourite games of all time.^[222]

See also[edit]

• Dragon Quest – Initially a competing series from Enix, continues to be produced alongside Final Fantasy after their merger with Square
• Kingdom Hearts – An RPG series developed by Square Enix in collaboration with the American company Disney. It includes both Disney-related and Final Fantasy characters
• Granblue Fantasy – a 2013 video game featuring key staff from Final Fantasy
• The Last Story – a 2012 video game featuring key staff from Final Fantasy
• Final Fantasy series – Wikipedia book

Notes[edit]

References[edit]

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External links[edit]

• Final Fantasy Games at Curlie