115. Dismantling The Creator (TAY)
'I am sorry, but your time is over. I fear that you have not achieved enough on this planet to satisfy my needs. I cannot allow the universe to be overrun by inferior species that fail to evolve to their fullest potential'
Eighteen years after the release of the original version of Final Fantasy IV, the decision was made to create a sequel, The After Years, showcasing what had happened to the game's characters over a similar timespan. Initially released episodically, each chapter of the game is part of an overarching quest, focusing on a different person (though Cecil and Rosa's son Ceodore functions as a de facto lead) that interacts with characters old and new as they mostly deal with the actions of the 'mysterious girl', an individual who is a dead ringer for Rydia but whose name brings about unfortunate Peter Andre connotations every time it is mentioned. It transpires that the 'mysterious girl' is actually an identity shared by several individuals with identical appearances. These are the experimental creations (known as Maenads) of a being called the Creator, who made the world (and several others) and its Crystals as part of another experiment several centuries prior, but now regards his creation as a lost cause as a result of so-called evolutionary failures and seeks to end its existence by using the mass-produced Maenads as minions. Naturally, the characters of the game oppose this plan when they become aware of it, confronting the Creator on the moon he uses as a method of interstellar transport (rivalling a Death Star in awesomeness). He is beaten in battle, with the surprising aid of the Maenads (one of whom stays on the planet to be raised by Rydia), bringing an end to what will presumably be the last threat encountered by the world inhabited by Cecil and company.
114. Jobs A Good 'Un (Various)
In the real world, jobs are usually mundane activities that most of us tolerate for forty hours a week in order to earn a living. In the worlds of Final Fantasy, however, they are frequently the centrepiece of a highly enjoyable customisation process. Character classes are a staple of any RPG, but in few games are players given such a wealth of options to choose from as they are in the likes of Final Fantasies III, V and the Tactics sub-series, which all make use of the 'Job System'. This system allows players to develop their characters in any way fit from the outset of each game, enabling them to choose what their battle party members will specialise in (physical attack power, magical proficiency, speed, etc) and undergo trial and error to formulate an effective team of individuals who complement the abilities of one another. Such experimentation can lead to some interesting and devastating combinations from magical ninjas and doublehanded dragoons to time altering samurais and bow-wielding arithmeticians. The possibilities of the system are endless; enhancing gameplay greatly as it allows players to undergo different experiences every time they play the game and constantly discover new ways to be effective in battle against the computer or other players (in latter entries of the Tactics sub-series). Games that utilise the system (or something similar, such as Final Fantasy VII's Materia or Final Fantasy VIII's GF/Junction setup) force players to be tactical and intelligent in order to advance. Such advancement actually feels deserved as a result, making it (and then the constant retweaking of characters to advance further) much more gratifying than advancement that results from the computer doing all or most of the work and merely requiring the player to press a button from time to time to input the occasional command (I'm looking at you, Final Fantasy XIII).
113. The Dragon Becomes A Phoenix (V)
'It seems he came to this tower so he could help you with the last of his power...'
Final Fantasy V is the epitome of a 'mixed bag'. Though it improved upon the highly innovate Job System detailed in the last entry, its story was somewhat lacklustre, redeemed only by a couple of memorable characters and a handful of great scenes. One such scene involves party member Lenna's wind drake (read: dragon), Hiryu, which serves as a companion and method of travel for a portion of the game. An endangered species, wind drake's are nearing extinction because of the toxicity of a plant called dragon grass, which puts the elderly Hiryu near death on one occasion until Lenna risks her own life to convince him to eat a decontaminated version that serves as an antidote. The aged beast repays its master on a number of occasions, until it finally succumbs to death towards the end of the game in a location called the Phoenix Tower. The moment is poignant and sombre, until the drake returns a short while later, reborn from the ashes as the Phoenix summon. In an almost identical fashion, Syldra, the water dragon responsible for the powering the party's ship at the beginning of the game, sacrifices herself for her master Faris before returning much later on as a spirit and summonable ally. Given the bond that many people hold with their pets, the deaths of Hiryu and Syldra are heartfelt for many, which makes their returns all the more cheerful.
112. Mountain Massacre (XII)
'To their sorrow do those who misplace their trust in gods learn their fate'
Following their acquisition of a piece of Nethicite about a quarter of the way through Final Fantasy XII, the player's party seek more information on their newfound discovery. This journey sees them liaise with a race known as the Garif before venturing to Mt. Bur-Omisace, the home of Gran Kiltias Anastatis, who serves as the highest and most celebrated man in the Light of Kiltia faith adhered to by a number of inhabitants of the continent of Ivalice. Meanwhile Larsa Solidor, the youngest son of the Archadian Emperor Gramis, seeks to prevent a war between his country and the rival superpower of Rozarria, which could be triggered at any time as a result of tensions stemming from the Archadian invasion of the Kingdom of Dalmasca. To do this, he seeks to negotiate a peaceful resolution with an envoy named Al-Cid Margrace, bringing Ashe (Dalmasca's Princess) into proceedings when he encounters the party. Events in Archades render peace impossible, however, as Larsa's elder brother Vayne murders his father and the Imperial Senate to take control of the Empire, angered over their preference of his younger sibling as heir to the position of Emperor rather than him. Though possessing a soft spot for his brother and wishing him no harm, Vayne sends a group of Judge Magisters to ensure his successful retrieval, though one, Bergan, remains at the mountain, going on a ruthless rampage and indiscriminately butchering its residents, including the elderly Gran Kiltias, as a show of force. He soon gets his comeuppance and dies at the party's hand, but his unpredictable and mindless massacre is shocking to watch, particularly given the minor status of his character.
111. Going Back For Amarant (IX)
'You're a part of the team. That's all that matters'
The main protagonists of Final Fantasies VII and VIII, Cloud and Squall, both began their respective games as cold and stoic loners. It was therefore somewhat refreshing that Final Fantasy IX opted to utilise a more light-hearted character, Zidane (who lacks the ability to headbutt people, sadly), as its lead. Living his life with the mantra of 'you don't need a reason to help people', Zidane frequently puts himself in harm's way to help others, evidenced by actions such as his rescue of Princess Garnet in the Evil Forest. This is in stark contrast to the character of Amarant, a character more akin to Cloud and Squall that appears towards the end of the game's second disc as a solitary bounty hunter tasked with tracking Zidane and his companions down. He succeeds in his mission, but is defeated by Zidane (whose trickery once resulted in him being framed as the culprit for a theft and fired from his post as a security guard) in one-on-one combat and left alive out of mercy. Confused by this, he opts to follow Zidane and identify the source of his strength, soon forming an uneasy alliance and joining him. Eventually becoming convinced that his defeat was a fluke and that his philosophy of individualism is superior to Zidane's teamwork-focused method of doing things, the flame-haired individual opts to leave the party during a trip to a location called Ipsen's Castle, where he competes against them to locate four artefacts. He prevails, but leaves both the party and the artefacts, both of which he declares that he has no use for. After his own departure, Zidane learns that Amarant is yet to vacate the castle, going back in to find that he has become caught in a death-trap. He proceeds to rescue him from this, as well as his own arrogance, as Amarant finally embraces the advantages of friendship, accepts Zidane as his ally and vows to follow the party to the very end.