Final fantasy Games are known for its large, bombastic openings. Final Fantasy VIIs Legendary bombing missionThe brainwashed ground is sent through the snow roads in Narshe in Final Fantasy youthe destruction of Zanarkand in Final Fantasy X—these are Large fixed pieces With high stakes, introducing threats and conflicts central to their epic stories. They are large and loud, destined to immediately swallow you into a journey that will last dozens on dozens (on Dozens) of hours.
They are all iconic in their own rights but is only one Final fantasy Opening that I played more and growing with the franchise and continues to review even if I actually don’t play beyond it: Final Fantasy IXTheater, a whimsical introduction to Alexandria.
Final Fantasy IXWho is 25 years old today opens in severe contrast to his PS1. Already a major divergence in return to the classic fantasy aesthetics that defined a lot Final fantasyearliest days – and was, with much success, diverged by itself at that point in succession You,, Viiand separately Viiibend to more steampunk and modern science fiction traps-Final Fantasy IX opens in a much more subjected way. We are constantly introducing to the various initial players in IxThe celebration of three intertwined stories, all walking a special presentation of a play called “I want to be your canary”, held to celebrate the birthday of Alexandrian Princess Garnet.
It is live, a young boy new in the city, but eager to see the sights and attend the play, only to find that the ticket he was sold is a fake. He is captain of the guard Steiner, tasked with securing the evening to leave without hunting. There is Zidane and the crew of the Tantalus, masking as the theater troop putting on the performance, but secretly tasks kidnapping Princess Garnet in the order of rival nation-state-And garni want to To be kidnapped, so that she can escape the control of her increasingly wrong mother, Queen Brahne, and see the world beyond the walls of Alexandria.
In addition to its clever interlaced stories, what does Final Fantasy IXThe open act stands out next to its contemporaries is how playful it is with the genre that the series has returned. This is not Final Fantasy VIIis a bold act of eco-terrorism or Final Fantasy VIIIIntentional crashing from its initial school with the reality of conflict. This does not mean that there are no participles that are real to the rest of the story’s opening, of course-Garnet’s worries about her mother’s behavior is for her potential to dive the world into chaos, and Tantalus Tantalus Tantalus’s mission has similar parts, where failure could lead to a war between Alexandria and Lindblum’s neighboring city. But the opening is wrapped in a layer of metanarrativa, which is really about the idea of fantasy itself and for what it means Final fantasy to have returned to this classic, medieval-inspired tradition.
Each of the characters to whom we introduce during the open act longs for something greater and more than their current lots in life: live a community and friendship as he takes the world, even if it means he seizes a few times. Garnet, more than just worried about Queen Brahne’s decline, wants to be free from expectations placed on her as a princess. Although he may not initially notice it until Garnet asks him to drive her away, Zidane finds himself immediately enchanted by the princess, whom he has been given the task of saving and the perspective of life beyond his steal. Even “I want to be your canary” himself, a Shakespeare classic reef, it’s about this kind of longing: a Romeo and Juliet-Esque tale of star-cross lovers, Cornelia and Marcus, whose love transcends their perspectives on both sides of a conflict between warring kingdoms.
“I want to be your canary” himself even becomes meicallyanike important for this romantic view of fantasy. Much of the early battles you fight in Final Fantasy IXThe opening is not, as they are in the other games, real struggles: they are presented, even beyond learning, with a layer of trick. The duels in the play, by Zidane and his famous miniation by Tantalus Kamarade Blank, until the portrayal of the play’s fighting scenes as otherwise classic Final fantasy Turn-based combat (including “SFX” orders to throw magic spells that do not actually damage but rough the audience), there is a layer of fantasy under the fantasy Ix is already involved in a loving letter to the romantic archetypes of the genre.
There is a feeling of longing everywhere Ixthe opening – for the player returning to Final fantasyIt is a traditional aesthetics, for its characters and their desires to see beyond their current lives, and for the game itself to play with the wandering of everything. It remains as infectious now as it made 25 years ago, a call to an adventure that does not open with the promise of world-final misfortunes or huge evils to fight, but a simple desire to embrace that fantasy. And see, how IxThe supermond theme asks us to consider what is over that hillAnd what is outside the next horizon.
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