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Final Fantasy 7 Remake Validity Analysis; In praise of an unfinished story

BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

This article is a critical analysis with a special focus on the Final legacy of Fantasy 7 Remix. Critical review is a series in which we analyze our own writings and those of other critics through an analytical perspective. This is done with the aim of promoting a general understanding of storytelling in video games. The Legacy of Final Fantasy 7 is a Remake of a series that explores how and why the innovative Final Fantasy 7 Remake is so influential, both in the Final Fantasy franchise and in terms of storytelling, in video games.

While other games unfinished left and right were canceled, Final Fantasy held 7 specialized and professional Remake classes for all the audience, with the theme "How to tell a story whose prominence and excellence is precisely because it is unfinished."

(There is still a risk of contamination of Final Fantasy 7 Remix, Final Fantasy 7 and the play of six characters in search of an author.)

story promised to them will be given to them after the purchase of the first product. Challenged through the add-on pack, Final Fantasy 7 remix, on the other hand, showed them how a game with an unfinished storyline, if properly structured, could express coherent and satisfying themes that would otherwise be of such quality. Will not enjoy.

BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

I want to convince you that the way the Final part of Final Fantasy 7 Remake leaves his story unfinished, a thematic researcher that Erithae calls "infinite and terrifying freedom": this incompleteness leaves the game's characters not only in the player's expectations of the story in which they are involved, but also in the sense of belonging. It frees them to a story. While this may seem like a very confusing achievement in storytelling at first, we will see that it is not only one of the themes that other storytellers have tried to achieve, but also one that is, in short, one of the central ideas present. Includes Fantasy 7 in Final 7.

I begin my analysis by reviewing the reasons that initially worried me about the possibility of remaking Final Fantasy 7 in the form of a few impossible games; The way in which the redefined Final Fantasy 7 Remake of Final Fantasy 7 uses these same reasons to make its story uniquely flexible is a surprising element in this equation.

With that in mind, I I want to show you that the Final part of Whisper, the battle against Safiroth, and the cloud confrontation with Safiroth on the Edge of Creation not only overthrows the Final Fantasy 7 storyline, but all the information and categories that The player could use them to place game characters in the story's geography.

Finally, I'm going to show you how this unusual twist in episodic storytelling is an unexpected explanation for the spectrum. It offers a range of elements in the Remake version, from the meaning behind the Final encounter with Safiroth to the relationship between the planet and Lifestream.

Final Fantasy 7 remix using one of the limitations The storytelling, which I was initially worried would completely damage the game, sets itself apart from its peers.

When Square Enix first announced their Remake of Final Fantasy 7 instead of being released as a The full game will be in episodic format, I wrote an article in response to this statement. In this article, I described my fears and suspicions; That the simple nature of video game storytelling combined with the nature of the Final Fantasy 7 apocalyptic story meant that a multi-part reconstruction of Final Fantasy 7 did not make sense; Although the original version on the PlayStation game contained three separate discs.

My basic argument was as follows: Video game stories are essentially interactive; In the sense that the events that take place in their story depend on the presence of the player. If a complete story is divided into several games, one: the integrity of the choices and the consequences of these player choices are preserved throughout these games, in which case they are no longer separate games; Rather, they are a complete game that is broken down into several discs (such as the original Final Fantasy 7), or two: Subsequent games released in the series ignore at least a number of player selections in previous games, in which case only one story played in It is not the length of several games, but a collection of different but interrelated stories.

I call it "apocalyptic narrative epistemology": stories in which the player's actions all lead the game world to an end that radically changes the overall nature of the game world, and the "end" is the world in which the game began and ended. Instead, it creates a whole new world.

In that article, I pointed out that this type of storytelling is not a vital feature of video game storytelling; Rather, it is a popular style of storytelling in video games, especially in the world of Japanese role-playing games, and more importantly, Final Fantasy 7 are examples of this type of storytelling; Because the player struggles against Sefiroth and with the meteorfall falls radically and irreversibly changes the structure of the planet.

BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

Meteorfall, the culmination of the transformation of the Final Fantasy 7 world

The combination of these narrative traits in Final Fantasy 7 in my opinion meant this. It is not possible to break down a player's autonomy over several different games in such a way as to successfully illustrate the apocalyptic story of Final Fantasy 7:

; In a way that exactly the same actions performed by one player in one game, directly affect the game world of another. In other words, designing a game that is both self-contained and a direct attachment to different games is contradictory.

Be vital, then video games will move in the direction of giving meaning to their worlds. In order for a game to be able to accomplish this while maintaining its narrative coherence, the game's story must explain the integrity of its world under self-made conditions and rules. Simply put, the game's story should not go beyond its own world. Otherwise, a game is created whose story focuses on another world instead of the game itself, and it is not clear why and how a storyline can focus on something other than its own world.

Of course, I also mentioned in the concluding section of that article that "if the Remake is ultimately just a kind of retelling of the Final Fantasy 7 series, such a new story could be interesting." Looking back now, I know this description is no more than a snippet. The story does not go away in a few games: This ending also uses all the related aspects of storytelling, which I mentioned earlier in the article, to make the suspension of the Final sequence uniquely meaningful.

Contrary to my initial fears, Final Fantasy 7 Remix is a game with an "unfinished" storyline that, precisely because of this feature, has become a work of art that, apart from what will happen in Final Fantasy 7 Remix 2 and its aftermath, gives its characters an unseen level of freedom. Has donated. The outcome of storytelling dynamics in the video games I mentioned above can be summarized in this sentence: The extent to which a player directly influences the story of a game is limited to events that are within the boundaries of the game.

BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

In normal cases where a complete story is told in a game, there is no need to point to the obvious in this regard, it is clear that we do not expect For example, the Ocarina of Time player will continue to influence Link's life after defeating Ganondorff. This attitude becomes more interesting, however, when the story remains half-finished at the end of the game. Have been played, but for the reasons mentioned in the article, they know that the events that follow the story in the next game will ignore the player's influence on the first game.

He ends up trying to split everything that should have been an interconnected story into a few games. However, in Final 7 Remake, this dissolution of the player's agency at the end of the game creates a situation in which Erith literally embodies the warning to Cloud and his friends, who change their destiny by defeating Safiroth and whispering; Winning it in battles gives the characters enough power to transform themselves instead of being controlled and guided by the player; This is thanks to stepping into a part of the story that is somewhere beyond the boundaries of the game and therefore outside the scope of the player's influence.

The Remake is just one of the angles that achieves this "boundless and terrifying freedom." To better understand the extent to which the unusual ending of the game unleashes its characters, we must place this destruction of agency in the broader context of whispers, ambiguity, and most importantly, the value of narrative between scenes.

The trio of freedom of narrative Final Fantasy 7 Remix

To better understand how Final Fantasy 7 Remix releases its characters in a terrifying way throughout the game, we must first answer two important questions.

What does freedom mean to a character?

What does it take to tell a story in which a character achieves freedom?

These two questions may seem superficially like vain questions that only literary critics care about; It should be noted, however, that these questions target topics that have been addressed by a significant number of modern and experimental literary works. On the other hand, when we look at the essence of these questions, I think we will quickly see that they are deeper than they seem.

One of my favorite works of this genre outside of video games is A play by six characters in search of an author by Luigi Pirandello. The play is about a theater group whose one of its rehearsals is disrupted by six characters whose author has left them out. These characters urgently need a number of actors and a director to tell their story. As the play progresses and the actors portray the characters' lives, the boundaries between reality and Fantasy blur, and as the characters discover aspects of their relationship and past that may not even be part of the original story - especially in relation to The death of one of the characters named Boy, who is the end of the play, no longer feels the boundary between reality and story. The play ends in an aura of ambiguity belonging to the story of a character and something sudden and "real" that happens during the performance of that story.

BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

The third act of the play Six Characters in Search of a Writer, London 1948

More about six characters in search I have an author to say, but the purpose of referring to this play in this article is twofold: first, to clarify these vague questions about the characters' lived experiences in pre-Final Fantasy stories and video games; Two, show that studies of the nature of characters can be more instructive than expected. And raises questions such as how it feels to not have control over your life or the "story" of your life. We see that this style of studying characters leads us to much more central and less ambiguous issues in the game.)

Given the above, what does it mean for a character to be free? Basically, a character is a personification (what Mickball calls a "complex semantic unit") used by a writer to create a story rather than themes, teachings, emotional experiences, and whatever the author intends to do. To express. In this imaginative framework, a character can have different motivations and act on a variety of causes - but all of these characteristics are determined by the author in the direction of the ultimate goal of drawing the goals of the story in general. So, with the purpose of this article in mind, in answer to the question, "What does freedom mean to a character?", We say that freedom is achieved for a character when he can act with motives independent of the story in which he is embedded.

Here comes the second question: What is needed to tell a story in which a character achieves freedom? The play of six characters helps us to find an author to answer this question to some extent. "Are the plays telling the story of their lives, or are they creating a new, unwritten story?" He leaves it to himself. This style of narrative requires that the characters and their actions distance themselves as much as possible from the forces exerted by the author who created these characters. To achieve such a result, a story must move the characters away from three themes:

  • Characters must distance themselves from the author's intentions. If the story is that a character In it, it continues to maintain the nature of the story designed by an author's being to narrate specific goals, so that the characters of the story, as the basic elements of the storyline, will have this controlling nature and a sense of being controlled by an being. They show a composition with similar goals.
  • Characters should stay away from viewers' expectations. Even if it is not clear what themes the author wants to convey through his story, viewers Believing that they know how the storyline is going to go if their prediction comes true, they conclude that the characters are in the service of the story and have no will of their own. Adaptations from famous stories are prime examples of this: If I're watching a West Side story production and knowing it was an adaptation of Romeo and Juliet Shakespeare, I might feel that the characters are in captivity and serving the overall storyline of Romeo and Are Juliet; Without knowing what the author behind West Side story intends to say through this adaptation.
  • Characters should be wary of having narrative capacity in their relationships with each other. By narrative capacity, I mean tendencies and attitudes that are inextricably linked to the story being told to the viewer by the author. For example, in a story with a king and a usurper, and the usurper who is the protagonist of the story, these two characters are in a relationship with narrative capacity: according to the usurper's protagonist and the king's antagonist to the usurper, the audience can be one of the author's narrative purposes. Be unaware of the story and do not have expectations about how the storyline will progress accurately; But still believe that a world of probable storylines will be formed by this protagonist-antagonist relationship between the king and the usurper; Nevertheless, their actions are guided by the parameters of their capacity relationship, not the intrinsic motivations of the two characters. The true freedom of the characters from the fabric of the stories in which they are created may seem impossible; But that's exactly why Final Fantasy 7 Remix is an exception. The game artistically and exceptionally combines the incongruous elements of the Final section to meet all the needs of the trilogy and give the game's characters, as Erith predicts, "freedom of speech and horror."

    This event takes place in a journey consisting of three steps that the characters complete in the Final chapter of the game: 1- Battle with whispers 2- Battle with Sefiroth and 3- Interlude between Sefiroth and Cloud at the edge of creation.

    Fight the Whispers

    The Final whispers of Final Fantasy 7 cleverly direct the player in a way that does not meet the player's expectations of how the story progresses.

    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    Cloud's encounter with three whispers Rubrum, Croceo, Viridi and whisper

    7 7 (Whisper Harbinger) :

    ( 7) . . .

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    : 7 . .

    Assess 7 7 . .

    (Destinys Crossroads) .

    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    7 . .

    : (Meteor) (Black Materia) . .

    7 . (Jenova) . 7 .

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    . 7 .

    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    7 7 .

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    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    . : 7 7 .

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    . . .

    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    . 7 . .

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    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    (Northern Crater) 7 .

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    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    7 . No. 7 .


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    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    7 7 .

    . 7 . . .

    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story


    7 7 . .

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    7 . . .

    BingMag.com <b>Final</b> <b>Fantasy</b> 7 <b>Remake</b> <b>Validity</b> <b>Analysis;</b> In <b>praise</b> of an <b>unfinished</b> story

    7 . .

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Tags: final, fantasy, remake, validity, analysis;, praise, unfinished, story

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