While this logo gets the job done efficiently on its own, putting it alongside the FF10 logo (which Square did for the cover of the HD Remaster collection) makes it a lot more interesting through comparison. It highlights the all-female cast, the unchanging three-person battle team, and the sexier edge it had compared to its predecessor, the triple threat that the recently merged Square-Enix wanted to put front and center for the series' very first sequel. This one isn't too mentally demanding: that's the game's three main characters Yuna, Rikku, and Paine in the midst of battle, and/or a stylized version of their Charlie's Angels pose. Cue the grand battle for the crystals, and the journey of the last old-soul Final Fantasy. The problem is that another worlds crystal is withering away, and the people of that planet found a way to move its fading crystals souls into Gaias. The entire lifecycle of the planet Gaia and its inhabitants revolves around the health of the crystals people are born from them, and when they die their memories and essence return to the crystal, refreshing it for another batch of spirits. In FF9 - the last of the PlayStation era and a love letter to the age it was leaving behind - all life comes from the crystals. In the first six games, high fantasy was the order of the day, and enchanted crystals played an important role in each of their stories as world-saving devices or MacGuffins the villains could use for the exact opposite.
Final Fantasy 8įF9 was advertised with the slogan The Crystal Comes Back, a knowing wink to fans who cherished the days before Final Fantasy meant drilling for mystical oil and boarding schools that teach Magic 101. However, I'd bet my last gil that simplicity is a deception, and it's actually a reference to this unacceptable scene.
And the cloudy Crisis Core logo is easily the simplest of all, to the point that it looks like barely any thought went into it. Dirge of Cerberus has a set of three stylized dog heads (in protagonist Vincent's signature colors) set around its text.
Before Crisis, a game that centers on the special ops force known as the Turks, features a picture of two Turk trainees as its symbol. The rest of the Compilation's logos are fairly elementary. But it's really it's a detailed blueprint of the now-destroyed Midgar, with the smattering of polygons to the right representing Edge, the city built in the wake of Meteor's destruction. That may just look like the meteor from VII with a futuristic makeover. The Advent Children logo, for instance, is far cleverer than a first glance lets on. The logos for FF7's many sequels vary from ultra-detailed to incredibly basic. Effectively, Meteor is what lies at the end of the heroes' path, the result of all of Sephiroth's machinations, and the real bringer of destruction hiding behind the scenes. To pull it off, he needs the Black Materia that will summon Meteor, and manipulates Cloud and company throughout the entire game to bring it to him.
Once its exposed, Sephiroth plans to absorb that energy and become a god. Sephiroth plans on bringing Meteor down, injuring the planet so badly that its regenerative powers (called the Lifestream, which is first seen being harvested by the giant Mako Reactor in Midgar) seep through the crust and attempt to repair the damage. Behind the familiar Final Fantasy text (notably standardized across regions for the first time, with IV and V still in transit) is Meteor, the world-ending spell that infamous villain and shampoo model Sephiroth summons to smash into the planet. For those who have played FF7, this ones way easy - and for those who haven't, keep your voice down, they might hear you.