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Final Fantasy’s diegetic songs have helped define the series

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Final Fantasy’s diegetic songs have helped define the series

As a gamer who has spent countless hours immersed in virtual worlds, I find myself deeply moved by the power of diegetic songs in video games. They have the ability to evoke strong emotions and add depth to the narrative in ways that dialogue alone cannot.

Despite some criticism for overusing the multiverse concept and prolonging its duration, “Final Fantasy 7 Rebirth” undeniably excelled at an essential element of the Final Fantasy series: integrating impactful songs within the storyline (diegetic songs).

In various forms of storytelling such as musical theater, movies, and cartoons, songs that characters within the narrative can hear have been a recurring element almost since their inception. These include instances like Snow White commanding oblivious animals to “whistle while they work” or Maria teaching the Von Trapp children “Do Re Mi” in The Sound of Music. In simpler terms, these are songs that characters can hear within the fictional world they inhabit.

Final Fantasy’s diegetic songs have helped define the series

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In “Final Fantasy 6”, Celes, once a knight from the Empire, sang the tune “Aria di Mezzo Carattere”. This song played a role in a trick to persuade Setzer and his airship to join forces. The success of this mission depended on the player accurately singing along with Celes. If they failed, they had to restart. In the 1994 original release, composer Nobuo Uematsu attempted to create a vocal track but due to technological limitations at the time, it produced an incomprehensible synthesized voice that harmonized with the instrumental melody. However, in the latest remastered version, he successfully incorporated a genuine vocal track with lyrics for this song.

As a devoted fan, I’ve always been captivated by the diegetic songs in Final Fantasy games from Final Fantasy 6 to Final Fantasy 10-2. In Final Fantasy 8, the moving power ballad “Eyes on Me” originates as Julia Heartilly’s melody from her piano bar, evolving into a waltz and eventually a radio hit. Interestingly, Julia is the mother of Rinoa, the heroine in this game, and she wrote the song for Laguna, who fathered the male protagonist, Squall. In Final Fantasy 9, “Melodies of Life” starts as a hummed tune by the female protagonist Garnet. Later, it plays a crucial role in the storyline, and it’s beautifully performed during the credits.

In the game “Rebirth,” as the player prepares to enter the final stronghold, their team is given one last night of enjoyment at the Gold Saucer, which resembles Las Vegas within the storyline. This evening includes a romantic or platonic date on the Ferris Wheel and a significant amount of live theater. Toward the end of the first act of the play “Loveless,” an announcement over the PA calls for “Maycombe Blume.” To everyone’s surprise, this name belongs to Aerith, one of the two main female characters. On stage, Aerith, sung by Loren Allred known for “Never Enough,” performs a powerful ballad titled “No Promises to Keep.”

In contrast to the floating and sorrowful “Aerith’s Theme,” the song “No Promises to Keep” serves to express Aerith’s personal feelings. While it appears as a love song with lyrics like “Take my hand… and never let me go,” if one pays close attention to the characters’ responses, they will recognize it as an homage to the friends she encountered throughout her journey. Depending on the player’s chosen companion, Red (the hybrid of lion and wolf) may wag his tail and welcome affectionate touches from Cloud, the male protagonist; Barrett, who is typically stoic but fiercely protective of his adopted daughter Marlene, might sway to the song’s rhythm; and the spirited yet childlike Yuffie, common in many JRPGs, may even perform a playful karaoke rendition of the tune. Thus, “No Promises to Keep” becomes an ode to Aerith’s chosen family—a theme that resonates throughout the game Rebirth.

In terms of visual appeal, this performance is nothing short of breathtaking, not just due to its intricate details. As the melody unfolds, a beautiful field of asphodels blossoms, and Aerith uses the lifestream to create a poignant farewell for the characters that the player mourned earlier. This scene, coupled with the reactions of other characters, prevents the production from feeling overly dramatic or contrived. Some players might perceive Aerith as a manic pixie dream girl or Mary Sue, but it’s clear she is deeply cherished by those around her.

Mentioning that Square Enix selected Allred for this song provides an additional depth to her involvement, as she previously gained recognition for supplying vocals to one of the century’s most iconic in-story songs: “Never Enough” from The Greatest Showman. In this film, the character Jenny Lind, portrayed by Rebecca Ferguson, expresses her admiration for P.T. Barnum’s boundless aspirations during a performance on her tour.

In some instances, not every intense, in-story song like “1000 Words” from Final Fantasy X-2 holds as much importance or carries as much revelation. For instance, Yuna’s character has been given the responsibility of boosting morale for Spira after a secret mechanical threat capable of destroying the entire upper world was discovered, just two years following the permanent defeat of the recurring calamity known as Sin. Despite the performance being exceptionally beautiful, whether players watch the Japanese version where Yuna transforms into Lenne or the international one where she duets with her, the song ultimately narrates the heartbreaking love story between Lenne and Shuyin who perished during the Zanarkand versus Bevelle war a thousand years ago.

In my perspective, the tragic love story in the game wasn’t what the people of Spira needed, especially when it came across as overly sentimental or melodramatic. For me, watching the emotional sequence as a clip, which I found on Italian fan sites before the game was localized in 2003, made me cry. However, when I actually played the game, I didn’t find it as emotionally impactful; the stakes didn’t seem high enough to warrant a continent-wide concert, and the emotional content of the song didn’t pull at my heartstrings considering Yuna’s love was for a figment of a collective dream. I believed the sad love story of Lenne and Shuyin was superfluous and the upbeat opening song “Real Emotion” was more effective as an anthem celebrating a world freed from a recurring curse. Unfortunately, I wasn’t yet acquainted with the idea of camp.

In many games, songs that aren’t necessarily crucial for the main plot or character development can still be delightfully enjoyed, adding a playful, self-referential touch. For instance, we have Grimes as Lizzy Wizzy singing “Soft Animal” in Cyberpunk 2077, Pauline leading a festival with Mario’s “Jump Up Superstar” playing, tavern musicians in The Witcher 3: Wild Hunt, sea shanties in Assassin’s Creed: Black Flag, the Beggar’s Opera in Assassin’s Creed 3, and importantly, a take on Final Fantasy 6’s “Aria Di Mezzo Carattere” in Undertale. These songs serve to enrich the gaming experience by creating an immersive, engaging atmosphere.

After all, all heroes need some solace after performing a host of thankless tasks.

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2024-08-07 16:19

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