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Jacob Roberts
Jacob Roberts

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Final Fantasy XV: War for Eos is a game that can keep players occupied for many hours due to its expansive fantasy world, thrilling battles, and countless strategic and personalization options.

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Square retained the passion-based game development approach from their earlier projects, but now had the resources and ambition to create the game they wanted. This was because they had extensive capital from their earlier commercial successes, which meant they could focus on quality and scale rather than obsessing over and working around their budget.[37] Final Fantasy VII was at the time one of the most expensive video game projects ever, costing an estimated US$40 million, which adjusted for inflation came to $61 million in 2017.[37][45][46] Development of the final version took a staff of between 100 and 150 people just over a year to complete. As video game development teams were usually only 20 people, the game had what was described as the largest development team of any game up to that point.[37][44] The development team was split between both Square's Japanese offices and its new American office in Los Angeles; the American team worked primarily on city backgrounds.[42]

Sakaguchi was responsible for writing the initial plot, which was substantially different from the final version.[53] In this draft for the planned SNES version, the game's setting was envisioned as New York City in 1999. Similar to the final story, the main characters were part of an organization trying to destroy Mako reactors, but they were pursued by a hot-blooded detective named Joe. The main characters would eventually blow up the city. An early version of the Lifestream concept was present at this stage.[37][41][53] According to Sakaguchi, his mother had died while Final Fantasy III was being developed, and choosing life as a theme helped him cope with her passing in a rational and analytical manner.[44] Square eventually used the New York setting in Parasite Eve (1998).[41] While the planned concept was dropped, Final Fantasy VII still marked a drastic shift in setting from previous entries, dropping the Medieval fantasy elements in favor of a world that was "ambiguously futuristic".[54]

Regarding the overall theme of the game, Sakaguchi said it was "not enough to make 'life' the theme, you need to depict living and dying. In any event, you need to portray death".[58] Consequently, Nomura proposed killing off the heroine.[24][58] Aerith had been the only heroine, but the death of a female protagonist would necessitate a second; this led to the creation of Tifa.[59] The developers decided to kill Aerith, as her death would be the most devastating and consequential.[24][58] Kitase wanted to depict it as very sudden and unexpected, leaving "not a dramatic feeling but great emptiness", "feelings of reality and not Hollywood".[38] The script for the scene was written by Nojima. Kitase and Nojima then planned that most of the main cast would die shortly before the final battle; Nomura vetoed the idea because he felt it would undermine the impact of Aerith's death.[37] Several character relations and statuses underwent changes during development. Aerith was to be Sephiroth's sister, which influenced the design of her hair. The team then made Sephiroth a previous love interest of hers to deepen her backstory, but later swapped him with Zack.[52][60] Vincent and Yuffie were to be part of the main narrative, but due to time constraints, they were nearly cut and eventually relegated to being optional characters.[52]

Nojima was charged with writing the scenario and unifying the team's ideas into a cohesive narrative, as Kitase was impressed with his earlier work on the mystery-like Heracles no Eikō III: Kamigami no Chinmoku, an entry in the Glory of Heracles series.[24] To make the characters more realistic, Nojima wrote scenes in which they would occasionally argue and raise objections: while this inevitably slowed down the pace of the story, it added depth to the characters. The graphical improvements allowed even relatively bland lines of dialogue to be enhanced with reactions and poses from the 3D character models.[44] Voice acting would have led to significant load times, so it was omitted.[61] Masato Kato wrote several late-game scenes, including the Lifestream sequence and Cloud and Tifa's conversation before the final battle. Initially unaffiliated with the project, Kato was called on to help flesh out less important story scenes. He wrote his scenes to his own tastes without outside consultation, something he later regretted.[62]

With the shift from the SNES to the next generation consoles, Final Fantasy VII became the first project in the series to use 3D computer graphics.[38] Developers initially considered overlaying 2D sprites on 3D backgrounds but decided to forgo pixel art entirely in favor of polygonal models.[63] Aside from the story, Final Fantasy VI had many details undecided when development began; most design elements were hashed out along the way. In contrast, with Final Fantasy VII, the developers knew from the outset it was going to be "a real 3D game", so from the earliest planning stage, detailed designs were in existence. The script was also finalized, and the image for the graphics had been fleshed out. This meant that when actual development work began, storyboards for the game were already in place.[40] The shift from cartridge ROM to CD-ROM posed some problems: according to lead programmer Ken Narita, the CD-ROM had a slower access speed, delaying some actions during the game, so the team needed to overcome this issue.[44] Certain tricks were used to conceal load times, such as offering animations to keep players from getting bored.[38] When it was decided to use 3D graphics, there was a discussion among the staff whether to use sprite-based character models or 3D polygonal models. While sprites proved more popular with the staff, the polygon models were chosen as they could better express emotion. This decision was influenced by the team's exposure to the 3D character models used in Alone in the Dark. Sakaguchi decided to use deformed models for field navigation and real-time event scenes, for better expression of emotion, while realistically proportioned models would be used in battles.[60] The team purchased Silicon Graphics Onyx supercomputers and related workstations, and accompanying software including Softimage 3D, PowerAnimator, and N-World for an estimated total of $21 million. Many team members had never seen the technology before.[37]

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The first piece that Uematsu composed for the game was the opening theme; game director Yoshinori Kitase showed him the opening cinematic and asked him to begin the project there. The track was well received in the company, which gave Uematsu "a sense that it was going to be a really good project". Final Fantasy VII was the first game in the series to include a track with high-quality digitized vocals, "One-Winged Angel", which accompanies a section of the final battle of the game. The track has been called Uematsu's "most recognizable contribution" to the music of the Final Fantasy series, which Uematsu agrees with.[37][70] Inspired by The Rite of Spring by Igor Stravinsky to make a more "classical" track, and by rock and roll music from the late 1960s and early 1970s to make an orchestral track with a "destructive impact", he spent two weeks composing short unconnected musical phrases, and then arranged them together into "One-Winged Angel", an approach he had never used before.[37]

Within three days of its release in Japan, Final Fantasy VII sold over two million copies.[67][144][145] This popularity inspired thousands of retailers in North America to break street dates in September to meet public demand for the title.[146] In the game's debut weekend in North America, it sold 330,000 copies,[147] and had reached sales of 500,000 copies in less than three weeks.[148] The momentum established in the game's opening weeks continued for several months; Sony announced the game had sold one million copies in North America by early December,[149] prompting business analyst Edward Williams from Monness, Crespi, Hardt & Co. to comment that "Sony redefined the role-playing game (RPG) category and expanded the conventional audience with the launch of Final Fantasy VII".[149] According to Weekly Famitsu, Final Fantasy VII sold 3.27 million units in Japan by the end of 1997.[150] By the end of 2005, the PlayStation version had sold 9.8 million copies including 4 million sales in Japan,[151] making it the highest-selling game in the Final Fantasy series.[152] By the end of 2006, The Best, the bargain reissue of the game, had sold over 158,000 copies in Japan.[153] By May 2010, it had sold over 10 million copies worldwide,[154] making it the most popular title in the series in terms of units sold.[155][156][157] The original PC version surpassed Eidos' expectations: while initially forecast to sell 100,000 units, it quickly exceeded sales of one million units, garnering royalties of over $2 million for Square.[37] By August 2015, the PlayStation and PC versions had sold over 11 million units worldwide.[158][159] Steam Spy estimated the game to have sold over 1.2 million downloads on Steam as of April 2018,[160] with a later Steam leak estimating it had 1.14 million players on the platform as of July 2018.[161] As of June 2020, the game has sold more than 13.3 million units worldwide.[162][163] As of January 2023, the game has sold over 14.1 million units to date.[164]


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