Years after completing the previous entry in the series, and following its release for the Nintendo Switch and renewed hype for the upcoming PlayStation 4 remake, I’ve finally completed Final Fantasy VII. It’s hard to dispute the game’s status as the most popular Final Fantasy, and now that I’ve experienced it in full, it’s easy to see why. The game’s modern/sci-fi setting and appealing characters make for a more relatable experience than previous entries. The fundamental RPG gameplay is rock solid, and the Materia customization is addictively satisfying. Also, it didn’t hurt that this was the first entry to release with 3D visuals, or that the soundtrack was phenomenal. More than twenty years on from its debut, the game remains a standout entry in the series, and an enjoyable RPG in general. Continue reading Final Fantasy VII [Switch] – Review→
I don’t want this review to sound too acrimonious, but I had a lousy experience with Final Fantasy VI. It’s a game I started a couple of times over the past few years, only to burn out early on. By the time I began playing this game, soon after completing the two prior entries, I suffered from a Final Fantasy fatigue. With a few years between my last attempts, I finally restarted this summer and managed to beat it. While I enjoyed much of my playthrough this go-around, my impressions were still negatively colored by those initial burnouts, especially after listening to years of praise for this entry, often cited as the greatest in the series. Opinions are malleable, and mine will undoubtedly grow rosy with the passing of time, but as of this writing I feel this is the weakest Final Fantasy on the Super Nintendo. Continue reading Final Fantasy VI [PlayStation] – Review→
For all intents and purposes, this is a review of Namco Museum Vol. 3 for the PlayStation, bearing in mind I’ve played it twice for about an hour total. That being said, I’m confident in knowing what it has to offer based on prior experiences with most of the compiled games. After a fruitful evening of game hunting with a friend, this is the title I subjected us to. Well, that’s what he may describe the experience as but for me, someone who relishes the opportunity to play just about any game, it was an entertaining romp through the past. Considering this is a compilation that only contains six games, it proved to highlight a strong selection of Namco’s arcade lineage.
This, the third installment of the Namco Museum series on the PlayStation, was originally released stateside in early 1997. Most sources point to Now Production handling the development/porting with Namco publishing it here. As mentioned, six arcade games are included: Galaxian, Ms. Pac-Man, Pole Position II, Dig Dug, Phozon, and The Tower of Druaga. Most readers are likely familiar with all but the last two, but the weight is definitely carried by the headliners. Regardless, these are all arcade-faithful ports and the package is buoyed by a virtual museum to walk through, highlighting low resolution scans of the games’ original Japanese marketing materials (plus an entertaining introduction video!).
Of the games included, I’m most familiar with Ms. Pac-Man. That was one of the go-to Super Nintendo games in my household growing up. Heck, even my mom played it with us! She’s actually the reason we had it since she was familiar with the arcade release and knew it’d be more family friendly than say the copy of Killer Instinct that came bundled with our console. The version on display in this compilation is the arcade version, so it’s limited on features compared to the Super Nintendo port I’m used to. Nonetheless, Ms. Pac-Man is a riveting game with or without any bells or whistles. In fact, when my friend and I played, this game in particular sparked a bit of a high score competition.
I was first introduced to Dig Dug through its Xbox Live Arcade release, although I’ve played much more of the Mr. Driller series. A single-screen action game like most of the other games on this compilation, Dig Dug sees players assuming the role of the eponymous Dig Dug (also known as Taizo Hori) as he digs underground in order to defeat the wandering Pookas and Fygars. This can be easily done by exploding them with an air pump, although strategically dropping rocks on them can result in chained kills and extra points. Defeating them further down also yields more points. It’s a straight-forward action game but as described, there’s ways to wring strategic elements from the game to promote score-chasing.
Galaxian is perhaps most succinctly described as a combination of Space Invaders and Galaga. It was, after all, Namco’s heavily inspired attempt at a Space Invaders game and the predecessor to the much improved Galaga. That’s not to say that this isn’t a worthy game in its own right. Namco took the Space Invaders formula and expanded upon it incrementally by designing more aggressive enemies… and adding color. Damn, Galaga is so much better… Destroying the waves of enemies still remains challenging but after the first wave, players will have seen pretty much everything they’re going to see.
Like Galaxian, there’s little to say about Pole Position II. It’s a solid racing game and it runs beautifully although nothing differentiates it from the hundreds of racing games available throughout the 1980s; it’s still a precedent setter. That leaves me with Phozon and The Tower of Druaga. This compilation represented the North American debut of Phozon as it never left Japan when it was released in 1983. I didn’t particularly care for it, although the pseudo-3D rendering of the antagonist looked good. Forgoing the game’s unique verbiage, players control an atom and collect drifting molecules aiming to recreate the shape displayed before each stage. A sole enemy is almost always present and a life is lost if it connects with the player’s atom. Essentially, recreate shapes while playing cat and mouse.
Finally, there’s The Tower of Druaga. From the title alone this one sounds epic and it was understandably inspired by Middle Eastern mythology. Controlling the hero Gilgamesh, players are tasked with rescuing Ki from said tower. This plays out across 60 floors of mazes with each floor hosting a locked exit, a key, as well as enemies and treasure. Again, this is a pretty straight-forward game whose difficulty continually increases. I wasn’t able to get too far into the tower but one tip I can share is to hold the attack button. With it held, Gilgamesh keeps his sword drawn and can walk into enemies to defeat them. A marked improvement on simply swinging the sword, trust me.
With there being so many Namco Museum titles nowadays, it’s hard to recommend this one over the more comprehensive collections for newer consoles. Still, at the right price, this is worth snatching up. I have multiple Namco compilations but $0.99 for a loose copy was too good to pass up. I will say I was surprised by the museum content, I wasn’t expecting that and don’t recall similar information in the newer compilations. And that darn introduction video really got me jazzed up too! If anything, I’ll keep my eyes peeled on the other PlayStation Namco Museum releases in the hopes of getting more of that content, if the price is right.
Lastly, here is a video that my friend and I recorded while playing this game. The best part by far is the Ms. Pac-Man competition which commences about halfway through and runs to the end of the video. It’s not very serious, but I still won, and that’s what counts.
The desire needed to complete Metal Gear Solid: VR Missions must be strong in order to persist through the game’s 300 missions. As the name suggests, these missions are set in virtual reality and act as a simulation, presumably for Raiden – the “star” of Metal Gear Solid 2: Sons of Liberty. They put him in the shoes of Solid Snake in a variety of challenges that test his stealth skills, weapon proficiency, as well as some others that are just for fun. There is a great variety of missions and I became intimately acquainted with each weapon and the fundamentals of the stealth gameplay. However, there isn’t a great sense of diversity in the missions. Many repeat and there just aren’t enough unique or goofy missions to warrant the time required, especially as there’s little that adds to the lore. But, I did wind up with a 100% completion rate and eked plenty of enjoyment out of my time with the game.
Of the four modes the game is divided into, I had the most fun with the final one: special. To unlock it and its various subtypes, I had to work my way through the other three modes: sneaking, weapon, and advanced. Sneaking mode tasked me with just that: being stealthy. To promote this, half of the missions supplied me with no weapons while the other half limited me to Solid Snake’s trusty SOCOM firearm. This forced me away from just mowing down enemy resistance, although this isn’t a tenable strategy most of the times anyway. I was also required to complete these missions a second time in time attack versions. They were identical, only now I was racing against the clock. I got my fill, but wasn’t burned out.
The subsequent two modes played out a little differently. The first, weapon mode, equipped me with a single weapon for a series of increasingly tougher missions. Time attack versions were also present meaning I repeated each mission twice. All in all, these weren’t very challenging even at their toughest, perhaps explaining the need for the advanced mode. The setup was the same: a few missions with only a single weapon type equipped putting Solid Snake in a more precarious scenario. Again, time attack versions meant I had to repeat these stages twice. At this point, the struggle to continue playing got real.
Stripped of a grandiose narrative, VR Missions is solely gameplay driven. In the presentation, it’s practically a puzzle game. It’s loaded to the brim with mostly succinct missions that hone in on one or two facets of the gameplay. For the most part, they’re enjoyable and enlightening – I know I can return to Metal Gear Solid with a more confident understanding of Solid Snake’s arsenal and the stealth options at his disposal, if I wanted to, which I don’t. I came to this title not knowing what to expect necessarily and it really comes off as what it’s portraying – a training tool. Just as much of training is based around repetition, so too is this game and that’s where it became a struggle to persevere. Many of the mission types were very similar, but then having to repeat the bulk of them in a time attack version? That was a real buzzkill.
When I made it through the majority of the game and unlocked the various mission subtypes within the special mode, I was a little disappointed. There were still plenty of rote simulation style missions among the scant goofy mystery and puzzle style missions. Granted, I got to solve murder mysteries, fight off UFOs and skyscraper-sized enemies, and play as Cyborg Ninja, but this off kilter style of mission was less abundant than I had hoped for. Even with these goofy scenarios, the highlight of this mode was perhaps the final mission I tackled: the VR mission. To clear it, I had to make my way through a truly challenging ten stage gauntlet within a fifteen minute time span, which was always tallying time, even factoring in restarts and deaths. It took me a few attempts before I could do it but when I conquered it, excelsior! It honestly forced me to use much of what I’d learned up to this point to succeed.
Afterwards I got a schematic for Metal Gear Ray, to be featured in the then-unreleased sequel. Again, I was a little disappointed after a dozen hours and a 100% rating for that to be the reward. That’s not to say I didn’t have fun, the game simply grew tiring. There were loads of exciting missions and a lot of variety in the scenarios I was put in and what the missions tasked me with. Unfortunately, many of these had to be repeated which stripped the time spent of diversity as I was repeating much of the game twice. It comes off as a hard game to recommend to anyone but the most diehard fans of the series, and even then I’d caution against playing the time attack versions until all unplayed missions have been exhausted. That should extend the enjoyment and reduce the sense of repetition that I encountered in my time with the game.
The hype and critical acclaim surrounding Metal Gear Solid V: The Phantom Pain got to me (it started last year with this). With my tendencies though, I’ve opted to ignore that title for now and jump in at the beginning: Metal Gear Solid. Technically Metal Gear would be the beginning, but whatever. My usual cohort is following suit and he’s postponing his time with MGSV until we make it through the core series. If there were any gaming series that would benefit from this way of playing, this would be the one. These games are dense with dialogue and exposition and understanding or linking them together coherently may come easier after freshly experiencing them. To assist, I’m going to be doing intense note-taking in the hopes that I’ll understand the narrative and characters even better.
Before ever controlling Solid Snake we went through about twenty or thirty minutes of backstory. Most of which was done through (optional) barely animated briefings and through these, the inspiration of Escape from New York was apparent. The characterizing aspects of Solid Snake and his initial mission mimicked Snake Plissken’s so closely I’m surprised there wasn’t legal action! We were also treated to a few Codec conversations and cinematic cutscenes illustrating Snake’s infiltration of Shadow Moses Island. The latter highlighted why it was, and still remains, so highly regarded. Hideo Kojima and Konami revived a classic series in the guise of a big-budget action movie and defined the modern era of storytelling in video games.
The story that unfolded over the next dozen hours centered on Snake’s stealth mission to recover two kidnapped figureheads associated with the U.S. Dept. of Defense and prevent the terrorist group responsible from using a bipedal nuclear equipped robot: Metal Gear Rex. The group responsible is actually the black ops Army unit that Snake once belonged to: FOX-HOUND. The current members have gone rogue, calling themselves the Sons of Big Boss, and are requesting the remains of Big Boss (the unit’s founder). They want access to his genes, which in the wake of the Human Genome Project the U.S. has been secretly isolating “soldier genes” and injecting them into soldiers, creating a “genome army” with skills more proficient than the average warrior. Big Boss was “The Greatest Warrior of the 20th Century” after all.
The story gets way more convoluted from there and at times, it felt like a break was needed to understand the events or conversations that just happened. I did strive to take comprehensive notes and playing with another person also helped to soak in the data and translate it into information. Once we’re done with the series, I’m going to try and understand everything as best I can and that’ll probably involve writing a synopsis of each game. The series, and this game in particular, doesn’t require in-depth note-taking to find enjoyment or some understanding but the lore is so rich that I feel like it’ll be rewarding and enlightening in the end.
For the most part, the events that take place seem plausible and with a little imagination, realistic. Maybe the thought that a bipedal nuclear equipped tank of sorts would be the ultimate weapon is a little farfetched, but this is a game whose inspirations also include mecha anime. The characters that make up the cast on the other hand, specifically FOX-HOUND, well, they’re less believable. They are, however, a rogues’ gallery of fascinating villains. The standout is of course Psycho Mantis, whose psychic abilities included reading the files on the memory card, predicting the player’s actions (forcing the player to plug the controller into the second controller port), and a few other “breaks” in the fourth wall.
The battle with him will remain one of the most memorable video game boss fights for a long time to come, but they all weren’t as great. The majority of them are very memorable, if only for the fact that the fights themselves were generally bookended with much conversation and featured the distinctly unique members of FOX-HOUND. Others will remain memorable to us specifically because of their difficulty. Whether it was the uphill battle we were in for because of Solid Snake’s limited health or the challenging situations we’d just gone through beforehand, I’d say a quarter of the fights took a half-dozen attempts each. One thing’s for sure, like the members of FOX-HOUND, each boss fight was unique and required different weaponry or tactics.
While the battles could be frustrating depending on the circumstances, the typical sneaking gameplay wasn’t so hard. Honestly, it didn’t make up a lot of the game in retrospect. The memories of my original playthrough ten years ago are filled with the feeling of helplessness after getting caught and just giving in to the enemy’s weapon fire in order to quickly restart. That didn’t occur to us often on this playthrough. We did get caught every now and then, but we were able to successfully evade capture or quickly eliminate a soldier or two before it escalated to total despair. I imagine we’re just playing smarter than high school me.
It’s been seventeen years since this game was originally released and I think playing it is still as vital to one’s gaming résumé as it was then. This is a cinematic game that was unlike any other at the time of its release and one that still stands out today. With a complex narrative, feature film presentation, and audio/visual qualities that were remarkable for their time (and still respectable today), Metal Gear Solid is a must-play game. I didn’t find playing it as enjoyable as watching it and trying to follow along with the intricacies of the plot could be difficult, but there were some brilliant sections and set pieces nonetheless. The stealth aspects remain a challenging and enduring appeal for me, but the negative experiences we had with a few of the boss fights outweighed the positives. It’s a landmark video game, all in all. On to Metal Gear Solid 2: Sons of Liberty!
When you have a video game collection like mine, it can be hard to play all of the games. This is especially true when additions are made on an almost weekly basis. Still, I appreciate nearly every game I’ve accumulated for this reason or that. In the hopes of improving my writing through continuous effort and promoting ongoing learning of these games, I’m going to compose brief, descriptive articles.
As far as Final Fantasy branded items go, Final Fantasy Chronicles is somewhat unique. It was only released in North America, sort of. This is a compilation of two games previously released in North America: Final Fantasy IV and Chrono Trigger. Both games feature additional content compared to their original SNES releases. Most of the additions are minor, but each game now includes an opening cinematic and Final Fantasy IV’s script has been revised. I haven’t played these versions, but I have played these games and without question, they’re highlights of the role-playing genre; specifically harkening back to of the most popular eras of the Japanese RPG.
Each game was originally developed by Square and these versions were ported by TOSE. Final Fantasy Chronicles was released for the PlayStation on June 29, 2001 courtesy of Squaresoft.
Okay, Final Fantasy V hasn’t been released as much as its predecessor. In fact, the first time it was officially released outside of Japan was with the American release of Final Fantasy Anthology for the PlayStation. That was in late 1999 – basically seven years after it was originally released on the Super Famicom in late 1992. It took another two and a half years for the game to eventually be released in Europe. Since then, it has been released on the Game Boy Advance and on iOS and Android platforms.
As they did for the Super Famicom release of Final Fantasy IV, Square opted for a cutesy cover over the traditional usage of Yoshitaka Amano’s artwork. Again, he was relegated to the logo design. This cover hones in on the wanderer Bartz, and easily conveys this fact. The logo chosen for this game includes a dragon intertwined with the font. This is also apt as dragons play a significant role in the narrative.
The game was subsequently released on the PlayStation in 1996. This is my favorite cover that’s been used for one of the game’s releases. The cutesy character design again reigns supreme and this time it’s highlighting the many job classes. With the exception of two as there were twenty-two job classes in the original.
So this is the version of the game that I possess. I really dig the box art, but it pertains to Final Fantasy VI, so it’s not really comparable in this article. I will mention that I had difficulty playing the disc on the PlayStation 3. There is a save screen glitch that the game freezes at. The glitch is still a factor when playing the disc on the PlayStation 2, but on that system, it’s only a graphical glitch. The menu can still be navigated and the game doesn’t freeze.
For the European release of Final Fantasy Anthology, this game received the honor of selling the game. If it’s successor was included in this package, I’m sure that wouldn’t have been the case. Still, this is prime Amano displaying the cast on one of the many ships.
For the Game Boy Advance release, a slew of extra content was added including extra job classes and an extra dungeon or two. I’d like to play these versions of the NES and SNES titles (excluding 3which never saw an Advance release). The Japanese release included a lot of negative space, yet still left room for Amano’s character designs.
The cover used for the American and European releases however did away with that negative space and really zoomed in on the characters. Plus the large GBA banner on the left-hand side takes up much space.
Just as the case was with Broken Sword: The Shadow of the Templars, this game has been released on many digital platforms that don’t really have box art. As I mentioned above, I prefer the box art for the Japanese PlayStation release. It’s different enough from the rest to stand out, and the cutesy design works well when displaying the many job classes.
When I began playing Final Fantasy V, the first ten or so hours got me down. Coming off of my completion of Final Fantasy IV, this game felt like a pause in progression for Square. The characters, protagonists and antagonists alike, felt one-dimensional. The narrative didn’t allow for a rotating party as the previous game did, and this kept the experience stale. During this early period, the combat system felt wholly similar to its predecessor too. It wasn’t until the job system was unlocked and given a few hours to come into its own, that I really began to enjoy the game.
With a traditional narrative revolving around elemental crystals and a maniacal evildoer, I didn’t get drawn into the story. After all, with a name like X-Death, there’s no questioning his motives. The protagonists were, slightly, more fleshed out though. Bartz was a wanderer who encountered the princess Reina and a stranger from another planet, Galuf, while investigating a meteorite. They joined together and set about to protect the four crystals after they witnessed one of them shattering and learned that collectively, the crystals protected a seal on X-Death.
Soon enough, the group bumped into the pirate Faris. Get this, Faris suffers from amnesia and is actually Reina’s long lost sister, Salsa. The group initially fails to protect the four crystals and X-Death is freed. With his freedom, X-Death returns to his original planet to begin conquering those who sealed him away. As the story plays out, the group learns that the two worlds were once one and in their quest to defeat X-Death, they reunite them. Galuf’s granddaughter Krile joins the fray eventually as the party composition changes partway through the game.
This game adapts the Active Time Battle system of its predecessor so battles played out nearly identically. This meant time continued to flow as I navigated the battle menus, etc. The differentiator for this game was the job system. Although Final Fantasy III had a job system, the one implemented here is structured differently – I found it more fun.
Each character had a personal level and a job level. Gaining a personal level improved stats while gaining a job level unlocked related abilities. An unlocked ability could be equipped regardless of what job any given character was at the time. This meant a white mage could also use black and time magic or a samurai could heal in the clutch. The abilities and benefits were plentiful and I had many favorite combinations at different points in the game. This gameplay system kept the game interesting when the narrative failed to do so. In my mind, that’s how I’ll remember the game.
Final Fantasy V was a slow starter. It was hard for me to get excited about the game when the story and characters weren’t doing it for me. This was concerning as I felt Square genuinely moved the genre forward with Final Fantasy IV. Eventually, the gameplay became the focal point of interest for me as the job system grew more robust and my party was earning the experience to unlock abilities. Mixing and matching the traits of different jobs and overcoming tough enemies were definitely the stars of the game.
I learn something new everyday. Sometimes the information is useful, other times its video game trivia like the fact that Broken Sword: The Shadow of the Templars was originally released as Circle of Blood in America.
The first time the game was released at all, it was released as Circle of Blood in America. I don’t care much for the stained glass box art. It doesn’t hint at the mystery as well as the European box art does. One could ascertain the game takes place in Europe thanks to the stained glass visage and the gargoyle, but it just doesn’t do it for me. Although, I would like to win a trip to Paris…
This box art was used for the European releases of the original PC version and the PlayStation and Game Boy Advance ports. As I mentioned earlier, I feel the collage used and the menacing man on the cover hint at the mystery of the narrative quite well.
For the American release of the PlayStation port, THQ (R.I.P.) chose to utilize a crucial in-game item. The Templar manuscript that George and Nicole locate fuels their journeys for the latter half of the game and uncovering what each section symbolizes was a major narrative driver.
When BAM! (R.I.P.) published the GBA version in America, they opted for a cover that had more in common with the European cover. And yes, I’m only saying that because of the leering eyes. Although, this is the only box art that features a broken sword. Not that it’s important or anything; it didn’t really factor into the narrative until very late in the game, and even then, in a minor way.
The first director’s cut of the game appeared on the Nintendo Wii and DS. The American releases of the games shared the same box art and featured an ancient looking symbol of the Knights Templar. I’ve always had a soft spot for this box art; perhaps because it was a notable “exclusive” for the Wii back in the day.
Finally, the European release of the director’s cut for the Wii and DS ventured away from the traditional European box art. Like it’s American counterpart, it uses color tones that hint at age, but in general it hints at the mystery of the game as it’s European predecessor had.
And of course, the game has since been released on countless digital since the director’s cut was debuted on the Wii and DS. There’s not really a suitable image to show for these as they lack proper box art. The icons they use generally seem to include a head shot of Nicole since she is featured more prominently in the director’s cut release. I like all of the covers well enough with the exception of Circle of Blood. The original European cover is my favorite at this point.
As I browsed GameFAQs, searching for these images, a revelation occurred to me. Final Fantasy IV is probably the most re-released game in the long-running series. That’s a fitting fate for it too. It was perhaps the major title to usher in the “golden age” of Japanese role-playing games. At the very least, it was the first game in the series that hinted at the forward momentum Square would have over the next decade-and-a-half with the genre. So, why don’t you join me as I explore the covers Square used to sell the game over the years.
The first thing I noticed when looking at the original box art Square used for FFIV is the lack of emphasis placed on Yoshitaka Amano’s artwork. The previous three games featured his renderings of warriors and princesses prominently. This go around though, you’d think he was relegated to the logo only. This wasn’t the case though; Square simply chose to highlight a different aspect of the character designs – the super deformed! It’s cutesy for sure and plasters some common job classes upfront, and I guess I like that they took a different route with it. Oh, and there’s Kain Highwind in Amano’s logo.
When they released it in America for the SNES a year later though, the American branch didn’t even try. It’s simple and it always catches my eye when I scour local game shops for good deals. Maybe it’s not so bad; it does catch my eye after all. They really had to pitch it to us though, didn’t they? They’ve got bullet points on the front of the box! It was released over here as Final Fantasy II since the second and third titles weren’t. This prevented much confusion. And releasing a dumbed-down version prevented much difficulty.
The game was first rereleased for the PlayStation in 1997. The Japanese box art sees a return to the styling’s of Amano. Cecil Harvey and Golbez are prominently featured, although honestly, it’s hard for me to distinguish the rest of the imagery, and even if that really is Golbez and not Kain. Regardless, Kain takes his place in the logo. Cecil definitely fronted a hair metal band before being cast for FFIV. The PlayStation version was released in America too, circa 2001. It was bundled with Chrono Trigger and released as Final Fantasy Chronicles. There’s not much else to mention about the box art.
Little known to many Western gamers, Bandai had a fortuitous deal with Square to rerelease Final Fantasy titles for their WonderSwan and WonderSwan Color. FFIV was released for the WSC in 2002. A decadent airship is featured in the background that was no doubt crafted by the illustrious Cid Pollendina.
FFIV would next see release on a Nintendo platform again – the Game Boy Advance. It was released as Final Fantasy IV Advance in Japan and America in December 2005, and six months later in Europe. The Japanese box art is simple. Gray silhouettes of Cecil and Kain flank the logo. Meanwhile the American and European release is much more colorful. These versions feature Cecil and Kain, as well as Rosa Farrell for the first time. The box art used for these regions hints at the love triangle between the cast. This is definitely Amano refining the “wispy lines” he’s known for.
A few years later, the game saw a full-scale remake into 3D. Originally released for the Nintendo DS in Japan in December 2007, it was released in the back-half of 2008 in America and Europe. It has since been released for mobile devices running iOS and Android systems as well, but those platforms don’t really have boxed games… Japan received another Amano box art, featuring a larger portion of the cast, including the Lunar Whale. Here in America, we received an ominous black box, which formed a holographic Golbez. Europeans received the same essentially. The only difference was the color palette.
Finally, FFIV was bundled together with Final Fantasy IV: The After Years and an interlude bridging the two titles as Final Fantasy IV: The Complete Collection. This was released for the PlayStation Portable in 2011 and was the version I played. I think Japan and Europe got the better box art with this release. A large portion of the cast is done in emotive poses, painted in a watercolor style very reminiscent of Amano’s work on the original three games in the series. America on the other hand received gray silhouettes of Cecil and Kain against a white background. This version was very reminiscent of the Japanese release of Final Fantasy IV Advance.
With a brand as strong as Final Fantasy, the box art doesn’t have to sell the game. This might explain why Square has felt the liberty to rerelease Final Fantasy IV with a multitude of different covers. With much variety for this one game, it’s hard to pick a single favorite. I really like the Japanese and European release of Final Fantasy IV: The Complete Collection. It’s probably the easy favorite. All of Amano’s artwork is awe-inspiring personally. Heck, the Super Famicom release is cool too, in a differentiated cutesy way. I’ll go with my easy favorite though – the Japanese and European releases of The Complete Collection.