Final Fantasy VII Remake

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Nearly all of Final Fantasy VII Remake’s problems stem from Square Enix’s decision to transform the short intro from the 1997 original into a full-fledged game. The adventures of Cloud Strife and his comrades in Midgar have been overgrown with various and not always successful innovations, which makes the campaign lasting thirty hours happy and upset with equal success.

Eloquent evidence that the project was held hostage by an ancestor and a controversial concept is the plot. It’s a feast for the eyes with stunning character models and tons of pathos. Iconic moments shine with modern technology, delight with a riot of effects and dizzy with elaboration of details and animation, down to minor facial expressions in dialogues and folds on stylish outfits. But for a positive perception of what is happening, you need to come to terms with the fact that before you is a story from a Japanese role-playing game of the 90s, which even then was not famous for a thoroughly thought out and intelligible story.

Final Fantasy VII Remake’s script is replete with poorly combined elements. The developers seem to be drawing a cruel world where futuristic technology and fantasy coexist. The corporation is sucking the juices from the planet, and the dissenters descend to environmental terrorism, blow up reactors and do not think about the sad consequences for the city’s residents. You learn about the sacrifices the members of the resistance make, how their lives and the lives of their families are being broken, and how they react painfully to misunderstanding on the part of ordinary citizens. Mercenary Cloud Strife falls into the maelstrom of events. At first, he only cares about money, but gradually he is imbued with the ideas of fighters for justice. Uncomfortable environment? Not in this remake.

In play, situations with claims to social drama are replaced by stupid conversations about feelings. The heroine with a crippled fate weighs out vulgar comments and hints of intimacy. Awkward jokes about friendship and relationships are wedged into the harsh reality. The girls seem to dream of dragging Cloud into bed, and he pretends that he does not understand anything. Every now and then almighty spirits come to the fore, and the meaning of their existence is reduced to justifying the silly quirks of the narrative.

Humor is important and useful when it is competently woven into the general canvas and does not break the idea of ​​the surrounding reality, and this Final Fantasy VII Remake cannot boast of. Here, a potentially tense conversation with an influential person turns into a clown with wild screams. Either they show ruthless rulers, then everything rolls down to jokes about ass, then you participate in a show with dressing up and dancing in a cabaret with all the frivolities available within the project’s age rating: “for children from 16 years old” in Europe and “for children from 13 years old ” in USA. The consequences of creepy, but bloodless experiments are combined with the antics of a mad professor.

The atmosphere of the adventure suffers from such fluctuations. The characters fail to empathize, especially if they are not familiar with the original source and the performances of the heroes cannot put pressure on nostalgia. It turns out to be an expensive, sometimes beautiful, but stupid fairy tale with notes of worthless tragifar. The developers seemed to have decided to hide the flaws behind a spectacular fan service, but to no avail. There are also questions about the early appearance of the antagonist. He flickers at the beginning, but then disappears, and the creators forget about the disclosure of his character. By the way, many of the ancestor’s secrets are dumped in the remake and adjustments are made to the ending. So the finale runs the risk of disappointing classical lovers.

In terms of plot, the remake stuck in the last century, but in terms of mechanics, it is not afraid to be progressive. Battles take place in real time without teleportation to improvised arenas, and a squad of up to three characters beat enemies without interruption. The activation of skills, magic and the use of items consumes a supply of energy that accumulates automatically (slowly) and after successful hits (quickly). The battles also captivate the variety of opponents. You come across monsters, nimble robots, soldiers, then again on robotic creatures, but already huge, and you have to adapt to changing conditions.

Cloud and each of his companions have enough distinctive features. Tifa relies on high-speed attacks, while Barrett and Iris prefer to deal with villains from a distance using machine guns and spells. Companions controlled by artificial intelligence are capable of basic techniques, but circumstances force them to take the initiative into their own hands and directly control one or another ward in order to get the most out of the available opportunities. The composition of the team changes, someone leaves, someone comes back, which affects the fights.

The pumping system allows you to insert into weapons and items of equipment “matter” that increase the performance of heroes or open access to various skills and magic. This approach adds flexibility in character development, and, for example, it is really possible to assemble a universal combat mage.

The mastered wisdom comes in handy in battles with bosses, of which there are plenty. Moreover, the heroes fight both with huge death machines, and with ordinary-looking people, and with monsters that were born as a result of experiments. Even on normal difficulty (the maximum initially available), strong enemies are able to deal with the detachment, and thoughtless frontal attacks now and then run into impenetrable defense. In such fights, it is allowed to summon powerful creatures, but you cannot leave on their shoulders. This is a great help, but it is a help. The closer you realize that you can die, the stronger the tension and the more you fear failure. I don’t want to repeat fights with tough opponents.

The operator interferes with the immersion in the pleasure of beating enemies. The viewing angle is small, the sources of danger regularly disappear from sight, although you fight in small arenas and in narrow aisles. Sometimes you attack at random, while a nimble robot rushes around and beats the protagonist with impunity. Fortunately, on normal difficulty, flaws are leveled by the fact that there is always a way to heal wounds at hand with a little preparation.

Clumsy attempts to smear adventure are harder to deal with. In particular, one motorcycle trip would be enough for the project, since both retreats do not indulge in steep tests and only protrude the primitive implementation of combat pokatushki. Separate chapters are pointless filler with the same type of battles and running back and forth. The game pleasantly surprises with visits to gloomy locations inhabited by ghosts, measured walks through iconic buildings and storming of reactors, but the alternation of skillfully designed and mediocre segments does not benefit the remake.

The side missions upset most of all. Yes, they are mandatory. The developers create the feeling that they are in a metropolis, which consists not only of a sequence of corridor-type locations. The trouble is that heroes are often asked to kill rats, find lost cats, collect motivational records, or deal with monsters at a specified point. Among the twenty-odd unnecessary assignments, amusing stories with jokes are criminally few, as well as battles with unusual rules. Therefore, you undertake such work solely in the hope of a valuable reward.

The graphics of the remake are a kind of reflection of the entire project. In some cases, you admire the transformed Midgar and admire the views from the jumble of mechanisms. Buildings or ruins rest against the horizon, and it is at these moments that you believe that you are in a huge metropolis, although you are wandering around the “gut”. The interior decoration of the Shinra corporation’s lair, the illumination of the evil area, and even the slums are not devoid of pleasing pictures, be it the dwellings of commoners or the train graveyard, amazes. Alas, beauties are replaced by gray decorations, and they poke “muddy” textures in the face.

For all the stunning character models and the magnificent presentation of significant moments, Final Fantasy VII Remake now and then gives the impression of an inexpensive project, the creators of which hastily smeared the campaign through walks through nondescript scenery and in an emergency mode sewed side missions that are remembered only by mediocre trials and mini- games. The narrative expanded in breadth, but did not become more coherent. It surprises with the same success with the world with strange rules, good-looking heroes and discourages with unsuccessful jokes and antics of local clowns. Dynamic battles with an updated list of opponents, cool bosses, characters with unique skills and a change of scenery save you from boredom, but the heterogeneity of the adventure reminds of itself and prevents you from enjoying your visit to Midgar.

Pro:

A number of spectacular and beautiful staged scenes
Fast battles with a variety of opponents
Well-crafted boss battles
Several stunningly beautiful locations
Pleasant music

Contra:

The plot rushes between a strained drama and a bad clown, a dubious ending and an equally dubious idea with spirits
Several unsuccessful attempts to stretch the campaign, including walks in nondescript locations
Inadequate camera sometimes leads to annoying situations
Mostly mediocre side quests
No Russian localization