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pocketbelt · 1 year ago

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Final Fantasy IV Pixel Remaster (PC/Steam Deck)

I apologise in advance for the length.

Of the pre-Playstation "classic" Final Fantasies, I think FFIV is the one with the most versions/ports/remakes/remasters kicking about, not least because it technically has three separate versions on SNES (original JP, US, JP "Easytype" which is not purely a repackage of the US one). It's also debatably the most prominent of them, despite all of the love and accolades laid at VI's feet; after all, one of these two got a direct sequel over a decade later and it isn't FFVI. You might argue "it was an episodic game for Japanese flip-phones and later WiiWare", which is true, but I would counter "and it tangibly follows up on character arcs and threads from the original and does some of it justice".

But that's for another time.

Deciding "best version" of FFIV took a fair bit of thinking, but I think in the end the Pixel Remaster version just about takes it by a bit, with the added note that the GBA version is a very good alternative with bonus content (it has two bonus dungeons which are neat but not terribly compelling to me, but more importantly lets you swap your party around to use the members who drop out after certain plot points normally, so you aren't locked to the original final five). The Pixel Remaster is basically a grand amalgamation of the many mechanical and design tweaks, changes and additions of the PS1, GBA, PSP and DS versions, with some original ones thrown on to generally smooth the experience out.

Both are visually good updates and rather close to the SFC/SNES originals, both have well-translated and localised scripts but the Pixel Remaster does have fantastic remixes and versions of the original soundtrack, and they hit well enough to give it an edge. The resolution of the GBA does make it a little claustrophobic at times too, with the text boxes and text sizes relative to the rest of the screen.

Final Fantasy IV remains a superb game on its own terms; its music is fantastic, its story and writing are still simple but a noticeable leap above what the NES could manage and it has genuinely compelling moments and characters, and it's a mechanical and presentational leap in myriad ways. It's the origin of Final Fantasy's ATB combat system, which is mostly a way of presenting a turn-based system more dynamically than before (picking character actions as their turn comes up rather than queueing up everyone and watching the turn play out), which has advantages and disadvantages, but by and large I do prefer it to most turn-based games - although, being its first incarnation, IV's version does lack some refinements that really make it shine to my eye (for instance, ATB gauges pause every time an enemy acts, which is aggravating in fights with multiple/very active enemies, and something they resolve after a point).

On the one hand, its overworld/"cutscene" sprites are very simplistic and small; on the other, they're used so well and directed so carefully in a way such scenes rarely were before in console games that they are some of more expressive characters of their time. And, of course, there is its true strength: FFIV is basically the bar to meet for "gameplay-story integration", for integrating your storytelling with gameplay mechanics and using the two inform, show and tell their opposite number. And I don't mean in a "meta" sense either, I mean in a pure and straightforward sense. You can think of and find examples that go above and beyond, for sure, but I call it the bar because FFIV presents a largely achievable standard that many games (indeed, most 'Western'/anglospheric games above a certain amount of budget for decades now) fail to manage.

As ever, more assorted waffle and spoilers (or 'spoilers') under the cut, but Final Fantasy IV is a game worth playing if you love your RPGs and is practically 'required reading', in my eye, if you want to be academic about game design, this genre and story-telling in games in general.

Seriously, the ways Final Fantasy IV's narrative is woven through the design of the game itself is at once detailed but also simple. "Gameplay-story integration" always sounds hard or overly complex or even hoity-toity, but consider some of the ways FFIV does it:

Rydia is traumatised by the burning of her village at the start of the game. She can use Black Magic, but cannot learn Fire, despite learning the others normally as she levels. She doesn't 'unlock' Fire until she pushes herself to overcome her fear of flames at a fixed point in the story.

Because Rydia can't use Fire to that point, Undead enemies aren't common but when they do show up they can be perturbingly resilient. They aren't too bothered by Cecil's Dark Knight powers, some are resistant to physical hits and are often most easily dealt with by exploiting that healing/resurrection spells have the opposite effect on them. Thus, a bit later, when Golbez fears Cecil becoming an issue, he sends Scarmiglione, Elemental Lord of Earth and prime among the undead, to handle him using the logic that they aren't bothered by Darkness...but Golbez doesn't account for Palom and Porom's presence, only the absence of Rydia and Rosa.

Tellah the Sage is really old and not up for going on a grand quest for revenge, but he is driven to do so anyway out of sheer hatred and anger toward Golbez for killing his daughter. Sometimes when he levels up, he doesn't gain any stats and in some versions he actively loses them. He also has a really basic spell set until exposed to the magic of Mt. Ordeals, whereupon (in unsealing the Meteor spell he came seeking) he remembers them and becomes the great sage anew.

Meteor is the supreme Black Magic spell, and is so powerful that it's truly demanding to cost. Tellah alone has the skill to use it initially, but once you get it, you find it costs more MP than he has, and he never gains more MP. Thus, the system reinforces the fact that to cast Meteor, Tellah would have go beyond just giving it his all to use it...

The famous one: Cecil is clouded with doubt and self-loathing and guilt as a Dark Knight for the crimes he committed at his liege's order. A Dark Knight must give of his life to wield Darkness as a weapon (the Darkness command costs HP to use but will decimate or bisect most encounters early on). Atop Mt. Ordeals, Cecil faces a magic mirror that creates a shadowy clone of him, a manifestation of his guilt; to achieve penance, you must fight the doppelganger with Cecil alone...and do nothing. You're put into an actual fight with it and have full control, and must wait for it to deliver attacks; attacking at all prolongs the fight, as to do so is to reject or resist accepting Cecil's guilt. Once completed, Cecil is transformed into a Paladin, a literal class change as in FFIII's job system, and is reset to Lv1 but with a powerful new sword, fantastic base stats and the same EXP reqs as other early-game Lv1 characters, so he grows quickly.

A character is turned to stone of their own will to stop a wall from advancing and crushing the trapped party. Tellah attempts to cure their petrification by casting Esuna, the catch-all status effect curing spell, in the cutscene and it fails to work because the character willed their petrification, rather than being subjected to it.

I could go on but I think this is a good example of what I mean. FFIV uses its mechanics (the battle system and screen, your very stat, equipment and magic screens on the menu and the established mechanics you use to do things) to convey, reinforce and even perform its story. There are many examples of scripted fights where the game enters the battle screen to play out a fight as a story sequence automatically - that seems so basic to us now, but that was still a very new idea when it came out. Tellah learns a spell he can't use without an unfathomable cost, Rydia can't learn a spell because she associates it with the destruction of her home and the death of her mother, Cecil literally gets better as a party member when he comes to terms with his guilt and sheds the symbol of it by changing class, and more; in past games characters could dual-wield freely as any class, but now only Yang and Edge (a life-long trained monk and ninja respectively) can dual-wield weapons, being both ambidextrous and trained to do so, whereas the knightly Cecil and Kain are trained to use shields in their off-hand and so can't dual-wield.

You can also use these systems to add little details; as mentioned, Yang and Edge are ambidextrous, and that's noted by both weapon slots being labelled as their preferred/favoured hand. Kain is left-handed so his weapon and shield slot are flipped on his equip screen.

A lot of this is basic and simple stuff in its own right, but you'd be surprised by how often games that cost infinitely more and involved hundreds or thousands of more people don't even come close to this level of care. I think often about Rockstar's games, for example, where missions will instantly fail you for not doing things exactly as they scripted, even if you achieve the goal of the mission or objective of the character in that moment (like killing a guy too soon).

There's also an aspect that doesn't get considered as much as it should; because the story is considered so much, the different areas and regions of the world are designed around the party members you have when going through them in the story. This also extends to the enemy encounters; when you have characters capable of significant crowd-control, like the mage-heavy party going through Mt. Ordeals, enemy numbers are significantly higher per fight than they are elsewhere. When you have mostly single-target attackers on hand, enemy count comes down a bit, but they become individually bulkier and often have weaknesses to specific weapons that are provided or available around the place. The game seeds equipment around dungeons to compliment the party the devs know you'll come in with. That seems obvious, but remember; in FFI and most of FFIII, the devs can't know or guarantee that you'll have a specific set-up at any given point. They can force a White Mage on you for some parts, and force the four-Dragoon party for Garuda, but they don't want to be doing that all the time as they also want you to freely design and utilise parties you prefer, so most fights in most places are just straight slug-fests with no regard for what you can have. FFI has it worse as the devs can only truly know you have four characters, you can't change classes in that one, so all fights have to be more or less winnable by any party combination.

Now, they can not only know but guarantee who you'll have in any given area when it matters most, which lets them design fights around that. Moreover, as they can control who leaves and who joins the party when through the story, they can design areas around characters you will get in a little bit, which means encounters can really put the squeeze on you until they join and bring things back in line. It lets them emphasise each character's strengths and capabilities and utilities, or make their presence valued in a direct material way which engenders positive sentiment in the player. Yes, that's basic and even seems obvious, but so many can't or won't do even this.

I mentioned in the FFIII post (and probably the FFII post as well, I forget) that IV is where the series becomes itself, and to elaborate, it's pretty much because of the above and how IV is distinctly a fusion of all three of the previous games. Classes are fixed like in FFI but the class change idea of FFIII is a plot point; characters are actual distinct people with names and personalities and histories like in FFII, but the SNES has actual room to convey that more easily and express it both with text and more elaborately animated or depicted scenes. The class archetypes established in III are all distinct entities in IV's world; Black Mages, White Mages, Sages, Paladins, Dark Knights, Dragoons, Monks, Ninjas, these are all entities in the setting with actual societal and military ramifications and considerations. II's attempts at cutscenes and story battles, as mentioned, are significantly improved upon and take centre stage, becoming one of the defining elements of the series now.

One aspect also shines through in FFIV compared to its predecessors and contemporaries: encounter design. While there were RPGs with some notion of designing fights, mainly boss fights, around specific approaches and ideas, most of the time fights in FC/NES RPGs were straight slug-fests. The sauciest it would get would be hitting an enemy's weakness or sometimes having to contend with status effects, and rarely a special gimmick. FFIII is one of the notable examples here, the oft-mentioned Garuda fight is a good example: that fight assumes a full party of Dragoons, who can Jump and be off-screen for a turn and thus avoid all of Garuda's attacks. To reinforce this, Garuda's attacks are incredibly powerful and will quickly decimate a non-Dragoon party and there is little recourse you can take (bar simply massively over-levelling to force through him). The Barrier Shift boss is a similar idea, a boss that changes its weakness every few turns and so you must take measures to identify the new one or it will absorb your spells and waste your MP and time.

FFIV has rather more elaborate encounter design, a good deal of which is enabled by the Active Time Battle system. The ATB system lets characters take actions when their ATB gauge fills, which as mentioned means you don't queue up attacks to go and then watch the turn play out, but rather more dynamically act as the enemy's actions happen in and around your own. A key element of this is that enemies will take their turns even as you sit on a character's menu (if you set the game mode to 'Active', they'll take their turns while you're fucking about inside the magic and item menus, and otherwise don't; a lot of people say to use 'Active' but I tend to prefer 'Wait' just because the inventory can be a whole fucking thing sometimes), which means that you can 'wait' by just idling on their menu.

This is best demonstrated by the first boss fight, the Mist Dragon. Every few of its turns, it will dissolve into a mist cloud that can't be damaged and will deal a stinging counter to the whole party if attacked. In a regular turn-based system this would involve spending turns using Defend or some other means to burn turns, in the ATB system you can just wait a few seconds for it to eat a turn of its own or two and then it reforms, and just line up your commands as it's animating the reformation. Sounds simple, but it adds a level of nuance to fights that allows for things like hovering on the party healer's turn to get off a heal/status cure/resurrection ASAP the second you need to while keeping everyone else ticking over. If more than one character has a full ATB, you can swap to the others to use their turns as you wait. It allows a layer of strategising somewhat distinct from regular turn-based systems; one downside of this is if Bahamut decides he hates your healer, he can (and will) just kill them while you're sitting on them or going through your menu, snapping it closed then and there, which can be quite a bit more annoying than a healer being sniped before they get their spell off in the old FF turn-based system.

With that concept, of turns happening a lot more "on the fly" and in an adjustable and even controllable order: you can line up who goes before or after who in your party by "holding" someone back, for instance - like say, holding Rydia back until Rosa can go and use Dispel to break the Reflect on an enemy, letting Rydia's spells actually go through (in the versions of the game that permit that, at least, which I think are the 3D remake and the Pixel Remaster; I forget if GBA allows it). That gets paired with a generally greater focus on turn order, turn count and also status effects: Reflect is the star of the show here, with multiple boss fights being based around the boss or one of its adds utilising or providing Reflect to ward off your spells, or to do tricks like bouncing spells off of itself.

In FFIV, and many later FFs, a spell bounced off a Reflect will ignore Reflect on whoever it's bounced to in order to prevent eternal 'tennis matches'. FFVII tries to add a bit of nuance by making spells bounce between Reflects up to four times before 'piercing' through, but the idea's the same. Some bosses will cast Reflect on you to try and get you to bounce healing spells onto them, or will cast Reflect on themselves or an add and target spells at it to lob them at you and get through Reflect on your side. Other elements FFIV utilises to design special fights that must be navigated in specific ways:

Counters! Some bosses will counter-attack if attacked in specific states, or will perform automatic counter-attacks in response to specific attacks, i.e. being hit with a spell. This latter one is one aspect of what makes Zeromus an unholy terror if playing unguided.

Special states. Some bosses will change state/stance and this will usually cause some effect; sometimes it's simply being immune to damage, but some bosses will gain more Evasion, require being hit with a specific action to become targettable again, or invert their elemental weaknesses and resistances, or gain counters - usually some combination of all of these.

Multiple opponents. Some bosses will have simple adds they summon or you have to kill, nothing special there, but some will come as sets of 2, 3 or 4 distinct entities who work together in a specific way or pattern that requires you to figure out how to prise open their defences or mitigate their offence. For example, a core "big boss" unit that summons an attacker and a healer, and if you kill both it does a special move and re-summons both, and the healer will immediately undo any head-way you've made on the big boss' HP. So you kill the healer and just weather the attacker's onslaught until the big boss falls.

This leads to a lot of 'puzzle' fights, which demonstrate a level of thinking about the mechanics and the direction and choreography of a fight far beyond the prior Final Fantasies. It's the point where the devteam have come into their element and truly begun engaging with the systems they've built to create memorable encounters. And the answer is always either given to you somewhere (either by stumbling into "the trap" and being warned by a character with mid-fight dialogue, being plainly observable, or in text somewhere in the world; the tricks to beating Odin and Bahamut are in books in a specific location, for example), too, this isn't some "we made this to sell guides" Sierra adventure game shit.

This is true of some random encounters, too, quite a few of which actually show that they are encounters with some thought behind them. Enemies that co-ordinate buffs or attack combinations, enemies that heal each other, enemies that can give mid-battle dialogue to trigger their minions' actions and respond to their deaths (usually by fleeing the second their minions go down; tellingly first observed by a "General"/"Captain" after his men die). Many are still just slug-fests/burn-down fights because that's honestly just good for pacing, but it provides variety to dungeon crawls and can make some encounters memorable or infamous for reasons other than "hits really hard".

The ATB system also has profound meaning for Slow and Haste; instead of simply increasing or decreasing speed stats/'initiative' for turn order, Slow and Haste make ATB gauges go slower or faster, which effectively means less or more turns. Slow becomes immeasurably valuable for sticking onto bosses, and Haste becomes critical for your party. And the game will have fun with that occasionally; one optional boss will stick Doom (countdown from 10 to auto-kill the afflicted; this is Doom's debut, I believe, an FF staple!) on your party and then cast Haste on everyone, which makes Doom tick down faster. So you have to either kill it real quick in your Hasted state, or cast Slow on the party to bring the counter under control...or kill someone and resurrect them to free them of the timer, if you want (though I think it just re-applies Doom+Haste if you do). This makes these two spells the most valuable buff and debuff in the game, and while bosses ignore a lot of status effects, a good chunk of them (including the final boss!) do not resist Slow!

All of this; the massively improved (and, well, existant) encounter design, the gameplay-story integration, the much more developed and involved story and characters and the mechanics taking their core shape after three forms of experiment, and the introduction of the ATB system, all of this is why I say that Final Fantasy IV is where Final Fantasy "becomes itself". This is the series' identity come together at last, with all of its key components online in some form (if needing refinement or improvement in places) and its world and aesthetic elements all coalescing to form a cohesive whole. Going from the NES FFs to FFIV is fucking insane, honestly, we really don't get generational leaps this big any more.

This has gone on quite a bit (can you tell I particularly adore FFIV) so I'll start to wrap up. Two last key points: version preferences, and Zeromus.

First, I was going to put this above but I mused over the version differences some when deciding which got picked as the 'definitive edition':

The SFC/SNES originals, all three versions (OG JP, US, JP Easytype) all have their own issues and weird changes. A fan translation of the original Japanese version with some gameplay tweaks might be the ideal way to play these, as the original US localisation sucks (not surprising for the time, really) and the other releases have their own problems.

The PS1 version is actually pretty alright, all things considered, it's just blighted by CD load times in particular. It has a vastly superior localisation compared to the SNES one, though it's still not ideal; the GBA version will build upon and refine it and that one will mostly be the basis for later versions.

The GBA release has bonus dungeons, the first properly good English script and lets you cycle in party members who usually drop out of the plot at points towards the end, so you can alter your party setup for the final dungeon. That's interesting, at least, and the bonus dungeons are good if you want more meaty gaming, but I didn't find them overly compelling when weighing up an ideal experience. This version is also decently close to the SNES visuals but with improved colours and such, though the resolution makes things feel cramped.

The PSP 'Complete Collection' has the Art Gallery, Music Player and Bestiary concepts that the Pixel Remasters will adopt later, and also has FFIV: The After Years included, along with a brand new original intermission chapter 'Interlude' to bridge the original and TAY. That sounds like the optimal version, but unfortunately I find the spritework here pretty ugly, it does mar the experience a bit even as it tries to be faithful. So close, lads.

The DS once again got a 3D remake, and it's interesting; it has full voice acting with an actually good English track (and there's a JP one, though I forget if that was on-cart for the Western releases), and being 3D means it needs to redo cutscenes, which it does with quite some skill. The localisation is also significantly different from other versions, and actually improved in quite a few ways: for example, this one introduces the term "Carnelian Signet", so it isn't so silly when Cecil and Kain are shocked that the thing called the Bomb Ring is a bomb. There are also some interesting new mechanics, like Augments, which let you equip people with the innate skills of other party members, or special attacks of bosses. But, like FFIII DS, this version is made significantly harder and it's done in often poor ways (for example, gutting the gil payout for fights, which makes updating equipment fucking horrendous from the halfway point on). That makes it rather poor for a first go, but it's interesting to look at if you want a different style for FFIV. It's also on PSP and Steam, for your emulation/platform preferences.

The Pixel Remaster is an amalgam of the PS1, GBA, PSP and DS versions, mostly the middle two. It has mostly the same translation as them, it uses some ideas (like Dispel breaking Reflect, a later FF rule that FFIV DS brings to IV) from the 3D remake and adds the sprinting from PS1. It smooths over other design ideas (making arrows infinite, for example) and is among the most bug-free of the releases. It also has a much more comfortable resolution, a really good aesthetic lift of the SNES sprites and style, and its OST of remixes and new arrangements is top-notch.

So it sort of comes down to if the GBA bonus content matters to you, or you have no other comfortable way to also play The After Years (which has a IV DS style 3D remake on Steam, by the by). If it doesn't and TAY doesn't factor in, Pixel Remaster does ultimately take it, but there is something to the GBA version's party freedom that makes it worth considering.

On that note, if emulating the GBA version, go with the PAL release. 50Hz was dying off by this point but also never applied to handhelds anyway, and the PAL release came 6 months after all the others: as they were wont to do for us, almost as if in exchange for the delays for us, Square made the PAL release a distinctly improved version. In this case, it fixes almost all of the bugs that plagued the US and original JP release (and after the PAL release, they updated the JP release to use its fixes). It's the version to use.

Finally, Zeromus. I always feel like I have to mention Zeromus when talking people into FFIV because he's a total fuck. He's the final boss and he's a gigantic difficulty spike if you don't know the deceptively simple approach to contending with him. He routinely blasts the party with a devastating party-wide attack, he periodically deletes all buffs and debuffs, and he hard-counters all the obvious big damage methods with counter-attacks that come independent of his own turns (so if he's about to take his turn and you trigger a counter, he will counter and then also immediately nuke you). There's a lot of horseshit and bluster around him, so here's the shit:

Zeromus counters all Black (and I think White) Magic used on him by casting Flare on someone at random. This will usually do in the area of 2500-3000 damage, which will kill everyone but Cecil or Kain between Lvs50 and mid-60s, and even then will usually set them up to die in Big Bang.

Zeromus counters Summons by broad-casting Bio onto the party, doing 1000-1700 damage and inflicting Sap (constant real-time HP drain) on everyone. This, too, will basically set you up to die to Big Bang if Rosa isn't immediately about to heal everyone.

Zeromus periodically casts Black Hole to delete all buffs (and I think also debuffs but unsure), so don't particularly bother with Protect/Shell/Haste. They'll get deleted and in the time it takes you to do them, Zeromus will hack chunks out of you that you desperately need Rosa to fix rather than set up buffs Zeromus will eat seconds later.

Big Bang is the real killer. This is 2000-2500 damage to all party members very frequently. The only real way to deal with this is to have Rosa be equipped with the biggest Spirit-boosting staff you have (and any other applicable gear that doesn't compromise her own durability), and then group-cast Curaja every single turn. Every one. If you're lucky you can save MP one turn with a Curaga instead but you'll basically be spamming Curaja every turn to mend each Big Bang's impact.

You will see people online say that stealing an item called Dark Matter from Zeromus will weaken Big Bang's damage. This is horseshit; the Dark Matter does nothing in most versions, it's basically a bragging rights trophy for flexing on him (especially in versions where it isn't on his attack-less "plot" first form). Though, you do need it in the 3D remake to unlock a special boss fight in NG+.

So, what's the trick? Well, besides being durable enough to live a Big Bang with around half of Cecil's HP (and also Kain's if you can manage it) and have Rosa's group-Curaja heal close to that, it's simple: just have everyone but Rosa use Attack. Edge can throw instead, and you should just chuck all your big Fuma Shurikens and special weapons you didn't use for the big damage, and when out have him attack. If you're saucy, use Bacchus Ciders or cast Berserk on the lads to get more damage in between Black Holes, or equip Cecil with the Avenger (which auto-Berserks).

The real part of the trick is that if Rydia goes down, let her stay down; even with a good bow and Artemis arrows, her damage isn't worth the costs and risks of resurrecting her. The same ultimately goes for Edge, if he drops let him stay down. Rosa's Curaja will heal more when split across fewer people, and around Lv57-60 with 3 people she can completely absorb Big Bang's damage between casts. Just keep Cecil and Kain attacking and occasionally popping a Dry Ether or Elixir on Rosa to refill her MP (but make them do it, don't let her stop casting Curaja).

Zeromus will flop over dead pretty quickly, especially if Edge got some good Throws in before dying; in some versions Zeromus will inexplicably get a one-time heal of 9999 when he hits 50% HP, which is your sign that it's going well.

Honestly it's a bit of a weird and demented fight given how considered and properly puzzle-y all the other boss fights can be, but it does make Zeromus a big memorable bastard and make him seem like the most evil of all.

Anyway, play FFIV, it's good. One day I will probably vomit words about The After Years, it's interesting. I never did play that 3D remake version of TAY, maybe it'll be when I do that.

#pocket-media-tag

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