The Psychology of Final Fantasy: Surpassing The Limit Break

By Anthony Bean

"No matter how dark the night, morning always comes, and our journey begins anew." - Lulu, Final Fantasy X.

 

From its initial release in 1987, Final Fantasy has gone on to become one of the most beloved series of role-playing games in history. With narratives revolving around grandiose stories of good versus evil, Final Fantasy has allowed us, as players, to witness heroic battles, experience hard-won victories, and create treasured friendships for almost 40 years.

 

The Psychology of Final Fantasy guides gamers on a real-world quest of self-discovery so that they can surpass their own limit break. And, as part of this examination, psychologists, clinicians, video game researchers, professors, and enthusiasts who love this franchise ask:

 

• How does the storyline in Final Fantasy grab and keep our attention for so many hours of gameplay?
• Why do the symbols in the game, such as crystals, magic, and weapons, hold meaning about our own psychological inner workings?
• What are the feminine warrior and archetypes found in the game and how are they living in all of our everyday lives?
• How does playing Final Fantasy connect us with a larger sense of spiritual guidance as to who we are?
• Why is it that, by creating a group, we become whole more than we do when playing as individuals?
• How do the musical interludes affect our psyche and push us to become better versions of ourselves?

 

Think you know Final Fantasy? The Psychology of Final Fantasy explores how the game resonates with a player's psychological drive toward an emotional sense of wholeness, bonding, and completion as they take part in this epic quest.

• Language: English
• Publisher: Leyline Publishing
• Release date: Aug 31, 2020
• ISBN: 9781734866018

Book preview

INTRODUCTION

The battle appears lost. Two members of your party are incapacitated, you are running low on everything (supplies, magic, health), and the enemy, an evil so powerful that left unchecked will destroy the world, is about to strike again. You have spent countless hours to reach this point in the game. Thinking that the end is near, you contemplate retreat. Maybe I will never beat this game, says a voice from somewhere in your own mind. But then it happens. Your main damage-dealer hits their Limit Break. Suddenly a sense of relief washes over you, and with that relief, a new sense of confidence. The thought I can win this battle comes softly at first, but quickly turns into a rallying cry. You access the now-available Limit Break menu and deal a critical hit to the enemy. Yes! This was the break you needed. You quickly take another turn before the monster can attack and heal the rest of your party. After several more rounds of battle, you ultimately defeat the enemy, and the game, completing a long journey feeling satisfied and accomplished.

Final Fantasy is one of the longest running video game series of all time, with the first game released in 1987 and the latest release (as of this publication) in April 2020. For over three decades, players have immersed themselves into the various worlds, kingdoms, planets, and moons of the series, assembling a team of adventurers that inevitably must save the day from an unimaginable evil. I would imagine that many of those players have had a similar experience to the one described above. Countless battles within Final Fantasy have been won or made trivial thanks to the Limit Break. The Limit Break is a gameplay mechanic that was introduced to the series in Final Fantasy VII.¹ Every character that the player controls in the game has a meter that fills up when the character takes damage from an enemy attack. Once the meter is full, the character hits their limit and is presented with a menu that features special attack options and other actions specific to each character. While the Limit Break is an important feature of gameplay for the series, it also speaks to something deeper about human psychology, for it is only by taking damage that you can unlock a character’s full abilities. In other words, the characters transform their trauma into actions that are productive and meaningful rather than succumbing to their potentially deleterious effects, making the name for this book Surpassing the Limit Break that more powerful. The collection of essays in this book connects this and the other facets of Final Fantasy to psychological concepts and theories, unraveling the complex psychological appeal of the series.

The stories of Final Fantasy run the gamut from tales of medieval knights and wizards to sci-fi and high-tech adventures. But uniting them all is a way of telling stories that focuses on building characters from the bottom-up rather than presenting them as a complete being, a technique that promotes an intimate connection with the characters and draws players more deeply into the story. That deep connection with the story is made stronger by the music composed for the series. Composer Nobuo Uematsu’s music helps to express the emotional connection players often experience while playing the games and when they hear the music in other places outside the games. Final Fantasy’s stories also share the same meta-plot of good versus evil, whether that evil manifests itself as a villain bent on shaping the world in their own image or more generally as the effects of evil advancing technology in a manner to control everyone and take away their individuality. In one game from the series, Final Fantasy X, the villain takes the form of the leader of a religious cult, exploring ideas of the cognitive dissonance that often result from these extreme religious experiences and problematic belief patterns. Crystals also play an important role in almost every game of the series, representing spiritual and elemental harmony. It is typically the restoration and use of the crystals that restores order and good to the world as is so prevalent in the game series of Final Fantasy.

Another integral part of the game series is the ability to pick and choose the members of your party. These are the characters a player can directly control while in battle with enemies, each with unique abilities. But what does Gestalt psychology reveal about the process of these single individual characters becoming members of the unified whole? Do the characters you choose to play as represent a psychological aspect of our personality? These characters are often representative of various races, genders, and even species – but why do we choose specific ones and what is the impact on us? Women also play a particularly important role in many of the games as powerful warrior characters, but they do not always start off as strong and require the flow of their own journey to discover who they are. Gender stereotypes, however, are just as important to discuss in the series, as many roles typically thought of as feminine (the healer, for example) are portrayed primarily by women, yet have a deeper meaning if we are to take a closer look at them. Ultimately, each character’s individual path (or destiny) is revealed through that character’s own actions and self-reflection, giving meaning to their life and choices– especially in the eyes of Vivi Ornitier which is discussed in depth within the book.

Final Fantasy has been, and continues to be, a touchstone series for fans of role-playing games. Its continued popularity makes a discussion of the psychology in the game that much more important as it touches the lives of so many individuals again and again. Understanding the psychology of Final Fantasy provides valuable insights for those that play the series and for those who seek a more critical understanding of psychological concepts in games. We are what we play and that play is important to our understanding of each other, ourselves, and our future. I hope you find the same enjoyment in reading his book that the authors experienced while playing, reliving, and writing about these games.

Sean Atkinson, PhD

Associate Professor of Music Theory

Texas Christian University

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¹ The idea of a limit break was first introduced in Final Fantasy VI, but was not named as such until Final Fantasy VII. Subsequent remakes of Final Fantasy VI have renamed the feature a Limit Break.

Now is the time to shape your stories. Your fate is in your hands. — Auron, Final Fantasy X

Narshe. Midgar. Besaid. To those who have played Final Fantasy, these city names likely conjure images of architecture, specific music, and a range of emotions. This is because these are some of the places where the stories of Final Fantasy have taken place. These vast worlds with unknown plants and animals, strange customs, and new races immerse its players into their unfamiliar lands. These worlds often seem overwhelming at the onset, but by the time players reach the end they likely feel like they have known this world and the characters within it for their whole life. This is due to the rich storytelling of the games within the Final Fantasy franchise.

It is impossible to begin a discussion about Final Fantasy without discussing its storytelling. With narratives revolving around grandiose stories of good versus evil, Final Fantasy has allowed us to witness heroic battles, experience hard-won victories, and create treasured friendships for almost 40 years. The franchise contains more than a dozen worlds, hundreds of beloved heroes and villains, and an innumerable number of memorable monsters. Knowing this, it is perhaps no surprise that Final Fantasy is one most beloved series of role-playing games.

Originally released in 1987, Final Fantasy broke the mold with full-motion videos, fully orchestrated scores, and daring and complex narratives. Epic tales could take one-hundred hours or more to fully explore all from the 8-bit glory of the original Nintendo gaming system. It is worth noting that this kind of game-making was unprecedented at the time, considering that other popular 1986 titles had limited narratives, including the boxing themed, sports game Punch Out (from Nintendo) and the classic beat-em-up game Double Dragon (from Technos Japan).

Exploring the rich storytelling of Final Fantasy illustrates how this series of games has provided some of the most beloved and memorable characters and narratives in video game history. Final Fantasy has built, and continues to build, their characters through the use of a Kishõtenketsu story structure. Furthermore, the series has provided transnational insight into Japanese culture by integrating themes of Bushidõ within their characters, stories, and through the powerful roles women have been given in their games – all within the Kishõtenketsu story structure.

When the tales of Final Fantasy come up in conversation, you can expect that it will soon turn into a discussion of characters. Cloud, Aeris (also known as Aerith), Yuna, Titus, and every iteration of Cid - the characters of Final Fantasy stick with us like old friends or beloved family members. Of all of Final Fantasy’s innovations, it is the bottom-up, character driven storytelling that truly sets Final Fantasy apart from its cohorts. For within each new iteration of the series, the writers weave elaborate tales of heroism and strife, loss and redemption, and good versus evil through a four-part Kishõtenketsu structure (i.e., introduction, development, plot twist, and conclusion). This style of mythos making is often found in East Asian storytelling, though less often seen in the medium of video games. Whilst Final Fantasy is not the only game series to use this kind of storytelling, they have certainly mastered the craft.

Kishõtenketsu storytelling structure is based in Chinese, Korean, and Japanese cultural narratives. It is comprised of an introduction, development, twist, and conclusion to tell a complete story focusing on protagonists and their specific plights found within their environments. This style of storytelling is psychologically compelling as it allows the player to build a connection with their characters from the bottom-up, rather than top-down, as is common in Western storytelling.

Building from the bottom-up, refers to the fact that the narratives of Final Fantasy focus on the stories of each individual character from the outset, rather than the overarching conflict. This allows for the player to feel bonded with the characters in a way that might be similar to a real world friend or family member. The narratives focus on individual character’s background, motivations, and goals, long before revealing the overarching conflict at hand. For example, in Final Fantasy VI, players learn about how Celes and Terra were both trained by Kefka (the primary antagonist of the story), about the murder of Locke and Cyan’s families, and the familial conflicts between Edgar and Sabin long before they learn about how these characters will come together or Kefka’s ultimate plan to destroy the world. This kind of bottom-up storytelling is further reiterated in the third-person perspectives of Final Fantasy, where the player becomes more of an outside force influencing the interactions between several individuals rather than the experience of any one or sole character.

This kind of storytelling is in stark contrast to traditional Western narrative structures. In Western storytelling, the narrative typically revolves around a central conflict that needs to be resolved – often a person or force that must be defeated. For example, from the very beginning in Skyrim (a Bethesda Game Studios video game), the player is told that they must find and defeat the World Eater dragon. From then on, every interaction revolves around achieving that goal. The focus on the overarching conflict, rather than the group narrative, is also reflected in the primary reliance on first person perspective (the players engage with the game from the role of the protagonist).

As stated before, there are four primary components to traditional Kishõtenketsu storytelling making the story compelling, emotional, and immersive. The four components of Kishõtenketsu are introduction (Ki), development (Shõ), twist (Ten), and conclusion (Ketsu).

In the first component, introduction (Ki), the characters, setting, situation, and other basic elements of the story are established. Next is the development (Shõ) phase, which is an expansion of the first act or introduction. The characters, setting, and other basic elements of the story are elaborated upon, but no major plot changes occur. This is followed by the twist (Ten). The story takes a turn into a seemingly separate situation. This third act is a clear departure from the character set-up in the first and second acts and is a complication in the overall storyline, not necessarily a conflict. The twist here may also be a shift in setting or focus that will bear some relevance to establishing the resolution of the journey in the fourth act. Last, is the conclusion (Ketsu). This is where the story resolves and all of the acts become connected, including the third act, to resolve the narrative established in the first part of the video game’s story.

This style of storytelling uniquely allows for the development of the plotlines of individual characters long before the major conflict or plot twist is revealed, providing players with the opportunity to connect with the game’s characters before learning how they are linked together and/or how they will work together to solve the overarching conflict at hand. To further illustrate how this story structure has been integrated into the narratives of Final Fantasy, the following section will highlight the narratives of Final Fantasy VI as an example.

Delving deeper in the narratives of Final Fantasy VI helps illustrate the use of bottom-up storytelling through a Kishõtenketsu structure. Final Fantasy VI begins by exploring the storyline of Terra. A former member of Kefka’s (the antagonist) army, Terra is struggling with the decision to continue fighting with the army or to break away and forge her own path and destiny. Early on, players also explore the story lines of Locke, a treasure hunter, Edgar, King of Figaro, and Edgar’s brother Sabin. Mog, a talking moogle², is also introduced. It is important to note that the introduction of these characters happens relatively independently. The story begins centered on Terra. She soon encounters Locke, who helps her travel south to meet Edgar and Sabin. The introduction of these characters and initial meetings make up the introduction (Ki) stage of the narrative.

Then the narrative transitions in to the development (Shõ) stage. During this time we are introduced to several new characters, Celes, a formal general in Kefka’s army, and Cyan, a mercenary driven for revenge for the murder of his family by Kefka’s army. While Locke meets Celes and brings her into the fold of the rebellion (i.e., those fighting against the antagonist), Cyan is adventuring all on his own. Shortly after his introduction he crosses paths with Sabin and together they encounter a new character, a feral child named Gau. During this narrative stage, we learn little that progresses the overall story. Instead, we are digging deeper into individual characters’ storylines creating the backstory for the group composition.

Then the story progresses into the Twist (Ten), where we see a shift in focus away from forming a group to resist Kefka’s army and toward uncovering the nature of Terra’s magical powers. In a climactic moment, Terra turns glowing pink and then flies away. For the next several hours of the game, the narrative turns away from the villainous Kefka and towards finding Terra. The groups explore various corners of the world to find her, and during this time undergo several side quests (such as the famous opera storyline featuring Celes and Locke) that are mostly irrelevant to the games’ primary plot.

Despite the group’s looming final battle with Kefka, there are several other climactic moments spread throughout the narrative in the Twist (Ten). The murder of Cyan’s family and the potential losses of Shadow and Mog depending on the players’ in-game choices, to name a couple. During this time, players are also introduced to a new character, an airship owner named Selzer. This section’s progression ends with a return to the main storyline of the rise of Kefka. In an attempt to end the conflict, Celes tries to murder Kefka but fails. Kefka continues to decimate cities and strike down anyone who opposes his rule. In the fray, the players’ airship is destroyed and all of the characters scatter across the globe.

This begins the conclusion (Ketsu) stage of the story. It begins with Celes, alone on an island, and the introduction of another new character, Cid. Celes leaves the island, reunites with Sabin and together they reassemble the cast of allies. This undertaking takes them through more troublesome adventures, but they stay focused upon the final goal. In the end, they find