Prior to that, the discussion mostly centers on tangential hardware limitations of NES (not SNES) and the potential musical influence of the original Dragon Quest games on Final Fantasy. The bad news is that some disorganization and long-windedness in the writing put a damper on the whole experience.ĭespite the title of the book, Final Fantasy VI doesn’t become the focus until page 38 out of roughly 190. The good news is Deken succeeds at all of these aims. A few sparse insights from Uematsu himself, newly translated from an email interview, are also featured. In this case, Sebastian Deken’s Final Fantasy VI for Boss Fight Books aims to do several things, such as (1) explain in explicit terms how the game’s soundtrack so intimately enhances the experience, (2) draw meaningful parallels between the work of game composer Nobuo Uematsu and assorted classical composers, and (3) elucidate why certain sounds in the music cause us to react in certain ways. No two books from the publisher will feel the same, which is part of the charm. Boss Fight Books versus Final Fantasy VIīoss Fight Books is a unique publisher in that it doesn’t just strive to provide a factoid dump on various video games, but to illuminate games by placing them in their historical context and critically scrutinizing them on a foundational level. Suffice to say, the book is not for everyone, but hardcore fanatics and music lovers will find elements to appreciate. As a result, I was particularly curious to see what my experience would be like reviewing the new Boss Fight Books entry on Final Fantasy VI, written by Sebastian Deken, who chose to approach the game from the perspective of its music. However, despite my gushing, I could not care less about “the opera scene,” and my understanding of music theory and composition is tenuous at best.
That’s not a coincidence the soundtrack plays an active part in elevating the game to another level of quality, much like its narrative does. Final Fantasy VI is a masterpiece, and so is its soundtrack.
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