Ff7 rom save file ultimate download

Ff7 rom save file ultimate download

ff7 rom save file ultimate download

Trouble continuing saved data from Suikoden I to Suikoden II with ePSXe ePSXe free download, safe, secure and tested for viruses and malware by LO4D. Is this because the DexDrive GME file was made from an NTSC FF7, and I am​. WORLD OF FINAL FANTASY® MAXIMA; Super Mario Party; Super Mario Odyssey; Splatoon 2; Shining Resonance Refrain; Pokémon Quest. Black Chocobo is a Free Software (gplv3) FF7 save game editor written in Qt. Open All Kinds Of FF7 Saves, PC, Psx, Emulator Formats, PS3, PSP; Insert New.

Ff7 rom save file ultimate download - theme

Final Fantasy VII

Final Fantasy VII
North American cover art, featuring the game's protagonist, Cloud Strife
Developer(s)Square
Publisher(s)
Director(s)Yoshinori Kitase
Producer(s)Hironobu Sakaguchi
Programmer(s)Ken Narita
Artist(s)
Writer(s)
Composer(s)Nobuo Uematsu
SeriesFinal Fantasy
Platform(s)
Release
    • PlayStation
      • JP: January 31, 1997
      • NA: September 7, 1997
      • EU: November 17, 1997
      InternationalWindows
      • NA/EU: June 25, 1998
      • JP: May 16, 2013
      iOSPlayStation 4AndroidSwitch, Xbox One
Genre(s)Role-playing
Mode(s)Single-player

Final Fantasy VII[b] is a 1997 role-playing video game developed by Square for the PlayStation console. It is the seventh main installment in the Final Fantasy series. Published in Japan by Square, it was released in other regions by Sony Computer Entertainment and is the first in the main series with a PAL release. The game's story follows Cloud Strife, a mercenary who joins an eco-terrorist organization to stop a world-controlling megacorporation from using the planet's life essence as an energy source. Events send Cloud and his allies in pursuit of Sephiroth, a former member of the organization who seeks to harm the planet. During the journey, Cloud builds close friendships with his party members, including Aerith Gainsborough, who holds the secret to saving their world.

Development began in 1994, originally for the Super Nintendo Entertainment System. After delays and technical difficulties from experimenting on several real-time rendering platforms, Square moved production to pre-rendered video, necessitating the huge capacity of the CD-ROM format and therefore departing Nintendo for the PlayStation. Veteran Final Fantasy staff returned, including series creator and producer Hironobu Sakaguchi, director Yoshinori Kitase, and composer Nobuo Uematsu. The game is the first in the series to use full motion video and 3D computer graphics, superimposing 3D character models over 2D pre-rendered backgrounds. Final Fantasy VII introduced more widespread science fiction elements and a more realistic presentation, while the gameplay systems remained largely similar to previous entries, with the addition of new elements such as Materia, Limit Breaks, and new minigames. The staff of more than 100 had a combined development and marketing budget of around $80 million.

Assisted by a large promotional campaign, Final Fantasy VII received commercial and critical success. It remains widely regarded as a landmark game, and as one of the most influential and greatest video games ever made. It won numerous Game of the Year awards, and was acknowledged for boosting sales of the PlayStation and popularizing console role-playing games worldwide. Critics praised its graphics, gameplay, music, and story, but criticized its original English localization. Its success has led to enhanced ports on various platforms, a multimedia sub-series called the Compilation of Final Fantasy VII, and the ongoing multipart high-definition Final Fantasy VII Remake, the first installment of which was released in 2020.

Gameplay[edit]

The gameplay of Final Fantasy VII is mostly comparable to earlier Final Fantasy games and Japanese role-playing games.[1] The game features three modes of play: the world map, the field, and the battle screen.[2][3]:15,20 At its grandest scale, players explore the entire world of Final Fantasy VII on a 3D world map.[4] The world map is littered with representations of areas for the player to enter, including towns, environments, and ruins.[5] Natural barriers—such as mountains, deserts, and bodies of water—block access by foot to some areas; as the game progresses, the player receives vehicles that help traverse these obstacles.[3]:44Chocobos can be found in certain spots on the map, and if caught, can be ridden to areas inaccessible by foot or vehicle.[3]:46 In field mode, the player navigates fully scaled versions of the areas represented on the world map.[4] For the first time in the series, this mode is represented in three-dimensional space. The player can explore the environment, talk with characters, advance the story, and initiate event games in this mode.[3]:15 Event games are short minigames that use special control functions and are often tied into the story.[3]:18 While in field mode, the player may also find shops and inns. Shops provide an opportunity to buy and sell items that can aid Cloud and his party, such as weapons, armor, and accessories. If the characters rest at an inn, their hit points and mana points will be restored, along with any abnormalities contracted during battles.[3]:17

A battle scene with Cloud, Barret, and Tifa facing a dragon. In this given moment, the player must choose a command for Cloud to perform.

At random intervals on the world map and in field mode, and at specific moments in the story, the game will enter the battle screen. This screen places the player characters on one side, the enemies on the other, and employs an "Active Time Battle" (ATB) system in which the characters exchange moves until one side is defeated.[1][2] The damage (or healing) dealt by either side is quantified on screen. Characters have many statistics that determine their effectiveness in battle; for example, hit points determine how much damage they can take, and magic determines how much damage they can inflict with spells. Each character on the screen has a time gauge; when a character's gauge is full, the player can input a command for that character. The commands change as the game progresses, and are dependent on the characters in the player's party and their equipment. Commands may include attacking with a weapon, casting magic, using items, summoning monsters, and other actions that either damage the enemy or aid the player characters. Final Fantasy VII also features powerful, character-specific commands called Limit Breaks, which can be used only after a special gauge is charged by enemy attacks. After being attacked, characters may be afflicted by one or more abnormal "statuses", such as poison or paralysis. These statuses and their adverse effects can be removed by special items or abilities. When all the enemies are defeated, the battle ends and the player may be rewarded with money, items, and experience points. If the player is defeated, it is game over and the game must be restored to the last save point.[3]:20–27

When not in battle, the player can use the menu screen. On this screen, the player can review each character's status and statistics, use items and abilities, change equipment, save the game (when on the world map or at a save point), and manage orbs called Materia. The main method of customizing characters in Final Fantasy VII, Materia may be added to equipment to provide characters with new magic spells, monsters to summon, commands, statistical upgrades, and other benefits.[6] Materia levels up with their own experience point system and can be combined to create different effects.[3]:30–42

Synopsis[edit]

Setting and characters[edit]

"Midgar" redirects here. For the mythological realm, see Midgard.

Final Fantasy VII takes place on a world referred to in-game as the "Planet", though it has been retroactively named "Gaia".[7][8] The planet's lifeforce, called the Lifestream, is a flow of spiritual energy that gives life to everything on the Planet. Its processed form is known as "Mako".[9] On a societal and technological level, the game has been defined as an industrial or post-industrialscience fiction milieu.[10] During Final Fantasy VII, the Planet's Lifestream is being drained for energy by the Shinra Electric Power Company (神羅), a world-dominating megacorporation headquartered in the city of Midgar. Shinra's actions are weakening the Planet, threatening its existence and all life.[11] Significant factions within the game include AVALANCHE, an eco-terrorist group seeking Shinra's downfall so the Planet can recover;[8] the Turks, a covert branch of Shinra's security forces;[12] SOLDIER, an elite Shinra fighting force created by enhancing humans with Mako;[13] and the Cetra, a near-extinct human tribe which maintains a strong connection to the Planet and the Lifestream.[14]

The central protagonist is Cloud Strife, an unsociable mercenary who claims to be a former 1st Class SOLDIER. Early on, he works with two members of AVALANCHE: Barret Wallace, its brazen but fatherly leader; and Tifa Lockhart, a shy yet nurturing martial artist and childhood friend of Cloud. On their journey, they meet Aerith Gainsborough, a carefree flower merchant and one of the last surviving Cetra;[14][15]Red XIII, an intelligent quadruped from a tribe that protects the planet;[16]Cait Sith, a fortune-telling robotic cat controlled by repentant Shinra staff member Reeve;[3][17] and Cid Highwind, a pilot whose dream of being the first human in outer space was not realized.[18] The group can also recruit Yuffie Kisaragi, a young ninja and skilled Materia thief; and Vincent Valentine, a former Turk, and victim of Shinra experiments.[19] The game's main antagonists are Rufus Shinra, son of President Shinra and later leader of the Shinra Corporation;[20]Sephiroth, a former SOLDIER who reappears several years after he was thought dead;[3] and Jenova, a hostile extraterrestrial life-form imprisoned by the Cetra 2000 years before.[21][22][23] A key character in Cloud's backstory is Zack Fair, a member of SOLDIER and Aerith's first love.[24]

Plot[edit]

AVALANCHE destroys a Shinra Mako reactor in Midgar; an attack on another reactor goes wrong, and Cloud falls into the city slums. There, he meets Aerith and protects her from Shinra.[25][26] Meanwhile, Shinra finds AVALANCHE and collapses part of the upper city, killing most of AVALANCHE along with the slum population below.[27] Aerith is also captured; as a Cetra, she can potentially reveal the "Promised Land", which Shinra believes is overflowing with exploitable Lifestream energy.[28][29] Cloud, Barret, and Tifa rescue Aerith; during their escape from Midgar, they discover that President Shinra was murdered by Sephiroth, who was presumed dead five years earlier.[30] The party pursues Sephiroth across the Planet, with now-President Rufus on their trail.

The group begins to encounter Sephiroth during their journey, who continuously appears and disappears after taunting Cloud and sending Jenova-esque monsters after him. Finding him at a Cetra temple, Sephiroth reveals his intentions to use the Black Materia to summon "Meteor", a spell that will hit the Planet with a devastating impact. Sephiroth will absorb the Lifestream as it attempts to heal the wound, becoming a god-like being.[31] The party retrieves the Black Materia, but Sephiroth manipulates Cloud into surrendering it. Aerith departs alone to stop Sephiroth, following him to an abandoned Cetra city. During Aerith's prayer to the Planet for help, Sephiroth attempts to force Cloud to kill her; failing, he kills her himself before fleeing and leaving the Black Materia behind.[32] The party then learns that Jenova is not a Cetra as once thought. Rather, it is a hostile alien lifeform whose remains were unearthed by Shinra scientists decades earlier; at Nibelheim, Jenova's cells were used to create Sephiroth.[21][32]

At the Northern Crater, the party learns that the "Sephiroths" they have encountered are Jenova clones created by the insane Shinra scientist Hojo. Confronting the real Sephiroth as he is killing his clones to reunite Jenova's cells, Cloud is again manipulated into delivering the Black Materia. Sephiroth then taunts Cloud by showing another SOLDIER in Cloud's place in his memories of Nibelheim, suggesting that Cloud is a failed Sephiroth clone.[33] Sephiroth summons Meteor and seals the Crater; Cloud falls into the Lifestream and the party is captured by Rufus.

Escaping Shinra, the party discovers Cloud at an island hospital in a catatonic state from Mako poisoning; Tifa stays as his caretaker. When the island is attacked by a planetary defense force called Weapon, the two fall into the Lifestream,[34] where Tifa helps Cloud reconstruct his memories: a shy child during his time in Nibelheim, Cloud was blamed when a young Tifa injured herself trying to cross Mt. Nibel. Resolving to become stronger, Cloud leaves for Midgar to join SOLDIER but was never accepted into the organization; the SOLDIER in his memories was his friend Zack. At Nibelheim, Cloud surprised and wounded Sephiroth after the latter's mental breakdown, but Jenova preserved Sephiroth's life. Hojo experimented on Cloud and Zack for four years, injecting them with Jenova's cells and Mako; they escaped, but Zack was eventually killed. The combined trauma of these events triggered an identity crisis in Cloud; he constructed a false persona around Zack's stories and his own fantasies.[32][35] Cloud accepts his past and reunites with the party, who learn that Aerith's prayer to the Planet had been successful: the Planet had attempted to summon Holy to prevent Meteor's impact, but Sephiroth blocked Holy.

Shinra fails to destroy Meteor but manages to defeat a Weapon and puncture the Northern Crater, costing the lives of Rufus and other personnel. After killing Hojo, who is revealed to be Sephiroth's biological father,[21] the party descends to the Planet's core through the opening in the Northern Crater and defeats both Jenova and Sephiroth. The party escapes and Holy is summoned, which destroys Meteor with the help of the Lifestream.[36] Five hundred years later, Red XIII is seen with two cubs looking out over the ruins of Midgar, which are now covered in greenery, showing the planet has healed.

Development[edit]

Initial concept talks for Final Fantasy VII began in 1994 at Final Fantasy developer Square, following the completion of Final Fantasy VI. As with the previous installment, series creator Hironobu Sakaguchi reduced his role to producer and granted others a more active role in development: these included Yoshinori Kitase, one of the directors of Final Fantasy VI. The next installment was planned as a 2D game for Nintendo's Super Nintendo Entertainment System (SNES). After creating an early 2D prototype of it, the team postponed development to help finish Chrono Trigger for SNES.[37] The team resumed discussions for Final Fantasy VII in 1995.[37][38]

The team discussed continuing the 2D strategy, which would have been the safe and immediate path compared to the radically new development paradigm behind the industry's imminent shift toward 3D gaming.[37] The team took the riskier option to make a 3D game on new generation hardware, with their main choices being the cartridge-based Nintendo 64 or the CD-ROM-based SonyPlayStation.[37] The team also considered the Sega Saturn console and Microsoft Windows.[39] Their decision was influenced by two factors: a widely successful technology demo based on Final Fantasy VI using the new Softimage 3D software, and the escalating price of cartridges which had already limited Square's audience.[37][40][41] Tests were made for a Nintendo 64 version, which would use the planned 64DDfloppy drive peripheral though Nintendo had not yet produced 64DD development kits due to the prototype's changing hardware specifications. This real-time version was discarded during early testing, as the Behemoth monster's 2000 polygons placed excessive strain on the Nintendo 64, causing a low frame rate.[37] It would have required an estimated thirty 64DD disks at about 64 megabytes each to run Final Fantasy VII properly with the data compression methods of the day.[42] Faced with the state of technology, and impressed by the increased storage capacity of CD-ROM when compared to the Nintendo 64 cartridge, Square shifted development of Final Fantasy VII and all other planned projects, onto the PlayStation with pre-rendered movies.[37]

In contrast to the visuals and audio, the overall gameplay system remained mostly unchanged from Final Fantasy V and VI, but with a researched emphasis on player control.[43] The initial decision was for battles to feature shifting camera angles. Battle arenas had a lower polygon count than field areas, which made creating distinctive features more difficult.[40] The summon sequences benefited strongly from the switch to the cinematic style, as the team had struggled to portray their scale using 2D graphics.[44] In his role as producer, Sakaguchi placed much of his effort into developing the battle system.[24] He proposed the Materia system to provide more character customization than previous Final Fantasy games. Battles no longer revolved around characters with innate skills and roles in battle, because Materia could be reconfigured between battles.[40] Artist Tetsuya Nomura contributed to the gameplay by designing the Limit Break system as an evolution of the Desperation Attacks from Final Fantasy VI. The Limit Breaks serve a purpose in gameplay while also evoking each character's personality in battle.[24][40]

Square's developers retained the passion-based game development approach from their earlier projects, but now had the resources and ambition to create the game they wanted. This was because they had extensive capital from their earlier commercial successes, which meant they could focus on quality and scale rather than obsessing over and working around their budget.[37]Final Fantasy VII was at the time one of the most expensive video game projects ever, costing an estimated $40 million (equivalent to $64 million).[37][45][46] Development of the final version took a staff of between 100 and 150 people just over a year to complete. As video game development teams were usually only 20 people, the game had what was described as the largest development team of any game up to that point.[37][44] The development team was split between both Square's Japanese offices and its new American office in Los Angeles; the American team worked primarily on city backgrounds.[42]

Art design[edit]

The game's art director was Yusuke Naora, who had previously worked as a designer for Final Fantasy VI. With the switch into 3D, Naora realized that he needed to relearn drawing, as 3D visuals require a very different approach than 2D. With the massive scale and scope of the project, Naora was granted a team devoted entirely to the game's visual design. The department's duties included illustration, modeling of 3D characters, texturing, the creation of environments, visual effects, and animation.[47] Naora later defined the art style of Final Fantasy VII as "dark" and "weird".[48] The Shinra logo, which incorporates a kanji symbol, was drawn by Naora personally.[49] Promotional artwork and the logo artwork were created by Yoshitaka Amano, an artist whose association with the series went back to its inception.[50] Though he had taken a prominent role in earlier entries, Amano was unable to do so for Final Fantasy VII, due to commitments at overseas exhibitions.[8][50] His logo artwork was based on Meteor, though he was initially not sure how to turn it into suitable artwork. He finally created multiple variations of the image and solicited the staff members' preferences.[51] The green coloring represents the predominant lighting in Midgar and the color of the Lifestream, while the blue reflected the ecological themes present in the story. Its coloring directly influenced the general coloring of the game's environments.[47]

Another prominent artist was Nomura. Having impressed Sakaguchi with his proposed ideas, which were handwritten and illustrated rather than simply typed on a PC, Nomura was brought on as main character designer.[24] Nomura stated that when he was brought on, the main scenario had not been completed, but he "went along like, 'I guess first off you need a hero and a heroine', and from there drew the designs while thinking up details about the characters. After [he'd] done the hero and heroine, [he] carried on drawing by thinking what kind of characters would be interesting to have. When [he] handed over the designs [he'd] tell people the character details [he'd] thought up, or write them down on a separate sheet of paper".[52] The chibi sprite art could not be carried over from earlier games, as that would not fit with the new graphical direction. Naora, in his role as an assistant character designer and art director, helped adjust each character's appearance so the actions they performed were believable. When designing Cloud and Sephiroth, Nomura was influenced by his view of their rivalry mirroring the legendary animosity between Miyamoto Musashi and Sasaki Kojirō, with Cloud and Sephiroth being Musashi and Kojirō respectively. Sephiroth's look was defined as "kakkoii", a Japanese term combining good looks with coolness.[40] Several of Nomura's designs evolved substantially during development. Cloud's original design of slicked-back black hair with no spikes was intended to reduce polygon count and contrast with Sephiroth's long, flowing silver hair. However, Nomura feared that such masculinity could prove unpopular with fans, so he redesigned Cloud to feature a shock of spiky, bright blond hair. Vincent's occupation changed from researcher to detective to chemist, and finally to a former Turk with a tragic past.[8][24]

Scenario[edit]

Sakaguchi was responsible for writing the initial plot, which was substantially different from the final version.[53] In this draft for the planned SNES version, the game's setting was envisioned as New York City in 1999. Similar to the final story, the main characters were part of an organization trying to destroy Mako reactors, but they were pursued by a hot-blooded detective named Joe. The main characters would eventually blow up the city. An early version of the Lifestream concept was present at this stage.[37][41][53] According to Sakaguchi, his mother had died while Final Fantasy III was being developed, and choosing life as a theme helped him cope with her passing in a rational and analytical manner.[44] Square eventually used the New York setting in Parasite Eve (1998).[41] While the planned concept was dropped, Final Fantasy VII still marked a drastic shift in setting from previous entries, dropping the Medieval fantasy elements in favor of a world that was "ambiguously futuristic".[54]

When Kitase was put in charge of Final Fantasy VII, he and Nomura reworked the entire initial plot. Scenario writer Kazushige Nojima joined the team after finishing work on Bahamut Lagoon.[24] While Final Fantasy VI featured an ensemble cast of numerous playable characters that were equally important, the team soon decided to develop a central protagonist for Final Fantasy VII.[40] The pursuit of Sephiroth that comprised most of the main narrative was suggested by Nomura, as nothing similar had been done in the series before.[24] Kitase and Nojima conceived AVALANCHE and Shinra as opposing organizations and created Cloud's backstory as well as his relationship to Sephiroth.[53] Among Nojima's biggest contributions to the plot were Cloud's memories and split personality; this included the eventual conclusion involving his newly created character of Zack.[24] The crew helped Kitase adjust the specifics of Sakaguchi's original Lifestream concept.[53]

Regarding the overall theme of the game, Sakaguchi said it was "not enough to make 'life' the theme, you need to depict living and dying. In any event, you need to portray death".[58] Consequently, Nomura proposed killing off the heroine.[24][58] Aerith had been the only heroine, but the death of a female protagonist would necessitate a second; this led to the creation of Tifa.[59] The developers decided to kill Aerith, as her death would be the most devastating and consequential.[24][58] Kitase wanted to depict it as very sudden and unexpected, leaving "not a dramatic feeling but great emptiness", "feelings of reality and not Hollywood".[38] The script for the scene was written by Nojima. Kitase and Nojima then planned that most of the main cast would die shortly before the final battle, but Nomura vetoed the idea because he thought it would undermine the impact of Aerith's death.[37] Several character relations and statuses underwent changes during development. Aerith was to be Sephiroth's sister, which influenced the design of her hair. The team then made Sephiroth a previous love interest of hers to deepen her backstory, but later swapped him with Zack.[52][60] Vincent and Yuffie were to be part of the main narrative, but due to time constraints, they were nearly cut and eventually relegated to being optional characters.[52]

Nojima was charged with writing the scenario and unifying the team's ideas into a cohesive narrative, as Kitase was impressed with his earlier work on the mystery-likeHeracles no Eikō III: Kamigami no Chinmoku, an entry in the Glory of Heracles series.[24] To make the characters more realistic, Nojima wrote scenes in which they would occasionally argue and raise objections. Though this inevitably slowed down the pace of the story, it added depth to the characters. The graphical improvements allowed even relatively bland lines of dialogue to be enhanced with reactions and poses from the 3D character models.[44] Voice acting would have led to significant load times, so it was omitted.[61]Masato Kato wrote several late-game scenes, including the Lifestream sequence and Cloud and Tifa's conversation before the final battle. Initially unaffiliated with the project, Kato was called on to help flesh out less important story scenes. He wrote his scenes to his own tastes without outside consultation, something he later regretted.[62]

Graphics[edit]

With the shift from the SNES to the next generation consoles, Final Fantasy VII became the first project in the series to use 3D computer graphics.[38] Developers initially considered overlaying 2D sprites on 3D backgrounds but decided to forgo pixel art entirely in favor of polygonal models.[63] Aside from the story, Final Fantasy VI had many details undecided when development began and most design elements were hashed out along the way. In contrast, with Final Fantasy VII, the developers knew from the outset it was going to be "a real 3D game", so from the earliest planning stage, detailed designs were in existence. The script was also finalized, and the image for the graphics had been fleshed out. This meant that when actual development work began, storyboards for the game were already in place.[40] The shift from cartridge ROM to CD-ROM posed some problems: according to lead programmer Ken Narita, the CD-ROM had a slower access speed, delaying some actions during the game, so the team needed to overcome this issue.[44] Certain tricks were used to conceal load times, such as offering animations to keep players from getting bored.[38] When it was decided to use 3D graphics, there was a discussion among the staff whether to use sprite-based character models or 3D polygonal models. While sprites proved more popular with the staff, the polygon models were chosen as they could better express emotion. This decision was influenced by the team's exposure to the 3D character models used in Alone in the Dark. Sakaguchi decided to use deformed models for field navigation and real-time event scenes, for better expression of emotion, while realistically proportioned models would be used in battles.[60] The team purchased Silicon Graphics Onyx supercomputers and related workstations, and accompanying software including Softimage 3D, PowerAnimator, and N-World for an estimated total of $21 million. Many team members had never seen 3D development technology before.[37]

The pre-rendered backgrounds, such as this scene in Midgar, provided the developers with a choice of camera angle, giving a more cinematic experience.

The transition from 2D graphics to 3D environments overlaid on pre-rendered backgrounds was accompanied by a focus on a more realistic presentation.[38] In previous entries, the sizes for characters and environments are fixed, and the player has a scrolling perspective. This changed with Final Fantasy VII, in which environments shift with camera angles, and character model sizes shift depending on both their place in the environment and their distance from the camera, giving a sense of scale.[40][44] The choice of this highly cinematic style of storytelling, contrasting directly with Square's previous games, is attributed to Kitase, who was a fan of films and had an interest in the parallels between film and video game narrative.[37] Character movement during in-game events was done by the character designers in the planning group. Designers normally cooperate with a motion specialist for such animations, but these taught themselves motion work, resulting in each character's movements differing depending on their creators—some designers liked exaggerated movements, and others went for subtlety. Much of the time was spent on each character's day-to-day, routine animations. Motion specialists were brought in for the game's battle animations. The first characters the team worked with were Cloud and Barret.[40] Some of the real-time effects, such as an explosion near the opening, were hand-drawn rather than computer animated.[47]

The main creative force behind the overall 3D presentation was Kazuyuki Hashimoto, the general supervisor for these sequences. Being experienced in the new technology the team had brought on board, he accepted the post at Square as the team aligned with his own creative spirit. One of the major events in development was when the real-time graphics were synchronized to computer-generated full motion video (FMV) cutscenes for some story sequences, including an early sequence where a real-time model of Cloud jumps onto an FMV-rendered moving train.[37] The backgrounds were created by overlaying two 2D graphic layers and changing the motion speed of each to simulate depth perception. While this was not a new technique, the increased power of the PlayStation enabled a more elaborate version of this effect.[44] The biggest issue with the 3D graphics was the large memory storage gap between the development hardware and the console: while the early 3D tech demo had been developed on a machine with over 400 megabytes of total memory, the PlayStation only had two megabytes of system memory and 500 kilobytes for texture memory. The team needed to figure out how to shrink the amount of data while preserving the desired effects. This was aided with reluctant help from Sony, who had hoped to keep Square's direct involvement limited to a standard API package, but they eventually relented and allowed the team direct access to the hardware specifications.[37]

Final Fantasy VII features two types of cutscenes: real-time cutscenes featuring polygon models on pre-rendered backgrounds, and FMV cutscenes.[44] The game's computer-generated imagery (CGI) FMVs were produced by Visual Works, a then-new subsidiary of Square that specialized in computer graphics and FMVs creation. Visual Works had created the initial movie concept for a 3D game project.[8] The FMVs were created by an international team, covering both Japan and North America and involving talent from the gaming and film industry; Western contributors included artists and staff who had worked on the Star Wars film series, Jurassic Park, Terminator 2: Judgment Day, and True Lies.[64] The team tried to create additional optional CGI content which would bring optional characters Vincent and Yuffie into the ending. As this would have further increased the number of discs the game needed, the idea was discarded.[65] Kazuyuki Ikumori, a future key figure at Visual Works, helped with the creation of the CGI cutscenes, in addition to general background design.[66] The CGI FMV sequences total around 40 minutes of footage, something only possible with the PlayStation's extra memory space and graphical power. This innovation brought with it the added difficulty of ensuring that the inferiority of the in-game graphics in comparison to the FMV sequences was not too obvious. Kitase has described the process of making the in-game environments as detailed as possible to be "a daunting task".[38]

Music[edit]

Nobuo Uematsu composed, arranged, and produced the entire soundtrack for Final Fantasy VII
"One-Winged Angel", the theme used during a part of the final battle against Sephiroth, is recognized by many as one of Uematsu's best works. The track uses high-quality digitized voices, a first for the series.

Problems playing this file? See media help.

The musical score of Final Fantasy VII was composed, arranged, and produced by Nobuo Uematsu, who had served as the sole composer for the six previous Final Fantasy games. Originally, Uematsu had planned to use CD quality music with vocal performances to take advantage of the console's audio capabilities but found that it resulted in the game having much longer loading times for each area. Uematsu then decided that the higher quality audio was not worth the trade-off with performance, and opted instead to use MIDI-like sounds produced by the console's internal sound sequencer, similar to how his soundtracks for the previous games in the series on the Super NES were implemented.[67][68] The Super NES only has eight sound channels to work with, and the PlayStation has twenty-four. Eight are reserved for sound effects, leaving sixteen available for the music.[43] Uematsu's approach to composing the game's music was to treat it like a film soundtrack and compose music that reflected the mood of the scenes, rather than trying to make strong melodies to "define the game", as he said that approach would be too strong when placed alongside the game's new 3D visuals. As an example, he composed the track intended for the scene in the game where Aerith Gainsborough is killed to be "sad but beautiful", rather than more overtly emotional, creating a more understated feeling.[37] Uematsu additionally said that the soundtrack had a feel of "realism", which also prevented him from using "exorbitant, crazy music".[69]

The first piece that Uematsu composed for the game was the opening theme; game director Yoshinori Kitase showed him the opening cinematic and asked him to begin the project there. The track was well received in the company, which gave Uematsu "a sense that it was going to be a really good project". Final Fantasy VII was the first game in the series to include a track with high-quality digitized vocals, "One-Winged Angel", which accompanies a section of the final battle of the game. The track has been called Uematsu's "most recognizable contribution" to the music of the Final Fantasy series, which Uematsu agrees with.[37][70] Inspired by The Rite of Spring by Igor Stravinsky to make a more "classical" track, and by rock and roll music from the late 1960s and early 1970s to make an orchestral track with a "destructive impact", he spent two weeks composing short unconnected musical phrases, and then arranged them together into "One-Winged Angel", an approach he had never used before.[37]

Music from the game has been released in several albums. Square released the main soundtrack album, Final Fantasy VII Original Soundtrack, on four Compact Discs through its DigiCube subsidiary in 1997. A limited edition release was also produced, containing illustrated liner notes.[68] The regular edition of the album reached third on the Japan Oricon charts, while the limited edition reached #19.[71][72] Overall, the album had sold nearly 150,000 copies by January 2010.[73] A single-disc album of selected tracks from the original soundtrack, along with three arranged pieces, titled Final Fantasy VII Reunion Tracks, was also released by DigiCube in 1997,[74] reaching #20 on the Japan Oricon charts.[75] A third album, Piano Collections Final Fantasy VII, was released by DigiCube in 2003, and contains one disc of piano arrangements of tracks from the game. It was arranged by Shirō Hamaguchi and performed by Seiji Honda, and reached #228 on the Oricon charts.[76][77]

Release[edit]

Final Fantasy VII was announced in February 1996.[78] Square president and chief executive officer Tomoyuki Takechi were fairly confident about Japanese players making the game a commercial success even on a new platform.[37] A playable demo was included on a disc giveaway at the 1996 Tokyo Game Show, dubbed Square's Preview Extra: Final Fantasy VII & Siggraph '95 Works. The disc also included the early test footage Square created using characters from Final Fantasy VI.[37][79] The initial release date was at some point in 1996, but to properly realize their vision, Square postponed the release date almost a full year.[54]Final Fantasy VII was released on January 31, 1997.[80] It was published in Japan by Square.[81] A re-release of the game based on its Western version, titled Final Fantasy VII International, was released on October 2, 1997.[82][83] This improved International version would kickstart the trend for Square to create an updated version for the Japanese release, based on the enhanced Western versions.[84] The International version was re-released as a physical disc as part of the Final Fantasy 25th Anniversary Ultimate Box Japanese package on December 18, 2012.[85]

While its success in Japan had been taken for granted by Square executives, North America and Europe were another matter, as up to that time the Japanese role-playing genre was still a niche market in Western territories. Sony, due to the PlayStation's struggles against Nintendo and Sega's home consoles, lobbied for the publishing rights in North America and Europe following Final Fantasy VII's transfer to PlayStation—to further persuade Square, Sony offered a lucrative royalties deal with profits potentially equaling those Square would get by self-publishing the game. Square accepted Sony's offer as Square itself lacked Western publishing experience. Square was uncertain about the game's success, as other JRPGs including Final Fantasy VI had met with poor sales outside Japan. To help with promoting the game overseas, Square dissolved their original Washington offices and hired new staff for fresh offices in Costa Mesa.[37] It was first exhibited to the Western public at Electronic Entertainment Expo 1996 (E3).[86]

To promote the game overseas, Square and Sony launched a widespread three-month advertising campaign in August 1997. Beginning with a television commercial by TBWA\Chiat\Day that ran alongside popular shows including Saturday Night Live, The Simpsons, Late Night with Conan O'Brien, and Prime Time Sports, the campaign included numerous articles in both gaming and general interest magazines, advertisements in comics from publishers such as DC Comics and Marvel, a special collaboration with Pepsi, media events, sample discs, and merchandise.[87] According to estimations by Takechi, the total worldwide marketing budget came to $40 million; $10 million had been spent in Japan, $10 million in Europe, and $20 million in North America.[37] Unlike its predecessors, Final Fantasy VII did not have its numeral adjusted to account for the lack of a Western release for Final Fantasy II, III, and V — while only the fourth Final Fantasy released outside Japan, its Japanese title was retained.[88] It was released in North America on September 7, 1997.[89] The game was released in Europe on November 17, becoming the first Final Fantasy game to be released in Europe.[90][91] The Western version included additional elements and alterations, such as streamlining of the menu and Materia system, reducing the health of enemies, new visual cues to help with navigation across the world map, and additional cutscenes relating to Cloud's past.[84][92]

PC version[edit]

Square developed a PC port, to maximize the player base. Many Western consumers did not own a PlayStation, and Square's deal with Sony did not prohibit such a port. Having never released a PC game, Square treated it as a sales experiment. The port was handled by a team of 15 to 20 people, mostly from Costa Mesa and with help from Tokyo,[37] after the console version was finished.[93] The team needed to rewrite an estimated 80% of the game's code, due to the need to unify what had been a custom build for a console written by multiple staff members. Consequently, programmers faced problems such as having to unify the original PlayStation version's five different game engines, leading to delays.[37] The PC version came with a license for Yamaha Corporation's software synthesizer S-YXG70, uniformly delivering high-quality sequenced music to a chaotic hardware market. The conversion of the nearly 100 original musical pieces to XG format files was done by Yamaha.[94]

To maximize chances of success, Square searched for a Western company to assist with releasing the PC version. Eidos Interactive, whose release of Tomb Raider had turned it into a publishing giant, agreed to market and publish the port.[37] It was announced in December 1997, along with Eidos's exclusivity deal for North America and Europe at the time,[95] though the port was rumored to happen as early as December 1996, even prior to the PlayStation version's release.[96] To help the product stand out in stores, Eidos chose a trapezoidal shape for the cover and box. They agreed on a contract price of $1.8 million, making initial sales forecasts of 100,000 units based on that outlay.[37] The PC version was released in North America and Europe on June 25, 1998; the port was not released in Japan.[94] Within one month, sales of the port exceeded the initial forecasts.[37] The PC version would end up providing the source code for subsequent ports.[37]

Localization[edit]

Localization of Final Fantasy VII was handled internally by Square. The English localization, led by Seth Luisi, was completed by a team of about fifty people who faced a variety of problems. According to Luisi, the biggest hurdle was making "the direct Japanese-to-English text translation read correctly in English. The sentence structure and grammar rules for the Japanese language is very different from English", making it difficult for the translation to read like native English without distorting the meaning.[97] Michael Basket was the sole translator for the project, though he received the help of native Japanese speakers from the Tokyo office. The localization was taxing for the team due to their inexperience, lack of professional editors, and poor communication between the North American and Japanese offices. A result of this disconnect was the original localization of Aerith's name—which was intended as a conflation of "air" and "earth"—as "Aeris" due to a lack of communication between localization staff and the quality assurance team.[98]

The team also faced several technical issues due to programming practices which took little account of subsequent localization, such as dealing with a fixed-width font and having to insert kanji through language input keys

Источник: [https://torrent-igruha.org/3551-portal.html]

Apologise, but: Ff7 rom save file ultimate download

Gospel songs free downloads mp3 201
Symantec ghost 11.5 free download full version 167
Download 13 hours pdf 396
ff7 rom save file ultimate download

Ff7 rom save file ultimate download

0 thoughts to “Ff7 rom save file ultimate download”

Leave a Reply

Your email address will not be published. Required fields are marked *