Fabula nova crystallis 6 games

In Final Fantasy Type-0 Cid Aulstyne pursues military occupation against the other Crystal-Nations to free Orience from living under the Crystals' "guidance", which he deems closer to a form of enslavement.

This campaign is reciprocated by the Dominion of Rubrum and Class Zero, which through actions spurred on by the Crystals culminates in Tempus Finis.

The escape of being puppets to a higher power is a major theme explored in the series. Vanille puzzled by crystalline souls. Crystals represent life. People's souls can appear as crystalline specks, and l'Cie in crystal stasis —as well as those who go on to turn into Cie'th—have their souls trapped on the mortal realm by crystallizing the body some refer to this as gaining an eternal life.

When Lightning and her companions enter the domain of the gods to face Pulse , his tendrils appear to implant the crystal shards into their bodies. The fal'Cie, directly created by the gods—Pulse and Lindzei —are sentient immortal machines powered by a crystal core, presumed to likewise originate from the gods. Lovecraft lore; unlike archetypal benevolent gods in religion, the gods and fal'Cie are largely indifferent to the actions of humans, instead carrying out their independent existences, using humans as instruments when necessary.

Pulse and Lindzei, opposed and loathed by the opposite's human worshipers, are similar, and show no compassion toward humans, sending almost every last one to their graves as l'Cie tasked in slaying increasingly monstrous creatures. The goddess Etro is seemingly the only deity who empathizes with humans.

L'Cie and fal'Cie, as well as Cie'th, wield magic, and it is implied this power is granted by the crystal. A l'Cie can forge a pact with an Eidolon , messengers of the goddess Etro, and summon them to the mortal realm via their eidolith. In Final Fantasy Type-0 the Crystals take a more traditional role as in early main series Final Fantasy games as entities that govern great magical power granted to the kingdoms of the world.

The Crystals of Orience are sentient and make humans l'Cie to exert their Will in the world, even if Pulse and Lindzei also exist in the mythos, but one's soul can again be bound on the mortal realm via crystallization of the body.

Glimmering floating intangible crystal shards that represent human souls appear in the Fabula Nova Crystallis games. A particular remnant is the association of souls with floating transparent crystal shards: the crystal specks mainly appear when Noctis uses the powers of his ancestors via the bonding of the souls.

Focusing on the shared mythology that included certain common terms like fal'Cie, l'Cie, and the standard Final Fantasy fixation on crystals , the Crystallis entries gradually built up a backstory for their shared universe. Most of the details came from the Final Fantasy 13 trilogy, but Type-0 did offer a bit of additional detail.

Lore was dispersed in a very scattered manner, almost always portrayed as bits and pieces of larger works or mythos within the games' universes. Datalogs and characters would reference them, but little in the way of hard explanation was given, even when central figures to this mythos showed up in the latter two 13 titles. Fabula Nova Crystallis games focused on a core group of human characters who fought to change their fate set by higher powers, leaving little room for players to see the larger picture.

The backstory begins with the god Bhunivelze killing his mother Mwynn, seizing control of all reality. However, fearing that his mother had placed a death curse on reality, Bhunivelze wanted to follow his mother to the unseen realm meaning the afterlife , totally destroy her, and seize complete power.

However, because the unseen realm is firmly separated from the realm of the living, he could not reach her without abandoning his control over reality.

Lindzei and Pulse were sent to work creating a world that could serve Bhunivelze's ambitions, but Etro was given no power because she looked unnervingly like Mwynn. Shunned and lonely, Etro reached the gateway between the visible and unseen realms by killing herself and met Mwynn there. Before she was absorbed into the primordial chaos, Mywnn entrusted the gate of souls to Etro. Lindzei used Etro's spilled blood to create humans.

Etro then gifted the humans with small pieces of Chaos, as she felt compassion for them. The underlying goal of the villains of FF13 and Type-0 then became overloading Etro's Gate via humanity's extinction. That creation myth is the backbone that informs all of the Fabula Nova Crystallis stories. Again, however, this is only revealed to players piecemeal throughout the FF 13 trilogy. It might have actually been intended to be doled out across many more games, but and Lightning Returns were approved for development when other Crystallis games drifted off track, so they ended up being the primary vehicles for this information.

Many of the humans, in turn, worshiped—and some abhorred—these fal'Cie as gods. Etro became known as the Goddess of Death who waits to greet those who pass through the door to the unseen world, eventually to be reborn in a new form. She supervises the cycle of reincarnation to keep the amount of chaos between the two realms in balance.

As the games in Fabula Nova Crystallis: Final Fantasy series share a common mythos, they have common concepts albeit used with varying interpretations. Crystals are a common theme, representing souls , divinity and the origin of magic. This hearkens back to the main Final Fantasy series where crystals have been a staple since the series's inception, but Fabula Nova Crystallis —as the name suggests—aims for new interpretations of the role of crystals in the series. It was originally performed in Tokyo in November It is the eight track of the second disc.

The development of the three games was started at the same time and we gathered to try and find a common platform to stand on and try to build from.

But since then, we've been working completely independently of each other. Each game is evolving in its own direction and take place in separate worlds with their own main characters.

There exists basically no cooperation between the different teams. I wouldn't even want to claim that we communicate with each other. Starting in April , it took him approximately a year, and his work included input from Shinji Hashimoto , Yoshinori Kitase, Motomu Toriyama, Tetsuya Nomura and Hajime Tabata all of whom went on to be involved with games set within the mythos.

Initially, he wanted to create a new universe with legends, and after introducing his ideas to the team, it was met favorably. The text of the narration was arranged from Kazushige Nojima's mythos book. Yoshinori Kitase joked that the lore was written five years back and Nojima's book had been sealed away since, but they had to take it out for the event.

The original idea was to create a series of games around the 'Crystal Legend' mythology, but not restrict developers to a single direction. We wanted it to be quite a broad idea. It was like the mythology of ancient Greece and how so much fiction comes out of those—it would be easier to make future Final Fantasy games if we were to create a shared mythology and base games on that.

I remember when Yoshinori Kitase came around and told me to make the first Crystal Legends game—he said that if you pay attention to the legends and the idea behind them, you can make almost any sort of game around it. The figure in the Fabula Nova Crystallis: Final Fantasy logo is one of the gods of the mythos, but when asked by Famitsu [13] , Yoshinori Kitase would not reveal which one.

The general theme of the Fabula Nova Crystallis series is destiny predetermined by higher beings, and human choices whether to accept or rebel against their fate.

The series pits humans against divine forces time after time. Despite the gods' power and frequently callous treatment of mankind, using people as mere tools toward their own goals, humans can prevail relying on the strength of their souls, a concept frequently alien to the deities and their familiars. The series re-imagines core Final Fantasy concepts in "modern" ways. Final Fantasy XIII explores the idea of becoming a " Warrior of Light " l'Cie chosen by the crystals to a supposedly divine mission, whereas Final Fantasy Type-0 tells the story of nations powered by Crystals warring over said Crystals—a recurring story in the series.

The concepts of a world destined to end, a world divided between the mortal realm and an invisible world of the afterlife, and a defeated goddess hiding in that invisible world, are similar to the Japanese Shinto creation myth.

The main overarching story theme explores the meaning of humans' free will when faced with destiny carved by deities. In Final Fantasy Type-0 the people of Orience are trapped in a spiral by fate, and Class Zero must choose to either accept their roles as the pawns of the divine, or choose their own path. The theme of "beginning of the end" recurs in the context of setting the beginning of a new era.

In Final Fantasy XIII Vanille speaks about the fateful thirteen days as "beginning of the end", but at the end she and her friend, Fang , sacrifice themselves to give humanity a new start of not depending on the fal'Cie. In Final Fantasy Type-0 , Cid Aulstyne claims his campaign of "beginning the end" is a "glimmer of hope", setting the path toward Tempus Finis , the end of the world.

One of them is "family bonds" presented with various types of relationships: the bond between Lightning and Serah as sisters; the lovers' relationship between Serah and Snow ; the father-son relationship between Sazh and Dajh and Bartholomew and Hope , respectively; the relationship between friends between Vanille and Fang and Serah and Noel , respectively; and the relationship of those bound to a servitude as with Caius Ballad and Paddra Nsu-Yeul.

Another theme is "the battle within" as told in the tagline of Final Fantasy XIII , as seen with Lightning and her friends struggling with their inner turmoil: Lightning's journey of shedding her cold persona and accepting her vulnerabilities, Serah's journey of coping with her past as a l'Cie and using that experience to shape the future, Fang and Vanille's journey of accepting their fate and atoning for their actions, Snow's journey of gaining Lightning's acceptance through their shared love for Serah, Hope's journey of looking beyond hate and revenge and creating a future for humanity to be free from fal'Cie rule, Sazh's journey of dealing with his perceived failures as a father, and Noel's journey of creating a future where people can thrive while dealing with his feelings of failure and helplessness in preventing disaster and unknowingly helping bring it about.

The historical progression of a war and its influence on the younger generation is the main focus of the story. Director Hajime Tabata has cited several underlying themes in the world and story of Final Fantasy Type One revolves around death and its effects: a key aspect of the story is the memories of the dead being removed from the living by the Crystals. This scenario was created to make people feel their hatred of death. An overarching theme in the Fabula Nova Crystallis series is that the deities of the world want to make use of humans, either as their "avatars" by making them l'Cie , or by attempting to use their unique property, souls, for their own purposes.

The theme of humanity versus divinity is highlighted in the game's final chapter where Class Zero is asked to become l'Cie. However, succumbing to the Crystal's Will spells disaster for Orience, and Class Zero fails to become Agito , the fabled savior of Orience.

Class Zero can only free the world if they exercise their inner strength as humans and turn down the offer to become l'Cie. There are two main reasons for [ using the Fabula Nova Crystallis mythos ].