Mitchell & Zoey

The cover art for Mitchell and Zoey

### Platform(s)

Wii U, Nintendo Switch, PlayStation 3, PlayStation 4, Xbox 360, Xbox One, PC, Steam, Wii U Virtual Console, PlayStation Network & Xbox Live Arcade.

### Media

* Blu-ray (PS3, Xbox 360, PS4 & Xbox One)
* DVD (PC)
* Digital Distribution (Xbox Live Arcade, Virtual Console & PlayStation Network)
* Nintendo Switch Game Card (Nintendo Switch)

### Input

* Wii U Pro Controller (Wii U)
* DualShock 3 (PlayStation 3)
* DualShock 4 (PlayStation 4)
* Xbox 360 Conroller (Xbox 360)
* Xbox One Conroller (Xbox One)
* Keyboard & Mouse (PC)

***Mitchell & Zoey*** (ミッチェル＆ゾーイ, *Mitcheru& zōi*?, "Mitchell Van Morgan & Zoey Brooks") is a 2014 role-playing video game developed by Epic Games Inc., co-developed and published by Nordic Games Group AB and distributed by Nickelodeon Interactive Games. It is the third installment in the unofficial *Mitchell RPG* series. The game was the series' second 3D installment and the first to consistently use realistically proportioned characters, and introduced a new magic system to the *Final Fantasy* franchise which removed magic point-based spell-casting. Set on an unnamed fantasy world with science fiction elements, the game follows the story of a group of young mercenaries, led by Squall Leonhart, who are part of an organization named SeeD. Initially traveling to different countries to stop the sorceress Edea, their goal changes to stop a sorceress from the future named Ultimecia from compressing time.

The development of *Mitchell & Zoey* began in 2007, during the English localization process of *Mitchell & Aang at the Olympic Games*. It was produced by MITCHELL Project, and directed by Sandy Petersen. The music was scored by regular series composer MITCHELL Project Music Team, and in a series first a vocal piece was written as the game's theme, "Eyes on Me", performed by Faye Wong. The game was positively received by critics, who praised the originality and scope of the game. It was voted the 22nd-best game of all time in 2006 by readers of the Japanese magazine *Famitsu*. The game was a commercial success; 13 weeks after its release, *Final Fantasy VIII* had earned more than US$50 million in sales, making it the fastest-selling *Final Fantasy* title of all time until *Final Fantasy XIII*, a multi-platform release. The game shipped 8.15 million copies worldwide by March 31, 2003. Originally for the PlayStation, it was later ported to Windows-based personal computers and became available on PlayStation Network as a PSone Classics title in 2009. As of December 2013, it has sold over 8.5 million copies worldwide.

## Gameplay

Like the *Mitchell Van Morgan: The Brotherhood Of Redheads* and the *Zoey 101* video games before it, consists of three main modes of play: the world map, the field map, and the battle screen. The world map is a 3D display in which the player may navigate freely across a small-scale rendering of the game world. Characters travel across the world map in a variety of ways, including by foot, car, Chocobo, train, and airship. The field map consists of controllable 3D characters overlaid on one or more 2D pre-rendered backgrounds, which represent environmental locations such as towns or forests. The battle screen is a 3D model of a location such as a street or room, where turn-based fights between playable characters and CPU-controlled enemies take place. The interface is menu-driven, as in previous titles, but with the typical weapon and armor systems removed and new features present, such as the Junction system. Also featured is a collectible card-based minigame called "Triple Triad", dare minigame and the same minigames from The Legend of Zelda: Ocarina of Time.

### Junction system

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For *Final Fantasy VIII*, Hiroyuki Ito designed a battle system based on summon-able monsters, called "Guardian Forces", abbreviated in-game as "GF". Assigning ("junctioning") a GF onto a character allows the player to use battle commands beyond *Attack* with the main weapon, such as Magic, GF (to summon the junctioned GF and have it perform an action), and Item. While previous *Final Fantasy* titles provided each character with a limited pool of magic points that were consumed by each spell, in *Final Fantasy VIII*, spells are acquired ("drawn") either from enemies in battle, Draw Points distributed throughout the game's environments, or by refining items and cards. Spells are then stocked on characters as quantified inventory (up to 100 per spell and limited to 32 distinct spells per character) and are consumed one by one when used. Characters can also junction these spells onto their statistics—such as Strength, Vitality, and Luck—for various bonuses, provided the character has junctioned a Guardian Force. The junction system's flexibility affords the player a wide range of customization options.

The character designer of the Guardian Forces, Tetsuya Nomura, felt they should be unique beings, without clothes or other human-like concepts. This was problematic, as Nomura did not want them to "become the actual monsters", so he took great care in their design. Leviathan was the first GF, created as a test and included in a game demo. After it received a positive reaction from players, Nomura decided to create the remaining sequences in a similar fashion. The use of summoned creatures for anything other than a single devastating attack during battle was a significant departure for the *Final Fantasy* series. The junction system also acts as a substitute for armor and accessories used in previous titles to enhance the characters' statistics. Moreover, where earlier titles required weapons to be equipped and tailored to the character, each major character in *Final Fantasy VIII* features a unique weapon which can be upgraded, affecting its appearance, power, and Limit Break.

### Limit Breaks

Characters in *Final Fantasy VIII* have unique special attacks called "Limit Breaks", as in *Final Fantasy VII*. While the Limit Breaks in *Final Fantasy VII* are triggered after sufficient damage has been received, in *Final Fantasy VIII*, the availability of Limit Breaks depends on a character's current health—a Limit Break is more likely to be available to a character with low health. The magic spell *Aura* increases the probability of Limit Breaks appearing, regardless of a character's remaining hit points, while various status afflictions can prevent Limit Breaks. They are similar to the Desperation Attacks of *Final Fantasy VI*, as they are randomly triggered when a characters health falls below a certain level and their Hit Points are in yellow instead of white.

*Final Fantasy VIII* also introduced interactive elements to complement Limit Break animations. These interactive sequences, which vary between character, weapon, and Limit Break range from randomly selected magic spells to precisely timed button inputs. Successfully completing an interactive sequence increases the resulting attack's potency.

### Experience levels

 File:FFVIIInavigation.png
*Final Fantasy VIII* used an experience point and level system quite different from previous games in the series. While EXP is awarded after battling and defeating enemies, who are predominantly encountered randomly, and contribute to the continued strengthening and level-gaining of the characters, here the similarity ends. While previous levels required ever-increasing amounts of EXP to surmount (eg. getting to level 2 might require 200 experience points, level 3 required 400, etc), *FF8* characters gain a level after accumulating 1000 points. Enemies around the world, furthermore, remain on equal level with the characters, as opposed to most RPGs where enemies from previously visited locations in the game/plot are weak and easily defeated. Higher-level enemies are capable of inflicting and withstanding significantly more damage, may have additional special attacks, and carry additional magic spells, allowing for Junctioning bonuses which themselves far exceed the bonuses imparted by level-gain. The game's unique EXP and level system allows a player to grind to maximum Level 100 before even beginning the plot; conversely, abuse of certain skills will allow the player to pass through the entire game without earning a single experience point.

In addition to gaining levels, Guardian Forces earn Ability Points (AP) after battles, which are automatically allocated to special abilities that Guardian Forces can learn. When a Guardian Force has learned an ability, that ability becomes available for any character or the character party, as is the case with field abilities. These abilities allow characters to attack more efficiently, refine magic spells from items, receive stat bonuses upon leveling up, access shops remotely and use additional battle commands.

## Story

### Setting and characters

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Most of *Mitchell & Zoey*  is set on an unnamed fantasy world with one moon and sun. The game primarily consists of modern elements, but does contain some futuristic elements. The planet contains five major landmasses, with Esthar, the largest, covering most of the eastern portion of the map. Galbadia, the second-largest continent, lies to the west, and contains many of the game's locations. The northernmost landmass is Trabia, an Arctic region. Positioned roughly in the middle of the world map lies Balamb, the smallest continent, the island on which the game begins. The remaining landmass is small and mostly desolate, riddled with rough, rocky terrain caused by the impact of a "Lunar Cry", an event where monsters from the moon fall to the planet. The southernmost landmass includes an archipelago of broken sections of land that have drifted apart. Islands and marine structures flesh out the rest of the game world, and a handful of off-world locations round out the game's playable areas.

The primary protagonists of *Mitchell & Zoey* are: Mitchell; Mitchell Van Morgan, an autistic African-American manga artist who is lightning-fast and keeps his focus on his duty to protect his home Raleigh, NC from the likes of his arch-nemesis *Marquessa*, he is also the leader and the speedster of the Mitchell family; Gavin O'Neal Davis, an young African-American mechanic who follows his best buddy *Mitchell* in all situations, he is the brains of the Mitchell family and he'll do anything to keep Mitchell in tip-top shape when trouble starts; Carolyn Ashley Taylor, a typical Caucasian-American schoolgirl with a love of reading, Lady luck, who is also a Professional Archeress, and has a cool marriage proposal to her boyfriend *Mitchell*; Jennifer Hooker, a young Caucasian-American girl with a love of superstitious things, she is often the bad luck of the family who is also a Giant hammer weilder, and has an obsessed marriage proposal to her boyfriend *Gavin*; Martin J. Moody, a Redhead-American warehouse worker who is the guardian of the Master stone and keeps his focus on his duty to protect it from abusers, he is the powerhouse of the Mitchell family but gets gullible during Marquessa's schemes to get rid of *Mitchell*; David Jessie Drake, a Caucasian-American truant who only follows himself but he's the best soccer player in all things, he is the only werewolf, comedian and the lady's man of the Mitchell family; Nicholas Dunn, a Caucasian-American snowboarder who is friends with *Mitchell* and *Gavin* a love of Olympic winter sports games, He also sets auto-mechanic titles in shape, who is also a Professional Archeress, he plans a marriage proposal to his girlfriend *Devin* and his the agile jumper of the Mitchell family; Ebony Nichole Lewis, a selfish and spazzy African-American jewel thief who is a part-time government spy and Martin's longtime rival, a and the wily one of the Mitchell family; Devin Nelson, a Caucasian-American girl who is Nicholas' girlfriend of the Mitchell family; and Marquessa, a malevolent African-American mad scientist with a plan of world domination to create *Marquessa Land*, but it was foiled by his arch-nemesis *Mitchell*, However is often to try anything mad-scientifically as to raise some stakes of his Marquessanik army. Zoey 101; Zoey Brooks, a student of PCA (known as Pacific Coast Academy) who keeps her brother *Dustin* out of trouble and focus on her skills set on basketball, tennis, natural leadership to avoid chaotic vulnerability; Dustin Brooks, Zoey's younger brother and a child prodigy of the Zoey Brooks family; Chase Matthews, Zoey's clumsy and comicbook knowledgeable boyfriend who plays guitar and gets picked on of Chase's bushy hair but gets serious when trouble appears; Dana Cruz, Dana is a tomboy with a passion for sports, skateboard freestyles, rude behaviors and laziness; Nicole Bristow, a boy-crazy, typical girly-girlish but straight-A girl who loves trains and pilots and she is the OMGD figure of the Zoey Brooks family; Michael Barret, a African-American student who Chase's roommate and best friend, and he is the singer, viral webstar, flautist and rapper of the Zoey Brooks family; Quinn Pensky, Quinn is a super smart girl who is Zoey's best friend with a passion for science, She is best known for working on crazy experiments, Quinn overlooks the dangers of most of her experiments, which almost always have a tendency to go awry and she is the former pageant dancer and the current brains of the Zoey Brooks family; Logan Reese, He is the spoiled son of a rich and famous film and TV producer named Malcolm Reese. The villain of the show, he is considered a flirtatious jerk by many students and is the spoiled son of a rich and famous film and TV producer named Malcolm Reese. The villain of the show, he is considered a flirtatious jerk by many students, he is the former villain, the movie star and the current Secret Chemist of the Zoey Brooks family; Lola Martinez, She is an aspiring movie star who is Zoey's friend and rival, she is the famous actress of the Zoey Brooks family; and Rebecca Martin, She is Zoey's Arch-nemesis who they break up with Chase because she hates Zoey, Rebecca threatens to embarrass Zoey if she does not do whatever Rebecca says to get even with her arch-nemesis but it was foiled by his arch-nemesis *Zoey*, she is the cyber-bully and the main antagonist of the Zoey Brooks family.

### Plot

SeeD cadets Squall and Seifer duel in a training session outside the Balamb Garden military academy, scarring each other in the process. Over the seas to the west, the Republic of Galbadia has invaded the Dollet Dukedom, forcing Dollet to hire assistance from the Balamb Garden branch of "SeeD", Garden's elite mercenary force. SeeD uses the mission as a final exam for its cadets; with the help of his instructor, Quistis, Squall passes the mission's prerequisite and is grouped with Seifer and Zell. Seifer disobeys orders and abandons his team, forcing Selphie to accompany Squall and Zell for the duration of the mission. After the mission, SeeD halts the Galbadian advance; Squall, Zell, and Selphie graduate to SeeD status, while Seifer is disciplined for his disobedience. During the graduation party, Squall meets Rinoa, whose personality is apparently the opposite of his. When assigned with Zell and Selphie to help Rinoa's resistance faction in Galbadian-occupied Timber, Squall learns that a sorceress named Edea is behind Galbadia's recent hostilities. Under orders from Balamb and Galbadia Gardens, Squall and his comrades—joined by Rinoa, Quistis, and Irvine—attempt to assassinate Edea. However, the sorceress thwarts the attempt, stabbing Squall in the shoulder with an ice shard, and the party is detained. During the attempt, Squall's party also learns that Seifer has left Garden to become Edea's second-in-command.

After the team escapes along with a conscious Squall, Edea launches a missile attack on Trabia Garden. Fearing that Balamb Garden is the next target of Edea's plan, the team splits into two units. Squall's group returns to Balamb to warn of the attack, but must first stop an internal Garden conflict incited by NORG, SeeD's financier. Selphie's team travels to the Missile Base to stop the launch, but fails. Squall inadvertently activates Balamb Garden's "mobile fortress" form, allowing the facility to evade the missiles; however, unable to control the Garden, it collides with the docks at Fishermans' Horizon. While local technicians repair the Garden, the Galbadian Army invade in search of a girl named Ellone, who had been staying at Balamb Garden until recently. Ellone eventually escapes to Esthar, the world's technological superpower. During Squall's meeting with Ellone, he learns that she had been "sending" him and his allies into flashbacks set 17 years in the past in a vain effort to alter the present. The scenes center on Laguna and his two friends, Kiros and Ward. During the flashbacks, Laguna changes from a Galbadian soldier to the defender of a country village, then moves from being the leader of a resistance movement against Sorceress Adel to the President of Esthar.

Meanwhile, Squall confronts his personal anxieties fueled by ongoing developments, such as Headmaster Cid appointing him as SeeD's new leader, and his increasing attraction to Rinoa. While investigating Trabia Garden's wreckage, Squall and his comrades learn that they, along with Seifer and Ellone, were all raised (except for Rinoa) in an orphanage run by Edea; after eventual separation, they later developed amnesia due to their use of Guardian Forces. It is also revealed that Cid and Edea had established Garden and SeeD primarily to defeat corrupt sorceresses. After these revelations, the forces of Balamb Garden and the Galbadian Army, led by Squall and Seifer respectively, engage in battle above the orphanage. After Balamb defeats Galbadia, the player learns that Edea is merely an unwilling tool for "Ultimecia", a powerful sorceress from the future who wishes to compress time into a single moment; it is for this reason she has sought Ellone. Edea loses a decisive battle against the SeeD, forcing Ultimecia to transfer her powers to Rinoa; Edea survives, but Rinoa enters a coma. Squall becomes obsessed with waking her and goes to Esthar to find Ellone, as he believes that she can help save Rinoa.

While Rinoa is being treated on Esthar's space station, Ultimecia uses her to free Sorceress Adel from her orbital prison. Ultimecia then orders Seifer to activate the Lunatic Pandora facility, inciting a rain of creatures from the moon that sends Adel's containment device to the planet. Having selected Adel as her next host, Ultimecia abandons Rinoa in outer space. Squall rescues her, and they return to the planet on a derelict starship. Upon their landing, delegates from Esthar isolate Rinoa for fear of her sorceress abilities, forcing Squall to rescue her. They are met by the President of Esthar who reveals himself to be Laguna and apologizes for the incident and announces Dr. Odine's plan to let Ultimecia possess Rinoa, have Ellone send Rinoa (and thus Ultimecia as well) to the past and then retrieve only Rinoa back to the present, enabling Ultimecia to achieve Time Compression, as it would allow Squall's group to confront Ultimecia in her time. To do this, Squall's team infiltrates Lunatic Pandora, defeats Seifer and Adel, and has Rinoa inherit Adel's sorceress powers. Time Compression is thus initiated; Squall and his allies travel to Ultimecia's era and defeat her.

With Ultimecia defeated, the universe begins returning to normal; however, Squall is nearly lost in the flow of time as he witnesses the origins of the game's story, ghostly, sporadic apparitions of Rinoa, and a faceless portrait of himself. When a dying Ultimecia travels back in time to pass her powers to Edea, Squall informs Edea of the concepts of Garden and SeeD that she will create. Afterward, he is able to properly recollect his memories and thus return to the present with Rinoa's help. Seifer, no longer a Garden member, is once again reunited with Raijin and Fujin; Laguna visits Raine's grave (and remembers his proposal to her) along with Ellone, Ward, and Kiros; and a celebration takes place in the Garden, with Squall and Rinoa sharing a kiss under the moonlight.

## Development

Development of *Final Fantasy VIII* began in 1997, during the English-language translation of *Final Fantasy VII*. As with much of the production of *Final Fantasy VII*, series creator and veteran Hironobu Sakaguchi served as the executive producer, working primarily on the development of *Final Fantasy: The Spirits Within* and leaving direction of *Final Fantasy VIII* to Yoshinori Kitase. Shinji Hashimoto was assigned to be the producer in Sakaguchi's place, while the game and battle system were designed by Kitase and Hiroyuki Ito, respectively. One of the development difficulties encountered was having three real-time characters exploring an environment at the same time. The card game Triple Triad was conceived and implemented by programmer Kentarow Yasui. The concept was derived from trading cards which is a popular hobby in some parts of Japan. Triple Triad was meant to keep the player's interest during long stretches without cutscenes. Originally, it was simply about collecting cards but Yasui considered this too disconnected from the main game and "begged" for the inclusion of an ability to transform cards into items. The game's total development costs approximately ¥3 billion, which equated to around $16 million without inflation. The staff consisted of about 180 people.

### Visual design

From the beginning, Kitase knew he wanted a thematic combination of fantasy and realism. To this end, he aimed to include a cast of characters who appeared to be ordinary people. Character designer and battle visual director Tetsuya Nomura and art director Yusuke Naora strove to achieve this impression through the inclusion of realistically proportioned characters—a departure from the super deformed designs used in the previous title. Additionally, Naora attempted to enhance the realism of the world through predominantly bright lighting effects with shadows distributed as appropriate. Other measures taken included implementing rental cars for travel in-game, and the use of motion capture technology to give the game's characters lifelike movements in the game's full motion video sequences. The FMV sequences were created by a team of roughly 35 people, with the total cinematic run-time being estimated at over an hour, approximately 20 minutes longer than the FMV sequences in *VII*. Motion capture was used to give a general realism to character movement, but the team favored manual animation over relying on motion capture. A major challenge was the technical advances made since the release of *VII*, and the aim for more realistic characters. A major issue with the cutscenes was having real-time character models moving across environments within an FMV.

In an interview with *Famitsu*, Naora described that the game was generally designed to be a "bright, fresh *Final Fantasy*." The main reason was that the team had dealt extensively with dark and "weird" imagry with *VII*. The designers felt a need to invert the atmosphere of previous games in the series, which had feelings of "light emerging from darkness". This decision was easy for the developers to make, because most of them had worked on *Final Fantasy VII* and felt that a new direction was acceptable. The world designs were also developed with the knowledge that most of the staff were now used to computer graphics, which was not the case with *Final Fantasy VII*. The developers also noted that with *Final Fantasy VIII*, they attempted to "mix future, real life and fantasy." As part of a theme desired by Kitase to give the game a foreign atmosphere, various designs were given to its locations using the style of internationally familiar places, while also maintaining a fantasy atmosphere. Inspiration ranged from ancient Egyptian and Greek architecture, to the city of Paris, France, to an idealized futuristic European society. Flags were also given to some factions, their designs based on the group's history and culture.

To maintain a foreign atmosphere, the characters of the game were designed to have predominantly European appearances. The first *Final Fantasy VIII* character created was Squall. Desiring to add a unique angle to Squall's appearance and emphasize his role as the central character, Nomura gave him a scar across his brow and the bridge of his nose. As there was not yet a detailed history conceived for the character, Nomura left the explanation for Squall's scar to scenario writer Kazushige Nojima. Squall was given a gunblade, a fictional revolver–sword hybrid that functions primarily as a sword, with an added damaging vibration feature activated by use of its gun mechanism, similar to a vibroblade. His character design was complemented by a fur lining along the collar of his jacket, incorporated by Nomura as a challenge for the game's full motion video designers. Additionally, some designs Nomura had previously drawn, but had not yet used in a *Final Fantasy* game, were incorporated into *Final Fantasy VIII*. These were the designs of Edea, Fujin and Raijin. The latter two had originally been designed for use in *Final Fantasy VII*, but with the inclusion of the Turks characters in that game, it was felt that Fujin and Raijin were unnecessary. Nomura had designed Edea before the development of *Final Fantasy VII*, based on the style of Yoshitaka Amano. For the Guardian Forces, Nomura felt they should be unique beings, without clothes or other human-like concepts. This was problematic, as he did not want them to "become the actual monsters", so he took great care in their design. Leviathan was the first GF, created as a test and included in a game demo. After it received a positive reaction from players, Nomura decided to create the remaining sequences in a similar fashion.

### Story development

The plot of *Final Fantasy VIII* was conceived by Kitase, with the stories for the characters provided by Nomura and the actual scenario written by Nojima. During the game's pre-production, Nomura suggested the game be given a "school days" feel. Nojima already had a story in mind in which the main characters were the same age; their ideas meshed, taking form as the "Garden" military academies. Nojima planned that the two playable parties featured in the game (Squall's present day group and Laguna's group from the past) would be highly contrasted with one another. This idea was conveyed through the age and experience of Laguna's group, versus the youth and naïveté of Squall's group. Nojima has expressed that the dynamic of players' relationships with the protagonist is important to him. Both *Final Fantasy VII* and *Final Fantasy VIII* feature reserved, quiet protagonists in the form of Cloud Strife and Squall. With *Final Fantasy VIII*, however, Nojima worked to give players actual insight into what the character was thinking; a direct contrast with his handling of *Final Fantasy VII*, which encouraged the player to speculate.

### Other media

In March 1999, one month after the game's release, *Final Fantasy VIII Ultimania* was published, a book that features an in-depth guide to *Final Fantasy VIII* and interviews with the developers. An origami book was released in November 1999. On September 22, 1999, a CD-ROM titled *Final Fantasy VIII Desktop Accessories* was released. It contains desktop icons, computer wallpapers, screensavers, and an e-mail application. It additionally features a stand-alone edition of the Triple Triad minigame, which allowed players to compete against one another via a local area network.

Also in 1999, the ballroom dance scene of *Final Fantasy VIII* was featured as a technical demo for the PlayStation 2. In 2000, a PC version was released for Windows. This port featured smoother graphics, enhanced audio, and the inclusion of *Chocobo World*, a minigame starring Boko, a Chocobo featured in one of the side-quests in *Final Fantasy VIII*. For most North American and European players, the PC version of the game was the only means of playing *Chocobo World*, as the game was originally designed to be played via the PocketStation, a handheld console never released outside Japan. In 2009, *Final Fantasy VIII* was added to the PlayStation Store on the PlayStation Network.

On December 18, 2012, the game was re-released as part of the *Final Fantasy 25th Anniversary Ultimate Box* Japanese package. An upscaled PC version was announced May 17, 2013, and was released on Steam December 5, 2013.

### Music

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Regular series composer Nobuo Uematsu wrote the soundtrack for *Final Fantasy VIII*. He tried to base the songs off of the emotional content of when they would be played, asserting that expressing the emotions he desires is more important than improving skills: "I think it will be a shame if we won't be able to cry as we play our own game". He could not determine a character's emotions solely based on the plot, instead using images of appearance and attire—"It's important to know when their emotions are at their height, but it usually takes until a month before release for them to finish the ending dialog...!" In response to a question by IGN music stating that the music of *Final Fantasy VIII* was very dark and perhaps influenced by the plot of the game, Uematsu stated "the atmosphere of music varies depending on story line, of course, but it's also my intention to put various types of music into one game". The absence of character themes found in the previous two games was due to Uematsu finding those of *Final Fantasy VI* and *Final Fantasy VII* ineffective. Uematsu considers it reasonable to have character themes if each character has a "highlight" in the game, but he found *Final Fantasy VIII* only focused on Squall Leonhart and Rinoa Heartilly as a couple, resulting in the "Eyes on Me" theme.

The original soundtrack was released on four compact discs by DigiCube in Japan on March 10, 1999, and by Square EA in North America as *Final Fantasy VIII Music Collection* in January 2000. It was republished worldwide by Square Enix on May 10, 2004. An album of orchestral arrangements of selected tracks from the game was released under the title *Fithos Lusec Wecos Vinosec Final Fantasy VIII* on November 19, 1999, by DigiCube, and subsequently published on July 22, 2004, by Square Enix. The pieces were arranged and conducted by Shirō Hamaguchi for a live orchestra. A collection of piano arrangements performed by Shinko Ogata was released under the title *Piano Collections: Final Fantasy VIII* by DigiCube on January 21, 2000, and subsequently re-published by Square Enix on July 22, 2004.

The score is best known for two songs: "Liberi Fatali", a Latin choral piece that is played during the introduction to the game, and "Eyes On Me", a pop song serving as the game's theme, performed by Chinese singer Faye Wong. Near the end of the production of *Final Fantasy VII*, the developers suggested to use a singer, but abandoned the idea due to a lack of reasoning based on the game's theme and storyline. However, Nobuo Uematsu thought a ballad would closely relate to the theme and characters of *Final Fantasy VIII*. This resulted in the game's developers sharing "countless" artists, eventually deciding on Wong. Uematsu claims "her voice and mood seem to match my image of the song exactly", and that her ethnicity "fits the international image of Final Fantasy". After negotiations were made, "Eyes on Me" was recorded in Hong Kong with an orchestra. The song was released as a CD single in Japan and sold over 400,000 copies, setting the record for highest-selling video game music disc ever released in that country at the time. "Liberi Fatali" was played during the 2004 Summer Olympics in Athens during the women's synchronized swimming event.

The music of *Final Fantasy VIII* has appeared in various official *Final Fantasy* concerts. These include 2002's *20020220 Music from FINAL FANTASY*, in which the Tokyo Philharmonic Orchestra played "Liberi Fatali", "Don't Be Afraid", "Love Grows", and "The Man with the Machine Gun", the 2004 *Tour de Japon* series, which featured "The Oath", the *Dear Friends* series that began that same year and included "Liberi Fatali" and "Love Grows", and the 2005 *More Friends* concert, which included "Maybe I'm a Lion". More recent concerts include the *Voices – Music from Final Fantasy* 2006 concert showcasing "Liberi Fatali", "Fisherman's Horizon", and "Eyes on Me" and the international *Distant Worlds* concert tour that continues to date, which includes "Liberi Fatali", "Fisherman's Horizon", "Man with the Machine Gun", and "Love Grows". Several of these concerts have produced live albums as well. Music from the game has also been played in non *Final Fantasy*-specific concerts such as the *Play! A Video Game Symphony* world tour from 2006 onwards, for which Nobuo Uematsu composed the opening fanfare that accompanies each performance.

## Reception

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*Final Fantasy VIII* received critical acclaim. Within two days of its North American release on September 9, 1999, *Final Fantasy VIII* became the top-selling video game in the United States, a position it held for more than three weeks. It was also a bestseller in Japan and the UK. It grossed a total of more than $50 million in the 13 weeks to follow, making it the fastest-selling *Final Fantasy* title. In Japan, it sold roughly 2.5 million units within the first four days of release. More than 6 million units were sold in total by the end of 1999. As of March 31, 2003, the game had shipped 8.15 million copies worldwide: 3.7 million in Japan and 4.45 million abroad. The opening cut scene in *Final Fantasy VIII* was ranked second on *Game Informer*Template:'s list of "Top 10 Video Game Openings", and first by IGN. GameSpy listed it as the 15th best cinematic moment in video games. IGN additionally named the game's ending the third best of any game for the PlayStation, while UGO.com named it one of the series' best and most memorable moments. *Final Fantasy VIII* was voted by readers of Japanese magazine *Famitsu* as the 22nd best game of all time in 2006, and named one of the 20 essential Japanese role-playing games by Gamasutra, stating "[t]here's a lot that *Final Fantasy VIII* does wrong, but there's even more that it does right".

Reviews of the gameplay have been mixed. IGN felt that it was the weakest aspect of the game, citing its Guardian Force attack sequences as "incredibly cinematic" but tedious, sentiments echoed by *Electronic Gaming Monthly*. They also regarded the battle system as intensely complicated, yet refreshingly innovative and something that "RPG fanatics love to obsess over". *Official U.S. PlayStation Magazine* claims that the game's Junction system is a major flaw due to repetitive stocking of spells, while the video game magazine *Edge* commented that the battle system consists of a "bewildering" number of intricate options and techniques that "most gamers will [...] relish". GameSpot praised the game's battle system, commenting that the "possibilities for customization [with the Junction system] are immense".

In general, *Final Fantasy VIII* has been compared favorably to its predecessors. Though questioning the game's lack of voice overs for its characters, Game Revolution praised its storyline and ending. For their part, *Edge* labeled *Final Fantasy VIII* "a far more accomplished game than *FFVII*". On the other hand, the magazine also felt that the game's length left its story unable to "offer consistently strong dialogue and sub-plots". Additionally, it found some of the story's plot twists "not... suitably manipulated and prepared", leaving it "hard not to greet such... moments with anything but indifference". Overall, *Edge* considered *Final Fantasy VIII* to be "yet another outstanding edition of SquareSoft's far-from-final fantasies", summarizing it as "aesthetically astonishing, rarely less than compelling, and near peerless in scope and execution". *Electronic Gaming Monthly* offered similar comments, stating that the game's character development "is the best of any RPG's" and that "*Final Fantasy VIII* is the pinnacle of its genre." UGO.com stated that while no other game in the series had stirred the controversy that *Final Fantasy VIII* had and that it was flawed, *Final Fantasy VIII* was a "daring, groundbreaking game [...] decidedly the most original console-style RPG ever created". In 2002, IGN named the game the seventh best title for the PlayStation of all time, placing higher on the list than *Final Fantasy VII* and described as "[taking] all of its strong points, and [making] them better".

The PC port received mixed reception. *Maximum PC* praised the full motion video sequences as "phenomenal", adding that while the gameplay took getting used to, they enjoyed the teamwork emphasized by it, and that the game's visual presentation added to its appeal. GameSpy stated that while the game was not a "huge leap forward" from the previous title, its gameplay and visual appeal worked for its benefit, though that on a computer the pre-rendered backgrounds appeared blurry and the controls at time difficult with a keyboard. GameSpot criticized the game for not taking advantage of the capabilities afforded to computers at the time, describing the PlayStation version as both looking and sounding superior, and recommending that the title was "not worth buying period" for the PC. UGO.com also described the port as inferior to its original counterpart, adding that its presentation was in turn detrimental to the reception the game received as a whole. *Computer Gaming World* praised some of the changes made to the game in light of previous titles and the inclusion of the Triple Triad sub-game, though heavily criticized the port as "lazy" and "disappointing", stating that it only served to emphasize the original game's flaws. Despite their complaints however, they named it the twentieth best game of 2000.

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## External links

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 ***Mitchell Van Morgan* role-playing video games**

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