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Firey
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Firey is a surname. Notable people with the surname include:
- Lewis P. Firey (1825–1885), American politician
- William J. Firey (1923–2004), American mathematician
This page lists people with the surname Firey.
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Final Fantasy VII #2
Final Fantasy VII theme by Jokerdeuce
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| 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) | Yoshinori Kitase Kazushige Nojima |
| Composer(s) | Nobuo Uematsu |
| Series | Final Fantasy |
| Platform(s) | |
| Release | January 31, 1997 |
| Genre(s) | Role-playing |
| Mode(s) | Single-player |
Final Fantasy VII[a] is a 1997 role-playing video game developed by Square for the PlayStation console and the seventh main installment in the Final Fantasy series. Square published the game in Japan, and it was released in other regions by Sony Computer Entertainment, becoming the first game in the main series to have 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. Ensuing events send Cloud and his allies in pursuit of Sephiroth, a superhuman who seeks to wound the planet and harness its healing power in order to be reborn as a god. Throughout their journey, Cloud bonds 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 with several platforms, most notably the Nintendo 64, Square moved production to the PlayStation, largely due to the advantages of the CD-ROM format. Veteran Final Fantasy staff returned, including series creator and producer Hironobu Sakaguchi, director Yoshinori Kitase, and composer Nobuo Uematsu. The title was the first in the series to use full motion video and 3D computer graphics, featuring 3D character models superimposed over 2D pre-rendered backgrounds. Although the gameplay remained mostly unchanged from previous entries, Final Fantasy VII introduced more widespread science fiction elements and a more realistic presentation. The combined development and marketing budget amounted to approximately US$80 million.
Final Fantasy VII received widespread commercial and critical success and remains widely regarded as a landmark title, and it is regarded as one of the greatest and most influential video games ever made. The title won numerous Game of the Year awards and was acknowledged for boosting the sales of the PlayStation and popularizing Japanese role-playing games worldwide. Critics praised its graphics, gameplay, music, and story, although some criticism was directed towards the original English localization. Its success has led to enhanced ports on various platforms, a multimedia subseries called the Compilation of Final Fantasy VII, and a high definition remake trilogy currently comprising Final Fantasy VII Remake (2020), and Final Fantasy VII Rebirth (2024).
Gameplay[edit]
The gameplay of Final Fantasy VII is similar to earlier Final Fantasy titles 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 world of Final Fantasy VII on a 3D world map.[4] The world map contains 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]: 44 Chocobos can be found in certain spots on the map, and if caught, can be ridden to areas inaccessible on foot or by vehicle.[3]: 46 In field mode, the player navigates fully scaled versions of the areas represented on the world map.[4] VII marks the first time in the series that the mode is represented in a three-dimensional space. In this mode, the player can explore the environment, talk with characters, advance the story, and initiate event games.[3]: 15 Event games are short minigames that use special control functions and are often tied to the story.[3]: 18 While in field mode, the player can also find shops and inns. Shops allow the player to buy and sell items that can aid Cloud and his party, such as weapons, armor, and accessories. Inns restore the hit points and mana points of characters who rest at them and cure abnormalities contracted during battles.[3]: 17
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, which places the player characters on one side and the enemies on the other. It 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 several 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 them. The commands change as the game progresses, and are dependent on the characters in the player's party and their equipment. Commands 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 taking enemy attacks. After being attacked, characters can 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 or by resting at an inn. Once all enemies are defeated, the battle ends and the player is rewarded with money, items, and experience points. If the player is defeated, it is game over and the game must be loaded to the last save point.[3]: 20–27
When not in battle, the player can use the menu screen, where they 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. Materia are the main method of customizing characters in Final Fantasy VII, and can be added to equipment to provide characters with new magic spells, monsters to summon, commands, statistical upgrades, and other benefits.[6] Materia level up through their own experience point system and can be combined to create different effects.[3]: 30–42
Synopsis[edit]
Setting and characters[edit]
Final Fantasy VII takes place on a world referred to in-game as the "Planet" and 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-industrial science fiction setting.[10] During Final Fantasy VII, the Shinra Electric Power Company, a world-dominating megacorporation headquartered in the city of Midgar, is draining the Planet's Lifestream for energy, weakening the Planet and 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 main protagonist is Cloud Strife, an aloof 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 his childhood friend. During 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 unrealized.[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's experiments.[19] The game's main antagonists are Rufus Shinra, the son of President Shinra and the later leader of the Shinra Corporation;[20] Sephiroth, a former SOLDIER who reappears several years after being presumed dead;[3] and Jenova, a hostile extraterrestrial life-form who the Cetra imprisoned 2,000 years ago and who Sephiroth was created from.[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, but an attack on another reactor goes wrong and Cloud falls into the city's slums. There, he meets Aerith and protects her from Shinra.[25][26] Meanwhile, Shinra finds AVALANCHE's base of operations and intentionally collapses part of the upper city level in retaliation for the Mako reactor being destroyed, killing many AVALANCHE members and innocent bystanders as collateral damage.[27] Aerith is also captured since Shinra believes that as a Cetra, she can potentially reveal the "Promised Land", which they believe is overflowing with Lifestream energy they can exploit.[28][29] Cloud, Barret, and Tifa rescue Aerith, and during their escape from Midgar, discover that Sephiroth murdered President Shinra despite being presumed dead five years earlier.[30] The party pursues Sephiroth across the Planet, with now-President Rufus on their trail; they are soon joined by the rest of the playable characters.
At a Cetra temple, Sephiroth reveals he intends to use a powerful magical artifact known as "Black Materia" to cast the spell "Meteor", which would have a devastating impact on the Planet. Sephiroth claims he will absorb the Lifestream as it attempts to heal the wound caused by Meteor, and become a god-like being in the process.[31] The party retrieves the Black Materia, but Sephiroth manipulates Cloud into surrendering it. Aerith departs alone to stop Sephiroth and follows him to an abandoned Cetra city. While Aerith prays to the Planet for help, Sephiroth attempts to force Cloud to kill her; after this fails, he kills her himself before fleeing, leaving the White Materia behind.[32] The party then learns of Jenova, a hostile alien lifeform who landed on the Planet two thousand years prior to the game's events. Upon arrival on the Planet, Jenova began infecting the Cetra with a virus, and they were nearly wiped out. However, a small group managed to seal away Jenova in a tomb, which Shinra later unearthed. At Nibelheim, Jenova's cells were used in experiments which led to the creation of Sephiroth.[21][32] Five years before the game's events, Sephiroth and Cloud visited Nibelheim, where Sephiroth learned of his origins and was driven insane as a result. He murdered the townspeople, and then vanished after Cloud confronted him.
At the Northern Crater, the party learns that the "Sephiroths" they have encountered are Jenova clones who the insane Shinra scientist Hojo created. Cloud confronts the real Sephiroth as he is killing his clones to reunite Jenova's cells, but is again manipulated into giving him the Black Materia. Sephiroth then taunts Cloud by showing another SOLDIER in his place in his memories of Nibelheim, suggesting that Cloud is a failed clone of Sephiroth.[33] Sephiroth summons Meteor and seals the Crater as Cloud falls into the Lifestream and Rufus captures the party.
After escaping Shinra, the party discovers Cloud at an island hospital in a catatonic state from Mako poisoning, and Tifa decides to stay as his caretaker. When a planetary defense force called Weapon attacks the island, the two fall into the Lifestream,[34] where Tifa helps Cloud reconstruct his memories. Cloud was a mere infantryman who was never accepted into SOLDIER; the SOLDIER in his memories was his friend Zack. At Nibelheim, Cloud ambushed 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 managed to escape, but Zack was killed in the process. The trauma of these events triggered an identity crisis in Cloud, and he constructed a false persona based 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 prevented it from having any effect.
Shinra fails to destroy Meteor, but manages to defeat a Weapon and puncture the Northern Crater, seemingly killing Rufus and several 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 once again, destroying Meteor with help from 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 that the planet has healed.
Development[edit]
Producer Hironobu Sakaguchi and director Yoshinori Kitase, who together helped create the story and gameplay concepts for Final Fantasy VII.
Initial concept talks for Final Fantasy VII began in 1994 at Square studio, 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 FFVI. The next installment was planned as a 2D game for Nintendo's Super Nintendo Entertainment System (Super NES). After creating an early 2D prototype of it, the team postponed development to help finish Chrono Trigger.[37] Once Chrono Trigger was completed, 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 just prior to the imminent industry shift toward 3D gaming; such a change would require radical new development models.[37] The team decided to take the riskier option and make a 3D game on new generation hardware but had yet to choose between the cartridge-based Nintendo 64 or the CD-ROM-based PlayStation from Sony Computer Entertainment.[37] The team also considered the Sega Saturn console and Microsoft Windows.[39] Their decision was influenced by two factors: a highly successful tech demo based on Final Fantasy VI using the new Softimage 3D software, and the escalating price of cartridge-based games, which was limiting Square's audience.[37][40][41] Tests were made for a Nintendo 64 version, which would use the planned 64DD peripheral despite the lack of 64DD development kits and the prototype device's changing hardware specifications. This version was discarded during early testing, as the 2000 polygons needed to render the Behemoth monster placed excessive strain on the Nintendo 64 hardware, causing a low frame rate.[37] It would have required an estimated thirty 64DD discs to run Final Fantasy VII properly with the data compression methods of the day.[42] Faced with both technical and economic issues on Nintendo's current hardware, 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.[37]
In contrast to the visuals and audio, the overall gameplay system remained mostly unchanged from Final Fantasy V and VI, but with an 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 as a way to provide more character customization than previous Final Fantasy games: battles no longer revolved around characters with innate skills and roles in battle, as Materia could be reconfigured between battles.[40] Artist Tetsuya Nomura also contributed to the gameplay; he designed the Limit Break system as an evolution of the Desperation Attacks used in Final Fantasy VI. The Limit Breaks served a purpose in gameplay while also evoking each character's personality in battle.[24][40]
Square 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 US$40 million, which adjusted for inflation came to $61 million in 2017.[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] The Shinra logo, which incorporated a kanji symbol, was drawn by Naora personally.[48] Promotional artwork, in addition to the logo artwork, was created by Yoshitaka Amano, an artist whose association with the series went back to its inception.[49] While 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][49] His logo artwork was based on Meteor: when he saw images of Meteor, he was not sure how to turn it into suitable artwork. In the end, he created multiple variations of the image and asked staff to choose which they preferred.[50] 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".[51] Something that could not be carried over from earlier titles was the chibi sprite art, 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 save polygons 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 quite different from the final version.[52] 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][52] 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".[53]
Final Fantasy VII
Final Fantasy VII theme by m0dus
Download: FF7_m0dus.p3t
(1 background)
| 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) | Yoshinori Kitase Kazushige Nojima |
| Composer(s) | Nobuo Uematsu |
| Series | Final Fantasy |
| Platform(s) | |
| Release | January 31, 1997 |
| Genre(s) | Role-playing |
| Mode(s) | Single-player |
Final Fantasy VII[a] is a 1997 role-playing video game developed by Square for the PlayStation console and the seventh main installment in the Final Fantasy series. Square published the game in Japan, and it was released in other regions by Sony Computer Entertainment, becoming the first game in the main series to have 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. Ensuing events send Cloud and his allies in pursuit of Sephiroth, a superhuman who seeks to wound the planet and harness its healing power in order to be reborn as a god. Throughout their journey, Cloud bonds 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 with several platforms, most notably the Nintendo 64, Square moved production to the PlayStation, largely due to the advantages of the CD-ROM format. Veteran Final Fantasy staff returned, including series creator and producer Hironobu Sakaguchi, director Yoshinori Kitase, and composer Nobuo Uematsu. The title was the first in the series to use full motion video and 3D computer graphics, featuring 3D character models superimposed over 2D pre-rendered backgrounds. Although the gameplay remained mostly unchanged from previous entries, Final Fantasy VII introduced more widespread science fiction elements and a more realistic presentation. The combined development and marketing budget amounted to approximately US$80 million.
Final Fantasy VII received widespread commercial and critical success and remains widely regarded as a landmark title, and it is regarded as one of the greatest and most influential video games ever made. The title won numerous Game of the Year awards and was acknowledged for boosting the sales of the PlayStation and popularizing Japanese role-playing games worldwide. Critics praised its graphics, gameplay, music, and story, although some criticism was directed towards the original English localization. Its success has led to enhanced ports on various platforms, a multimedia subseries called the Compilation of Final Fantasy VII, and a high definition remake trilogy currently comprising Final Fantasy VII Remake (2020), and Final Fantasy VII Rebirth (2024).
Gameplay[edit]
The gameplay of Final Fantasy VII is similar to earlier Final Fantasy titles 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 world of Final Fantasy VII on a 3D world map.[4] The world map contains 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]: 44 Chocobos can be found in certain spots on the map, and if caught, can be ridden to areas inaccessible on foot or by vehicle.[3]: 46 In field mode, the player navigates fully scaled versions of the areas represented on the world map.[4] VII marks the first time in the series that the mode is represented in a three-dimensional space. In this mode, the player can explore the environment, talk with characters, advance the story, and initiate event games.[3]: 15 Event games are short minigames that use special control functions and are often tied to the story.[3]: 18 While in field mode, the player can also find shops and inns. Shops allow the player to buy and sell items that can aid Cloud and his party, such as weapons, armor, and accessories. Inns restore the hit points and mana points of characters who rest at them and cure abnormalities contracted during battles.[3]: 17
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, which places the player characters on one side and the enemies on the other. It 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 several 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 them. The commands change as the game progresses, and are dependent on the characters in the player's party and their equipment. Commands 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 taking enemy attacks. After being attacked, characters can 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 or by resting at an inn. Once all enemies are defeated, the battle ends and the player is rewarded with money, items, and experience points. If the player is defeated, it is game over and the game must be loaded to the last save point.[3]: 20–27
When not in battle, the player can use the menu screen, where they 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. Materia are the main method of customizing characters in Final Fantasy VII, and can be added to equipment to provide characters with new magic spells, monsters to summon, commands, statistical upgrades, and other benefits.[6] Materia level up through their own experience point system and can be combined to create different effects.[3]: 30–42
Synopsis[edit]
Setting and characters[edit]
Final Fantasy VII takes place on a world referred to in-game as the "Planet" and 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-industrial science fiction setting.[10] During Final Fantasy VII, the Shinra Electric Power Company, a world-dominating megacorporation headquartered in the city of Midgar, is draining the Planet's Lifestream for energy, weakening the Planet and 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 main protagonist is Cloud Strife, an aloof 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 his childhood friend. During 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 unrealized.[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's experiments.[19] The game's main antagonists are Rufus Shinra, the son of President Shinra and the later leader of the Shinra Corporation;[20] Sephiroth, a former SOLDIER who reappears several years after being presumed dead;[3] and Jenova, a hostile extraterrestrial life-form who the Cetra imprisoned 2,000 years ago and who Sephiroth was created from.[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, but an attack on another reactor goes wrong and Cloud falls into the city's slums. There, he meets Aerith and protects her from Shinra.[25][26] Meanwhile, Shinra finds AVALANCHE's base of operations and intentionally collapses part of the upper city level in retaliation for the Mako reactor being destroyed, killing many AVALANCHE members and innocent bystanders as collateral damage.[27] Aerith is also captured since Shinra believes that as a Cetra, she can potentially reveal the "Promised Land", which they believe is overflowing with Lifestream energy they can exploit.[28][29] Cloud, Barret, and Tifa rescue Aerith, and during their escape from Midgar, discover that Sephiroth murdered President Shinra despite being presumed dead five years earlier.[30] The party pursues Sephiroth across the Planet, with now-President Rufus on their trail; they are soon joined by the rest of the playable characters.
At a Cetra temple, Sephiroth reveals he intends to use a powerful magical artifact known as "Black Materia" to cast the spell "Meteor", which would have a devastating impact on the Planet. Sephiroth claims he will absorb the Lifestream as it attempts to heal the wound caused by Meteor, and become a god-like being in the process.[31] The party retrieves the Black Materia, but Sephiroth manipulates Cloud into surrendering it. Aerith departs alone to stop Sephiroth and follows him to an abandoned Cetra city. While Aerith prays to the Planet for help, Sephiroth attempts to force Cloud to kill her; after this fails, he kills her himself before fleeing, leaving the White Materia behind.[32] The party then learns of Jenova, a hostile alien lifeform who landed on the Planet two thousand years prior to the game's events. Upon arrival on the Planet, Jenova began infecting the Cetra with a virus, and they were nearly wiped out. However, a small group managed to seal away Jenova in a tomb, which Shinra later unearthed. At Nibelheim, Jenova's cells were used in experiments which led to the creation of Sephiroth.[21][32] Five years before the game's events, Sephiroth and Cloud visited Nibelheim, where Sephiroth learned of his origins and was driven insane as a result. He murdered the townspeople, and then vanished after Cloud confronted him.
At the Northern Crater, the party learns that the "Sephiroths" they have encountered are Jenova clones who the insane Shinra scientist Hojo created. Cloud confronts the real Sephiroth as he is killing his clones to reunite Jenova's cells, but is again manipulated into giving him the Black Materia. Sephiroth then taunts Cloud by showing another SOLDIER in his place in his memories of Nibelheim, suggesting that Cloud is a failed clone of Sephiroth.[33] Sephiroth summons Meteor and seals the Crater as Cloud falls into the Lifestream and Rufus captures the party.
After escaping Shinra, the party discovers Cloud at an island hospital in a catatonic state from Mako poisoning, and Tifa decides to stay as his caretaker. When a planetary defense force called Weapon attacks the island, the two fall into the Lifestream,[34] where Tifa helps Cloud reconstruct his memories. Cloud was a mere infantryman who was never accepted into SOLDIER; the SOLDIER in his memories was his friend Zack. At Nibelheim, Cloud ambushed 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 managed to escape, but Zack was killed in the process. The trauma of these events triggered an identity crisis in Cloud, and he constructed a false persona based 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 prevented it from having any effect.
Shinra fails to destroy Meteor, but manages to defeat a Weapon and puncture the Northern Crater, seemingly killing Rufus and several 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 once again, destroying Meteor with help from 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 that the planet has healed.
Development[edit]
Producer Hironobu Sakaguchi and director Yoshinori Kitase, who together helped create the story and gameplay concepts for Final Fantasy VII.
Initial concept talks for Final Fantasy VII began in 1994 at Square studio, 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 FFVI. The next installment was planned as a 2D game for Nintendo's Super Nintendo Entertainment System (Super NES). After creating an early 2D prototype of it, the team postponed development to help finish Chrono Trigger.[37] Once Chrono Trigger was completed, 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 just prior to the imminent industry shift toward 3D gaming; such a change would require radical new development models.[37] The team decided to take the riskier option and make a 3D game on new generation hardware but had yet to choose between the cartridge-based Nintendo 64 or the CD-ROM-based PlayStation from Sony Computer Entertainment.[37] The team also considered the Sega Saturn console and Microsoft Windows.[39] Their decision was influenced by two factors: a highly successful tech demo based on Final Fantasy VI using the new Softimage 3D software, and the escalating price of cartridge-based games, which was limiting Square's audience.[37][40][41] Tests were made for a Nintendo 64 version, which would use the planned 64DD peripheral despite the lack of 64DD development kits and the prototype device's changing hardware specifications. This version was discarded during early testing, as the 2000 polygons needed to render the Behemoth monster placed excessive strain on the Nintendo 64 hardware, causing a low frame rate.[37] It would have required an estimated thirty 64DD discs to run Final Fantasy VII properly with the data compression methods of the day.[42] Faced with both technical and economic issues on Nintendo's current hardware, 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.[37]
In contrast to the visuals and audio, the overall gameplay system remained mostly unchanged from Final Fantasy V and VI, but with an 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 as a way to provide more character customization than previous Final Fantasy games: battles no longer revolved around characters with innate skills and roles in battle, as Materia could be reconfigured between battles.[40] Artist Tetsuya Nomura also contributed to the gameplay; he designed the Limit Break system as an evolution of the Desperation Attacks used in Final Fantasy VI. The Limit Breaks served a purpose in gameplay while also evoking each character's personality in battle.[24][40]
Square 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 US$40 million, which adjusted for inflation came to $61 million in 2017.[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] The Shinra logo, which incorporated a kanji symbol, was drawn by Naora personally.[48] Promotional artwork, in addition to the logo artwork, was created by Yoshitaka Amano, an artist whose association with the series went back to its inception.[49] While 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][49] His logo artwork was based on Meteor: when he saw images of Meteor, he was not sure how to turn it into suitable artwork. In the end, he created multiple variations of the image and asked staff to choose which they preferred.[50] 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".[51] Something that could not be carried over from earlier titles was the chibi sprite art, 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 save polygons 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 quite different from the final version.[52] 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][52] 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".[53]
Transformers
Transformers theme by Christoforo
Download: Transformers.p3t
(1 background)
| Transformers | |
|---|---|
 Franchise logo, 2014–present | |
| Created by | |
| Original work | Transformers (based on Diaclone and Micro Change) |
| Years | 1984–present |
| Print publications | |
| Book(s) | Complete list |
| Comics | Complete list |
| Films and television | |
| Film(s) | Animated |
| Animated series | Complete list |
| Games | |
| Video game(s) | Complete list |
| Audio | |
| Soundtrack(s) | Transformers audio releases |
| Miscellaneous | |
| Related franchises | |
Transformers is a media franchise produced by American toy company Hasbro and Japanese toy company Takara Tomy. It primarily follows the heroic Autobots and the villainous Decepticons, two alien robot factions at war that can transform into other forms, such as vehicles and animals. The franchise encompasses toys, animation, comic books, video games and films. As of 2011, it generated more than ¥2 trillion ($25 billion) in revenue,[1] making it one of the highest-grossing media franchises of all time.
The franchise began in 1984 with the Transformers toy line, comprising transforming mecha toys from Takara's Diaclone and Micro Change toylines rebranded for Western markets.[2] The term "Generation 1" covers both the animated television series The Transformers and the comic book series of the same name, which are further divided into Japanese, British and Canadian spin-offs, respectively. Sequels followed, such as the Generation 2 comic book and Beast Wars TV series, which became its own mini-universe. Generation 1 characters have been rebooted multiple times in the 21st century in comics from Dreamwave Productions (starting 2001), IDW Publishing (starting in 2005 and again in 2019), and Skybound Entertainment (beginning in 2023). There have been other incarnations of the story based on different toy lines during and after the 20th century. The first was the Robots in Disguise series, followed by three shows (Armada, Energon, and Cybertron) that constitute a single universe called the "Unicron Trilogy".
A live-action film series started in 2007, again distinct from previous incarnations, while the Transformers: Animated series merged concepts from the G1 continuity, the 2007 live-action film and the "Unicron Trilogy". For most of the 2010s, in an attempt to mitigate the wave of reboots, the "Aligned Continuity" was established. In 2018, Transformers: Cyberverse debuted, once again, distinct from the previous incarnations.
Although initially a separate and competing franchise started in 1983, Tonka's GoBots became the intellectual property of Hasbro after their buyout of Tonka in 1991. Subsequently, the universe depicted in the animated series Challenge of the GoBots and follow-up film GoBots: Battle of the Rock Lords was retroactively established as an alternate universe within the Transformers multiverse.[3]
Fiction[edit]
Transformers: Generation 1 (1984–1993)[edit]
Generation One is a retroactive term for the Transformers characters that appeared between 1984 and 1993. The Transformers began with the 1980s Japanese toy lines Micro Change and Diaclone. They presented robots able to transform into everyday vehicles, electronic items or weapons. Hasbro bought the Micro Change and Diaclone toys, and partnered with Takara.[4] Marvel Comics was hired by Hasbro to create the backstory; editor-in-chief Jim Shooter wrote an overall story, and gave the task of creating the characters to writer Dennis O'Neil.[5] Unhappy with O'Neil's work (although O'Neil created the name "Optimus Prime"), Shooter chose Bob Budiansky to create the characters.[6]
The Transformers mecha were largely designed by Shōji Kawamori, the creator of the Japanese mecha anime franchise Macross (which was adapted into the Robotech franchise in North America).[7] Kawamori came up with the idea of transforming mechs while working on the Diaclone and Macross franchises in the early 1980s (such as the VF-1 Valkyrie in Macross and Robotech), with his Diaclone mechs later providing the basis for Transformers.[8]
The primary concept of Generation One is that the heroic Optimus Prime, the villainous Megatron, and their finest soldiers crash-land on prehistoric Earth in the Ark and the Nemesis before awakening in 1985, Cybertron hurtling through the Neutral zone as an effect of the war. The Marvel comic was originally part of the main Marvel Universe, with appearances from Spider-Man and Nick Fury, plus some cameos,[9] as well as a visit to the Savage Land.[10]
The Transformers TV series began around the same time. Produced by Sunbow Productions and Marvel Productions, later Hasbro Productions, from the start it contradicted Budiansky's backstories. The TV series shows the Autobots looking for new energy sources, and crash landing as the Decepticons attack.[11] Marvel interpreted the Autobots as destroying a rogue asteroid approaching Cybertron.[12] Shockwave is loyal to Megatron on the TV series, keeping Cybertron in a stalemate during his absence,[13] but in the comic book, he attempts to take command of the Decepticons.[14] The TV series would also differ wildly from the origins Budiansky had created for the Dinobots,[15][16] the Decepticon turned Autobot Jetfire[17] (known as Skyfire on TV[18]), the Constructicons (who combine to form Devastator),[19][20] and Omega Supreme.[19][21] The Marvel comic establishes early on that Prime wields the Creation Matrix, which gives life to machines. In the second season, the two-part episode The Key to Vector Sigma introduced the ancient Vector Sigma computer, which served the same original purpose as the Creation Matrix (giving life to Transformers), and its guardian Alpha Trion.
In 1986, the cartoon became the film The Transformers: The Movie, which is set in the year 2005. It introduced the Matrix as the "Autobot Matrix of Leadership", as a fatally wounded Prime gives it to Ultra Magnus; however, as Prime dies he drops the matrix, which is then caught by Hot Rod who subsequently becomes Rodimus Prime later on in the film. Unicron, a Transformer who devours planets, fears its power and re-creates a heavily damaged Megatron as Galvatron, as well as Bombshell or Skywarp becoming Cyclonus, Thundercracker becoming Scourge and two other Insecticons becoming Scourge's huntsmen, the Sweeps. Eventually, Rodimus Prime takes out the Matrix and destroys Unicron.[22] In the United Kingdom, the weekly comic book interspliced original material to keep up with U.S. reprints,[23] and The Movie provided much new material. Writer Simon Furman proceeded to expand the continuity with movie spin-offs involving the time travelling Galvatron.[24][25] The Movie also featured guest voices from Leonard Nimoy as Galvatron, Scatman Crothers as Jazz, Casey Kasem as Cliffjumper, Orson Welles as Unicron and Eric Idle as the leader of the Junkions (Wreck-Gar, though unnamed in the movie). The Transformers theme tune for the film was performed by Lion with "Weird Al" Yankovic adding a song to the soundtrack.
The third season followed up The Movie, with the revelation of the Quintessons having used Cybertron as a factory. Their robots rebel, and in time the workers become the Autobots and the soldiers become the Decepticons. (Note: This appears to contradict background presented in the first two seasons of the series.) It is the Autobots who develop transformation.[26] Due to popular demand,[27] Optimus Prime is resurrected at the conclusion of the third season,[28] and the series ended with a three-episode story arc. However, the Japanese broadcast of the series was supplemented with a newly produced OVA, Scramble City, before creating entirely new series to continue the storyline, ignoring the 1987 end of the American series. The extended Japanese run consisted of The Headmasters, Super-God Masterforce, Victory and Zone, then in illustrated magazine form as Battlestars: Return of Convoy and Operation: Combination. Just as the TV series was wrapping up, Marvel continued to expand its continuity. It follows The Movie's example by killing Prime[29] and Megatron,[30] albeit in the present day. Dinobot leader Grimlock takes over as Autobot leader.[31] There was a G.I. Joe crossover[32] and the limited series The Transformers: Headmasters, which further expanded the scope to the planet Nebulon.[33] It led on to the main title resurrecting Prime as a Powermaster.[34]
In the United Kingdom, the mythology continued to grow. Primus is introduced as the creator of the Transformers, to serve his material body that is planet Cybertron and fight his nemesis Unicron.[35] Female Autobot Arcee also appeared, despite the comic book stating the Transformers had no concept of gender, with her backstory of being built by the Autobots to quell human accusations of sexism.[36] Soundwave, Megatron's second-in-command, also breaks the fourth wall in the letters page, criticising the cartoon continuity as an inaccurate representation of history.[37] The UK also had a crossover in Action Force, the UK counterpart to G.I. Joe.[38] The comic book features a resurrected Megatron,[39] whom Furman retconned to be a clone[40] when he took over the U.S. comic book, which depicted Megatron as still dead.[41] The U.S. comic would last for 80 issues until 1991,[42] and the UK comic lasted 332 issues and several annuals, until it was replaced as Dreamwave Productions, later in the 20th-Century.
In 2009, Shout! Factory released the entire G1 series in a 16-DVD box set called the Matrix of Leadership Edition.[43] They also released the same content as individual seasons.[44]
Transformers: Generation 2 (1993–1995)[edit]
It was five issues[45] of the G.I. Joe comic in 1993 that would springboard a return for Marvel's Transformers, with the new twelve-issue series Transformers: Generation 2, to market a new toy line.
This story reveals that the Transformers originally breed asexually, though it is stopped by Primus because it produced the evil Swarm.[46] A new empire, neither Autobot nor Decepticon, is bringing it back, however. Though the year-long arc wrapped itself up with an alliance between Optimus Prime and Megatron, the final panel introduces the Liege Maximo, ancestor of the Decepticons.[47] This minor cliffhanger was not resolved until 2001 and 2002's Transforce convention when writer Simon Furman concluded his story in the exclusive novella Alignment.[48]
Beast Wars and Beast Machines (1996–2000)[edit]
The story focuses on a small group of Maximals (the new Autobots), led by Optimus Primal, and Predacons, led by Megatron, 300 years after the "Great War". After a dangerous pursuit through transwarp space, both the Maximal and Predacon factions end up crash landing on a primitive, uncivilized planet similar to Earth, but with two moons and a dangerous level of Energon (which is later revealed to be prehistoric Earth with an artificial second moon, taking place sometime during the 4 million year period in which the Autobots and Decepticons were in suspended animation from the first episode of the original Transformers cartoon), which forces them to take organic beast forms in order to function without going into stasis lock.[49] After writing this first episode, Bob Forward and Larry DiTillio learned of the G1 Transformers and began to use elements of it as a historical backstory to their scripts,[50] establishing Beast Wars as a part of the Generation 1 universe through numerous callbacks to both the cartoon and the Marvel comic. By the end of the first season, the second moon and the Energon are revealed to have been constructed by a mysterious alien race known as the Vok.
The destruction of the second moon releases mysterious energies that make some of the characters "transmetal" and the planet is revealed to be prehistoric Earth, leading to the discovery of the Ark. Megatron attempts to kill the original Optimus Prime,[51] but at the beginning of the third season, Primal manages to preserve his spark. In the two-season follow-up series, Beast Machines, Cybertron is revealed to have organic origins, which Megatron attempts to stamp out.
After the first season of Beast Wars (comprising 26 episodes) aired in Japan, the Japanese were faced with a problem. The second Canadian season was only 13 episodes long, not enough to warrant airing on Japanese TV. While they waited for the third Canadian season to be completed (thereby making 26 episodes in total when added to season 2), they produced two exclusive cel-animated series of their own, Beast Wars II (also called Beast Wars Second) and Beast Wars Neo, to fill in the gap. Dreamwave retroactively revealed Beast Wars to be the future of their G1 universe,[52] and the 2006 IDW comic book Beast Wars: The Gathering eventually confirmed the Japanese series to be canon[53] within a story set during Season 3.[54]
Beast Wars contained elements from both the G1 cartoon series and comics. Attributes taken from the cartoon include Transformers that were female, the appearance of Starscream (who mentions being killed off by Galvatron in The Transformers: The Movie), and appearances of the Plasma Energy Chamber and Key to Vector Sigma. The naming of the Transformer ship, the Ark (and reference to 1984, the year the Transformers on board are revived), the character Ravage being shown as intelligent, and Cybertron having an organic core are elements taken from the comics.
In 2011, Shout! Factory released the complete series of Beast Wars on DVD.[55]
Dreamwave Productions (2001–2005)[edit]
In 2001, Dreamwave Productions began a new universe of annual comics adapted from Marvel, but also included elements of the animated. The Dreamwave stories followe the concept of the Autobots defeating the Decepticons on Earth, but their 1997 return journey to Cybertron on the Ark II[56] is destroyed by Shockwave, now ruler of the planet.[57] The story follows on from there and was told in two six-issue limited series, then a ten-issue ongoing series. The series also adds extra complexities such as not all Transformers believing in the existence of Primus,[58] corruption in the Cybertronian government that first led Megatron to begin his war,[59] and Earth having an unknown relevance to Cybertron.[57][60]
Three Transformers: The War Within limited series were also published. These are set at the beginning of the Great War, and identify Prime as once being a clerk named Optronix.[61] Beast Wars was also retroactively stated as the future of this continuity, with the profile series More than Meets the Eye showing the Predacon Megatron looking at historical files detailing Dreamwave's characters and taking his name from the original Megatron.[52] In 2004, this real life universe also inspired three novels[62] and a Dorling Kindersley guide, which focused on Dreamwave as the "true" continuity when discussing in-universe elements of the characters. In a new twist, Primus and Unicron are siblings, formerly a being known as the One. Transformers: Micromasters, set after the Ark's disappearance, was also published. The real life universe was disrupted when Dreamwave went bankrupt in 2005.[63] This left the Generation One story hanging and the third volume of The War Within half finished. Plans for a comic book set between Beast Wars and Beast Machines were also left unrealized.[64]
G.I. Joe crossovers (2003–present)[edit]
Throughout the years, the G1 characters have also starred in crossovers with fellow Hasbro property G.I. Joe, but whereas those crossovers published by Marvel were in continuity with their larger storyline, those released by Dreamwave and G.I. Joe publisher Devil's Due Publishing occupy their own separate real life universes. In Devil's Due, the terrorist organization Cobra is responsible for finding and reactivating the Transformers. Dreamwave's version reimagines the familiar G1 and G.I. Joe characters in a World War II setting, and a second limited series was released set in the present day, though Dreamwave's bankruptcy meant it was cancelled after a single issue. Devil's Due had Cobra re-engineer the Transformers to turn into familiar Cobra vehicles, and released further mini-series that sent the characters travelling through time, battling Serpentor and being faced with the combined menace of Cobra-La and Unicron. During this time, Cobra teams up with the Decepticons. IDW Publishing has expressed interest in their own crossover.[65]
IDW publishing (2005–2022)[edit]
The following year, IDW Publishing rebooted the G1 series from scratch within various limited series and one shots. This allowed long-time writer of Marvel and Dreamwave comics, Simon Furman to create his own universe without continuity hindrance, similar to Ultimate Marvel. This new continuity originally consisted of a comic book series titled The Transformers with a companion series known as The Transformers: Spotlight. The main series was broken up into several story arcs. Eventually, with IDW Publishing losing sales, the series was given a soft reboot. Beginning with All Hail Megatron, the series was set in a new direction, discarding the miniseries and Spotlight format with ongoing comics. By 2012 the series had split into three ongoing series; The Transformers: More Than Meets The Eye, The Transformers: Robots in Disguise (which later changed in 2015 to "The Transformers") and The Transformers: Till All Are One. In 2022, it was announced that IDW lost the publishing rights to Transformers.[66]
Alternative stories[edit]
In January 2006, the Hasbro Transformers Collectors' Club comic wrote a story based on the Transformers Classics toy line, set in the Marvel Comics universe, but excluding the Generation 2 comic. Fifteen years after Megatron crash-lands in the Ark with Ratchet, the war continues with the characters in their Classics bodies.[67]
IDW Publishing introduced The Transformers: Evolutions in 2006, a collection of mini-series that re-imagine and reinterpret the G1 characters in various ways. To date, only one miniseries has been published, Hearts of Steel, placing the characters in an Industrial Revolution-era setting. The series was delayed as Hasbro did not want to confuse newcomers with too many fictional universes before the release of the live-action film.[68]
However, IDW and the original publisher Marvel Comics announced a crossover storyline with the Avengers to coincide with the film New Avengers/Transformers.[69] The story is set on the borders of Symkaria and Latveria, and its fictional universe is set between the first two New Avengers storylines, as well in between the Infiltration and Escalation phase of IDW's The Transformers.[70] IDW editor-in-chief, Chris Ryall hinted at elements of it being carried over into the main continuities,[71] and that a sequel is possible.[72] In June 2018 it was announced there would be Star Trek and Transformers Crossover being released in September 2018.[73]
Transformers: Kiss Players (2006–2007)[edit]
Transformers: Kiss Players (トランスフォーマー キスぷれ, Toransufōmā Kisu Pure), shortened to Kiss Players (キスぷれ, Kisu Pure), is a Japanese Transformers franchise which began in 2006 to 2007 as was helmed by artist and writer Yuki Ohshima. By virtue of being the only Transformers toyline and fiction released in Japan by Takara between the conclusion of Cybertron and the live-acti
Ferrari F430
Ferrari F430 theme by Tactica
Download: F430.p3t
(1 background)
| Ferrari F430 | |
|---|---|
 | |
| Overview | |
| Manufacturer | Ferrari |
| Also called | Ferrari 430 |
| Production | August 2004–May 2009 |
| Model years | 2005–2010 |
| Assembly | Maranello, Italy |
| Designer | Frank Stephenson in collaboration with Pininfarina[1][2] |
| Body and chassis | |
| Class | Sports car (S) |
| Body style | 2-door berlinetta 2-door spider |
| Layout | Longitudinal, Rear mid-engine, rear-wheel drive |
| Related | New Stratos |
| Powertrain | |
| Engine | 4.3 L Ferrari F136 E V8 |
| Power output |
|
| Transmission |
|
| Dimensions | |
| Wheelbase | 2,601 mm (102.4 in) |
| Length | 4,511 mm (177.6 in) |
| Width | 1,923 mm (75.7 in) |
| Height |
|
| Curb weight | 1,517 kg (3,344 lb)[3] 1,569 kg (3,460 lb) (Spider)[4] |
| Chronology | |
| Predecessor | Ferrari 360 |
| Successor | Ferrari 458 |
The Ferrari F430 (Type F131) is a sports car produced by the Italian automobile manufacturer Ferrari from 2004 until 2009 as a successor to the Ferrari 360. The car is an update to the 360 with exterior and performance changes. It was unveiled at the 2004 Paris Motor Show.[7] The F430 was succeeded by the 458 which was unveiled on 28 July 2009.[8]
Overview[edit]
Design[edit]
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Designed by Pininfarina in collaboration with Frank Stephenson (Director of Ferrari-Maserati Concept Design and Development), the body styling of the F430 was revised from its predecessor, the 360, to improve its aerodynamic efficiency. Although the drag coefficient remained the same, the downforce was greatly enhanced. Despite sharing the same basic Alcoa Aluminium chassis, roofline, doors, and glass, the car looked significantly different from the 360. A great extent of Ferrari heritage was included in the exterior design. At the rear, the Enzo's tail lights and engine cover vents were added. The car's name was etched on the Testarossa-styled driver's side mirror. The large oval openings in the front bumper are reminiscent of Ferrari racing models from the 60s, specifically the 156 "shark nose" Formula One car.
Engine[edit]
The F430 features a 4,308 cc (4.3 L) V8 engine of the "Ferrari-Maserati" F136 family. This new power plant was a significant change for Ferrari, as all previous Ferrari V8's were descendants of the Dino racing program of the 1950s. This fifty-year development cycle came to an end with the entirely new engine used in the F430, the architecture of which replaced the Dino-derived V12 in most other Ferrari cars. The engine's output specifications are: 490 PS (360 kW; 483 hp),[9] at 8,500 rpm and 465 N⋅m (343 lb⋅ft) of torque at 5,250 rpm, 80% of which is available below 3,500 rpm. Despite a 20% increase in displacement, engine weight grew by only 4 kg (8.8 lb) along with a decrease in diameter for easier packaging. The connecting rods, pistons and crankshaft were all entirely new, while the 4-valve cylinder head, valves and intake trumpets were directly retained from Formula 1 engines, for ideal volumetric efficiency. The F430 has a top speed in excess of 315 km/h (196 mph)[2] and can accelerate from 0 to 97 km/h (60 mph) in 3.6 seconds, 0.6 seconds quicker than the old model.[10]
Brakes[edit]
The brakes on the F430 were developed in close cooperation with Brembo and Bosch,[11] resulting in a new cast-iron alloy for the discs. The new alloy includes molybdenum which has a better heat dissipation performance. The F430 was also available with the optional Carbon fibre-reinforced Silicon Carbide (C/SiC) ceramic composite brake package. Ferrari claimed the carbon ceramic brakes will not fade even after 300-360 laps at their test track.
Features[edit]
The F430 featured the E-Diff, a computer-controlled limited slip active differential which can vary the distribution of torque based on inputs such as steering angle and lateral acceleration.[7][12]
Other notable features include the first application of Ferrari's manettino steering wheel-mounted control knob.[7] Drivers can select from five different settings which modify the vehicle's ESC system, "Skyhook" electronic suspension, transmission behavior, throttle response, and E-Diff. The feature is similar to Land Rover's "Terrain Response" system.[citation needed]
The F1 automated manual transmission was built by Graziano Trasmissioni.
The Ferrari F430 was available with exclusive Goodyear Eagle F1 GSD3 EMT tires, which have a V-shaped tread design, run-flat capability, and OneTRED technology.[13]
In the US, the company requested an exemption from the airbag design requirements, which was eventually granted, allowing the car to continue to be sold in the US.[14]
Variants[edit]
F430 Spider[edit]
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F430 Spider
The F430 Spider is the convertible version of the F430. It was unveiled at the 2005 Geneva Motor Show, making it Ferrari's 21st road-going convertible. The car was designed by Pininfarina with aerodynamic simulation programs used for Formula 1 cars.[15] The conversion from a closed top to an open-air convertible is a two-stage folding-action; the roof panel automatically folds away inside a space above the engine bay. The interior and performance of the Spider are identical to that of the coupé with an increase in the weight and decrease in the top speed by 5 km/h (3 mph).
430 Scuderia[edit]
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430 Scuderia
Serving as the successor to the 360 Challenge Stradale, the 430 Scuderia (scuderia meaning "stable", but also used in the context of motor racing teams, including Ferrari's own) was unveiled by Michael Schumacher at the 2007 Frankfurt Auto Show. Aimed to compete with cars like the Porsche 911 GT2 and the Lamborghini Gallardo Superleggera (superleggera meaning super light weight), it is lighter (by 100 kg (220 lb)) and more powerful (510 PS (375 kW; 503 hp) at 8,500 rpm and 471 N⋅m (347 lb⋅ft) of torque at 5,250 rpm) than the standard F430. Increased power comes from a revised intake, exhaust, and an ion-sensing knock-detection system that allows for a higher compression ratio in the engine.[16] Thus the weight-to-power ratio is reduced from 2.96 kg/hp to 2.5 kg/hp. In addition to the weight saving measures, the Scuderia's single-clutch automated manual gained improved "Superfast" software, known as "Superfast2", for faster 60 millisecond shift times. A new traction control system combined the F1-Trac traction from the 599 GTB and stability control with the E-Diff electronic differential. The Ferrari 430 Scuderia accelerates from 0-100 km/h (62 mph) in 3.6 seconds,[17] with a top speed of 319 km/h (198 mph).[18]
Scuderia Spider 16M[edit]
To commemorate Ferrari's 16th victory in the Formula 1 Constructor's World Championship in 2008, Ferrari unveiled the Scuderia Spider 16M at World Finals in Mugello. It is a convertible version of the 430 Scuderia.
The engine is rated at 510 PS (375 kW; 503 hp) at 8,500 rpm and 471 N⋅m (347 lb⋅ft) of torque at 5,250 rpm. The car has a dry weight of 1,340 kg (2,954 lb) (80 kg (176 lb) lighter than the F430 Spider) and a kerb weight of 1,440 kg (3,175 lb). The chassis was stiffened to cope with the extra performance available and the car featured many carbon fibre parts and weight saving measures as standard such as lightened front and rear bumpers. Unique 5-spoke forged wheels were specifically produced for the 16M and helped to considerably reduce unsprung weight with larger front brakes and calipers added for extra stopping power (also featured on 430 Scuderia). It accelerates from 0-100 km/h (62 mph) in 3.7 seconds, with a top speed of 315 km/h (196 mph).[19]
499 cars were produced beginning early 2009 and all were pre-sold to select clients.[20]
Special editions[edit]
F430 Spider Bio Fuel[edit]
A version of the F430 Spider that runs on ethanol, called the F430 Spider Bio Fuel, was on display at the 2008 Detroit Auto Show.[21] It had the same 4.3 litre V8 engine as the standard car, producing 500 hp (373 kW), with a 4% increase in torque and with 5% less carbon dioxide emissions than the standard F430 Spider.[21]
SP1[edit]
The F430-based Ferrari SP1 (Special Project Number 1), was the first one-off special produced by the Ferrari Portfolio Coachbuilding Programme, also known as the Special Projects Programme (SP). The body was designed by former Pininfarina designer Leonardo Fioravanti, at the behest of Junichiro Hiramatsu, a Japanese businessman who was the former president of the Ferrari Club of Japan and an avid collector; he had admired Fioravanti's 1998 F100 prototype.[22]
Racing[edit]
F430 Challenge[edit]
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The F430 Challenge is the track version of the F430, designed for the Ferrari Challenge. The engine remained untouched but the vehicle's weight was reduced, resulting in a top speed of 325 km/h (202 mph). The production model was unveiled at the Los Angeles Auto Show in January 2005.
F430 GTC[edit]
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Built since 2006 by Ferrari Corse Clienti department in collaboration with Michelotto, the F430 GTC is a racing car designed to compete in international GT2 class competition, such as in the American Le Mans Series, Le Mans Series, and FIA GT Championship. F430 GTCs also compete at the 24 Hours of Le Mans. The GTC was the fastest and most developed racing version of the F430.
In FIA GT2 championship, in order to render the car performances more uniform, the cars are forced to run with a specific minimum weight and with an engine restrictor that depends on the engine displacement.[23] Hence Ferrari destroked the 4.3 L V8 engine to 4.0 L in order to compete in the 3.8–4.0 L class in GT2 class racing, which is allowed to race with a minimum weight of 1,100 kg (2,425 lb).[23] In this race configuration, the engine produces somewhat less power (445 PS (327 kW; 439 hp)) and by using the 4.0 L engine, the minimum weight of the F430 would increase by 50 kg (110 lb).[23] but this is compensated by the reduced weight of the car, which yields a better power-to-weight ratio.
The F430 GTCs won their class championships in the ALMS and FIA GT, as well as scoring class wins at the 2007,[24] 2009 and 2010 12 Hours of Sebring, at the 2008 and 2009 24 Hours of Le Mans and at the 2008 and 2009 Petit Le Mans.
F430 GT3[edit]
Originally based on the F430 Challenge, the F430 GT3 is a specialised racing car developed in 2006 by JMB Racing for the FIA GT3 European Championship and other national GT championships such as British GT and FFSA GT. It is mechanically similar to the F430 Challenge but has better-developed aerodynamics and more power.
The car uses the same 4.3 L V8 engine, tuned to produce 550 hp (410 kW; 558 PS), making the GT3 more powerful than its GT2 counterpart. However, due to the GT3 regulations stating that the car must have a power-to-weight ratio of around 2.6 kg/hp, the car weighs 1,219 kg (2,687 lb) in race trim (driver and fuel excluded),[25] which is roughly 119 kg (262 lb) more than the GT2 spec car. Despite the higher power, it is significantly slower than the GT2 version; for example, in the 2007 Spa 24 Hours endurance race, in which both models were entered, the GT3 spec vehicles' best qualification time was around 8 seconds slower per lap than that set by the GT2 spec vehicle.
430 GT3 Scuderia[edit]
Developed by Kessel Racing for the 2009 season, the 430 GT3 Scuderia is the successor of the previous F430 GT3.[citation needed]
Recall[edit]
In February 2009, Ferrari recalled about 2,000 (2005–2007) F430 Spiders in the U.S., due to the risk that heat from the engine could cause the convertible top's hydraulic hoses to fracture and leak flammable fluid onto the engine, resulting in a fire.[26]
References[edit]
- ^ "Frank Stephenson: The Story". frankstephenson.com. Archived from the original on 17 June 2019. Retrieved 10 June 2019.
- ^ a b "Ferrari F430". ferrari.com. Retrieved 10 June 2019.
- ^ "2006 Chevrolet Corvette Z06 vs. 2006 Ferrari F430, 2007 Porsche 911 Turbo" (PDF).
- ^ "2006 Ferrari F430 Spider F1 vs. Lamborghini Gallardo Spyder" (PDF).
- ^ "2009 Ferrari 430 Scuderia Spider 16M Second Drive". 19 June 2009.
- ^ "2008 Ferrari 430 Scuderia First Drive Review". December 2007.
- ^ a b c "2005 Ferrari F430 Press Release Kit". Ferrari Press Release. Retrieved 2007-04-17.
- ^ "2010 Ferrari 458 Italia Press Release Kit". carsuk. 28 July 2009. Retrieved 2009-07-28.
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Zelda
Zelda theme by Chalde
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(1 background)
Look up Zelda in Wiktionary, the free dictionary.Zelda may refer to:
Places[edit]
- Zelda, Kentucky, unincorporated community, United States
People[edit]
- Zelda (given name), a female given name
Arts and entertainment[edit]
Media[edit]
- The Legend of Zelda, a video game franchise
- Zelda (Game & Watch), a 1989 Game & Watch system
- Zelda (band), a Japanese rock band in the 1980s and 1990s
- Zelda (film), a 1993 television movie
- Zelda, a 1970 book by Nancy Milford about Zelda Fitzgerald
Fictional characters[edit]
- Princess Zelda, the titular character in The Legend of Zelda video game series
- Zelda, in Stephen King's book Pet Sematary and the film adaptation
- Zelda, the main villainess in the British TV series Terrahawks
- Zelda, the main villainess in the 1998 direct-to-video film The Swan Princess: The Mystery of the Enchanted Kingdom
- Zelda, the dog mascot of Nickelodeon Magazine
- Zelda, the pet vulture in the 1964 TV series The Addams Family
- Zelda Cruz, a character in the American web series Zombie College
- Zelda Gilroy, in the 1959–1963 TV series The Many Loves of Dobie Gillis
- Zelda Kay, in the Island at War television mini-series
- Zelda Reginhard, in the anime and manga series Lotte no Omocha!
- Zelda Schiff, Head Librarian in the TV series The Magicians
- Zelda Spellman, Sabrina's aunt in Sabrina the Teenage Witch
- Zelda Spooner, in Billy Wilder's 1964 comedy film Kiss Me, Stupid
- "Zelda the Great", an episode and eponymous villain in the 1966 TV series Batman
Other uses[edit]
- Zelda (turkey), the wild turkey resident in Battery Park, Manhattan
- Zelda (זלדה), Israel Defense Forces soldiers' nickname for the M113 Armored Personnel Carrier
- Typhoon Zelda, two tropical cyclones
See also[edit]
This disambiguation page lists articles associated with the title Zelda.
If an internal link led you here, you may wish to change the link to point directly to the intended article.Shadow of the Colossus
Shadow of the Colossus theme by Junkiexxl
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Shadow of the Colossus 
European cover artDeveloper(s) Japan Studio (Team Ico) Publisher(s) Sony Computer Entertainment Director(s) Fumito Ueda Producer(s) Kenji Kaido Writer(s) - Junichi Hosono
- Masashi Kudo
- Takashi Izutani
Composer(s) Kow Otani Platform(s) PlayStation 2 PlayStation 3 PlayStation 4 Release Genre(s) Action-adventure, puzzle Mode(s) Single-player Shadow of the Colossus[a] is a 2005 action-adventure game developed by Japan Studio and Team Ico, and published by Sony Computer Entertainment for the PlayStation 2. It takes place in a fantasy setting and follows Wander, a young man who enters an isolated and abandoned region of the realm seeking the power to revive a girl named Mono. The player assumes the role of Wander as he embarks on a mission that might entail Mono's resurrection: to locate and destroy the colossi, sixteen massive beings spread across the forbidden land, which the protagonist traverses by horseback and on foot.
The game was directed by Fumito Ueda and developed at Sony Computer Entertainment's International Production Studio 1, also known as Team Ico, the same development team responsible for the acclaimed PlayStation 2 title Ico, to which the game is considered a spiritual successor. Сonceived as an online multiplayer game titled NICO directly after Ico's completion, Shadow of the Colossus underwent a lengthy production cycle during which it was redeveloped as a single-player title. The team sought to create an outstanding interactive experience by including a distinct visual design, an unorthodox gameplay template, and non-player characters with sophisticated artificial intelligence such as the colossi and Wander's horse, Agro.
Cited as an influential title in the video game industry and one of the best video games ever made, Shadow of the Colossus is often regarded as an important example of video games as art due to its minimalist landscape designs, immersive gameplay, and emotional weight of the player character's journey. It received wide critical acclaim by the media and was met with strong sales compared to Ico, due in part to a larger marketing campaign. The game won several awards for its audio, design, and overall quality. A remastered version for the PlayStation 3 was released alongside Ico as The Ico & Shadow of the Colossus Collection in September 2011, developed by Bluepoint Games, who later produced a high definition remake of the game for the PlayStation 4 in 2018.
Gameplay[edit]
Described by several commentators as an action-adventure game,[2][3] Shadow of the Colossus takes place from a third-person perspective in a three-dimensional (3D) graphic environment and involves combat-based gameplay sequences, as well as platforming and puzzle game elements.[4] The game's environment is largely presented as a seamless open world.[5] Progression through Shadow of the Colossus occurs in cycles. Beginning at a central point in an expansive landscape, the player seeks out and defeats a colossus, and is then returned to the central point to repeat the process.[2] To find each colossus, Wander may raise his sword while in a sunlit area to reflect beams of light, which will converge when the sword is pointed in the right direction of the next encounter.[6] The player's journey to a colossus seldom follows a direct route: stretches of varied terrain often require that a detour be taken along the way. Most colossi are situated in remote areas, such as atop cliffs or within ancient structures.[2][7]
Wander climbs the first colossus to stab the sigil on its forehead. The heads-up display shows the character's health and stamina (lower right), as well as the colossus' health (upper left).[8] Once a colossus is found, the player must discover its weaknesses to defeat it. Each colossus dwells in a unique lair, and in most encounters the player must use some aspects of the current battlefield to advantage, a necessity that becomes more pronounced as the game progresses.[9] The first two battles take place on simple, vast, flat areas of land, wherein the player's only goal is to discover how to scale the colossi and attack their weak points.[6][9] However, the majority of the following fourteen battles require that the player make use of the surrounding environment.[10][11]
Every colossus has at least one weak point, symbolized by a glowing sigil[12] that can be illuminated and identified by the sword's reflected light.[6][13] Each colossus has areas covered with fur or protruding ledges, which Wander may use to grip and scale the colossus while it thrashes about in an attempt to dislodge him.[2] Wander has a limited stamina gauge that decreases as he hangs onto the colossus; the player thus must act quickly when they scale the creature.[4] Aside from the colossi, who are the only enemies of the game, the environment is inhabited by natural animals. Only one species, however, has an effect on gameplay: eating the tail of a certain kind of lizard increases Wander's stamina gauge. Likewise, the player may find fruit that increases Wander's maximum health.[14]
Wander's horse, Agro,[15] plays a large role in the game. Aside from her capacity as a means of transportation, Agro enables the player to fight from horseback, a critical avenue to defeating some of the colossi.[16] However, the game contains many environments that players cannot traverse by horse, and colossi are often found in areas within deep water or beyond large obstacles that must be scaled. Agro cannot travel beyond these, and when separated from Wander by such obstacles, cannot participate in the following battle.[6] While throughout the game, Wander's equipment consists of only a sword and a bow with arrows,[17] in subsequent playthroughs players may access bonus weapons and in-game features after finishing optional Time Attack trials, which allow the battles with the colossi to be replayed with a restricted time limit.[14]
Synopsis[edit]
Setting[edit]
Presented through a minimalistic narrative,[18] Shadow of the Colossus eschews disclosure of detailed information about the backstories and interrelationships of its characters to the player.[2] The game takes place in a fantasy world,[19][20] wherein a vast and unpopulated peninsula, known as the Forbidden Land, serves as the main setting for the game's events. Separated from the outside realm by a distant mountain range to its north and sea to the south and east, the area contains ruins and remnants of ancient structures, an indication that it had formerly been a settlement.[21][22][23]
The only point of entry to the region is a small cleft in the mountains to the north that leads to a massive stone bridge. This bridge spans half the distance of the landscape and terminates at a large temple called the "Shrine of Worship" located at its center. It is, however, forbidden to enter the land,[24] which includes diverse geographical features, such as lakes, plateaus, canyons, caves, and deserts in addition to human-made structures.[2][11]
Characters[edit]
Wander standing near Mono. Long hair served as a foundational aspect of both Wander and Mono's designs, and in the latter's case was meant to provide a visual contrast to Ico character Yorda.[25] The protagonist of the game is Wander (ワンダ, Wanda, voiced by Kenji Nojima), a young man whose goal is to resurrect a girl named Mono (モノ, voiced by Hitomi Nabatame). The only established fact regarding Mono is that she was a maiden who was sacrificed because she was believed to have a cursed destiny.[26] Assisting Wander in his quest to revive her is his loyal horse, Agro (アグロ, Aguro), who serves as his sole ally in defeating the colossi;[27] the English-language version of the game refers to Agro as a male steed,[28] although director Fumito Ueda said that he saw Wander's horse as female.[29] Wander also receives aid from an entity called Dormin (ドルミン, Dorumin, voiced by Kazuhiro Nakata and Kyōko Hikami). The story revolves around these characters but features a small supporting cast, represented by Lord Emon (エモン, voiced by Naoki Bandō) and his men.
Speaking with two voices at once (one male and one female), Dormin is a mysterious, disembodied entity. According to legends of the game's world, Dormin has the power to revive the dead;[24][27] this premise serves as the driving cause for Wander's entrance upon the forbidden land, as he seeks the being's assistance in reviving Mono. Dormin offers to revive her in exchange for Wander destroying the sixteen colossi.[26] One of the commentators of the game's plot speculated that the name "Dormin", which spells "Nimrod" backwards, serves as a reference to the body of the biblical King Nimrod which was cut up and scattered.[30]
Lord Emon is a shaman who narrates a vision in the game's introduction that vaguely explains the origin of the land to which Wander has come and establishes that entry to this place is forbidden.[24] As portrayed by the game, he possesses vast knowledge about the nature and containment of Dormin, and wields the ability to use powerful magic. He has a small group of warriors at his command, and is pursuing Wander to prevent the use of "the forbidden spell", the rite that involves the destruction of the sixteen colossi and the restoration of Dormin's power.[31]
The colossi are armored, most often enormous creatures with forms ranging from various humanoids to predatory animals, and live in all manner of surroundings and environments, including underwater and flying through the air.[18][32] Their bodies are a fusion of organic and inorganic parts such as rock, earth, and architectural elements,[4] some of which are weathered or fractured. Some colossi are peaceful and will only attack when provoked, whereas others are aggressive and will attack on sight.[2] Inhabiting specific locations in the forbidden land, they do not venture outside their own territory. Once slain they will remain where fallen, as a mound of earth and rock vaguely resembling the original colossus.[33][34] A pillar of light marks the location of each colossus after they are defeated.[35] The Latin names of the colossi, though spread throughout fan related media, are not official and are never referred to within the game.[36][37]
Plot[edit]
As the game begins, Wander enters the forbidden land and travels across a long bridge on his horse, Agro. After they reach the entrance to the Shrine of Worship, Wander, who has carried with him the body of Mono, brings her to an altar in the temple. A moment later, several humanoid shadow creatures appear and approach Wander before he easily dismisses them with a wave of the ancient sword in his possession.
After the shadow creatures are vanquished, the disembodied voice of Dormin manifests within the shrine and expresses surprise at the fact that Wander possesses the weapon. Wander explains the plight that led him to seek the forbidden land and asks that Dormin return Mono's soul to her body. Dormin offers to grant Wander's request under the condition that he completes a rite designed to destroy the sixteen idols lining the temple's hall. To that end, Wander must use his sword to slay each of the idol's physical incarnations–the colossi, whose presence ranges across the vast expanse outside the temple. Although warned by Dormin that he may have to pay a great price to revive Mono, Wander sets out to search the land for the colossi and destroy them.[38]
An aspect of Wander's mission that is unknown to him is that the colossi contain portions of Dormin's own essence, scattered long ago to render the entity powerless.[26][39] As Wander kills each colossus, a released fragment of Dormin enters his body. Over time, the signs of Wander's deterioration from the gathered essence start to appear: his skin becomes paler, his hair darker, and his face is increasingly covered by dark veins. The outcome of the battle with the twelfth colossus leads to a reveal of a group of warriors that has been pursuing Wander, led by Emon. Urged to hurry with his task by Dormin, Wander soon heads off to defeat the sixteenth and final colossus. On the way to this confrontation, he rides horseback across a long bridge which begins to collapse as he is halfway across, but Agro manages to throw Wander over to the other side before falling into the distant river below.
Soon after, Wander goes on to defeat the final colossus as Emon's company arrives in the Shrine of Worship to witness the last temple idol crumble. Wander appears back in the temple soon after, the signs of his corruption readily apparent: his skin is pallid, his eyes glow silver, and a pair of tiny horns have sprouted from his head. Emon recognizes him as a transgressor who, in an event that occurred before Wander's journey to the forbidden land, stole the ancient sword with which he killed the colossi.[31] Emon orders his warriors to kill the "possessed" man as he approaches Mono and finally falls once stabbed through the heart by one of Emon's men.[40] However, a newly whole Dormin takes control of Wander's body and transforms into a shadowy giant.[39][41] While his men flee, Lord Emon casts the ancient sword into a small pool at the back of the temple's hall to evoke a whirlwind of light. The supernatural vortex consumes Dormin and Wander, which seals Dormin within the temple once again. As Emon and his warriors escape, the bridge that leads to the temple collapses behind them, and its destruction forever isolates the forbidden land from the rest of the world. Although he has condemned Wander for his actions prior to their encounter, Emon expresses hope that Wander may be able to atone for his crimes one day should he have survived.[42]
Back in the temple, Mono awakens and finds Agro limping into the temple with an injured hind leg. Mono follows Agro to the pool into which Wander and Dormin were pulled by Emon's spell, where she finds a male infant with tiny horns on his head. Mono takes the child with her, following the horse to higher levels of the Shrine of Worship, and arrives at a secret garden within the shrine as the game ends.
Development[edit]
Origin[edit]
The monster movie genre, of which the original Godzilla film (1954 theatrical poster pictured above) is a famous example, served as a source of inspiration for the concept of Shadow of the Colossus. Shadow of the Colossus is the second project of Team Ico, a group of staff members within Sony Computer Entertainment's (SCEI) International Production Studio 1 that was led by director Fumito Ueda and producer Kenji Kaido.[32][43][44] The game originated from one of Ueda's concepts that he developed directly after the team submitted their debut title Ico, released in late 2001 for Sony's PlayStation 2 video game console, for publication.[45][46][47] As the basis of Team Ico's subsequent game had not been decided, Ueda examined "a number of old ideas kicking around in my head ... that couldn't be realized under previous circumstances".[48] After a brief review of those avenues, Ueda chose to explore one that aligned with his own preferences as a game player.[47][48] Ueda cited The Legend of Zelda series as an influence, as he grew up wanting to make a game like Zelda and designed the Colossi bosses like "inverted Zelda dungeons."[49][50]
Ueda envisioned a work with an underlying motif of "cruelty as a means of expression".[48] He felt that this theme was widely featured in contemporary titles such as Grand Theft Auto III and wanted to use it in a game that he designed.[48] In a discussion with Kaido, Ueda observed that he had played a variety of video games containing battles with large bosses that the player must shoot from a distance to defeat.[51] Ueda believed that the boss sequences of those games could be streamlined if the player character was able to approach and climb the oversized opponents to kill them with a close range weapon.[51] Accordingly, he chose to base the game around the player character's encounters with enormous fictional creatures,[16] a premise that stemmed from Ueda's childhood fascination with monster movies.[46] This led to an emphasis on the inclusion of a large-scale adventure in the title, an element which Ueda regarded as influential in the shaping of the game's stylistic identity.[48]
Originally, the team considered Ueda's idea alongside another concurrently-developed game.[45][46] According to Ueda, the game was unrelated to his former concept, and the team did not give it a working title or outline its design while it was in development.[45][46] Ueda recognized the finished iteration of Team Ico's second title as, "in many ways, a game for boys and men"; conversely, the separately produced game was fashioned to appeal more to a female audience.[46] Its contents, interface and thematic focus differed significantly from those that would ultimately manifest in the team's next game after Ico.[46] The untitled game did not employ 3D graphics, whereas Team Ico applied them to their published game.[46] The team eventually scrapped their plans for a counterpart title to Ueda's intended game,[46] which was advanced into further development.[45]
Prior to the start of the project, Team Ico assessed the opportunity to establish it as a sequel to their first game.[16] This suggestion was opposed by certain staff members who argued that the story and gameplay of their preceding title were largely self-contained, and that the existence of consumer demand for a new Ico game was questionable.[52] According to Ueda, Team Ico assumed that the creation of levels for a single-player game akin to Ico necessitated the construction of elaborate puzzles, a practice that the staff wanted to eschew.[51] Following lengthy deliberations, they decided not to pursue a sequel to Ico and to produce a standalone game provisionally dubbed NICO (a portmanteau of ni, 2 in Japanese, and "Ico").[16][32] The team initially agreed to develop NICO as an online multiplayer game that, unlike Ico, "wouldn't require complex level design".[51] Their foundational goal, according to Kaido, was to create a technology demo that represented a tentative rendition of the game's fictional world and features.[16] Development commenced immediately after the December 2001 release of Ico's Japanese version.[16][53]
Early prototypes[edit]
Team Ico produced the technology demo for NICO, the initial online multiplayer-focused incarnation of Shadow of the Colossus, using the native graphical capabilities of the PlayStation 2 (shown here with its Network Adaptor attached). To develop the concept video for NICO, Team Ico formed a small internal group, which was composed of Ueda, one of Ico's designers and a roughly 10-person animation team.[48] Their objective was to deliver "[a] movie with an extremely final form" that could serve as a visual template for the finalized game.[16] The first storyboard that outlined the video was drafted in January 2002, and the actual short film was completed that May.[54] It depicted a group of three masked, horned boys who rode horseback across a vast landscape and attacked a towering being reminiscent of the second boss in Shadow of the Colossus.[35][55][56] The video was visualized in the Ico game engine and was rendered in real-time on the PlayStation 2 hardware.[16] With those techniques, the team aimed to estimate the extent to which the platform's capabilities allowed the realization of their vision.[16]
According to Kaido, the team deemed the resulting video to have attained a very high level of completion, and thus was able to use it as a reference point throughout the game's production.[16] Although they subsequently modified the game's visuals from those of the demonstration reel, its themes of "fighting a giant enemy" and "[exploring] a giant field" carried over into the final game design.[16] The demo indicated elements that were excluded from the released game.[57] Among these was a showcased gameplay mechanism wherein one of the colossus' attackers who had scaled and killed it proceeded to mount his approaching horse by leaping onto its back from the entity's corpse.[57] The video was later exhibited at many trade shows,[43] such as the 2006 D.I.C.E. Summit in Las Vegas where Kaido and Ueda retrospectively discussed the game's development with Lorne Lanning.[55]
In June 2002, a small group of staff at Team Ico started to build a prototype of NICO for testing purposes.[54] In his role as producer, Kaido tasked the team with the inclusion of technological features that he recognized as important milestones of the development.[55] One of the challenges issued by Kaido involved the creation of "organic collision deformation", a term that alluded to his concept of realistic character physics in relation to the movement of the colossi.[55] For instance, if a colossus' limb was currently horizontal, Kaido expected the player to be able to run across the limb as though it were any other flat surface.[55] Ueda and Team Ico programmers spent over six months to produce a working version of this functionality.[54] They began by adding a character to a virtual environment where the figure was enabled to climb a pole-like object.[51] One of the team's priorities at the time was to code a physics-based simulation of scenarios where characters were "being shaken off or narrowly avoided being stomped on".[58]
In May 2003, Team Ico assembled a demonstrational build of NICO and presented it at a production meeting.[54] Full development of the game was sanctioned directly after it was pitched, and commenced in the same month.[54] That year, the NICO technology demo was shown across Sony's foreign offices among a lineup of prospective PlayStation 2 titles, and its exposure excited the spectators.[57] Although the team attempted to work on the game in secrecy, at a certain point images of NICO's horseriding characters were leaked onto the Internet.[32] Their circulation led enthusiasts to speculate about what they perceived as a sequel to Ico.[32] According to Ueda, the team reused elements of Ico's character designs for NICO to expedite the production of the concept video and minimize its costs.[58] He asserted that NICO was not related to Ico despite their stylistic similarities,[58] and that his colleagues did not identify the former game as a sequel.[4] However, contemporary and retrospective sources described Team Ico's second game as both a spiritual successor[32][47][59] and prequel to Ico.[60]
The staff used player feedback to advance the testing of the "organic collision deformation" system by inputting simple objects to experiment its capabilities.[58] Although Team Ico had conducted an elaborate research of the game's technological framework, they did not finish its validation when they entered the production phase.[51] After evaluating the limited number of personnel that was involved with NICO as well as their professional profiles, Team Ico concluded that they were not qualified to deliver an online-only game.[51] They then resolved to abandon that direction and to reformulate NICO into a single-player title.[51] The team discarded Ico's development tools that they had used at the outset of the project and moved to write new programming utilities.
Rainbow Glass
Rainbow Glass theme by KThing
Download: Rainbow_Glass.p3t
(1 background)
P3T Unpacker v0.12
Copyright (c) 2007. Anoop MenonThis program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download for Windows: p3textractor.zip
Instructions:
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following:
p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
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