The Legend of Final Fantasy VIII E-Book

Rémi Lopez

• Herausgeber: Third Editions
• Kategorie: Lebensstil
• Serie: The legend of final fantasy
• Sprache: Englisch
• Veröffentlichungsjahr: 2019

Seitenzahl: 269

Beschreibung

The eighth episode of the incredible story of Final Fantasy.

A legendary episode of the Japanese RPG, Final Fantasy VIII is fully decoded in this book.

Discover a complete analysis of one of the most famous saga of the world of video games, embellished with a reflection on the report of the fans to the series. To read as soon as possible!

EXTRACT

"The work on Final Fantasy VIII began in 1997, just after Final Fantasy VII was completed, and the game’s development ran concurrently with that of Parasite Eve. Although Final Fantasy VII marked a genuine turning point in the series, the designers were hardly lackadaisical when it came to the eighth episode’s production and staging. In fact, they worked doubly hard to avoid disappointing fans after their adventure with Cloud. First, the decision was made to use the same console: the Sony PlayStation. Since the seventh episode was a smashing success, the major personalities who had presided over its creation were reassembled to create the new game. Thus, the team consisted of the renowned Hironobu Sakaguchi, Yoshinori Kitase (as director), Kazushige Nojima (as scriptwriter), Yûsuke Naora (as artistic director), and Tetsuya Nomura (as character designer). And, of course, the distinguished composer Nobuo Uematsu was once again chosen to create the episode’s magnificent soundtrack in its entirety."

Leseprobe

To MARINA N.

The Legend of Final Fantasy VIIIby Rémi Lopez Published by Third Editions 32 rue d’Alsace-Lorraine, 31000 Toulouse [email protected] www.thirdeditions.com

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All rights reserved. This work may not be reproduced or transmitted in any form, whether in whole or in part, without the written authorization of the copyright holder.

Any copy or reproduction, by any means, constitutes a copyright infringement subject to the sanctions authorized by French Law N° 57-298 of March 11, 1957 pertaining to copyright protection.

The Third Éditions logo is a registered trademark of Third Editions, registered in France and in other countries.

Edited by: Nicolas Courcier and Mehdi El Kanafi Editorial assistants: Damien Mecheri and Clovis Salvat Texts by: Rémi Lopez Chapter IV “Creation:” Fabien Cecchini Documentation and translation: Rodolphe Gicquel Proofreading: Thomas Savary Layout: Pierre Le Guennec Covers: Johann Blais and Tiphaine Vaudable Cover assembly: Frédéric Tomé Translated from French by: Jennifer Ligas (ITC Traductions)

This didactical work is Third Éditions’ tribute to the Final Fantasy video game series. The authors trace the history of the Final Fantasy VIII video game in this unique collection, which uses original thinking and analysis to explore the inspirations, context, and content of this episode. Final Fantasy is a registered trademark of SQUARE ENIX CO., LTD. All rights reserved. The cover design is inspired by the artwork of Tetsuya Nomura, Final Fantasy VIII character designer.

English Edition, copyright 2018, Third Editions. All rights reserved.

ISBN 978-2-37784-042-7

FOREWORD BY CHRISTOPHE BRONDY

Seventeen-year-old Squall Leonhart has spent most of his life at Balamb Garden University (commonly known as BGU). The school is tasked with training members of the SeeD, an organization of idealistic mercenaries. After successfully completing his SeeD exams, Squall is sent out into the world to counter the wave of violence following Galbadia’s declaration of war. Serious to a fault, Squall will discover a new universe and experience a myriad of new emotions during his adventures. He and his fellow classmates will join forces and unravel a complex intrigue, which will lead them through time and space in their fight against an evil sorceress from the future.

This was the information made available to French players in the game manual when Final Fantasy VIII was released on October 27, 1999, the first day it was marketed in France. It was the only physical contact that many of us had with the eighth episode before our first touch of the joystick. We were amazed by the introductory cinematic sequence, the frenetic montage, and the clever combination of action and emotion. It was a grandiose prelude to a titanic adventure that spanned no less than four CDs: a rare achievement indeed!

Final Fantasy VIII was the second episode made for the PlayStation, and its designers had the onerous task of trying to live up to Final Fantasy VII’s acclaim. They needed to achieve the latter’s success without reproducing its tactics. To accomplish this, Square’s dream team redoubled its creative efforts and overturned many of the RPG’s beloved traditions and conventions. Not only were multiple themes (such as love, friendship, militarism, and diplomacy) revamped, but the designers also came up with a more consistent narrative that gave pride of place to the characters’ psychology. A new battle system, which gamers initially found confusing, was also introduced. It did away with the once indispensable magic points of prior episodes. Instead, the system was based on experience and junctioning capabilities, offering a nearly infinite number of combat possibilities. The game also included numerous cutscenes, meaning that players were often reduced to the role of spectator, and the Triple Triad (a card game within the game) became as popular as the episode itself.

By once again abandoning the medieval heroic fantasy world of the saga’s early episodes—in favor of a technologically advanced universe and a surprisingly modern context—Final Fantasy VIII tackled more contemporary issues, echoing some of our society’s past and present ills.

These factors all contributed to the episode’s critical success at the time of its release. Fans may have been divided over the designers’ boldness, but they were hardly indifferent to it. Final Fantasy VIII thus inspired both love and hatred, reminiscent of the tension that initially characterized Squall and Rinoa’s relationship. While the eighth episode was a commercial success, never before had fans’ reactions been so diametrically opposed.

Few video games truly succeed in total player immersion. And yet, I know I was transported to the world of Final Fantasy VIII—along with several thousands of other lucky players, no doubt. Perhaps you were even one of them. Imagine being literally glued to the screen, enjoying dozens of hours of play, joystick in hand. This game is the type of RPG that inspires sleepless nights, with players caught up in an adventure they hope will never end. Much like the books we devour in a single reading, Final Fantasy VIII reveals itself little by little, engaging us with its intense action, moments of bravery, and emotional depth. Various gameplay options continue to appear hour after hour. Their vast array makes it impossible for players to terminate a session abruptly, even if they’ve previously played the game and completed its main quest several times before! To really appreciate the episode’s quality, players must pause from time to time to simply marvel at the game world and its surroundings. Even a simple village and its accompanying melody are capable of inspiring awe. This is a game meant to be savored; it is one of those titles that players enjoy rediscovering at various points in their life. Our perception and interpretation of it change from adolescence to adulthood, as does the emotions it engenders. Thanks to the storyline’s richness and complexity, there is always a new element (sometimes quite subtle or well hidden) that appears to tantalize us: a sentence, for example, or a single word—like a theater dialogue in which you are not only the spectator, but also the main actor.

Final Fantasy VIII has a cult following. It thus remains engraved in the minds of an entire generation and, like previous episodes, it has contributed to the saga’s legendary status. It is a fascinating game that continues to stir up all kinds of emotions. You need look no further than this book to find proof of its enduring nature. The eighth episode does indeed incite passion: this is probably its principal attribute!

CHRISTOPHE BRONDY

Christophe Brondy began his specialized journalism career in 2004. He began as a freelancer for the monthly Gameplay RPG magazine and quickly rose to the prestigious position of editor-in-chief one year later.

In February 2007, he launched Role Playing Game, his own magazine dedicated to the universe of RPGs. A few years later, Christophe branched off, distancing himself from his favorite genre (the RPG). He created a magazine dedicated to action games, entitled Living Action Game.

He eventually went on to head several famous monthly video game magazines, including Consoles + and Joystick. Today, he remains the editor-in-chief of Role Playing Game, the only role-playing title in the world that is still in business. He also collaborates with many of his team members on numerous projects, sometimes under another pen name or pseudonym.

PREFACE

Some stories just tug at our heart strings, stunning us with their dignity and honesty. Final Fantasy VIII’s depiction of a beautiful and uncompromising love story was a risky move for Squaresoft. And indeed, the eighth episode was praised by some and criticized by others. Many years after its release, however, it still inspires just as much passion. While nearly everyone lauds its technical prowess (especially its graphics), the game alienated numerous players by abandoning certain key elements of both Square’s series and Japanese RPGs in general. No treasure chests, little in the way of exploration, an irregular pace, and a large cast of supporting characters: these factors were interpreted as either a sinful transgression or a winning combination, depending on who you asked.

Final Fantasy VII was, of course, a tough act to follow. Many Western players had discovered the series through this episode and expected a spiritual successor.1 Their shock was therefore quite palpable. Certain fans refused to invest in Final Fantasy VIII, disappointed by its focus on teenage romance and sorceress hunting, both of which were far removed from the seventh episode’s ecological fable (with its incorporation of science fantasy). The prior episode had indeed left its impact on a generation of players, and it was largely responsible for creating the ensuing international interest in JRPGs.

Final Fantasy VIII’s storyline is, of course, atypical, mixing witchcraft and time travel. It is a fable about destiny and the difficulties of transitioning to adulthood: a scenario as fascinating as it is complex (even convoluted at times). It continues to generate contention and spark debate among fans of the series. By shedding light on certain murky areas and presenting sometimes whimsical theories, this book will accompany you on the tortuous road to full understanding. We will also touch upon the relationship that players have to the work and ask whether their vision is as valid and relevant as the writers’. What are the limits of each perspective? Can a video game be intellectualized?

This book is a testimony of love and the basis for a multitude of reflections, which occasionally transcend the confines of the video game itself. In this book, we will attempt to explain why Final Fantasy VIII is indeed a unique RPG, both brazen and masterful. After all, whenever it is mentioned by name, players have a tendency to look to the heavens with a fleeting grin: are they merely enjoying a pleasant memory or experiencing nostalgia for a golden age?

1Final Fantasy VII was, in fact, the first episode to be released in Europe.

CHAPTER I - UNIVERSE

BACKSTORY

FOUNDING MYTHS

According to legend, the world was created by a being named Hyne. A divine figure or an extraterrestrial entity, Hyne’s nature remains poorly defined—and the myths that surround him vary between cultures.1 Everyone agrees, however, that his earthly reign was based on might: he used his magical powers to defeat hordes of monsters, and he also began wielding his magic to shape the environment. Hyne, however, grew weary of these activities, which was why he chose to delegate the pursuit of his work to subordinates, whom he himself would create. These “tools,” as he called them, were in fact human beings. As they were capable of procreating and providing for themselves, Hyne decided to go off and get some rest. Humans thus performed the tasks assigned by their ruler. Humankind flourished, and their ilk spread out beyond the mountains. Eventually, however, the absence of clear directives left humanity feeling lost and uncertain. Having nothing left to do, the people tried to rouse Hyne, but he was utterly exhausted and did not respond. Hence the people decided to become their own masters and set about reshaping the world to their liking.

As for Hyne, he finally recovered from his lethargy. Upon awakening, he was greatly displeased. Not only had his creatures grossly multiplied, but they had also largely overstepped their mandate. Furious, he decided to exterminate some of them, starting with the children—whom he set on fire. This painful episode drove the humans to rebel against Hyne; they refused to continue being treated as mere “tools.” This was the beginning of a terrible conflict, and the humans made use of their superior numbers to prevail. On bended knee, Hyne was forced to negotiate. In exchange for a lasting truce, he promised humans half of his body and its corresponding magical powers.

But this relative peace was short-lived. It wasn’t long before human beings began fighting one another to possess this half of a body, and thus their civilization fragmented. Several rival tribes formed, and each clan was eager to acquire Hyne’s powers and establish overall supremacy. The war lasted several decades before the dark king Zebalga emerged victorious. Power-hungry, the king hastened to organize the ritual that would make him Hyne’s equal. And so, imagine Zebalga’s surprise when “his” half of Hyne’s body remained unresponsive to the commands he gave. For Hyne had tricked the humans, and only Vascaroon was wise enough to understand and explain the ruse to Zebalga and his people: the half body that Hyne had kept was endowed with all his magical powers, while the half he had given up was nothing but a hollow shell. Humiliated, the king and his clan vowed revenge and planned to kill Hyne. But alas, humankind’s former ruler had disappeared without a trace. Soon, all that was left were legends of “Hyne the Magician,” and the generations that hunted him did so in vain. People said, however, that Hyne must have concealed the magical half of his body (the half he kept) in the bodies of women: hence, only women were considered successors to Hyne’s legacy.

THE LEGACY OF THE SORCERESSES

Hyne’s successors are referred to as “sorceresses.” Only one exists per generation. While no one knows the names of the first sorceresses, many relics bear witness to their influence, and they were obviously venerated.2 Only their mastery of magic distinguishes them from ordinary human beings. Thus, sorceresses are not immortal and grow old like everyone else; their powers, i.e. “Hyne’s legacy,” must be transferred to the next sorceress in line so they can die in peace. It is quite likely that the powers of a sorceress spontaneously seek a new vessel at the time of her death.

Future sorceresses are typically young women or girls who possess magical powers from birth: this is a rare attribute, which is still considered entirely random and unpredictable (even if there are some who speak of destiny). Each sorceress is paired with a “knight,” a personal guard who is responsible for her protection—as well as her mental and spiritual well-being. This knight is the main link between the sorceress and the rest of humanity. The relationship between a knight and a sorceress is often quite close and may even date back to early childhood; it is often established well before she inherits Hyne’s powers.

Contrary to popular belief, sorceresses are not inherently evil. Since selfishness is an inherent facet of human nature, many sorceresses have indeed fallen prey to megalomania, but others have instead chosen to use their powers for good. One of the knight’s duties is to prevent the sorceress from succumbing to pride and/ or envy.

CENTRA, OR THE FIRST GREAT CIVILIZATION

The Centra civilization flourished on the southern continent four thousand years ago. Although little is known about this culture, we do know that the technology acquired by the people of Centra enabled them to expand their empire across the world’s oceans. Only a few remnants of their lost technology are still in existence today: mobile structures roughly the size of a small town.3 At an indeterminate period in history, inhabitants of Centra established the Holy Dollet Empire on the western continent and the nation of Esthar on the eastern continent. Notwithstanding their common origin, these three civilizations rapidly evolved and became quite different from one another. Before long, the Holy Dollet Empire was home to a significant proportion of the planet’s population, largely due to a massive influx of immigrants from Centra. Thus, Dollet became the most powerful nation in the world and remained so for centuries. On the other hand, the inhabitants of Esthar successfully devoted themselves to technological advancement. The fact that these advances did not make it overseas, however, attests to the progressive estrangement between the three continents. As for Centra, it was to meet a tragic fate.

DEATH FROM THE SKIES

Approximately a century ago, a cataclysm hit the southern continent, annihilating Centra and its entire population. This cyclical phenomenon, recurring over the course of tens of thousands of years, is referred to as the Lunar Cry. The monsters who inhabit the moon are a diverse bunch. When the moon’s surface reaches the saturation point, it ejects hordes of these monsters in the form of a scarlet mass. A large crystal pillar, whose nature remains a mystery to this day, precedes this mass and seems to act as a homing beacon. Due to gravity, the cluster of monsters then crashes into the Earth. During the last Lunar Cry, most of the damage was caused by the pillar’s impact, which created an enormous crater on the southern continent. Although details are scarce, the catastrophe’s geopolitical repercussions were both considerable and decisive. The Dollet Empire splintered into four nations: Galbadia, Timber, Balamb, and the Dollet Dukedom, with the latter being the last remnant of the Holy Empire.

THE SORCERESS WAR

The years following the cataclysm saw profound political changes that affected the balance of power. The President for Life, Vinzer Deling, attempted to unify the western continent of Galbadia under the banner of a military dictatorship, while the sorceress Adel, a despotic tyrant who used her magical powers to perpetuate her reign, made Esthar her plaything. The horrors attributed to Adel terrify the Estharians to this day. Her lust for power was unfettered: eighteen years before present day events, Hyne’s successor attacked Galbadia and attempted to impose her rule on the western continent. And so, the conflict—known as the “Sorceress War”—began. Adel opted to use Esthar’s technological prowess exclusively for military research, which ruined the surrounding environment: lakes dried up, leaving vast expanses of totally uninhabitable desert land. Despite having superior numbers and better technology, the Estharian troops faced strong resistance from those of Galbadia, forcing Adel to change tactics. Having learned of the crystal pillar, which had crashed into the southern continent and annihilated the Centra civilization long ago, she decided to have it dug up and studied. Esthar’s elite scientists, led by Dr. Odine, constructed a gigantic metal structure to surround the pillar. It was dubbed “Lunatic Pandora,” alluding to Adel’s plan to use it to trigger a new Lunar Cry in Galbadia. Such a scheme would involve unleashing calamitous power for purely megalomaniacal purposes. Preliminary tests were encouraging, but the environment paid the price once again: a large crater materialized near Esthar, henceforth separating it from the continent of Trabia.4

Lunatic Pandora, however, was not Esthar’s only military asset, and the furious arms race continued. It was Dr. Odine who developed a revolutionary technology that would definitively change the nature of combat. The scientist had been conducting experiments on entities known as “Guardian Forces” (often abbreviated as “GF”) for quite some time: these entities were spirits that could reside in both objects and living creatures. Dr. Odine finally succeeded in developing a device capable of junctioning these forces to human beings. This gave humans increased capabilities (strength, speed, resistance, etc.) and the intermittent ability to summon the creatures (and thus inflict significant damage on their opponents). This new technology also enabled humans to use magic by “drawing it” from the environment, both from monsters and from other “draw points” disseminated in nature. This form of magic, bearing no relation to that of Hyne’s successors, was referred to as “para-magic.” It was unfortunate for Adel that only the elite members of her army could use the Guardian Forces and para-magic, which were inaccessible to her other soldiers. Even more importantly, it was discovered that prolonged use of Guardian Forces led to significant memory loss. In the end, these technological advances did not allow Esthar to take over Galbadia.

GALBADIA, MARTIAL LAW, AND EXPANSIONISM

The war against Esthar enabled Galbadia to extend its influence throughout the western continent. During the Sorceress War, the cities of Timber and Dollet were conquered under a dubious pretext: the necessity of unifying the continent to oppose Esthar. Nevertheless, Galbadia’s usurpation of power was met with resistance, and the rebels could be quite tenacious. Indeed, while the Dollet Dukedom fell quickly, the situation was more complicated in Timber. The population formed pockets of resistance and tried to repel the invader, but it wasn’t enough to overcome Galbadia. Many people lost their lives, and Timber was subsequently subjected to martial law, which remains in effect to this day. The invasion was an opportunity for Galbadia to exploit Timber’s abundant natural resources, beginning with the vast forested areas surrounding the former city-state that gave the city its name. No one quite knows when the Galbadian army succeeded in acquiring para-magic. In any event, these soldiers ultimately learned how to channel Guardian Forces. This helped restore the balance of power between Galbadia and Esthar, to the point of making the conflict’s outcome quite uncertain. It was also during this period that Estharian scientists deserted their homeland and founded the city of Fisherman’s Horizon, an independent town built in the middle of the ocean. A double-track rail network runs through it and links the eastern and western continents. This network has gone unused since the beginning of the war.

SOLDIER LAGUNA LOIRE

Laguna Loire is a Galbadian soldier who took part in the invasion of Timber. Like many young people of his generation, he embraced a military career due to the political situation, not because he felt any real calling. He secretly dreams of becoming a reporter and traveling the world. Laguna has two friends in the army, Kiros Seagill and Ward Zabac. Unbeknownst to Laguna, these two men will play a determining role in the exceptional destiny that awaits him. The three soldiers have grown accustomed to sharing their joys and sorrows after each mission, often meeting up at a hotel bar in Deling (the capital of Galbadia and home to the eponymous dictator). It isn’t long before Laguna falls in love with Julia Heartilly, the bar pianist. One evening, after receiving encouragement from his two companions, Laguna takes matters into his own hands and approaches the artist (with a touching degree of awkwardness). Contrary to all expectations, the beautiful pianist is not immune to her admirer’s charm and even invites him up to her room. Once there, the two share their dreams and aspirations with one another: Laguna reveals that he’d like to leave the army to become a journalist, and Julia confides that she wants to be a singer. She also confesses that meeting Laguna has given her the inspiration to write her first song. Their conversation is abruptly interrupted when Kiros shows up and tells Laguna that they have just been called away on an important mission. Unfortunately, the burgeoning love between Julia and the young soldier will never have time to blossom: they don’t know it yet, but a sequence of events will prevent them from ever seeing one another again.

The three soldiers’ new mission is to go to the Centra excavation site, where the crystal pillar crashed. It is intended to be a simple reconnaissance mission to monitor the activities of the Estharians; Project Lunatic Pandora is only in its infancy. The labyrinthine layout of the site severely tests Laguna’s already limited sense of direction. The trio is quickly spotted and eventually cornered on the edge of a cliff. Although they take a strong stand against their opponents, the three friends are forced to escape by plunging into the ocean far below. This vertiginous fall seriously wounds Laguna, who is knocked unconscious and swept away by the current.

THE RAID

Months pass, and Julia still hasn’t received any news from Laguna. When she learns that he never returned from his last mission, the beautiful pianist sinks into a deep depression. She goes on to write her first song, entitled “Eyes on Me.” The song’s lyrics clearly evoke the initial stirrings of her lost love. The song becomes a hit throughout the Galbadian continent. Julia will eventually find refuge in the arms of Fury Caraway, an important figure in the Galbadian army. That same year, she will give birth to their child: Rinoa Heartilly.

Around the same time, Adel launches a major campaign to find a sorceress to replace her and inherit her powers. She sends Estharian troops throughout the world to help her locate a successor, but the search does not produce immediate results. Although scores of young girls are kidnapped, Adel cannot find one to her liking; the rash of kidnappings continue, but there is still no successor in sight.

Like the residents of so many other towns and hamlets, those in the war-stricken village of Winhill witness the arrival of Estharian troops, who have come to search for a prospective new sorceress. The village is deprived of most of its men, who have gone to the front. The people defend themselves to the best of their ability, but they are unable to prevent the young village girls from being kidnapped. Only little Ellone evades capture. Since her parents died protecting her, she is taken in by a villager named Raine, who decides to look after her. Not long afterward, the village inhabitants discover the body of a severely wounded Galbadian solider, who has washed ashore. It is none other than Laguna. Raine spends the next six months nursing the young man back to health. Laguna, Ellone, and Raine eventually become close and begin to feel very much like a family.

Once Laguna has fully recovered from his wounds, he decides to stay in Winhill. Each day, he hunts the monsters that infest the village streets, a sign of the gratitude he feels for the inhabitants. One day, his friend Kiros pays him a visit and tells him about Julia and General Caraway’s marriage. He also informs Laguna that Ward, their former comrade in arms, lost his ability to speak after the debacle of their last mission. He now works in a Galbadian prison. As for Kiros, he left the army and now roams from town to town. The fighting rages on, and neither he nor Laguna wish to relive the hell of war. Laguna confesses that he still wants to become a journalist, but that he doesn’t want to leave Raine and Ellone. They are his family now. Kiros is surprised to leam that his friend has matured so much in just one year. Laguna’s desire to protect those he loves materializes some time later when he asks Raine to marry him. She’s surprised, but she readily accepts his proposal.

A few months pass, and all is well—until the day Estharian troops raid Winhill once again. This time, Ellone is captured. Laguna promises a distraught Raine that he will bring Ellone back safe and sound. He does not know that his wife is expecting a child.

THE BIRTH OF A LEADER

Laguna and Kiros go off to find Ward. Once the trio is back together, they set off in search of Ellone. The trip will not be an easy one. The sheer length of the journey means that the three men must earn money by any possible means, most notably by participating in a B movie.5 They also experience a series of accidents en route to their destination. Laguna winds up injured yet again, after falling off another cliff. A Shumi tribe restores him to health, and he becomes a friend of the tribe.6 This new mishap will prevent him from resuming his journey for nearly six months. After these twists and turns, Laguna finally arrives at the Lunatic Pandora Laboratory, where Ellone is supposedly being detained. Unfortunately, the three friends are captured by Estharian soldiers. They are all sentenced to perform maintenance work in the laboratory basement. Another detainee tells Laguna that there is a resistance movement opposing Adel; it is still in its infancy. Recognizing that Laguna has the makings of a leader, his cellmate soon proposes that he take on the task of liberating the Estharian people. Laguna is skeptical: why him? He already has enough trouble taking care of himself—how can he lead a popular uprising? Days go by, and Laguna continues to consider the proposition. Ultimately, ensuing events drive him to rebel against the Estharian guards. Joined by Kiros and Ward, he manages to escape. While leaving the laboratory, Laguna runs into his cellmate. The detainee introduces him to Dr. Odine’s assistant, who is also part of the resistance and therefore the best source of available information. Hence, Laguna learns that Dr. Odine is obsessed with Ellone: the girl has the power to send an individual’s consciousness back in time. This is a power that also interests Adel. Terrified for his adoptive daughter, Laguna decides to return to the lab and grill Dr. Odine: he needs to find out where Ellone is being held. After a lengthy chase, Laguna succeeds in cornering the scientist. Eventually, the latter confesses that the girl is at the Sorceress Research Center in Esthar. The three friends immediately take off. They infiltrate the research center and manage to free Ellone, who is still very weak from the months of experimentation she endured. Dr. Odine, however, managed to replicate his main research subject’s brain waves by means of a machine before this event, and he now has the same time-related powers at his disposal.

Laguna’s success confirms his leadership potential. He officially joins the resistance and devises a plan to defeat Adel and put an end to her tyrannical rule.

THE END OF A TYRANT

Members of the resistance manage to persuade Dr. Odine to help them in their quest for emancipation. Laguna and the scientist devise a plan to trap the sorceress without having to directly confront her: they decide to exploit Adel’s obsession with Ellone and use a hologram of the girl to entrap her in a special chamber that will neutralize her powers. The ruse is a resounding success, and the chamber that imprisons Adel is launched into space. It is recovered by the Estharian space station. However, no one could have predicted that the waves generated by the chamber would interfere with the worldwide wireless network. This ends up being the price of overthrowing a tyrant. As a precautionary measure, Lunatic Pandora’s crystal pillar is cast into the ocean to prevent any new catastrophes.

Once the Estharian people are liberated, the Sorceress War ends; the people of Galbadia and Esthar lay down their arms. Laguna is then appointed President of Esthar. One of his first presidential actions is to isolate the city from the rest of the world, based on the premise that Dr. Odine’s inventions could be misused.

Kiros and Ward also decide to stay in Esthar and serve as Laguna’s top advisors. Due to the somber climate that lingers in the city, Laguna decides to send Ellone back to Winhill. There, the young girl reunites with her adoptive mother, but Raine dies soon afterward due to complications from childbirth. Raine and Laguna’s infant son is named Squall. The inhabitants of Winhill send Ellone and the baby to an orphanage on the southern continent; it is run by a woman named Edea Kramer. A short time later, Laguna receives news of Raine’s death.7

THE NEW GENERATION

The Sorceress War left many children orphaned. Some of these children found refuge in Edea Kramer’s orphanage. They are yet unaware of the fate that awaits them. In addition to Ellone and Squall (who goes by the surname Leonhart), the orphanage is home to Zell Dincht, Selphie Tilmitt, Irvine Kinneas, Quistis Trepe, and Seifer Almasy. Each child already possesses important character traits: Squall and Seifer are obstinate rivals; Selphie can be snarky (especially toward Zell); and Quistis is the bossy one of the bunch, as well as Selphie’s constant companion (up until adolescence). All the children are happy living in the orphanage, far away from the conflicts that continue to agitate the Galbadian continent and its major cities.

None of the children realize that their Matron will soon become a sorceress. Although Edea has not yet inherited Hyne’s powers,8 the young woman has already demonstrated a natural talent for magic. She is careful to hide this from the children, as she does not want to frighten them.