In 1997, was there a sense that Final Fantasy VII was going to be something special?
Massively so. We were absolutely thrilled to be working on the title and knew it was going to be one of the most exciting video games ever released. Hype around the game was huge – and when we were supplied the assets for the campaign we were so impressed with the quality of the renders; we’d never seen anything like it before and were blown away by them. At that point, we knew it would be a special job to be working on.
With FFVII the series jumped to 3D and embraced a futuristic, cyberpunk aesthetic. Was it a challenge to convey this new look while staying true to the series’ roots?
The key art had already been done at that point in time but it was very clean and simple which we really liked. We knew we’d have to produce something very special for this, and at the time bricks-and-mortar retail was the absolute king, so translating the key art into in-store point of sale was a massive responsibility.
With artwork created in Japan, we had a suite of assets supplied and a huge range of restrictions about what we could and couldn’t do artistically – a big part of the brand building was to ensure total consistency, so we had to adhere to some very tight brand guidelines. Of course, that consistency paid off over the decades as Final Fantasy grew into one of the most beloved brands of all time.
The next game, Final Fantasy VIII, was the first time that the series’ characters were realistically proportioned – how did this change inform the Fluid team’s work on the ad art?
As the direction moved towards more realistic proportions, the emotional connection between gamer and character became stronger, and I think that’s reflected in the direction of the campaign. There’s a sense of resonance and affinity which could be developed in a more meaningful way, through an emotional, evocative, simple approach.
In 2008, Fluid team returned to the world of FFVII for Crisis Core: Final Fantasy VII. Before, the likes of Cloud, Aerith, Zack and Sephiroth had been unknown – now, they were iconic. Did this affect how the team approached the ad art?
As the brand grew, gamers’ sense of affinity with the characters began to explode. Cloud, for example, was developing into an iconic character, and the fact they were recognisable allowed us to position them as the heroes or icons they were becoming. It was a show of faith in the characters and a testament to the growing love the passionate community had for the game.
Finally, in 2024 we have Final Fantasy VII Rebirth, and another set of media kits. I love the choices made, especially incorporating the classic Shinra Electric Power Company logo. Can you take us through them?
Thank you! We looked to create a bold tactile kit – of the gameworld – that visually represented the travel into the wilderness and search for Sephiroth storyline.
As usual, we wanted the kit to be an immersive unboxing experience: a collectible keepsake with exquisite attention to detail that gave the 250 recipients insight into the game’s creation and storyline – whilst delivering kit-exclusive content, based on actual in-game items. A kit to honour both the FFVII Rebirth game and Final Fantasy franchise.
The box was embellished with an inner gatefold panel featuring localised marketing copy and stories from Creative Director Tetsuya Nomura, Director Naoki Hamaguchi and Producer Yoshinori Kitase, introducing the game and acknowledging its place in gaming lore. These three stories were randomly distributed across the recipients, to create buzz of “Which did you receive?”.
The kit was designed to look distressed, like it could have been found in the wilderness (of the planet) on Cloud’s travels. We also referenced the main characters being part of eco-terrorist insurgent group Avalanche – utilising an array of eco-credential materials: 100% recycled kraft paper; papers sourced from sustainable forests and/or produced using 100% green energy; recycled card; energy efficient LED neon; recyclable eco-bubble wrap; and biodegradable mailers.
Conclusion
The Fluid team has had the privilege of working on various Final Fantasy games, starting from the iconic Final Fantasy VII in 1997. Over the years, the team has developed a deep understanding of the franchise and its characters, which has allowed them to create memorable and impactful ad art. From the early days of 3D gaming to the modern era of Final Fantasy VII Rebirth, the team has consistently delivered high-quality work that has helped to shape the franchise into what it is today.
FAQs
Q: What was the biggest challenge in working on Final Fantasy VII’s ad art?
A: The biggest challenge was translating the key art into in-store point of sale, while adhering to tight brand guidelines and ensuring consistency.
Q: How did the team approach the ad art for Final Fantasy VIII?
A: The team approached the ad art by focusing on the emotional connection between the gamer and character, using a simple yet evocative approach to convey the game’s story.
Q: What was the inspiration behind the design of the Final Fantasy VII Rebirth media kits?
A: The inspiration was to create a bold tactile kit that visually represented the game’s storyline and gave recipients insight into the game’s creation and storyline.
