Fabula Nova Crystallis Final Fantasy

In 2006, a single decision by Square Enix would reshape the trajectory of the Final Fantasy franchise for the next decade, creating a sprawling mythos that would eventually spawn seven distinct games across multiple platforms. This was not merely a new game but a conceptual framework known as Fabula Nova Crystallis, Latin for 'The New Tale of the Crystal,' designed to unify disparate projects under a shared theological and philosophical umbrella. The project began as a bold experiment in world-building, where the central theme was not a continuous narrative but a common set of deities, crystals, and cosmic forces that could be interpreted differently by each development team. At the heart of this ambitious undertaking was scenario writer Kazushige Nojima, who had spent years researching Greek and Norse mythology to craft a universe where gods, humans, and crystals existed in a fragile, often tragic balance. Nojima's vision was to create a mythos that felt ancient and weighty, yet flexible enough to allow directors like Tetsuya Nomura and Motomu Toriyama to tell their own stories without being shackled to a single plotline. The result was a series that promised to be more than just a collection of games; it was intended to be a multimedia universe where the very concept of fate and free will was constantly challenged by the presence of divine interference. The initial announcement at E3 in 2006 revealed three core titles: Final Fantasy XIII, Versus XIII, and Agito XIII, each destined to explore different facets of this new mythology. However, the road to completion would be fraught with delays, rebranding, and the eventual abandonment of the 'XIII' moniker, as the project evolved into something far more complex and controversial than its creators had initially envisioned.

The Lightning Saga And Its Divided Fate

The first chapter of the Fabula Nova Crystallis story began with Final Fantasy XIII, released in Japan on the 1st of December 2009, a game that would become the flagship title of the series and the most commercially successful entry in the franchise's history. Designed as a story-driven role-playing game with a battle system inspired by the cinematic action of Final Fantasy VII: Advent Children, XIII introduced players to a world where the gods, known as fal'Cie, had chosen six humans to become l'Cie, beings burdened with a divine task called a Focus. The narrative followed these l'Cie as they struggled against their predetermined fate, a theme that would become central to the entire mythos. The game was developed by a team that included veterans from previous Final Fantasy titles, and it was initially released as a PlayStation 3 exclusive before expanding to the Xbox 360 in March 2010. The success of XIII led to the creation of two sequels, Final Fantasy XIII-2 and Lightning Returns: Final Fantasy XIII, collectively known as the 'Lightning Saga.' These games expanded the world of Cocoon and Gran Pulse, introducing new mechanics such as nonlinear storytelling and open-world exploration. However, the reception was mixed, with critics praising the graphics and music but criticizing the linear structure and the complexity of the mythos. The development of these games was a collaborative effort, with Japanese developer tri-Ace brought in to assist with design and graphics, and the series was eventually ported to Windows in 2014 and 2015. Despite the commercial success, with the three games collectively selling 11 million units worldwide, the mythos itself became a point of contention, with some players finding it confusing and others feeling it was too similar to the lore of the main series. The saga concluded with Lightning Returns, which blended traditional role-playing features with an action-oriented combat system, but the decision to distance the series from the mythos in later titles would signal a shift in the franchise's direction.

Common questions

What is the Fabula Nova Crystallis Final Fantasy series?

The Fabula Nova Crystallis Final Fantasy series is a conceptual framework created by Square Enix in 2006 to unify disparate projects under a shared theological and philosophical umbrella. It features a common set of deities, crystals, and cosmic forces that are interpreted differently by each development team. The project was designed to create a sprawling mythos that would eventually spawn seven distinct games across multiple platforms.

When was Final Fantasy XIII released and what platform was it exclusive to?

Final Fantasy XIII was released in Japan on the 1st of December 2009 as a PlayStation 3 exclusive. It was later expanded to the Xbox 360 in March 2010 and ported to Windows in 2014 and 2015. The game became the flagship title of the series and the most commercially successful entry in the franchise's history.

Who created the mythology for the Fabula Nova Crystallis Final Fantasy series?

Scenario writer Kazushige Nojima created the mythology for the Fabula Nova Crystallis Final Fantasy series after spending years researching Greek and Norse mythology. Nojima crafted a universe where gods, humans, and crystals existed in a fragile, often tragic balance. His vision allowed directors like Tetsuya Nomura and Motomu Toriyama to tell their own stories without being shackled to a single plotline.

What is the origin of the god Bhunivelze in the Fabula Nova Crystallis Final Fantasy mythos?

The god Bhunivelze seized control of the mortal world by killing his mother, the creator goddess Etro, who vanishes into the Unseen Realm. Bhunivelze then created three new deities to search for the gate to the Unseen Realm, with the first deity Lindzei tasked with terraforming the world. Etro later gave humans pieces of chaos that became their hearts to maintain the balance between the worlds.

When was Final Fantasy Type-0 released and what platform was it originally on?

Final Fantasy Type-0 was released in Japan on the 1st of October 2011 for the PlayStation Portable. The game was originally titled Agito XIII and was later remastered as Type-0 HD, released worldwide in March 2015. It was co-developed by mobile game developer Tayutau K. K. and featured a multiplayer option where online players could take control of characters during the majority of the game.

How many units did the Final Fantasy XIII trilogy sell worldwide?

The three games in the Final Fantasy XIII trilogy collectively sold 11 million units worldwide. The series included Final Fantasy XIII, Final Fantasy XIII-2, and Lightning Returns: Final Fantasy XIII. These titles expanded the world of Cocoon and Gran Pulse and introduced new mechanics such as nonlinear storytelling and open-world exploration.

The Type-0 And The Human Side Of Gods

While the Lightning Saga explored the consequences of divine interference, Final Fantasy Type-0, originally titled Agito XIII, took a different approach by focusing on the human side of the mythos. Released in Japan on the 1st of October 2011 for the PlayStation Portable, Type-0 was a real-time action RPG that featured combat similar to Crisis Core: Final Fantasy VII and included a multiplayer option where online players could take control of characters during the majority of the game. The game was set in the world of Orience, where the four nations were locked in a war that was secretly orchestrated by the gods, and the players were tasked with uncovering the truth behind the conflict. Unlike the XIII games, which were heavily tied to the mythos, Type-0 used the terminology and concepts in a more subtle way, focusing on the human struggle against the predetermined fate imposed by the gods. The game was later remastered as Type-0 HD, released worldwide in March 2015, and received positive reviews for its story, characters, and action-based gameplay. The development of Type-0 was handled by staff from Before Crisis: Final Fantasy VII, and the game was co-developed by mobile game developer Tayutau K. K. The series also spawned a companion title, Agito, which was released in May 2014 for Android and iOS devices, but service ended in November 2015. The Type-0 universe was complemented by a manga adaptation and a series of novels, all of which expanded the narrative and provided additional context to the game's story. The reception of Type-0 was generally positive, with critics praising the handling of the l'Cie and fal'Cie concepts, but the game's western release was delayed due to the flagging PSP market in western territories. The Type-0 story was a testament to the flexibility of the Fabula Nova Crystallis mythos, allowing for a different interpretation of the same themes while maintaining the core elements that defined the series.

The Versus XIII And The Birth Of Final Fantasy XV

The most ambitious and controversial project of the Fabula Nova Crystallis series was Final Fantasy XV, originally known as Versus XIII, which began development in 2006 and was released worldwide on the 29th of November 2016. The game was a complete reimagining of the original concept, shifting from a PlayStation 3 exclusive to an action role-playing game that utilized the Luminous Studio engine and was developed for eighth-generation consoles. The story followed Noctis Lucis Caelum, a prince who was imbued with magic and burdened with a task, and it explored themes of destiny, sacrifice, and the struggle against the gods. Unlike the XIII games, which were heavily tied to the mythos, Final Fantasy XV was deliberately distanced from the Fabula Nova Crystallis brand for marketing purposes, with specific terminology removed and the emphasis reduced to become a background element for the world and story. The development of the game was a ten-year process, and it received support from multiple developers, including HexaDrive, XPEC Entertainment, and Umbra. The game was also expanded through a multimedia project known as the 'Final Fantasy XV Universe,' which included an anime series, a CGI feature film, and a series of novels. The reception of Final Fantasy XV was mixed, with critics praising the story, characters, and graphics, but criticizing the overarching plot and technical elements. The game sold five million copies worldwide through retail shipments and digital sales, breaking sales records for the Final Fantasy franchise, and by May 2022, it had sold ten million units worldwide across all versions. The decision to distance the game from the mythos was a complicated but necessary one, as Square Enix sought to create a more understandable standalone story that could appeal to a broader audience. The development of Final Fantasy XV was a testament to the evolution of the Fabula Nova Crystallis series, as it moved away from the complex narrative style that had accompanied the mythos and focused on telling more accessible stories.

The Mythos And The Gods Who Shaped It

At the core of the Fabula Nova Crystallis series was a complex mythology that had been crafted by scenario writer Kazushige Nojima, who had spent years researching Greek and Norse mythology to create a universe where gods, humans, and crystals existed in a fragile, often tragic balance. The mythos began with the god Bhunivelze, who seized control of the mortal world by killing his mother, the creator goddess Etro, who vanishes into the Unseen Realm. Bhunivelze then created three new deities to search for the gate to the Unseen Realm, with the first deity, Lindzei, tasked with terraforming the world, the second deity, Pulse, discarded because of her resemblance to Mwynn, and the third deity, Etro, acting as Bhunivelze's protector. Etro, distraught at being abandoned, killed herself, and humans were born from her blood. Once in the Unseen Realm, Etro found Mwynn being consumed by a force called chaos, which threatened to destroy reality. As Mwynn faded, she tasked Etro with protecting the balance between the worlds, and Etro gave humans pieces of chaos that became their 'hearts.' Because humans held chaos within them, they maintained the balance through their death and reincarnation. The mythos' deities held similar roles in each game's setting, but were not the same characters in a narrative sense. A recurring race in the games were god-like beings created by Pulse and Lindzei to act as their servants in the mortal world, known as fal'Cie, who took the form of crystal-powered mechanical beings in the XIII games and were both semi-sentient crystals and humanoid beings living among the people in the Type-0 universe. The fal'Cie had the ability to imbue chosen humans with magical powers and assign them a task to complete either willingly or unwillingly, and the humans who were chosen were known as l'Cie. The mythos was a central element of the series, but its interpretation varied between games, with some titles using it extensively and others using it as a background element. The mythos was a testament to the flexibility of the Fabula Nova Crystallis series, allowing for different interpretations of the same themes while maintaining the core elements that defined the series.

The Multimedia Expansion And The Legacy Of The Series

The Fabula Nova Crystallis series was not limited to video games, but was complemented and expanded upon through a wide range of related media, including companion books, novelizations, and manga. For Final Fantasy XIII, a small book of short stories titled Final Fantasy XIII , Episode Zero was released, first through the game's website and then as a print release in December 2009, showing events prior to the game's opening. A second novella, Episode i, was published via XIII-2s official website, bridging the narrative gap between XIII and XIII-2, and a book detailing events not shown or described in the game titled Fragments Before was released in December 2011. The Type-0 universe was similarly expanded through a manga adaptation illustrated by Takatoshi Shiozawa, which began publication in the November 2011 of Young Gangan and was collected into a single volume and released in April 2012. The Type-0 story was also expanded through a series of novels, all of which provided additional context to the game's story. The Final Fantasy XV Universe was a multimedia project that included an anime series, a CGI feature film, and a series of novels, all of which expanded the narrative and provided additional context to the game's story. The reception of the related media was generally positive, with critics praising the expansion of the narrative and the additional context provided by the various media. The multimedia expansion was a testament to the ambition of the Fabula Nova Crystallis series, as it sought to create a universe that was more than just a collection of games, but a fully realized world that could be explored through multiple mediums. The series was also complemented by Ultimania guides and companion books, which provided additional context and information to the games. The multimedia expansion was a key part of the series' legacy, as it allowed players to explore the world of Fabula Nova Crystallis in new and innovative ways, and it helped to create a more immersive and engaging experience for fans of the series.

The Mixed Reception And The Future Of The Mythos

The Fabula Nova Crystallis series received mixed reactions from gaming sites, with some critics praising the ambition and scope of the mythos, while others found it confusing and overly complex. Hardcore Gamers Brady Hale called the series 'anything but ordinary' in the variety of games it featured, while Joystiqs Ben Gilbert called the mythos 'occasionally bizarre and often beautiful.' In 2014, Jeremy Parish of USGamer said the series was 'much ado about nothing,' stating that since the games shared a large amount of themes and plot points with the main series, there seemed little reason for a distinction. TechnoBuffalos Ron Duwell called the series 'overly ambitious,' but felt that it was worth Fabula Nova Crystallis '[imploding] upon itself' if Final Fantasy XV fulfilled its promises. The reception of the individual games was also mixed, with Final Fantasy XIII receiving positive reviews in Japan but mixed reviews in the west, and Final Fantasy XV receiving positive reviews for its story, characters, and graphics, but criticism for its overarching plot and technical elements. The decision to distance the series from the mythos in later titles was a complicated but necessary one, as Square Enix sought to create a more understandable standalone story that could appeal to a broader audience. The series was also criticized for its reliance on foreknowledge, with some players finding it difficult to play the games as standalone titles. The reception of the mythos was a key part of the series' legacy, as it highlighted the challenges of creating a complex and interconnected universe that could be enjoyed by a wide audience. The series was also praised for its ambition and scope, with some critics feeling that it was worth the risk of failure if it could create a new and innovative experience for players. The mixed reception of the series was a testament to the complexity of the Fabula Nova Crystallis mythos, and it highlighted the challenges of creating a universe that could be enjoyed by a wide audience.