The following is a list of all the Featured Images on the Final Fantasy Wiki. A featured image is displayed on the front page of the Wiki from Sunday to Sunday. Images are chosen if they are artistically valuable or depict an interesting aspect of the series. To suggest a Featured Image, click here.
May 17th - May 22nd
Screenshot of Tidus laughing from Final Fantasy X. Tidus is distressed, and Yuna tells him to practice smiling when he feels sad. Tidus forces himself to laugh, much to the bemusement of Yuna and her Guardians. Though the laughter is first awkward, unrealistic, and even painful to listen to, eventually Yuna joins in and it becomes real, though Wakka observes, "We were worried you guys might have just gone crazy."
This scene is often ridiculed by detractors of the game as an example of bad voice acting, while fans of the game argue that the awkward but endearing incident allowed Tidus and Yuna to resolve tension and improve their relationship. Whatever the case, this scene can be viewed in the Final Fantasy X/X-2 HD Remaster, recently released on Steam.
May 17th - May 22nd
Yoshitaka Amano concept art of Emperor Mateus from Final Fantasy II. Mateus, the Emperor of Palamecia, unleashes an army of hellspawn with which he conquers the world. The Wild Rose Rebellion is formed to overthrow him, and deploys the party to assassinate him inside his Cyclone. After his death, he murders the ruler of Hell, or Pandaemonium (said to be Satan in the novelization Muma no Meikyū, which also reveals that a long line of Palamecian emperors have been corrupted by demons) and assumes his place. Though the party enters Pandaemonium and slays the Emperor, his "Light" half lives on in Heaven. In Soul of Rebirth, party members who sacrificed their lives during the events of the main game and are now in Heaven face and kill the Light Emperor.
Most of Amano's artwork of the Emperor is in black and white, though there is a version of this particular piece in blue, and many of his sprites are in purple; in Dissidia Final Fantasy, the Emperor wears a purple cape and golden armor. Such color choices are quite symbolic: the darkness of this and similar pieces of art is associated with evil, while "Tyrian purple" — a dye produced from sea snails only affordable by the most elite Romans — has come to symbolize royalty. Children of Byzantine emperors were afforded the title "Porphyrogennetos", literally, "born in the purple."
May 8th - May 15th
Screenshot of Sephiroth in Shinra Manor from Final Fantasy VII. After an expedition to a Mako Reactor on Mt. Nibel, Sephiroth sees the name on the chamber inside the reactor is "Jenova," the name he was told is his mother. Concerned by the implications, he returns to Nibelheim and finds a secret lab in the abandoned mansion once inhabited by Shinra researchers.
For days, Sephiroth reads journals left behind about the Jenova Project. Misinterpreting the readings to mean that he was artificially produced from Jenova's cells, Sephiroth comes to believe he is Jenova's son, and as the journals falsely identified her as a Cetra, that makes him the last Cetra, heir to the Planet. Sephiroth leaves the mansion to reclaim Jenova's remnants from the reactor, coldly telling Zack "Out of my way. I'm going to see my mother."
The Final Fantasy Wiki wishes all visitors a happy Mother's Day, and gives well wishes to all mothers. Even the ones that happen to be parasitic space aliens bent on global destruction.
April 24th - May 8th
Promotional Yoshitaka Amano artwork entitled Big Bang from Final Fantasy XV. This artwork was unveiled outside the Shrine Auditorium where Uncovered: Final Fantasy XV took place. Players can obtain Big Bang as a PlayStation 4 theme through digital pre-orders of the game on PSN. Square Enix does not have an official interpretation of the artwork and the game has not yet been released, so much of the artwork's content is ambiguous, but there are a handful of points that stand out.
The kingdom at the top left appears to be Lucis, with the same skyline. To its right is a car that is most likely the Regalia. Below the Regalia are two figures, possibly Aranea and Glauca, carrying a blonde figure that may be Lunafreya Nox Fleuret. Right-of-center are Shiva, Leviathan, and sundry unidentified monsters.
April 18th - April 24th
Yoshitaka Amano artwork of the Lunar Whale from Final Fantasy IV. The Lunar Whale is an airship built by Kluya to facilitate travel between Earth and the Red Moon, and when Golbez activates the Tower of Babil, the Elder of Mysidia and others prayed for the fulfillment of a prophecy, which caused the Lunar Whale to arise from the waters outside Mysidia. From this point on, the party can use the Lunar Whale to fly around Earth or to the Red Moon, allowing them access to the endgame dungeon, the Lunar Subterrane.
A number of details, such as the guns and yellow windows along the sides of the ship, have no function in-game and in fact can only be seen in recent versions. In particular, the cannons only appear in the website model of the airship, and the windows can be seen in the iOS version, though it is not particularly clear that that is what they are meant to be. The whale-like anatomy of the ship, such as its white underbelly, are not clearly visible in in-game models of any versions or remakes ... at least, at the time of writing.
March 27th - April 3rd
Screenshot of Mog from a 1994 Final Fantasy VI commercial. The commercial, called "Do you have what it takes?" features Mog casting Bolt spells at monsters that are trying out for parts in the game, including Behemoth, the Ghost, and Chupon. He dismisses the monsters and shouts, "Next!" The announcer then says, "Final Fantasy III. Do you have what it takes?"
Mog features prominently in Square's marketing of the SNES North American release (known as Final Fantasy III because the only other Final Fantasy games localized for North America were the original and Final Fantasy IV). He appears on the game's front cover and in many advertisements, despite having a minor role as an optional, unlockable character.
The commercial can be viewed in its full length here.
March 20th - March 27th
Screenshot of Kefka's Tower on Final Fantasy VI's overworld from the iOS release of the game. In the original Final Fantasy VI, Kefka's Tower was a simple sprite, but for the iOS remaster of the games' graphics, apparently something different was required. Already the iOS graphics were fairly controversial, with the higher quality spites merely rescaling the original sprites, creating more of a brighter, cartoony effect that the original Final Fantasy VI did not have (but may have been the original intent). Some players prefer the old graphics, some players prefer the new graphics, but the design choices the remake made became downright bizarre when it came to Kefka's Tower.
In this screenshot we see three entirely different kind of graphics at once, all at different resolutions. The Falcon is just a traditional 2D sprite. The World Map is an iOS recreation of the SNES' Mode 7 with a blurring effect to simulate depth of field. But the centerpiece is a frankly bizarre decision to turn Kefka's Tower into a polygon, the only one in the entire game. It is an especially jarring image that in no way fits with the graphics around it, and is not even a terrible well-made polygon either. It is a jumble of brown and tan and gray, as if the original sprite has been turned into a texture for a vaguely cactus-shaped object.
Kefka's Tower on iOS is a little view as to what Final Fantasy VI might have looked like if its Nintendo 64 Technical Demo had been made into a full game. We can see the technology of 1997... in 2014.
March 13th - March 20th
It’s not a question of can or can’t. Some things in life you just do.
Screenshot of Lightning modeling Louis Vuitton summer wear and handbags from an LV advertisement. The strong-willed protagonist of Final Fantasy XIII and the Lightning Saga was included in a number of 2016 video and magazine ads, performing her signature in-game maneuvers while dressed in SS16 Series 4 clothing. Here she wears a summer dress with an LV handbag. Other advertisements feature her in a crop top, a pink jacket, and other garments. Square Enix and Louis Vuitton say that the collaboration stems from the two companies' values of tradition interwoven with revolutionary changes to create quality products, and that Lightning personifies the "global, heroic woman" of the social era.
Square Enix has collaborated with other fashion companies in the past, with Final Fantasy XV character models being designed by the creative director of Roen in 2008 and Final Fantasy XIII-2 characters modeling Prada men's wear in 2012. Though the most die-hard fashion aficionados or Final Fantasy geeks may be bemused, at the very least, by these crossovers, one should keep in mind that Lightning is more human than a mannequin, and Lightning is being treated better than Tidus was in Final Fantasy X-2.5 ~Eien no Daishō~.
March 6th - March 13th
Screenshot of Garnet Til Alexandros XVII from a Final Fantasy IX FMV cutscene. Garnet is the rebellious princess of the Kingdom of Alexandria. Beginning to suspect that something is wrong with her mother, Queen Brahne and her ambitions for conquest, Garnet concocts a scheme to escape her castle to reach her "uncle" Cid for help. In her escape attempt, Garnet disguises herself in a white and pink robe, the traditional costume of a White Mage, foretelling her eventual role as a party member. However, her stealth was too effective, fooling even the men Cid had sent to assist her in her flight.
In the image featured this week we see Garnet through the POV of the main character, Zidane Tribal. Garnet stands upon the battlements of the castle, smirking enigmatically before leaping across on a rope. This is the first time Zidane has ever seen Garnet, and her striking action of Errol Flynn-esque adventure seems to be the beginning of his infatuation with her. Garnet shows herself to be a proactive character, not merely a little bird in a cage that must be rescued.
February 28st - March 6th
Promotional artwork of Vayne Carudas Solidor and Larsa Ferrinas Solidor, royalty of Archades in Final Fantasy XII. The Solidor brothers are the surviving sons of the Emperor of Archades, Gramis Gana Solidor, who comes to regret his brutal conquests of Nabradia and Dalmasca in his old age. After Gramis dies under mysterious circumstances, Vayne dissolves the Imperial Senate and becomes a ruthless autocrat ruling over Archadia, Dalmasca, and the ruins of Nabradia. He is eventually overthrown and killed by the party and the younger and more liberally-minded Larsa, who becomes Emperor at the end of the game.
This artwork is somewhat more realistic and formal than the other artwork of Final Fantasy XII, which includes noseless Ivalice Alliance-style art of the party and a drawing of Ashe and Basch enjoying a beach day; this reflects the terseness of Imperial politics, which is far removed from the humorous misadventures of Vaan and Penelo at the start of the game.
February 21st - February 28th
Artwork of Geist the Bloody, a boss from Bravely Second: End Layer. Geist is the Asterisk-holder of the Exorcist class. As one may have surmised from his nickname, Geist is a maniac sadist obsessed with torture and death. He accompanies his blood-stained skin and clothing with an expression of pure madness. Exorcists in Bravely Second are meant to be support classes, with most of their abilities based around undoing the damage from the last turn. Geist perversely uses these powers to undo the torture he inflicts upon his victims, meaning he can hurt them again and again as long as he pleases. He is one of the more deranged and monstrous figures the party must face in order to save the world in Bravely Second.
This piece looks very little like other Bravely Second concept art, and not just in content. The artist leaves in swirling brush strokes, framing the figures in inky blackness. The impressionist style creates a throbbing motion to the painting.
The excelling framing and overall darkness of the painting makes for an unforgettable nightmarish scene. Geist is accompanied in the background by his Guardian, a living ghostly suit of armor. Geist created this twisted creature by accident, and it's existence is a constant reminder of the one mistake he can never undo. Its arms reach out in a violent motion. The Guardian's unearthly bright blues silhouette Geist's wild black hair. Geist's hair creates more shadow from which to focus the viewers' eye onto his grimace and piercing eyes. The eyes seem to break out of the picture, to tear their into viewers' mind. It is difficult to look at them for very long without feeling some discomfort.
Altogether this artwork is one of the most terrifying pieces ever made for the Final Fantasy series.
February 14th - February 21st
New Year's Day postcard of Yoshi-P riding Kirin from Final Fantasy XIV. Every New Year in Eorzea, the people celebrate with the in-game event Heavensturn. As 2016 is the Year of the Monkey, a delegation from the Far East came to the continent to "impart upon Eorzea the good fortune of the monkey." Out of game, Director Naoki "Yoshi-P" Yoshida wished players New Years' Greetings, and left them this postcard with a mysterious prophecy translated by the Archon Louisoix before he gave his life for the realm at the Battle of Carteneau, perhaps foreshadowing Main Scenario Quests soon to come...
And so, in these waning hours, my thoughts turn to a passage from the Gerun Oracles:
In the beginning, before myth and legend, before Light and Dark, there was but the sea
In the beginning, before man and hist'ry, Light and Dark were divided, the sea sundered in fourteen
To the seas She cast Her children, for fear of the Moon.
For hate of the Star, to the seas He cast His doom.
May we ever walk in the light of the Crystal.
Yoshi-P rides Kirin, the mount players unlock after earning all 2.x Primal mounts. He is accompanied by two primate pals, also in honor of the Year of the Monkey: on his head, the Paissa Brat, and floating through the clouds beside him, an opo-opo dressed in the circlet of and wielding the staff of Sun Wukong, better known in Japan as Son Goku, a monkey in the Chinese classical novel Journey to the West who earns supernatural powers through Taoist means. Yoshi-P's flintlock and Machinist are an allusion to his Machinist cosplay from an event promoting Heavensward, the expansion in which Machinist was released.
February 7th - February 14th
Screenshot of Aranea Highwind from the most recent trailer for Final Fantasy XV. Aranea Highwind was first revealed back in 2011 in an early trailer for the game when it was still called Final Fantasy Versus XIII. Not much was known about the character other at that time. All that could be guessed was that she was a female Dragoon, and appeared to be villainous. Since then Versus XIII has changed its name, switched directors, and rewrote much of its story, including removing the character of Stella for the much tanner Lunafreya. However, Aranea apparantely has survived the transfer from Versus XIII to Final Fantasy XV. In the Final Fantasy XV Active Time Report on January 30th, 2016, Aranea was re-revealed, along with her name and some details about the character.
Aranea is an unusual figure in the villainous Niflheim army. She does not use advanced technology or wear typical Imperial uniforms, but rather fights as a traditional Dragoon, as fitting her last name, Highwind. It is currently unknown what her personality will be or how important she will be to the greater story, though Hajime Tabata has mentioned that Aranea is popular amongst the developer staff. In the latest trailer, Aranea attacks the hero, Noctis using a Jump attack from above.
As seen in this screenshot, Aranea wears an armored mask with bars and slots to protect her face. Spikes and decorations on her arms imitate the wings and shape of dragons. Her design leaves open her armor to emphasize her feminine form and hair. Because of her mask, it is difficult to guess what Aranea's emotion is in this scene, or what her ultimate intentions are when she attacks Noctis and his friends. Aranea Highwind is an enigmatic character whose mysteries add to build up to Final Fantasy XV's ultimate release
February 1st - February 7th
Card of the Fat Chocobo from Mobius Final Fantasy. The Fat Chocobo is a comically overweight Chocobo that has been a recurring character since Final Fantasy III and is usually either a Summon or item storage. (According to an NPC in Final Fantasy III, the bird stores items in its stomach.) In Mobius, the Fat Chocobo card can be summoned with two Normal Elements and casts Barrier, raising Defense for 8 turns. It also grants HP Up.
This Fat Chocobo is drawn somewhat differently than 3D models of Fat Chocobos, which typically show the Godsbird with a well-defined neck, lazily half-opened eyes, and straight talons. Because yellow Chocobo breeds cannot fly in most games, and Fat Chocobos appear less mobile than their leaner counterparts, one would expect Fat Chocobos to be flightless, but this one appears to be lifting off the ground.
January 25th - January 31st
Yoshitaka Amano artwork of Snow Villiers and Serah Farron from Final Fantasy XIII. This a depiction of a flashback romance scene between the two characters. While entranced by the beauty of the fireworks behind them, Snow proposes marriage to Serah. Serah agrees, but is nervous over her sister Lightning's reaction. The possibility of a new life together is juxtaposed with Serah's terrifying realization that she has become a l'cie and is fated to die. For this moment though, Serah and Snow have each other. They are as happy here as they ever will be in the trilogy, which separates them constantly with one strange metaphysical threat after another. The couple works constantly to overcome evil to return to the warmth they felt here.
Amano's artwork is a gorgeous painting capturing the colors of the fireworks. The brightness of the background is contrasted upon the the characters silhouetted in the center. They embrace in the darkness before the light. The artwork captures both the positive and the negative emotions of the scene.
January 18th - January 24th
Akira Oguro artwork of the Tower of Babil from Final Fantasy IV. The Tower of Babil is a gargantuan structure stretching from the Underworld to the surface, and can be used to summon the Giant of Babil from the Red Moon. Near the end of the game, the peoples of the Overworld and Underworld unite to destroy the Giant from within outside the Tower. As former party members are united, the Giant is destroyed, and peace is restored to the world, the party departs for the Moon to end the possibility of invasion at its source: the Lunar Subterrane.
January 10th - January 17th
Ryōma Itō artwork of the Esper Bahamut from Final Fantasy XII: Revenant Wings. As in most Final Fantasy games, the Revenant Wings version of Bahamut is the most powerful summoned creature. While Bahamut did not appear as an Esper in the original Final Fantasy XII, in Revenant Wings he is a deadly power serving the forces of evil in the main story capable of destroying entire floating islands. After being summoned by the Judge of Wings Bahamut shatters The Muruc Cahuac Skysea into three smaller islands. Bahamut later fights for Feolthanos during the Final Boss fight of the game.
Like all summons though, Bahamut merely serves the wishes of his master. The Esper can be obtained by the player in side mission 79 Wings of Midnight, after defeating a difficult gauntlet of strong Espers. At that point Bahamut will join Vaan's Ring of Pacts to be used by the player.
The design of Bahamut in Revenant Wings is unique in that this version is very humanoid, standing up-right similar to his appearance in Final Fantasy X. He wears armor and uses a spear as a weapon, making him appear vaguely Dragoon-like in appearance. Ryōma Itō's design is a striking and elegant form.
January 3rd - January 9th
Screenshot of Kirby using Cloud's Buster Sword and Blade Beam from Super Smash Bros. Along with the Midgar stage, Cloud appears as DLC which was released in December 2015. In combat, Cloud has access to some of his original Limit Breaks from Final Fantasy VII, such as Blade Beam and Climhazzard. Cloud's Final Smash is Omnislash, which causes him to dash to a target, hit them several times with the Buster Sword, and then deal damage in an area-of-effect explosion and knock all targets back.
When Kirby eats an opponent, he takes on part of their appearance as a "hat" and gains some of their abilities. Here he is wearing Cloud's spiky hair and shooting a Blade Beam out of the Buster Sword.