Final fantasy orchestra concert 2017 series#
“Tidus was real to me!” a girl declares, an impassioned ode to said Final Fantasy X’s protagonist who turns out to be both final and fantasy.Ģ006’s Final Fantasy XII marked the beginning of what would be Final Fantasy XIII’s radical, oft-maligned departure from the series in 2010. The entirety of row O does more or less the same thing inside of a minute. I once walked by a house where someone was playing this on their piano and hunched into a ball for 20 minutes thinking about all my romantic mistakes. If The Oath dug the well, then Final Fantasy X’s To Zanarkand causes it to overflow. Final Fantasy is its own nation-state, replete with eccentric customs and impenetrable cultural norms which, as the hubbub suggests, are pleasingly universal.
There is much passion in the voices wailing from the cosplay tributes, and much uncertain nodding from the plain clothes confusion brigade. ‘What should be a niche interest has become a cult.’ Photograph: SGC MediaĪt intermission, boys dressed as giant yellow chickens (chocobos) explain the intricacies of why it’s actually “Aerith” and not “Aeris” to girls in plain clothes – and girls dressed as bobble-headed white teddies with red pom-poms on their heads and purple bat wings (moogles) explain to boys in plain clothes why Final Fantasy X-2 was actually not a crime. Most Final Fantasy fans experienced this as relative children. Searching For Friends is so named because at the end of the world, that’s what you essentially have to do in order to resume saving it.
It’s a story where the villain wins, at least initially. Its retro 90s charm plays on screens above the orchestra, remembering a distinctly adult story that did not defy the cutesy 2D sprites of its major and minor players, but seemed to absorb them. Final Fantasy VIII’s love story is melancholic throughout, and becomes exceptionally tragic if you adhere to the theory that the main character is mortally wounded at the end of disc one – there are four discs this was PS1-era stuff – and that the rest of the game is a moribund mosaic of his unfulfilled hopes and dreams as he passes away.ĭue to overwhelming online demand, Final Fantasy VI’s Searching For Friends also appears during the live show for the first time, to squeals of delight. The world premiere of The Oath visibly makes people well up. This song’s dreamy motifs have traditionally introduced – or at the very least appeared in – every Final Fantasy game ever, but it anti-shadows a slew of compositions that Roth and the Distant Worlds Philharmonic have never performed before, until this Sydney show. Conductor Arnie Roth soon takes his place, dressed identically and with exactly the same must-be-an-orchestra-guy hairdo. Most of the music we are to hear tonight is his doing, and the 15 seconds he is on stage is enough to cue raucous applause. The man is Japanese video game performer Nobuo Uematsu, and he bows and departs as swiftly and gracefully as he appeared.
They’re soon looking up at the round smile and rounder spectacles of a little man in a big suit, whose grey ponytail wags behind him like a moomba’s tail. They take their seats with some difficulty at the foot of the stage, tickets to which cost hundreds. Judging by the near-capacity venue, what should be a niche interest – a live orchestral performance of arrangements from Japanese role-playing games dating back to the 80s – has become a cult of weirdly wonderful devotion.Ī black mage, a white mage and a red mage amble by in a single file of cosplay, dressed as Final Fantasy’s elaborately clothed spellcasters. It’s been six years since the Distant Worlds philharmonic orchestra (and chorus) last came to Australia, and the Sydney show at the International Convention Centre marks its first stop on a worldwide tour, which will take in south-east Asia, Europe and its native United States where, in 2005, it became the first ensemble to showcase the music of Final Fantasy outside Japan.
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