This document analyzes music from the video game Final Fantasy VII and argues that it deserves more recognition as an art form. It summarizes three songs: 1) The "Main Theme" captures the mood of the story and goes through different emotions. 2) "Tifa's Theme" adds to her character and personality through its simplicity. 3) "World Crisis" combines themes to tell the conclusion of the story. The analysis shows how the music enhances the story and characters, making it a creative work of art like film music.

1. Jonathan Chew
Music History 12W
Professor Le Guin
Winter 2007
The Game Music Revolution
Music. Good, you know this word? Classical Music. Well, everyone knows
this word or is at least familiar with it in some way. You could probably describe
the stereotypical sounds to me. Game Music. Ah, now I have you at a bit of a
loss for words. Perfect. So, What is Game Music? Many people don’t even
consider it a separate genre. Simply, sounds put together that basically only exist
on the template of the video game. Nothing more. No creativity involved. No
respect for those who put it together. Though this reaction is a huge overblown
generalization, it is one type of reaction that is possibly quite common outside the
gaming circles and groups of technology buffs. Early video game music did not
compare to the musical level of film and television, which set the basis for quality
soundtrack music in the public’s eye. Let me say first that I am not contrasting
video game music and film music and how one deserves more merit over the
other. But, instead, will focus more on game music itself and why it deserves the
recognition, which it has so lacked in recent years.
One such genre that takes special notice above other game types in
proving this is that of role-playing games, otherwise known as RPG’s. An RPG
can be defined as any game where the player takes on the role of the protagonist
and plays through the story line as the protagonist, building up the character’s
abilities and traits. One RPG series that is quite well known among avid gamers
is that of Final Fantasy. The heyday for the Final Fantasy series came around
1997 when Squaresoft, the game’s developer, released Final Fantasy VII. The
game’s composer, Nobuo Uematsu, had been composing the Final Fantasy
songs for some time until the popularity of Final Fantasy VII made his name even

2. better known. Unfortunately, due to the limited audience of video games, he was
only recognized to a certain extent.
But, one could argue that every music genre has a specific musical
audience that it targets, and only a certain amount of people listen to it. However
true that may be, it ignores the fact that every music genre is known to a wide
variety of people although they may not listen to that particular kind of music.
Game music, no matter how long it has been around and how big a fan base it
has, is still being shoveled under the genre of soundtracks. I’m not saying that
the pieces found in RPG’s are not soundtracks, for in fact, by the very definition,
they are soundtracks. However, game music, especially ones found in RPG’s,
has evolved since the early days into something more significant than deserves
just a nonchalant hearing that is discarded, something worthy of public
acknowledgement, something deserving of recognition and merit.
Taking three of Nobuo’s Uematsu’s works in Final Fantasy VII, I will show
the importance of musical pieces in an RPG. First analyzing “The Main Theme”
and how the entire mood of the story is captured in this one song. Then, taking
“Tifa’s Theme,” I will demonstrate how it adds to their character profiles and
personalities. Finally, studying “World Crisis,” which is the ending song for the
entire game, and seeing how it combines these themes in order to tell the
conclusion of the story. Looking at these three songs, I will prove that through
their contextual usage and musical techniques, employed to simultaneously add
character depth, enhance the story line, and set the mood of the game, they are
just as much a creative work of art as those songs composed for film and
television.
First, it is necessary to get one’s bearings. What is the story of Final
Fantasy VII? It is important to know this before analyzing the context in which
these songs play during the game. Final Fantasy VII basically tells the story

3. about an ex-soldier named Cloud Strife. At the beginning of the game, we do not
know a lot about Cloud’s background, only that he is very skilled with the sword.
We soon learn that he used to work for the company named Shinra. He had left
the company when he learned that they were doing questionable experiments
with human lives. One of their experiments was the creation of a powerful
destructive creature named Sephiroth. He begins using the planet’s life energy
for his own corrupt and evil use. Although Cloud tries to hide from his past
problems, he soon learns that the only way to stop the destruction of the planet
is by facing Sephiroth. Final Fantasy VII is about Cloud’s journey and the friends
he meets along the way who help him grow as a person and help him find his
true destiny and save the planet.
The player hears the first song, the “Main Theme” of the entire game,
while traversing the map of the world. One can deduce the gist of the entire
storyline upon first hearing this piece.1
The piece moves into different stages as it
progresses. Both helping to end one chapter of the story and introduce what lies
ahead for the main character as well as the player. It begins with a short
introduction in the major key representing the victorious escape from Midgar.
Then moves into the despairing tune of the main theme. It begins to do different
variations on this main theme, each either more minor or major, and then returns
to the original version in full force. Following the reintroduction of the main theme,
the piece unfortunately ends on a rather gloomy and troubling note.2
1
Back in 1997, the use of orchestras and actual instruments in recording game
music wasn’t in full swing yet. Because of that, the music is still in the digital
style, but in the form of midi’s, which try their best to emulate sounds of real
instruments. However, this doesn’t detract from the song at all.
2
Another important point to make here is that while playing the game, the song is
actually shorter than the player may realize since the piece will just replay after it
finishes. Therefore, the real ending of the piece ends sadly, but depending on the
interpretation, the replaying of the main theme may signify the return of hope as
the tune repeats in a cycle of happiness and sadness.

4. The “Main Theme” comes at a particularly poignant moment in the first
part of the game and its existence helps to enhance the game’s story line and set
the mood at this particular part. Musically, it begins with a little introduction, which
serves the purpose of concluding the previous part of the game, and introducing
the next. Cloud has just escaped the city, called Midgar, which haunts his past.
Midgar is a dark and dangerous place filled with poverty and sadness. It also just
happens to be home to the infamous Shinra company. The joy and happiness for
the triumph of his escape can be heard as the violins begin their first phrase.
However, it is only a moment’s glory as Cloud realizes his current physical war
torn state. The wind instruments emulate this “But, wait… there’s more!”
sensation by softly holding the note and gradually raising the volume, stopping
abruptly, and then playing a little louder on the following note. There is an
increasing air of dissonance in this introduction section each time the theme is
repeated, getting sadder and more despondent as more minor chords are slowly
introduced into the melody. As Cloud realizes how much work lies before him
and accepts that fact, the music finally resolves after its third repetition.
However, Cloud isn’t escaping his past by leaving Midgar, he is instead,
unknown to him at the time, embarking on a heroic and epic journey, which can
be felt by the player as soon as the notes of the actual “Main Theme” begin,
louder and more confidently played than before. The “Main Theme” sounds
exactly like the tune played during the introduction section but that is only
because the introduction took the first few notes of the “Main Theme” itself. This
time around, though, the melody is not as happy and victorious as the
introduction led the player to believe, for as the theme is played, one notices
where the minor chords take the place of the major chords. Upon hearing these
dissonant notes, the deep, heartfelt throbs of pain and longing can be felt hinting
at the epic storyline that is slowly about to unfold. As the violins continue the

5. melody, a feeling of temporary joy takes over giving the message that everything
will be all right. The journey is not going to be an easy one and the player can
feel this as he starts this new part of the game. But it is not going to be without its
calm and peaceful moments as can be heard when the piano begins to carry the
melody. The background instruments play rolling arpeggios, swinging back and
forth as if they were lulling the player to sleep. But besides giving a sense of
tranquility, the swaying arpeggios also travel up and down on the keyboard
almost as if they were unsure where to go, like Cloud’s traveling party of
characters.3
Here also, the piano plays the Main Theme in a light and playful
style giving the idea that there will also be fun times in the journey ahead,
although they aren’t sure of the destination. As the piano fades away, the timpani
provoke the listener’s anticipation and the horns bring back the Main Theme,
stronger than even before. The timpani continues to play in the background
adding a deeper more serious tone to the mix, hinting at a military march and
almost giving the piece and the player a new sense of direction and hope.
However, after this triumphant return, the violins come back in to introduce
a turn of events. This begins the slow descent into the darker part of the piece
from which the song never recovers. Beginning with nice major chords, the
violins soon play even more chords of dissonance and despair. As the timpani
hits its last note, a harp plays another round of rolling arpeggios, swaying back
and forth like before, but instead of a nice traveling sense, these arpeggios are
played slowly with minor notes, giving an eerie feel of impending doom. That
introduction isn’t too far from the truth. The harp fades into the background and a
single deep note bellowed by what sounds like tubas begin to play over and over.
The violins swoop out of nowhere playing long menacing notes. Another horn
enters the mix, sounding like the workings of machinery as it churns away. These
3
Party in the context of RPG’s denotes the group of characters over which the
player has control and uses throughout the progress of the game.

6. sounds come together almost as if to symbolize that Cloud has only escaped the
reaches of Shinra for the present time and that there is something more evil,
something more ominous that he will still have to face sometime in the future.
This combination of instruments and chords grows in disturbing intensity and
fades as the piece continues, sounding more and more like a heartbeat of the
evil that is to come.
Suddenly, when no hope seems left, the deep, powerful drum beats of the
timpani come back followed by chords of strength and determination played by
the woodwinds. Almost like a retort or a response, it is a statement of willpower
from a person who will never give up until the very end. Following this brief
comeback of optimism, the voices of single instruments ascend from a low point,
each climbing from the previous instrument’s last note, until the final chord of
painful uncertainty is reached. Is everything all right? Will everything be OK?
That is exclusively up to the player and how the rest of the story line unfolds.
Each instrument playing in the end, tension-filled, climbing series of notes
represents the effort put in by each character until its fateful tentative conclusion.
The quality of the song and its story-telling capabilities clearly
demonstrates just how much thought and original creativity went into the
composition of this piece by itself Rather than have just one emotion to
concentrate on or display, the piece itself goes through a whole plethora of
different moods and accomplishes several different tasks that help to progress
the storyline.
Just as the “Main Theme” demonstrated the incredible work and skill of
Nobuo Uematsu to portray such emotions through one piece and one theme,
“Tifa’s Theme” is no different. The “Main Theme” can almost be considered
Cloud’s Theme in a sense, since it deepens our understanding of his character.
In addition, just by the fact that the piece itself moves through so many different

7. emotions of triumph and defeat, involved in a constant struggle, defines the very
core of Cloud’s personality. Because Cloud is the main character and because
the player takes on the role of this individual, the player learns much more about
Cloud than he/she does about the other characters in Cloud’s party. This
correlates directly with “Tifa’s Theme” where the piece doesn’t go through as
many transitions. However, this could be because Tifa’s struggle isn’t within
herself and thus, it doesn’t have this constant struggle of triumph and defeat. But,
just going superficially, “Tifa’s Theme” is actually quite simple and sweet, just like
the girl she is portrayed to be in the game. There are really only two main
phrases to her theme, repeated in different variations. The first part is one of
longing and anguish, and the second is one of the pure contentedness to be
alive.
“Tifa’s Theme” plays, as one would guess, whenever an important part of
her character is explained or a key part of the plot involves her. Tifa is a
childhood friend of the main character Cloud. She plays a major role in the game
because she is one of Cloud’s closest friends and always helps him through
intense periods in his life. She secretly has feelings for him but refuses to admit
it. This back-story, although improved with the physical details, can be felt in the
opening phrases of her theme. This first part begins with the higher-pitched,
mildly piercing qualities of the oboe, as a testament to her personlity. Buttressed
by slow, melodic broken chords, a vibraphone plays the accompaniment starting
from the lowest note and ascending to the highest. These chords add the serene
and relaxed sense that Tifa brings to Cloud’s character whenever he undergoes
physical and mental stress. The player first hears her theme when part of Cloud
and Tifa’s history together is revealed early in the game. The longing felt in the
first part of her song at this point in the storyline is primarily applied to her
childhood dreams of longing for adventure and uncertainty of the future. But as

8. the game progresses, later, this first part of her theme can definitely be applied to
her deeply emotional yet well hidden longing for Cloud. She loves Cloud but
won’t admit it directly. In a sense, one could almost say the dissonant chords hint
at a sense of regret for not expressing her true feelings.
Whichever way one looks at it, there still exists that feeling of longing for
something more. Half way through this first part, the violins softly enter in the
background, crescendoing slowly while harmonizing with the lone notes of the
oboe and clarinet. Having the same sentiment of despair as felt in the main
theme, the violins accomplish their task and slowly fade into silence as the first
part of Tifa’s theme comes to an end. But even seen from this more mature point
of view as done later in the story, it still lends a childish and optimistic feel that
her character retains through the entire game.
A slight pause occurs before the second part commences. At this point in
the song, the oboe is no longer the solo instrument. Instead, it is a lone flute,
which takes on the task of carrying the weight of the song contained in the main
melody. The sound of the flute once more adds that pure, innocent feeling that
only a child gives off. However, it contrasts with the first part because it offers the
sense that the character has reached some sort of conclusion to the insecurity
that she held in the first part. Almost as if to say, “Let bygones be bygones.” This
is the exact feeling that the second part is saying in lieu of the character blatantly
stating it. Although dissonant notes still exist, they are not as noticeably apparent
as in the first part of her theme. It is like Tifa is accepting the fact that she will
always carry this pain and longing with her, but she will just be content with the
life she has now and be thankful for the time she spends with Cloud on his
journey. After the childhood scene where their histories are revealed, Cloud
subsequently goes off and does not return to Midgar, his home city, until several
years later. Thus, the second part of the song represents her gratefulness to be

9. reunited with her childhood friend and a sort of promise to always take care of
him through all the hardships they will be facing along their journey. The
vibraphone stays as the accompaniment through the second part, showing the
consistency between the two sections. It shows that the character is still the
same person underneath even though she has gotten older and more mature.
The second part itself goes through an evolution, just like the interpreter or
the player does mentally through the game. After the flute finishes its solo, then
another instrument carries the melody on while the peaceful tones of the
vibraphone continues quietly in the background. This time it is the bassoon that
sings the tune. The deeper but still relatively high-pitched sound created by the
bassoon represents a more mature and older Tifa. The piece’s evolution shows
that just like the song, Tifa herself grew up since those childhood days, but she
still has the same ideals and strength to carry on through her life. Barely audible
to the listener also are the violins playing ever so softly and mellifluously in the
background. Symbolizing the extra pains and despair she carries now that she is
older, it only further demonstrates how much more experience the older Tifa has
gone through since her days of youth.
Finally, the flute, bassoon, and violins come together to finish off the final
phrase of the second part’s theme, bringing together her childhood innocence
and the baggage she carries with her now to establish that all her experiences
make up the person that she has become. The theme finishes after a ascending
series of notes, ending on a single major chord, in which one can hear the
absolute joy of someone who is content with her life.
We end our discussion of songs in RPG’s with the final piece of the game
called “World Crisis”. So aptly called because at this point in the game, the fight
between Cloud and his nemesis Sephiroth has come to climax. Cloud has just
defeated his long awaited foe in the most intense battle of his life. However,

10. Sephiroth had already done too much damage to the planet itself. Thus, with the
impending doom of the world’s destruction, this song takes place during the
game’s final cut scene4
and continues all the way until the game’s end. This song
is a perfect testament to how well Nobuo Uematsu as well as composers of other
games can tell an entire story through the brilliant use of music. The final cut
scene is the ultimate demonstration of how closely connected the video and the
audio components are connected to the game. Without one, the game would be
incomplete.
This song isn’t going to have too much sonic description per se because I
am only using this song as a manifestation of how Uematsu brings together all
the character themes in this one song in order to bring the game to its final
conclusion. Because it carries this huge and daunting task, the piece goes
through many different stages. Beginning with one of peace, then quickly
transitioning to one of chaos and danger, then entering a short respite. After this
short glimpse of tranquility, the chaos returns. The piece then oscillates between
short determined bursts put on by the characters as they try to escape from their
impending danger and the doom, which is befalling the planet. Just as it seems
that all hope is lost, there is a sudden pause in the music and all goes silent.
Then a sudden ray of light comes from elsewhere. The piece enters an entirely
new section filled with victory and success. As the game comes to its bitter yet
sweet ending, the piece culminates in a triumphant blast of sound.
For the purposes of this essay, I am going to just concentrate on the
opening sequence. The piece opens with a theme that should be well familiar to
all Final Fantasy VII gamers. However, within the scope of this essay, it is not
necessary to know whose character theme with which the song starts. Its primary
purpose here is to again close one chapter, as it did in the “Main Theme,” and
4
A cut scene is where the game play is temporarily interrupted to show a short
movie that will help quickly move the storyline or introduce a plot twist

11. begin the final rush of events, which bring the game to its close. Thus, as in all
stories and as the old adage goes, “All good things must come to an end.” The
peaceful, beautiful melody that the song begins with is rudely interrupted by the
panicked, anxious sounds of the following phrases. After this sudden panic
attack, Tifa’s familiar calming theme of serenity takes over, bringing a sense that
everything temporarily is fine. In the ending cut scene, Cloud has just finished
fighting the final battle with Sephiroth. The cave in which he stands, begins to
collapse and thus he quickly finds a way to the nearest ledge. Just as he is about
to fall down into a deep abyss, Tifa catches his hand. As Tifa’s theme plays
victoriously, Cloud and Tifa take a long look at each other. The player as well as
the characters fully realize that Tifa has saved Cloud one last time. Tifa then pulls
Cloud up onto the ledge on which she’s standing, and in perfect alignment with
the video game’s events, the song then transitions to the “Main Theme”, which as
stated before, could also be aptly applied to Cloud as his character’s theme. The
“Main Theme” then plays triumphantly like “Tifa’s Theme” as Cloud regains his
footing. But, as usual, the song then switches back to disarray as the characters
realize that they are still in grave danger. Then begins the short spurts of effort by
the characters to escape the increasing dangers of the volcano in which they are
trapped. The piece continues until its victorious ending.
Having looked at these last three pieces, the “Main Theme,” “Tifa’s
Theme,” and “World Crisis,” a clearer picture should now be formed concerning
how much video game music has evolved since its inception in the 70’s in terms
of depth and creativity. The works of Nobuo Uematsu demonstrate the original
and skillful art that goes into making such an amazing collection of pieces. Not
only do the pieces maintain a melodic theme that sets the mood of the scene,
they also succeed in deepening our understanding of the story as well as the
character’s struggles and pains. As one can see by the evidence presented, it is

12. near, if not at the same, caliber as that of film music, which strives to accomplish
the same tasks as the themes used in RPG’s. One may even be so bold as to
compare it to the works of such classical composers like Richard Wagner and his
use of leitmotifs to represent certain characters or places in his operas. Wagner’s
leitmotifs often interacted during the course of one particular song as different
characters interacted with each other. In the case of “World Crisis” it is the “Main
Theme” and “Tifa’s Theme” that interact with each other, as well as the
numerous other themes which aren’t described in the scope of this paper.
Seeing how inspired and original many of the songs from Nobuo
Uematsu’s collection for Final Fantasy VII can be applied to a myriad of other
composers, it is blatantly obvious how this genre impacts the musical world.
Because game music is still not very well known, many composers go
unrecognized and unacknowledged. Our ever-progressing advances in digital
technology allow composers so much more freedom than ever before that it has
become possible to compose such complicated and complex tracks, which meet
the standards of today’s merited music. If we, as accepting, open-minded
individuals, continue to ignore this genre of music, then we ignore those who
compose the music. If we continue to ignore those who compose the music, then
we ignore an entire musical community. If we continue to ignore an entire
musical community, then we are no better than those who are narrow-minded
and shortsighted.