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Fenrir

Fenrir (Old Norse 'fen-dweller') or Fenrisúlfr (Old Norse "Fenrir's wolf", often translated "Fenris-wolf"), also referred to as Hróðvitnir (Old Norse "fame-wolf") and Vánagandr (Old Norse 'monster of the [River] Ván'), is a monstrous wolf in Norse mythology. In Old Norse texts, Fenrir plays a key role during the events of Ragnarök, where he is foretold to assist in setting the world aflame, resulting in the collapse of humanity and society, and kill the god Odin.

Fenrir, along with Hel and the World Serpent, is a child of Loki and female jötunn Angrboða. He is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, and the Prose Edda and Heimskringla, composed in the 13th century. In both the Poetic Edda and Prose Edda, Fenrir is the father of the wolves Sköll and Hati Hróðvitnisson, is a son of Loki and is foretold to kill the god Odin during the events of Ragnarök, but will in turn be killed by Odin's son Víðarr.

In the Prose Edda, additional information is given about Fenrir, including that, due to the gods' knowledge of prophecies foretelling great trouble from Fenrir and his rapid growth, the gods bound him and as a result Fenrir bit off the right hand of the god Týr. Depictions of Fenrir have been identified on various objects and scholarly theories have been proposed regarding Fenrir's relation to other canine beings in Norse mythology. Fenrir has been the subject of artistic depictions and he appears in literature.

Poetic Edda

Fenrir is mentioned in three stanzas of the poem Völuspá and in two stanzas of the poem Vafþrúðnismál. In stanza 40 of the poem Völuspá, a völva divulges to Odin that, in the east, an old woman sat in the forest Járnviðr "and bred there the broods of Fenrir. There will come from them all one of that number to be a moon-snatcher in troll's skin." Further into the poem the völva foretells that Odin will be consumed by Fenrir at Ragnarök:

In the stanza that follows the völva describes that Odin's "tall child of Triumph's Sire" (Odin's son Víðarr) will then come to "strike at the beast of slaughter" and with his hands he will drive a sword into the heart of "Hveðrungr's son", avenging the death of his father.

In the first of two stanzas mentioning Fenrir in Vafþrúðnismál Odin poses a question to the wise jötunn Vafþrúðnir:

In the stanza that follows Vafþrúðnir responds that Sól (here referred to as Álfröðull) will bear a daughter before Fenrir attacks her, and that this daughter shall continue the paths of her deceased mother through the heavens.

Prose Edda
In the Prose Edda, Fenrir is mentioned in three books: Gylfaginning, Skáldskaparmál and Háttatal.

Gylfaginning chapters 13 and 25
In chapter 13 of the Prose Edda book Gylfaginning, Fenrir is first mentioned in a stanza quoted from Völuspá. Fenrir is first mentioned in prose in chapter 25, where the enthroned figure of High tells Gangleri (described as King Gylfi in disguise) about the god Týr. High says that one example of Týr's bravery is that when the Æsir were luring Fenrir (referred to here as Fenrisúlfr) to place the fetter Gleipnir on the wolf, Týr placed his hand within the wolf's mouth as a pledge. This was done at Fenrir's own request because he did not trust that the Æsir would let him go. As a result, when the Æsir refused to release him, he bit off Týr's hand at a location "now called the wolf-joint" (the wrist), causing Týr to be one-handed and "not considered to be a promoter of settlements between people."

Gylfaginning chapter 34

In chapter 34, High describes Loki, and says that Loki had three children with a woman named Angrboða located in the land of Jötunheimr; Fenrisúlfr, the serpent Jörmungandr, and the female being Hel. High continues that, once the gods found that these three children were being brought up in the land of Jötunheimr, and when the gods "traced prophecies that from these siblings great mischief and disaster would arise for them" the gods expected a lot of trouble from the three children, partially due to the nature of the mother of the children, yet worse so due to the nature of their father.

High says that Odin sent the gods to gather the children and bring them to him. Upon their arrival, Odin threw Jörmungandr into "that deep sea that lies round all lands", and then threw Hel into Niflheim, and bestowed upon her authority over nine worlds. However, the Æsir brought up the wolf "at home", and only Týr had the courage to approach Fenrir, and give Fenrir food. The gods noticed that Fenrir was growing rapidly every day, and since all prophecies foretold that Fenrir was destined to cause them harm, the gods formed a plan. The gods prepared three fetters: The first, greatly strong, was called Leyding. They brought Leyding to Fenrir and suggested that the wolf try his strength with it. Fenrir judged that it was not beyond his strength, and so let the gods do what they wanted with it. At Fenrir's first kick the bind snapped, and Fenrir loosened himself from Leyding. The gods made a second fetter, twice as strong, and named it Dromi. The gods asked Fenrir to try the new fetter, and that should he break this feat of engineering, Fenrir would achieve great fame for his strength. Fenrir considered that, while the fetter was very strong, his strength had grown since he broke Leyding; and also that he would have to take some risks if he were to become famous. Fenrir allowed them to place the fetter.

When the Æsir exclaimed that they were ready, Fenrir shook himself, knocked the fetter to the ground, strained hard, and kicking with his feet, snapped the fetter – breaking it into pieces that flew far into the distance. High says that, as a result, to "loose from Leyding" or to "strike out of Dromi" have become sayings for when something is achieved with great effort. The Æsir started to fear that they would not be able to bind Fenrir, and so Odin sent Freyr's messenger Skírnir down into the land of Svartálfaheimr to "some dwarfs" and had them make a fetter called Gleipnir. The dwarves constructed Gleipnir from six mythical ingredients. After an exchange between Gangleri and High, High continues that the fetter was smooth and soft as a silken ribbon, yet strong and firm. The messenger brought the ribbon to the Æsir, and they thanked him heartily for completing the task.

The Æsir went out on to the lake Amsvartnir sent for Fenrir to accompany them, and continued to the island Lyngvi (Old Norse "a place overgrown with heather"). The gods showed Fenrir the silken fetter Gleipnir, told him to tear it, stated that it was much stronger than it appeared, passed it among themselves, used their hands to pull it, and yet it did not tear. However, they said that Fenrir would be able to tear it, to which Fenrir replied:

"It looks to me that with this ribbon as though I will gain no fame from it if I do tear apart such a slender band, but if it is made with art and trickery, then even if it does look thin, this band is not going on my legs."

The Æsir said Fenrir would quickly tear apart a thin silken strip, noting that Fenrir earlier broke great iron binds, and added that if Fenrir wasn't able to break slender Gleipnir then Fenrir is nothing for the gods to fear, and as a result would be freed. Fenrir responded:

"If you bind me so that I am unable to release myself, then you will be standing by in such a way that I should have to wait a long time before I got any help from you. I am reluctant to have this band put on me. But rather than that you question my courage, let someone put his hand in my mouth as a pledge that this is done in good faith."

With this statement, all of the Æsir look to one another, finding themselves in a dilemma. Everyone refused to place their hand in Fenrir's mouth until Týr put out his right hand and placed it into the wolf's jaws. When Fenrir kicked, Gleipnir caught tightly, and the more Fenrir struggled, the stronger the band grew. At this, everyone laughed, except Týr, who there lost his right hand. When the gods knew that Fenrir was fully bound, they took a cord called Gelgja (Old Norse "fetter") hanging from Gleipnir, inserted the cord through a large stone slab called Gjöll (Old Norse "scream"), and the gods fastened the stone slab deep into the ground. After, the gods took a great rock called Thviti (Old Norse "hitter, batterer"), and thrust it even further into the ground as an anchoring peg. Fenrir reacted violently; he opened his jaws very wide, and tried to bite the gods. Then the gods thrust a sword into his mouth. Its hilt touched the lower jaw and its point the upper one; by means of it the jaws of the wolf were spread apart and the wolf gagged. Fenrir "howled horribly", saliva ran from his mouth, and this saliva formed the river Ván (Old Norse "hope"). There Fenrir will lie until Ragnarök. Gangleri comments that Loki created a "pretty terrible family" though important, and asks why the Æsir did not just kill Fenrir there since they expected great malice from him. High replies that "so greatly did the gods respect their holy places and places of sanctuary that they did not want to defile them with the wolf's blood even though the prophecies say that he will be the death of Odin."

Gylfaginning chapters 38 and 51

In chapter 38, High says that there are many men in Valhalla, and many more who will arrive, yet they will "seem too few when the wolf comes". In chapter 51, High foretells that as part of the events of Ragnarök, after Fenrir's son Sköll has swallowed the sun and his other son Hati Hróðvitnisson has swallowed the moon, the stars will disappear from the sky. The earth will shake violently, trees will be uprooted, mountains will fall, and all binds will snap – Fenrisúlfr will be free. Fenrisúlfr will go forth with his mouth opened wide, his upper jaw touching the sky and his lower jaw the earth, and flames will burn from his eyes and nostrils. Later, Fenrisúlfr will arrive at the field Vígríðr with his sibling Jörmungandr. With the forces assembled there, an immense battle will take place. During this, Odin will ride to fight Fenrisúlfr. During the battle, Fenrisúlfr will eventually swallow Odin, killing him, and Odin's son Víðarr will move forward and kick one foot into the lower jaw of the wolf. This foot will bear a legendary shoe "for which the material has been collected throughout all time". With one hand, Víðarr will take hold of the wolf's upper jaw and tear apart his mouth, killing Fenrisúlfr. High follows this prose description by citing various quotes from Völuspá in support, some of which mention Fenrir.

Skáldskaparmál and Háttatal
In the Epilogue section of the Prose Edda book Skáldskaparmál, a euhemerized monologue equates Fenrisúlfr to Pyrrhus, attempting to rationalize that "it killed Odin, and Pyrrhus could be said to be a wolf according to their religion, for he paid no respect to places of sanctuary when he killed the king in the temple in front of Thor's altar." In chapter 2, "wolf's enemy" is cited as a kenning for Odin as used by the 10th century skald Egill Skallagrímsson. In chapter 9, "feeder of the wolf" is given as a kenning for Týr and, in chapter 11, "slayer of Fenrisúlfr" is presented as a kenning for Víðarr. In chapter 50, a section of Ragnarsdrápa by the 9th century skald Bragi Boddason is quoted that refers to Hel, the being, as "the monstrous wolf's sister". In chapter 75, names for wargs and wolves are listed, including both "Hróðvitnir" and "Fenrir". "Fenrir" appears twice in verse as a common noun for a "wolf" or "warg" in chapter 58 of Skáldskaparmál, and in chapter 56 of the book Háttatal. Additionally, the name "Fenrir" can be found among a list of jötnar in chapter 75 of Skáldskaparmál.

Heimskringla

At the end of the Heimskringla saga Hákonar saga góða, the poem Hákonarmál by the 10th century skald Eyvindr skáldaspillir is presented. The poem is about the fall of King Haakon I of Norway; although he is Christian, he is taken by two valkyries to Valhalla, and is there received as one of the Einherjar. Towards the end of the poem, a stanza relates sooner will the bonds of Fenrir snap than as good a king as Haakon shall stand in his place:

Thorwald's Cross

Thorwald's Cross, a partially surviving runestone erected at Kirk Andreas on the Isle of Man, depicts a bearded human holding a spear downward at a wolf, his right foot in its mouth, while a large bird sits at his shoulder. Rundata dates it to 940, while Pluskowski dates it to the 11th century. This depiction has been interpreted as Odin, with a raven or eagle at his shoulder, being consumed by Fenrir at Ragnarök. On the reverse of the stone is another image parallel to it that has been described as Christ triumphing over Satan. These combined elements have led to the cross as being described as "syncretic art"; a mixture of pagan and Christian beliefs.

Gosforth Cross
The mid-11th century Gosforth Cross, located in Cumbria, England, has been described as depicting a combination of scenes from the Christian Judgement Day and the pagan Ragnarök. The cross features various figures depicted in Borre style, including a man with a spear facing a monstrous head, one of whose feet is thrust into the beast's forked tongue and on its lower jaw, while a hand is placed against its upper jaw, a scene interpreted as Víðarr fighting Fenrir. This depiction has been theorized as a metaphor for Christ's defeat of Satan.

Ledberg stone

The 11th century Ledberg stone in Sweden, similarly to Thorwald's Cross, features a figure with his foot at the mouth of a four-legged beast, and this may also be a depiction of Odin being devoured by Fenrir at Ragnarök. Below the beast and the man is a depiction of a legless, helmeted man, with his arms in a prostrate position. The Younger Futhark inscription on the stone bears a commonly seen memorial dedication, but is followed by an encoded runic sequence that has been described as "mysterious", and "an interesting magic formula which is known from all over the ancient Norse world".

Other
If the images on the Tullstorp Runestone are correctly identified as depicting Ragnarök, then Fenrir is shown above the ship Naglfar.

Meyer Schapiro theorizes a connection between the "Hell Mouth" that appears in medieval Christian iconography and Fenrir. According to Schapiro, "the Anglo-Saxon taste for the Hell Mouth was perhaps influenced by the northern pagan myth of the Crack of Doom and the battle with the wolf, who devoured Odin."

Scholars propose that a variety of objects from the archaeological record depict Týr. For example, a Migration Period gold bracteate from Trollhättan, Sweden, features a person receiving a bite on the hand from a beast, which may depict Týr and Fenrir. A Viking Age hogback in Sockburn, County Durham, North East England may depict Týr and Fenrir.

Theories
In reference to Fenrir's presentation in the Prose Edda, Andy Orchard theorizes that "the hound (or wolf)" Garmr, Sköll, and Hati Hróðvitnisson were originally simply all Fenrir, stating that "Snorri, characteristically, is careful to make distinctions, naming the wolves who devour the sun and moon as Sköll and Hati, and describing an encounter between Garm and Týr (who, one would have thought, might like to get his hand on Fenrir) at Ragnarök."

John Lindow says that it is unclear why the gods decide to raise Fenrir as opposed to his siblings Hel and Jörmungandr in Gylfaginning chapter 35, theorizing that it may be "because Odin had a connection with wolves? Because Loki was Odin's blood brother?" Referring to the same chapter, Lindow comments that neither of the phrases that Fenrir's binding result in have left any other traces. Lindow compares Fenrir's role to his father Loki and Fenrir's sibling Jörmungandr, in that they all spend time with the gods, are bound or cast out by them, return "at the end of the current mythic order to destroy them, only to be destroyed himself as a younger generation of gods, one of them his slayer, survives into the new world order." He also points to Fenrir's binding as part of a recurring theme of the bound monster, where an enemy of the gods is bound, but destined to break free at Ragnarok.

Indo-European parallels have been proposed between myths of Fenrir and the Persian demon Ahriman. The Yashts refer to a story where Taxma Urupi rode Angra Mainyu as a horse for thirty years. An elaboration of this allusion is found only in a late Parsi commentary. The ruler Taxmoruw (Taxma Urupi) managed to lasso Ahriman (Angra Mainyu) and keep him tied up while taking him for a ride three times a day. After thirty years, Ahriman outwitted and swallowed Taxmoruw. In a sexual encounter with Ahriman, Jamshid, Taxmoruw's brother, inserted his hand into Ahriman's anus and pulled out his brother's corpse. His hand withered from contact with the diabolic innards. The suggested parallels with Fenrir myths are the binding of an evil being by a ruler figure and the subsequent swallowing of the ruler figure by the evil being (Odin and Fenrir), trickery involving the thrusting of a hand into a monster's orifice and the affliction of the inserted limb (Týr and Fenrir).

Ethologist Valerius Geist wrote that Fenrir's maiming and ultimate killing of Odin, who had previously nurtured him, was likely based on true experiences of wolf-behaviour, seeing as wolves are genetically encoded to rise up in the pack hierarchy and have, on occasion, been recorded to rebel against, and kill, their parents. Geist states that "apparently, even the ancients knew that wolves may turn on their parents and siblings and kill them."

Modern influence
Fenrir appears in modern literature in the poem "Om Fenrisulven og Tyr" (1819) by Adam Gottlob Oehlenschläger (collected in Nordens Guder), the novel Der Fenriswolf by K. H. Strobl, and Til kamp mod dødbideriet (1974) by E. K. Reich and E. Larsen.

Fenrir has been depicted in the artwork Odin and Fenris (1909) and The Binding of Fenris (around 1900) by Dorothy Hardy, Odin und Fenriswolf and Fesselung des Fenriswolfe (1901) by Emil Doepler, and is the subject of the metal sculpture Fenrir by Arne Vinje Gunnerud located on the island of Askøy, Norway.

Fenrir is a highly durable mech option in Pixonic's game War Robots (released as "Walking War Robots" in 2014).

Fenrir appears as an antagonist in the 2020 videogame Assassin's Creed Valhalla, with a story adapted from the events found in Prose Edda.

Fenrir appears in the 2022 game God of War Ragnarök.

General and cited references

 * Crumlin-Pedersen, Ole & Thye, Birgitte Munch (eds.) (1995). The Ship as Symbol in Prehistoric and Medieval Scandinavia: Papers from an International Research Seminar at the Danish National Museum, Copenhagen, 5–7 May 1994. Nationalmuseet. ISBN 87-89384-01-6
 * Davidson, Hilda Ellis. 1993. The Lost Beliefs of Northern Europe. Routledge. ISBN 9780415049368
 * Faulkes, Anthony (Trans.) (1995). Edda. Everyman. ISBN 0-460-87616-3
 * Hollander, Lee Milton (Trans.) (2007). Heimskringla: History of the Kings of Norway . University of Texas Press ISBN 978-0-292-73061-8
 * McKinnell, John. 2005. Meeting the Other in Norse Myth and Legend. D.S. Brewer. ISBN 9781843840428
 * Rundata 2.0 for Windows.
 * McKinnell, John. 2005. Meeting the Other in Norse Myth and Legend. D.S. Brewer. ISBN 9781843840428
 * Rundata 2.0 for Windows.
 * McKinnell, John. 2005. Meeting the Other in Norse Myth and Legend. D.S. Brewer. ISBN 9781843840428
 * Rundata 2.0 for Windows.
 * Rundata 2.0 for Windows.
 * Rundata 2.0 for Windows.
 * Rundata 2.0 for Windows.
 * Rundata 2.0 for Windows.
 * Rundata 2.0 for Windows.

title: Fenrir


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Final Fantasy

Final Fantasy (ファイナルファンタジー) is a fantasy anthology media franchise created by Hironobu Sakaguchi which is owned, developed, and published by Square Enix (formerly Square). The franchise centers on a series of fantasy role-playing video games. The first game in the series was released in 1987, with 16 numbered main entries having been released to date.

The franchise has since branched into other video game genres such as tactical role-playing, action role-playing, massively multiplayer online role-playing, racing, third-person shooter, fighting, and rhythm, as well as branching into other media, including films, anime, manga, and novels.

Final Fantasy is mostly an anthology series with primary installments being stand-alone role-playing games, each with different settings, plots and main characters, but the franchise is linked by several recurring elements, including game mechanics and recurring character names. Each plot centers on a particular group of heroes who are battling a great evil, but also explores the characters' internal struggles and relationships. Character names are frequently derived from the history, languages, pop culture, and mythologies of cultures worldwide. The mechanics of each game involve similar battle systems and maps.

Final Fantasy has been both critically and commercially successful. Several entries are regarded as some of the greatest video games, with the series selling more than 185 million copies worldwide, making it one of the best-selling video game franchises of all time. The series is well known for its innovation, visuals, such as the inclusion of full-motion videos, photorealistic character models, and music by Nobuo Uematsu. It has popularized many features now common in role-playing games, also popularizing the genre as a whole in markets outside Japan.

Games
The first installment of the series was released in Japan on December 18, 1987. Subsequent games are numbered and given a story unrelated to previous games, so the numbers refer to volumes rather than to sequels. Many Final Fantasy games have been localized for markets in North America, Europe, and Australia on numerous video game consoles, personal computers (PC), and mobile phones. As of June 2023, the series includes the main installments from Final Fantasy to Final Fantasy XVI, as well as direct sequels and spin-offs, both released and confirmed as being in development. Most of the older games have been remade or re-released on multiple platforms.

Main series
Three Final Fantasy installments were released on the Nintendo Entertainment System (NES). Final Fantasy was released in Japan in 1987 and in North America in 1990. It introduced many concepts to the console RPG genre, and has since been remade on several platforms. Final Fantasy II, released in 1988 in Japan, has been bundled with Final Fantasy in several re-releases. The last of the NES installments, Final Fantasy III, was released in Japan in 1990, but was not released elsewhere until a Nintendo DS remake came out in 2006.

The Super Nintendo Entertainment System (SNES) also featured three installments of the main series, all of which have been re-released on several platforms. Final Fantasy IV was released in 1991; in North America, it was released as Final Fantasy II. It introduced the "Active Time Battle" system. Final Fantasy V, released in 1992 in Japan, was the first game in the series to spawn a sequel: a short anime series, Final Fantasy: Legend of the Crystals. Final Fantasy VI was released in Japan in 1994, titled Final Fantasy III in North America.

The PlayStation console saw the release of three main Final Fantasy games. Final Fantasy VII (1997) moved away from the two-dimensional (2D) graphics used in the first six games to three-dimensional (3D) computer graphics; the game features polygonal characters on pre-rendered backgrounds. It also introduced a more modern setting, a style that was carried over to the next game. It was also the second in the series to be released in Europe, with the first being Final Fantasy Mystic Quest. Final Fantasy VIII was published in 1999, and was the first to consistently use realistically proportioned characters and feature a vocal piece as its theme music. Final Fantasy IX, released in 2000, returned to the series' roots, by revisiting a more traditional Final Fantasy setting, rather than the more modern worlds of VII and VIII.

Three main installments, as well as one online game, were published for the PlayStation 2. Final Fantasy X (2001) introduced full 3D areas and voice acting to the series, and was the first to spawn a sub-sequel (Final Fantasy X-2, published in 2003). The first massively multiplayer online role-playing game (MMORPG) in the series, Final Fantasy XI, was released on the PS2 and PC in 2002, and later on the Xbox 360. It introduced real-time battles instead of random encounters. Final Fantasy XII, published in 2006, also includes real-time battles in large, interconnected playfields. The game is also the first in the main series to utilize a world used in a previous game, namely the land of Ivalice, which was previously featured in Final Fantasy Tactics and Vagrant Story.

In 2009, Final Fantasy XIII was released in Japan, and in North America and Europe the following year, for PlayStation 3 and Xbox 360. It is the flagship installment of the Fabula Nova Crystallis Final Fantasy series and became the first mainline game to spawn two sub-sequels (XIII-2 and Lightning Returns). It was also the first game released in Chinese and high definition along with being released on two consoles at once. Final Fantasy XIV, a MMORPG, was released worldwide on Microsoft Windows in 2010, but it received heavy criticism when it was launched, prompting Square Enix to rerelease the game as Final Fantasy XIV: A Realm Reborn, this time to the PlayStation 3 as well, in 2013. Final Fantasy XV is an action role-playing game that was released for PlayStation 4 and Xbox One in 2016. Originally a XIII spin-off titled Versus XIII, XV uses the mythos of the Fabula Nova Crystallis series, although in many other respects the game stands on its own and has since been distanced from the series by its developers. The sixteenth mainline entry, Final Fantasy XVI, was released in 2023 for PlayStation 5.

Remakes, sequels and spin-offs
Final Fantasy has spawned numerous spin-offs and metaseries. Several are, in fact, not Final Fantasy games, but were rebranded for North American release. Examples include the SaGa series, rebranded The Final Fantasy Legend, and its two sequels, Final Fantasy Legend II and III. Final Fantasy Mystic Quest was specifically developed for a United States audience, and Final Fantasy Tactics is a tactical RPG that features many references and themes found in the series. The spin-off Chocobo series, Crystal Chronicles series, and Kingdom Hearts series also include multiple Final Fantasy elements. In 2003, the Final Fantasy series' first sub-sequel, Final Fantasy X-2, was released. Final Fantasy XIII was originally intended to stand on its own, but the team wanted to explore the world, characters and mythos more, resulting in the development and release of two sequels in 2011 and 2013 respectively, creating the series' first official trilogy. Dissidia Final Fantasy was released in 2009, a fighting game that features heroes and villains from the first ten games of the main series. It was followed by a prequel in 2011, a sequel in 2015 and a mobile spin-off in 2017. Other spin-offs have taken the form of subseries—Compilation of Final Fantasy VII, Ivalice Alliance, and Fabula Nova Crystallis Final Fantasy. In 2022, Square Enix released an action-role playing title Stranger of Paradise: Final Fantasy Origin developed in collaboration with Team Ninja, which takes place in an alternate, reimagined reality based on the setting of the original Final Fantasy game, depicting a prequel story that explores the origins of the antagonist Chaos and the emergence of the four Warriors of Light. Enhanced 3D remakes of Final Fantasy III and IV were released in 2006 and 2007 respectively. The first installment of the Final Fantasy VII Remake project was released on the PlayStation 4 in 2020. The second and latest installment of the remake trilogy, Final Fantasy VII Rebirth, was released on the PlayStation 5 in 2024.

Film and television
Square Enix has expanded the Final Fantasy series into various media. Multiple anime and computer-generated imagery (CGI) films have been produced that are based either on individual Final Fantasy games or on the series as a whole. The first was an original video animation (OVA), Final Fantasy: Legend of the Crystals, a sequel to Final Fantasy V. The story was set in the same world as the game, although 200 years in the future. It was released as four 30-minute episodes, first in Japan in 1994 and later in the United States by Urban Vision in 1998. In 2001, Square Pictures released its first feature film, Final Fantasy: The Spirits Within. The film is set on a future Earth invaded by alien life forms. The Spirits Within was the first animated feature to seriously attempt to portray photorealistic CGI humans, but was considered a box office bomb and garnered mixed reviews.

A 25-episode anime television series, Final Fantasy: Unlimited, was released in 2001 based on the common elements of the Final Fantasy series. It was broadcast in Japan by TV Tokyo and released in North America by ADV Films.

In 2005, Final Fantasy VII: Advent Children, a feature length direct-to-DVD CGI film, and Last Order: Final Fantasy VII, a non-canon OVA, were released as part of the Compilation of Final Fantasy VII. Advent Children was animated by Visual Works, which helped the company create CG sequences for the games. The film, unlike The Spirits Within, became a commercial success. Last Order, on the other hand, was released in Japan in a special DVD bundle package with Advent Children. Last Order sold out quickly and was positively received by Western critics, though fan reaction was mixed over changes to established story scenes.

Two animated tie-ins for Final Fantasy XV were released as part of a larger multimedia project dubbed the Final Fantasy XV Universe. Brotherhood is a series of five 10-to-20-minute-long episodes developed by A-1 Pictures and Square Enix detailing the backstories of the main cast. Kingsglaive, a CGI film released prior to the game in Summer 2016, is set during the game's opening and follows new and secondary characters. In 2019, Square Enix released a short anime, produced by Satelight Inc, called Final Fantasy XV: Episode Ardyn – Prologue on their YouTube channel which acts as the background story for the final piece of DLC for Final Fantasy XV giving insight into Ardyn's past.

Square Enix also released Final Fantasy XIV: Dad of Light in 2017, an 8-episode Japanese soap opera based, featuring a mix of live-action scenes and Final Fantasy XIV gameplay footage.

As of June 2019, Sony Pictures Television is working on a live-action adaptation of the series with Hivemind and Square Enix. Jason F. Brown, Sean Daniel and Dinesh Shamdasani for Hivemind are the producers while Ben Lustig and Jake Thornton were attached as writers and executive producers for the series.

Other media
Several video games have either been adapted into or have had spin-offs in the form of manga and novels. The first was the novelization of Final Fantasy II in 1989, and was followed by a manga adaptation of Final Fantasy III in 1992. The past decade has seen an increase in the number of non-video game adaptations and spin-offs. Final Fantasy: The Spirits Within has been adapted into a novel, the spin-off game Final Fantasy Crystal Chronicles has been adapted into a manga, and Final Fantasy XI had a novel and manga set in its continuity. Seven novellas based on the Final Fantasy VII universe have also been released. The Final Fantasy: Unlimited story was partially continued in novels and a manga after the anime series ended. The Final Fantasy X and XIII series have also had novellas and audio dramas released. Final Fantasy Tactics Advance has been adapted into a radio drama, and Final Fantasy: Unlimited has received a radio drama sequel.

A trading card game named Final Fantasy Trading Card Game is produced by Square Enix and Hobby Japan, first released Japan in 2012 with an English version in 2016. The game has been compared to Magic: the Gathering, and a tournament circuit for the game also takes place.

Common elements
Although most Final Fantasy installments are independent, many gameplay elements recur throughout the series. Most games contain elements of fantasy and science fiction and feature recycled names often inspired from various cultures' history, languages and mythology, including Asian, European, and Middle-Eastern. Examples include weapon names like Excalibur and Masamune—derived from Arthurian legend and the Japanese swordsmith Masamune respectively—as well as the spell names Holy, Meteor, and Ultima. Beginning with Final Fantasy IV, the main series adopted its current logo style that features the same typeface and an emblem designed by Japanese artist Yoshitaka Amano. The emblem relates to a game's plot and typically portrays a character or object in the story. Subsequent remakes of the first three games have replaced the previous logos with ones similar to the rest of the series.

Plot and themes

The central conflict in many Final Fantasy games focuses on a group of characters battling an evil, and sometimes ancient, antagonist that dominates the game's world. Stories frequently involve a sovereign state in rebellion, with the protagonists taking part in the rebellion. The heroes are often destined to defeat the evil, and occasionally gather as a direct result of the antagonist's malicious actions. Another staple of the series is the existence of two villains; the main villain is not always who it appears to be, as the primary antagonist may actually be subservient to another character or entity. The main antagonist introduced at the beginning of the game is not always the final enemy, and the characters must continue their quest beyond what appears to be the final fight.

Stories in the series frequently emphasize the internal struggles, passions, and tragedies of the characters, and the main plot often recedes into the background as the focus shifts to their personal lives. Games also explore relationships between characters, ranging from love to rivalry. Other recurring situations that drive the plot include amnesia, a hero corrupted by an evil force, mistaken identity, and self-sacrifice. Magical orbs and crystals are recurring in-game items that are frequently connected to the themes of the games' plots. Crystals often play a central role in the creation of the world, and a majority of the Final Fantasy games link crystals and orbs to the planet's life force. As such, control over these crystals drives the main conflict. The classical elements are also a recurring theme in the series related to the heroes, villains, and items. Other common plot and setting themes include the Gaia hypothesis, an apocalypse, and conflicts between advanced technology and nature.

Characters
The series features a number of recurring character archetypes. Most famously, every game since Final Fantasy II, including subsequent remakes of the original Final Fantasy, features a character named Cid. Cid's appearance, personality, goals, and role in the game (non-playable ally, party member, villain) vary dramatically, but two characteristics many versions of Cid have in common are being a scientist or engineer, and being tied in some way to an airship the party eventually acquires. Every Cid has at least one of these two traits.

Biggs and Wedge, inspired by two Star Wars characters of the same name, appear in numerous games as minor characters, sometimes as comic relief. The later games in the series feature several males with effeminate characteristics. Recurring creatures include Chocobos, Moogles, and Cactuars. Chocobos are large, often flightless birds that appear in several installments as a means of long-distance travel for characters. Moogles are white, stout creatures resembling teddy bears with wings and a single antenna. They serve different roles in games including mail delivery, weaponsmiths, party members, and saving the game. Cactuars are anthropomorphic cacti with haniwa-like faces presented in a running or dashing pose. They usually appear as recurring enemy units, and also as summoned allies or friendly non-player characters in certain titles. Chocobo and Moogle appearances are often accompanied by specific musical themes that have been arranged differently for separate games.

Gameplay
In Final Fantasy games, players command a party of characters as they progress through the game's story by exploring the game world and defeating enemies. Enemies are typically encountered randomly through exploring, a trend which changed in Final Fantasy XI and XII. The player issues combat orders—like "Fight", "Magic", and "Item"—to individual characters via a menu-driven interface while engaging in battles. Throughout the series, the games have used different battle systems. Prior to Final Fantasy XI, battles were turn-based with the protagonists and antagonists on different sides of the battlefield. Final Fantasy IV introduced the "Active Time Battle" (ATB) system that augmented the turn-based nature with a perpetual time-keeping system. Designed by Hiroyuki Ito, it injected urgency and excitement into combat by requiring the player to act before an enemy attacks, and was used until Final Fantasy X, which implemented the "Conditional Turn-Based" (CTB) system. This new system returned to the previous turn-based system, but added nuances to offer players more challenge. Final Fantasy XI adopted a real-time battle system where characters continuously act depending on the issued command. Final Fantasy XII continued this gameplay with the "Active Dimension Battle" system. Final Fantasy XIII's combat system, designed by the same man who worked on X, was meant to have an action-oriented feel, emulating the cinematic battles in Final Fantasy VII: Advent Children. Final Fantasy XV introduces a new "Open Combat" system. Unlike previous battle systems in the franchise, the "Open Combat" system (OCS) allows players to take on a fully active battle scenario, allowing for free range attacks and movement, giving a much more fluid feel of combat. This system also incorporates a "Tactical" Option during battle, which pauses active battle to allow use of items.

Like most RPGs, the Final Fantasy installments use an experience level system for character advancement, in which experience points are accumulated by killing enemies. Character classes, specific jobs that enable unique abilities for characters, are another recurring theme. Introduced in the first game, character classes have been used differently in each game. Some restrict a character to a single job to integrate it into the story, while other games feature dynamic job systems that allow the player to choose from multiple classes and switch throughout the game. Though used heavily in many games, such systems have become less prevalent in favor of characters that are more versatile; characters still match an archetype, but are able to learn skills outside their class.

Magic is another common RPG element in the series. The method by which characters gain magic varies between installments, but is generally divided into classes organized by color: "White magic", which focuses on spells that assist teammates; "Black magic", which focuses on harming enemies; "Red magic", which is a combination of white and black magic, "Blue magic", which mimics enemy attacks; and "Green magic" which focuses on applying status effects to either allies or enemies. Other types of magic frequently appear such as "Time magic", focusing on the themes of time, space, and gravity; and "Summoning magic", which evokes legendary creatures to aid in battle and is a feature that has persisted since Final Fantasy III. Summoned creatures are often referred to by names like "Espers" or "Eidolons" and have been inspired by mythologies from Arabic, Hindu, Norse, and Greek cultures.

Different means of transportation have appeared through the series. The most common is the airship for long range travel, accompanied by chocobos for travelling short distances, but others include sea and land vessels. Following Final Fantasy VII, more modern and futuristic vehicle designs have been included.

Origin
In the mid-1980s, Square entered the Japanese video game industry with simple RPGs, racing games, and platformers for Nintendo's Famicom Disk System. In 1987, Square designer Hironobu Sakaguchi chose to create a new fantasy role-playing game for the cartridge-based NES, and drew inspiration from popular fantasy games: Enix's Dragon Quest, Nintendo's The Legend of Zelda, and Origin Systems's Ultima series. Though often attributed to the company allegedly facing bankruptcy, Sakaguchi explained that the game was his personal last-ditch effort in the game industry and that its title, Final Fantasy, stemmed from his feelings at the time; had the game not sold well, he would have quit the business and gone back to college. Despite his explanation, publications have also attributed the name to the company's hopes that the project would solve its financial troubles. In 2015, Sakaguchi explained the name's origin: the team wanted a title that would abbreviate to "FF", which would sound good in Japanese. The name was originally going to be Fighting Fantasy, but due to concerns over trademark conflicts with the roleplaying gamebook series of the same name, they needed to settle for something else. As the English word "Final" was well-known in Japan, Sakaguchi settled on that. According to Sakaguchi, any title that created the "FF" abbreviation would have done.

The game indeed reversed Square's lagging fortunes, and it became the company's flagship franchise. Following the success, Square immediately developed a second installment. Because Sakaguchi assumed Final Fantasy would be a stand-alone game, its story was not designed to be expanded by a sequel. The developers instead chose to carry over only thematic similarities from its predecessor, while some of the gameplay elements, such as the character advancement system, were overhauled. This approach has continued throughout the series; each major Final Fantasy game features a new setting, a new cast of characters, and an upgraded battle system. Video game writer John Harris attributed the concept of reworking the game system of each installment to Nihon Falcom's Dragon Slayer series, with which Square was previously involved as a publisher. The company regularly released new games in the main series, but the time between the releases of XI (2002), XII (2006), and XIII (2009) were much longer than previous games. Following Final Fantasy XIV, Square Enix released Final Fantasy games either annually or biennially. This switch was to mimic the development cycles of Western games in the Call of Duty, Assassin's Creed and Battlefield series, as well as maintain fan-interest.

Design
For the original Final Fantasy, Sakaguchi required a larger production team than Square's previous games. He began crafting the game's story while experimenting with gameplay ideas. Once the gameplay system and game world size were established, Sakaguchi integrated his story ideas into the available resources. A different approach has been taken for subsequent games; the story is completed first and the game built around it. Designers have never been restricted by consistency, though most feel each game should have a minimum number of common elements. The development teams strive to create completely new worlds for each game, and avoid making new games too similar to previous ones. Game locations are conceptualized early in development and design details like building parts are fleshed out as a base for entire structures.

The first five games were directed by Sakaguchi, who also provided the original concepts. He drew inspiration for game elements from anime films by Hayao Miyazaki; series staples like the airships and chocobos are inspired by elements in Castle in the Sky and Nausicaä of the Valley of the Wind, respectively. Sakaguchi served as a producer for subsequent games until he left Square in 2001. Yoshinori Kitase took over directing the games until Final Fantasy VIII,  and has been followed by a new director for each new game. Hiroyuki Ito designed several gameplay systems, including Final Fantasy Vs "Job System", Final Fantasy VIIIs "Junction System" and the Active Time Battle concept, which was used from Final Fantasy IV until IX. In designing the Active Time Battle system, Ito drew inspiration from Formula One racing; he thought it would be interesting if character types had different speeds after watching race cars pass each other. Ito also co-directed Final Fantasy VI with Kitase. Kenji Terada was the scenario writer for the first three games; Kitase took over as scenario writer for Final Fantasy V through VII. Kazushige Nojima became the series' primary scenario writer from Final Fantasy VII until his resignation in October 2003; he has since formed his own company, Stellavista. Nojima partially or completely wrote the stories for Final Fantasy VII, VIII, X, and its sequel X-2. He also worked as the scenario writer for the spin-off series, Kingdom Hearts. Daisuke Watanabe co-wrote the scenarios for Final Fantasy X and XII, and was the main writer for the XIII games.

Artistic design, including character and monster creations, was handled by Japanese artist Yoshitaka Amano from Final Fantasy through Final Fantasy VI. Amano also handled title logo designs for all of the main series and the image illustrations from Final Fantasy VII onward. Tetsuya Nomura was chosen to replace Amano because Nomura's designs were more adaptable to 3D graphics. He worked with the series from Final Fantasy VII through X, then came back for XIII, and for the basic design of XV. For Final Fantasy IX character designs were handled by Shukō Murase, Toshiyuki Itahana, and Shin Nagasawa. For Final Fantasy XV, Roberto Ferrari was responsible for the character design. Nomura is also the character designer of the Kingdom Hearts series, Compilation of Final Fantasy VII, and Fabula Nova Crystallis: Final Fantasy. Other designers include Nobuyoshi Mihara and Akihiko Yoshida. Mihara was the character designer for Final Fantasy XI, and Yoshida served as character designer for Final Fantasy Tactics, the Square-produced Vagrant Story, and Final Fantasy XII.

Graphics and technology
Because of graphical limitations, the first games on the NES feature small sprite representations of the leading party members on the main world screen. Battle screens use more detailed, full versions of characters in a side-view perspective. This practice was used until Final Fantasy VI, which uses detailed versions for both screens. The NES sprites are 26 pixels high and use a color palette of 4 colors. 6 frames of animation are used to depict different character statuses like "healthy" and "fatigued". The SNES installments use updated graphics and effects, as well as higher quality audio than in previous games, but are otherwise similar to their predecessors in basic design. The SNES sprites are 2 pixels shorter, but have larger palettes and feature more animation frames: 11 colors and 40 frames respectively. The upgrade allowed designers to have characters be more detailed in appearance and express more emotions. The first game includes non-player characters (NPCs) the player could interact with, but they are mostly static in-game objects. Beginning with the second game, Square used predetermined pathways for NPCs to create more dynamic scenes that include comedy and drama.

In 1995, Square showed an interactive SGI technical demonstration of Final Fantasy VI for the then next generation of consoles. The demonstration used Silicon Graphics's prototype Nintendo 64 workstations to create 3D graphics. Fans believed the demo was of a new Final Fantasy game for the Nintendo 64 console. 1997 saw the release of Final Fantasy VII for the Sony PlayStation. The switch was due to a dispute with Nintendo over its use of faster but more expensive cartridges, as opposed to the slower and cheaper, but much higher capacity compact discs used on rival systems. VII introduced 3D graphics with fully pre-rendered backgrounds. It was because of this switch to 3D that a CD-ROM format was chosen over a cartridge format. The switch also led to increased production costs and a greater subdivision of the creative staff for VII and subsequent 3D games in the series.

Starting with Final Fantasy VIII, the series adopted a more photo-realistic look. Like VII, full motion video (FMV) sequences would have video playing in the background, with the polygonal characters composited on top. Final Fantasy IX returned to the more stylized design of earlier games in the series, although it still maintained, and in many cases slightly upgraded, most of the graphical techniques used in the previous two games. Final Fantasy X was released on the PlayStation 2, and used the more powerful hardware to render graphics in real-time instead of using pre-rendered material to obtain a more dynamic look; the game features full 3D environments, rather than have 3D character models move about pre-rendered backgrounds. It is also the first Final Fantasy game to introduce voice acting, occurring throughout the majority of the game, even with many minor characters. This aspect added a whole new dimension of depth to the character's reactions, emotions, and development.

Taking a temporary divergence, Final Fantasy XI used the PlayStation 2's online capabilities as an MMORPG. Initially released for the PlayStation 2 with a PC port arriving six months later, XI was also released on the Xbox 360 nearly four years after its original release in Japan. This was the first Final Fantasy game to use a free rotating camera. Final Fantasy XII was released in 2006 for the PlayStation 2 and uses only half as many polygons as Final Fantasy X, in exchange for more advanced textures and lighting. It also retains the freely rotating camera from XI. Final Fantasy XIII and XIV both make use of Crystal Tools, a middleware engine developed by Square Enix.

Music
Final Fantasy games feature a variety of music, and frequently reuse themes. Most of the games open with a piece called "Prelude", which has evolved from a simple, 2-voice arpeggio in the early games to a complex, melodic arrangement in recent installments. Victories in combat are often accompanied by a victory fanfare, a theme that has become one of the most recognized pieces of music in the series. The basic theme that accompanies Chocobo appearances has been rearranged in a different musical style for most installments. Recurring secret bosses such as Gilgamesh are also used as opportunities to revive their musical themes.

A theme known as the "Final Fantasy Main Theme" or "March", originally featured in the first game, often accompanies the ending credits. Although leitmotifs are common in the more character-driven installments, theme music is typically reserved for main characters and recurring plot elements.

Nobuo Uematsu was the primary composer of the Final Fantasy series until his resignation from Square Enix in November 2004. Other notable composers who have worked on main entries in the series include Masashi Hamauzu, Hitoshi Sakimoto, and Yoko Shimomura. Uematsu was allowed to create much of the music with little direction from the production staff. Sakaguchi, however, would request pieces to fit specific game scenes including battles and exploring different areas of the game world. Once a game's major scenarios were completed, Uematsu would begin writing the music based on the story, characters, and accompanying artwork. He started with a game's main theme, and developed other pieces to match its style. In creating character themes, Uematsu read the game's scenario to determine the characters' personality. He would also ask the scenario writer for more details to scenes he was unsure about. Technical limitations were prevalent in earlier games; Sakaguchi would sometimes instruct Uematsu to only use specific notes. It was not until Final Fantasy IV on the SNES that Uematsu was able to add more subtlety to the music.

Reception
Overall, the Final Fantasy series has been critically acclaimed and commercially successful, though each installment has seen different levels of success. The series has seen a steady increase in total sales; it sold 25 million units by 1999, and reached 100 million units in 2011. By March 2022, the series reached cumulative global physical and digital sales of 173 million units.

Several games within the series have become best-selling games. At the end of 2007, the seventh, eighth, and ninth best-selling RPGs were Final Fantasy VII, VIII, and X respectively. The original Final Fantasy VII has sold over 14.4 million copies worldwide, earning it the position of the best-selling Final Fantasy game. Within two days of Final Fantasy VIII's North American release on September 9, 1999, it became the top-selling video game in the United States, a position it held for more than three weeks. Final Fantasy X sold over 1.4 million Japanese units in pre-orders alone, which set a record for the fastest-selling console RPG. The MMORPG, Final Fantasy XI, reached over 200,000 active daily players in March 2006 and had reached over half a million subscribers by July 2007. Final Fantasy XII sold more than 1.7 million copies in its first week in Japan. By November 6, 2006—one week after its release—XII had shipped approximately 1.5 million copies in North America. Final Fantasy XIII became the fastest-selling game in the franchise, and sold one million units on its first day of sale in Japan. Final Fantasy XIV: A Realm Reborn, in comparison to its predecessor, was a runaway success, originally suffering from servers being overcrowded, and eventually gaining over one million unique subscribers within two months of its launch.

The series has received critical acclaim for the quality of its visuals and soundtracks. In 1996, Next Generation ranked the series collectively as the 17th best game of all time, speaking very highly of its graphics, music and stories. In 1999, Next Generation listed the Final Fantasy series as number 16 on their "Top 50 Games of All Time", commenting that "by pairing state-of-the-art technology with memorable, sometimes shamelessly melodramatic storylines, the series has successfully outlasted its competitors [...] and improved with each new installation". It was awarded a star on the Walk of Game in 2006, making it the first franchise to win a star on the event (other winners were individual games, not franchises). WalkOfGame.com commented that the series has sought perfection as well as having been a risk taker in innovation. In 2006, GameFAQs held a contest for the best video game series ever, with Final Fantasy finishing as the runner-up to The Legend of Zelda. In a 2008 public poll held by The Game Group plc, Final Fantasy was voted the best game series, with five games appearing in their "Greatest Games of All Time" list.

Many Final Fantasy games have been included in various lists of top games. Several games have been listed on multiple IGN "Top Games" lists. Twelve games were listed on Famitsu 2006 "Top 100 Favorite Games of All Time", four of which were in the top ten, with Final Fantasy X and VII coming first and second, respectively. The series holds seven Guinness World Records in the Guinness World Records Gamer's Edition 2008, which include the "Most Games in an RPG Series" (13 main games, seven enhanced games, and 32 spin-off games), the "Longest Development Period" (the production of Final Fantasy XII took five years), and the "Fastest-Selling Console RPG in a Single Day" (Final Fantasy X). The 2009 edition listed two games from the series among the top 50 consoles games: Final Fantasy XII at number 8 and VII at number 20. In 2018, Final Fantasy VII was inducted as a member of the World Video Game Hall of Fame.

However, the series has garnered some criticism. IGN has commented that the menu system used by the games is a major detractor for many and is a "significant reason why they haven't touched the series". The site has also heavily criticized the use of random encounters in the series' battle systems. IGN further stated that the various attempts to bring the series into film and animation have either been unsuccessful, unremarkable, or did not live up to the standards of the games. In 2007, Edge criticized the series for a number of related games that include the phrase "Final Fantasy" in their titles, which are considered inferior to previous games. It also commented that with the departure of Hironobu Sakaguchi, the series might be in danger of growing stale.

Several individual Final Fantasy games have garnered extra attention; some for their positive reception and others for their negative reception. Final Fantasy VII topped GamePro's "26 Best RPGs of All Time" list, as well as GameFAQs "Best Game Ever" audience polls in 2004 and 2005. Despite the success of VII, it is sometimes criticized as being overrated. In 2003, GameSpy listed it as the seventh most overrated game of all time, while IGN presented views from both sides. Dirge of Cerberus: Final Fantasy VII shipped 392,000 units in its first week of release, but received review scores that were much lower than that of other Final Fantasy games. A delayed, negative review after the Japanese release of Dirge of Cerberus from Japanese gaming magazine Famitsu hinted at a controversy between the magazine and Square Enix. Though Final Fantasy: The Spirits Within was praised for its visuals, the plot was criticized and the film was considered a box office bomb. Final Fantasy Crystal Chronicles for the GameCube received overall positive review scores, but reviews stated that the use of Game Boy Advances as controllers was a big detractor. The predominantly negative reception of the original version of Final Fantasy XIV caused then-president Yoichi Wada to issue an official apology during a Tokyo press conference, stating that the brand had been "greatly damaged" by the game's reception.

Rankings and aggregators
Various video game publications have created rankings of the mainline Final Fantasy games. In the table below, the lower the number given, the better the game is in the view of the respective publication. By way of comparison, the ratings provided by Famitsu magazine and the review aggregator Metacritic are also given; in these rows, higher numbers indicate better reviews. Note that Metacritic ratings up until Final Fantasy VII largely represent retrospective reviews from online websites years after their initial release, rather than contemporary reviews from video game magazines at the time of their initial release.

Legacy
Final Fantasy has been influential in the history of video games and game mechanics. Final Fantasy IV is considered a milestone for the genre, introducing a dramatic storyline with a strong emphasis on character development and personal relationships. In 1992, Nintendo's Shigeru Miyamoto noted the impact of Final Fantasy on Japanese role-playing games, stating Final Fantasy's "interactive cinematic approach" with an emphasis on "presentation and graphics" was gradually becoming "the most common style" of Japanese RPG at the time. Final Fantasy VII, having been the first title of the series to be officially released in the PAL territories of Europe and Oceania, is credited as having the largest industry impact of the series, and with allowing console role-playing games to gain global mass-market appeal. VII is considered to be one of the most important and influential video games in the series.

The series affected Square's business on several levels. The commercial failure of Final Fantasy: The Spirits Within resulted in hesitation and delays from Enix during merger discussions with Square. Square's decision to produce games exclusively for the Sony PlayStation—a move followed by Enix's decision with the Dragon Quest series—severed their relationship with Nintendo. Final Fantasy games were absent from Nintendo consoles, specifically the Nintendo 64, for seven years. Critics attribute the switch of strong third-party games like the Final Fantasy and Dragon Quest games to Sony's PlayStation, and away from the Nintendo 64, as one of the reasons behind PlayStation being the more successful of the two consoles. The release of the Nintendo GameCube, which used optical disc media, in 2001 caught the attention of Square. To produce games for the system, Square created the shell company The Game Designers Studio and released Final Fantasy Crystal Chronicles, which spawned its own metaseries within the main franchise. Final Fantasy XI's lack of an online method of subscription cancellation prompted the creation of legislation in Illinois that requires internet gaming services to provide such a method to the state's residents.

The series' popularity has resulted in its appearance and reference in numerous facets of popular culture like anime, TV series, and webcomics. Music from the series has permeated into different areas of culture. Final Fantasy IV's "Theme of Love" was integrated into the curriculum of Japanese school children and has been performed live by orchestras and metal bands. In 2003, Uematsu co-founded The Black Mages, an instrumental rock group independent of Square that has released albums of arranged Final Fantasy tunes. Bronze medalists Alison Bartosik and Anna Kozlova performed their synchronized swimming routine at the 2004 Summer Olympics to music from Final Fantasy VIII. Many of the soundtracks have also been released for sale. Numerous companion books, which normally provide in-depth game information, have been published. In Japan, they are published by Square and are called Ultimania books.

The series has inspired numerous game developers. Fable creator Peter Molyneux considers Final Fantasy VII to be the RPG that "defined the genre" for him. BioWare founder Greg Zeschuk cited Final Fantasy VII as "the first really emotionally engaging game" he played and said it had "a big impact" on BioWare's work. The Witcher 3 senior environmental artist Jonas Mattsson cited Final Fantasy as "a huge influence" and said it was "the first RPG" he played through. Mass Effect art director Derek Watts cited Final Fantasy: The Spirits Within as a major influence on the visual design and art direction of the series. BioWare senior product manager David Silverman cited Final Fantasy XII's gambit system as an influence on the gameplay of Dragon Age: Origins. Ubisoft Toronto creative director Maxime Beland cited the original Final Fantasy as a major influence on him. Media Molecule's Constantin Jupp credited Final Fantasy VII with getting him into game design. Tim Schafer also cited Final Fantasy VII as one of his favourite games.

The Final Fantasy fandom includes large fan organizations like Final Fantasy Union. In 2023, Final Fantasy Union collaborated with British indie publisher Lost in Cult on the sixth volume of the imprint's art journal, Lock-On, which focused on the art of Final Fantasy and Legend of Zelda and featured an exclusive cover illustration of Terra Branford by Yoshitaka Amano alongside interviews with Hironobu Sakaguchi, Nobuo Uematsu, and Matt Mercer.

In October 2007, a fan-made web series of CG action films called Dead Fantasy was created by late web-based animator and writer, Monty Oum. Dead Fantasy featured Final Fantasy characters competing against Dead or Alive characters in battle royale-style brawls.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Final Fantasy


text:
Fatty acid

In chemistry, particularly in biochemistry, a fatty acid is a carboxylic acid with an aliphatic chain, which is either saturated or unsaturated. Most naturally occurring fatty acids have an unbranched chain of an even number of carbon atoms, from 4 to 28. Fatty acids are a major component of the lipids (up to 70% by weight) in some species such as microalgae but in some other organisms are not found in their standalone form, but instead exist as three main classes of esters: triglycerides, phospholipids, and cholesteryl esters. In any of these forms, fatty acids are both important dietary sources of fuel for animals and important structural components for cells.

History
The concept of fatty acid (acide gras) was introduced in 1813 by Michel Eugène Chevreul,  though he initially used some variant terms: graisse acide and acide huileux ("acid fat" and "oily acid").

Types of fatty acids
Fatty acids are classified in many ways: by length, by saturation vs unsaturation, by even vs odd carbon content, and by linear vs branched.

Length of fatty acids

 * Short-chain fatty acids (SCFAs) are fatty acids with aliphatic tails of five or fewer carbons (e.g. butyric acid).
 * Medium-chain fatty acids (MCFAs) are fatty acids with aliphatic tails of 6 to 12 carbons, which can form medium-chain triglycerides.
 * Long-chain fatty acids (LCFAs) are fatty acids with aliphatic tails of 13 to 21 carbons.
 * Very long chain fatty acids (VLCFAs) are fatty acids with aliphatic tails of 22 or more carbons.

Saturated fatty acids
Saturated fatty acids have no C=C double bonds. They have the formula CH$3$(CH$2$)$n$COOH, for different n. An important saturated fatty acid is stearic acid (n = 16), which when neutralized with sodium hydroxide is the most common form of soap.

Unsaturated fatty acids
Unsaturated fatty acids have one or more C=C double bonds. The C=C double bonds can give either cis or trans isomers.

 * cis :A cis configuration means that the two hydrogen atoms adjacent to the double bond stick out on the same side of the chain. The rigidity of the double bond freezes its conformation and, in the case of the cis isomer, causes the chain to bend and restricts the conformational freedom of the fatty acid. The more double bonds the chain has in the cis configuration, the less flexibility it has. When a chain has many cis bonds, it becomes quite curved in its most accessible conformations. For example, oleic acid, with one double bond, has a "kink" in it, whereas linoleic acid, with two double bonds, has a more pronounced bend. α-Linolenic acid, with three double bonds, favors a hooked shape. The effect of this is that, in restricted environments, such as when fatty acids are part of a phospholipid in a lipid bilayer or triglycerides in lipid droplets, cis bonds limit the ability of fatty acids to be closely packed, and therefore can affect the melting temperature of the membrane or of the fat. Cis unsaturated fatty acids, however, increase cellular membrane fluidity, whereas trans unsaturated fatty acids do not.
 * trans : A trans configuration, by contrast, means that the adjacent two hydrogen atoms lie on opposite sides of the chain. As a result, they do not cause the chain to bend much, and their shape is similar to straight saturated fatty acids.

In most naturally occurring unsaturated fatty acids, each double bond has three (n-3), six (n-6), or nine (n-9) carbon atoms after it, and all double bonds have a cis configuration. Most fatty acids in the trans configuration (trans fats) are not found in nature and are the result of human processing (e.g., hydrogenation). Some trans fatty acids also occur naturally in the milk and meat of ruminants (such as cattle and sheep). They are produced, by fermentation, in the rumen of these animals. They are also found in dairy products from milk of ruminants, and may be also found in breast milk of women who obtained them from their diet.

The geometric differences between the various types of unsaturated fatty acids, as well as between saturated and unsaturated fatty acids, play an important role in biological processes, and in the construction of biological structures (such as cell membranes).

Even- vs odd-chained fatty acids
Most fatty acids are even-chained, e.g. stearic (C18) and oleic (C18), meaning they are composed of an even number of carbon atoms. Some fatty acids have odd numbers of carbon atoms; they are referred to as odd-chained fatty acids (OCFA). The most common OCFA are the saturated C15 and C17 derivatives, pentadecanoic acid and heptadecanoic acid respectively, which are found in dairy products. On a molecular level, OCFAs are biosynthesized and metabolized slightly differently from the even-chained relatives.

Branching
Most common fatty acids are straight-chain compounds, with no additional carbon atoms bonded as side groups to the main hydrocarbon chain. Branched-chain fatty acids contain one or more methyl groups bonded to the hydrocarbon chain.

Carbon atom numbering

Most naturally occurring fatty acids have an unbranched chain of carbon atoms, with a carboxyl group (–COOH) at one end, and a methyl group (–CH3) at the other end.

The position of each carbon atom in the backbone of a fatty acid is usually indicated by counting from 1 at the −COOH end. Carbon number x is often abbreviated C-x (or sometimes Cx), with x = 1, 2, 3, etc. This is the numbering scheme recommended by the IUPAC.

Another convention uses letters of the Greek alphabet in sequence, starting with the first carbon after the carboxyl group. Thus carbon α (alpha) is C-2, carbon β (beta) is C-3, and so forth.

Although fatty acids can be of diverse lengths, in this second convention the last carbon in the chain is always labelled as ω (omega), which is the last letter in the Greek alphabet. A third numbering convention counts the carbons from that end, using the labels "ω", "ω−1", "ω−2". Alternatively, the label "ω−x" is written "n−x", where the "n" is meant to represent the number of carbons in the chain.

In either numbering scheme, the position of a double bond in a fatty acid chain is always specified by giving the label of the carbon closest to the carboxyl end. Thus, in an 18 carbon fatty acid, a double bond between C-12 (or ω−6) and C-13 (or ω−5) is said to be "at" position C-12 or ω−6. The IUPAC naming of the acid, such as "octadec-12-enoic acid" (or the more pronounceable variant "12-octadecanoic acid") is always based on the "C" numbering.

The notation Δx,y,... is traditionally used to specify a fatty acid with double bonds at positions x,y,.... (The capital Greek letter "Δ" (delta) corresponds to Roman "D", for Double bond). Thus, for example, the 20-carbon arachidonic acid is Δ5,8,11,14, meaning that it has double bonds between carbons 5 and 6, 8 and 9, 11 and 12, and 14 and 15.

In the context of human diet and fat metabolism, unsaturated fatty acids are often classified by the position of the double bond closest between to the ω carbon (only), even in the case of multiple double bonds such as the essential fatty acids. Thus linoleic acid (18 carbons, Δ9,12), γ-linolenic acid (18-carbon, Δ6,9,12), and arachidonic acid (20-carbon, Δ5,8,11,14) are all classified as "ω−6" fatty acids; meaning that their formula ends with –CH=CH–––––.

Fatty acids with an odd number of carbon atoms are called odd-chain fatty acids, whereas the rest are even-chain fatty acids. The difference is relevant to gluconeogenesis.

Naming of fatty acids
The following table describes the most common systems of naming fatty acids.

Free fatty acids
When circulating in the plasma (plasma fatty acids), not in their ester, fatty acids are known as non-esterified fatty acids (NEFAs) or free fatty acids (FFAs). FFAs are always bound to a transport protein, such as albumin.

FFAs also form from triglyceride food oils and fats by hydrolysis, contributing to the characteristic rancid odor. An analogous process happens in biodiesel with risk of part corrosion.

Industrial
Fatty acids are usually produced industrially by the hydrolysis of triglycerides, with the removal of glycerol (see oleochemicals). Phospholipids represent another source. Some fatty acids are produced synthetically by hydrocarboxylation of alkenes.

By animals
In animals, fatty acids are formed from carbohydrates predominantly in the liver, adipose tissue, and the mammary glands during lactation.

Carbohydrates are converted into pyruvate by glycolysis as the first important step in the conversion of carbohydrates into fatty acids. Pyruvate is then decarboxylated to form acetyl-CoA in the mitochondrion. However, this acetyl CoA needs to be transported into cytosol where the synthesis of fatty acids occurs. This cannot occur directly. To obtain cytosolic acetyl-CoA, citrate (produced by the condensation of acetyl-CoA with oxaloacetate) is removed from the citric acid cycle and carried across the inner mitochondrial membrane into the cytosol. There it is cleaved by ATP citrate lyase into acetyl-CoA and oxaloacetate. The oxaloacetate is returned to the mitochondrion as malate. The cytosolic acetyl-CoA is carboxylated by acetyl-CoA carboxylase into malonyl-CoA, the first committed step in the synthesis of fatty acids.

Malonyl-CoA is then involved in a repeating series of reactions that lengthens the growing fatty acid chain by two carbons at a time. Almost all natural fatty acids, therefore, have even numbers of carbon atoms. When synthesis is complete the free fatty acids are nearly always combined with glycerol (three fatty acids to one glycerol molecule) to form triglycerides, the main storage form of fatty acids, and thus of energy in animals. However, fatty acids are also important components of the phospholipids that form the phospholipid bilayers out of which all the membranes of the cell are constructed (the cell wall, and the membranes that enclose all the organelles within the cells, such as the nucleus, the mitochondria, endoplasmic reticulum, and the Golgi apparatus).

The "uncombined fatty acids" or "free fatty acids" found in the circulation of animals come from the breakdown (or lipolysis) of stored triglycerides. Because they are insoluble in water, these fatty acids are transported bound to plasma albumin. The levels of "free fatty acids" in the blood are limited by the availability of albumin binding sites. They can be taken up from the blood by all cells that have mitochondria (with the exception of the cells of the central nervous system). Fatty acids can only be broken down in mitochondria, by means of beta-oxidation followed by further combustion in the citric acid cycle to CO$3$ and water. Cells in the central nervous system, although they possess mitochondria, cannot take free fatty acids up from the blood, as the blood–brain barrier is impervious to most free fatty acids, excluding short-chain fatty acids and medium-chain fatty acids. These cells have to manufacture their own fatty acids from carbohydrates, as described above, in order to produce and maintain the phospholipids of their cell membranes, and those of their organelles.

Variation between animal species
Studies on the cell membranes of mammals and reptiles discovered that mammalian cell membranes are composed of a higher proportion of polyunsaturated fatty acids (DHA, omega-3 fatty acid) than reptiles. Studies on bird fatty acid composition have noted similar proportions to mammals but with 1/3rd less omega-3 fatty acids as compared to omega-6 for a given body size. This fatty acid composition results in a more fluid cell membrane but also one that is permeable to various ions (H+ & Na+), resulting in cell membranes that are more costly to maintain. This maintenance cost has been argued to be one of the key causes for the high metabolic rates and concomitant warm-bloodedness of mammals and birds. However polyunsaturation of cell membranes may also occur in response to chronic cold temperatures as well. In fish increasingly cold environments lead to increasingly high cell membrane content of both monounsaturated and polyunsaturated fatty acids, to maintain greater membrane fluidity (and functionality) at the lower temperatures.

Fatty acids in dietary fats
The following table gives the fatty acid, vitamin E and cholesterol composition of some common dietary fats.

Reactions of fatty acids
Fatty acids exhibit reactions like other carboxylic acids, i.e. they undergo esterification and acid-base reactions.

Acidity
Fatty acids do not show a great variation in their acidities, as indicated by their respective pKa. Nonanoic acid, for example, has a pK$2$ of 4.96, being only slightly weaker than acetic acid (4.76). As the chain length increases, the solubility of the fatty acids in water decreases, so that the longer-chain fatty acids have minimal effect on the pH of an aqueous solution. Near neutral pH, fatty acids exist at their conjugate bases, i.e. oleate, etc.

Solutions of fatty acids in ethanol can be titrated with sodium hydroxide solution using phenolphthalein as an indicator. This analysis is used to determine the free fatty acid content of fats; i.e., the proportion of the triglycerides that have been hydrolyzed.

Neutralization of fatty acids, one form of saponification (soap-making), is a widely practiced route to metallic soaps.

Hydrogenation and hardening
Hydrogenation of unsaturated fatty acids is widely practiced. Typical conditions involve 2.0–3.0 MPa of H$6$ pressure, 150 °C, and nickel supported on silica as a catalyst. This treatment affords saturated fatty acids. The extent of hydrogenation is indicated by the iodine number. Hydrogenated fatty acids are less prone toward rancidification. Since the saturated fatty acids are higher melting than the unsaturated precursors, the process is called hardening. Related technology is used to convert vegetable oils into margarine. The hydrogenation of triglycerides (vs fatty acids) is advantageous because the carboxylic acids degrade the nickel catalysts, affording nickel soaps. During partial hydrogenation, unsaturated fatty acids can be isomerized from cis to trans configuration.

More forcing hydrogenation, i.e. using higher pressures of H$3$ and higher temperatures, converts fatty acids into fatty alcohols. Fatty alcohols are, however, more easily produced from fatty acid esters.

In the Varrentrapp reaction certain unsaturated fatty acids are cleaved in molten alkali, a reaction which was, at one point of time, relevant to structure elucidation.

Auto-oxidation and rancidity
Unsaturated fatty acids and their esters undergo auto-oxidation, which involves replacement of a C-H bond with C-O bond. The process requires oxygen (air) and is accelerated by the presence of traces of metals, which serve as catalysts. Doubly unsaturated fatty acids are particularly prone to this reaction. Vegetable oils resist this process to a small degree because they contain antioxidants, such as tocopherol. Fats and oils often are treated with chelating agents such as citric acid to remove the metal catalysts.

Ozonolysis
Unsaturated fatty acids are susceptible to degradation by ozone. This reaction is practiced in the production of azelaic acid ((CH$2$)$8$(CO$3$H)$2$) from oleic acid.

Digestion and intake
Short- and medium-chain fatty acids are absorbed directly into the blood via intestine capillaries and travel through the portal vein just as other absorbed nutrients do. However, long-chain fatty acids are not directly released into the intestinal capillaries. Instead they are absorbed into the fatty walls of the intestine villi and reassemble again into triglycerides. The triglycerides are coated with cholesterol and protein (protein coat) into a compound called a chylomicron.

From within the cell, the chylomicron is released into a lymphatic capillary called a lacteal, which merges into larger lymphatic vessels. It is transported via the lymphatic system and the thoracic duct up to a location near the heart (where the arteries and veins are larger). The thoracic duct empties the chylomicrons into the bloodstream via the left subclavian vein. At this point the chylomicrons can transport the triglycerides to tissues where they are stored or metabolized for energy.

Metabolism
Fatty acids are broken down to CO$10$ and water by the intra-cellular mitochondria through beta oxidation and the citric acid cycle. In the final step (oxidative phosphorylation), reactions with oxygen release a lot of energy, captured in the form of large quantities of ATP. Many cell types can use either glucose or fatty acids for this purpose, but fatty acids release more energy per gram. Fatty acids (provided either by ingestion or by drawing on triglycerides stored in fatty tissues) are distributed to cells to serve as a fuel for muscular contraction and general metabolism.

Essential fatty acids
Fatty acids that are required for good health but cannot be made in sufficient quantity from other substrates, and therefore must be obtained from food, are called essential fatty acids. There are two series of essential fatty acids: one has a double bond three carbon atoms away from the methyl end; the other has a double bond six carbon atoms away from the methyl end. Humans lack the ability to introduce double bonds in fatty acids beyond carbons 9 and 10, as counted from the carboxylic acid side. Two essential fatty acids are linoleic acid (LA) and alpha-linolenic acid (ALA). These fatty acids are widely distributed in plant oils. The human body has a limited ability to convert ALA into the longer-chain omega-3 fatty acids — eicosapentaenoic acid (EPA) and docosahexaenoic acid (DHA), which can also be obtained from fish. Omega-3 and omega-6 fatty acids are biosynthetic precursors to endocannabinoids with antinociceptive, anxiolytic, and neurogenic properties.

Distribution
Blood fatty acids adopt distinct forms in different stages in the blood circulation. They are taken in through the intestine in chylomicrons, but also exist in very low density lipoproteins (VLDL) and low density lipoproteins (LDL) after processing in the liver. In addition, when released from adipocytes, fatty acids exist in the blood as free fatty acids.

It is proposed that the blend of fatty acids exuded by mammalian skin, together with lactic acid and pyruvic acid, is distinctive and enables animals with a keen sense of smell to differentiate individuals.

Skin
The stratum corneum – the outermost layer of the epidermis – is composed of terminally differentiated and enucleated corneocytes within a lipid matrix. Together with cholesterol and ceramides, free fatty acids form a water-impermeable barrier that prevents evaporative water loss. Generally, the epidermal lipid matrix is composed of an equimolar mixture of ceramides (about 50% by weight), cholesterol (25%), and free fatty acids (15%). Saturated fatty acids 16 and 18 carbons in length are the dominant types in the epidermis, while unsaturated fatty acids and saturated fatty acids of various other lengths are also present. The relative abundance of the different fatty acids in the epidermis is dependent on the body site the skin is covering. There are also characteristic epidermal fatty acid alterations that occur in psoriasis, atopic dermatitis, and other inflammatory conditions.

Analysis
The chemical analysis of fatty acids in lipids typically begins with an interesterification step that breaks down their original esters (triglycerides, waxes, phospholipids etc.) and converts them to methyl esters, which are then separated by gas chromatography or analyzed by gas chromatography and mid-infrared spectroscopy.

Separation of unsaturated isomers is possible by silver ion complemented thin-layer chromatography. Other separation techniques include high-performance liquid chromatography (with short columns packed with silica gel with bonded phenylsulfonic acid groups whose hydrogen atoms have been exchanged for silver ions). The role of silver lies in its ability to form complexes with unsaturated compounds.

Industrial uses
Fatty acids are mainly used in the production of soap, both for cosmetic purposes and, in the case of metallic soaps, as lubricants. Fatty acids are also converted, via their methyl esters, to fatty alcohols and fatty amines, which are precursors to surfactants, detergents, and lubricants. Other applications include their use as emulsifiers, texturizing agents, wetting agents, anti-foam agents, or stabilizing agents.

Esters of fatty acids with simpler alcohols (such as methyl-, ethyl-, n-propyl-, isopropyl- and butyl esters) are used as emollients in cosmetics and other personal care products and as synthetic lubricants. Esters of fatty acids with more complex alcohols, such as sorbitol, ethylene glycol, diethylene glycol, and polyethylene glycol are consumed in food, or used for personal care and water treatment, or used as synthetic lubricants or fluids for metal working.

title: Fatty acid


text:
Fearless (1993 film)

Fearless is a 1993 American drama film directed by Peter Weir and starring Jeff Bridges, Isabella Rossellini, Rosie Perez and John Turturro. It was written by Rafael Yglesias, adapted from his novel of the same name.

Rosie Perez was nominated for an Academy Award for Best Supporting Actress for her role as Carla Rodrigo. The film was also entered into the 44th Berlin International Film Festival. Jeff Bridges's role as Max Klein is widely regarded as one of the best performances of his career. The film's soundtrack features part of the first movement of Henryk Górecki's Symphony No. 3, subtitled Symphony of Sorrowful Songs. The film's screenwriter was inspired to write the script after he was in a car accident. Yglesias began writing the story after reading about United Airlines Flight 232, that crashed in Sioux City, Iowa, in 1989.

Plot
Max Klein survives an airline crash. The plane plummets, but strangely Max is calm. His calm enables him to dispel fear in the flight cabin. He sits next to Byron Hummel, a young boy flying alone. Flight attendants move through the cabin, telling another passenger, Carla Rodrigo, traveling with an infant, to hold the infant in her lap as the plane plummets out of control, while telling other passengers to buckle into their seats. Max was telling his business partner, Jeff Gordon, of his fear of flying as they took off.

In the aftermath of the crash, most passengers died. Among the few survivors, most are terribly injured. Max is unhurt. The crash site is chaotic, filled with first responders and other emergency personnel. Focusing on the survivors, a team of investigators from the FAA and the airline company conduct interviews. Max is repelled by all the chaos. He is disgusted by the investigators wanting to interview him.

Max rents a car and starts driving home. Along the way, he meets an old girlfriend from high school, Alison. They last met 20 years ago. At the restaurant, Alison notices Max eating a strawberry. Max is allergic to strawberries. Max grins. He finishes the strawberry without an allergic reaction. The next morning, he is accosted by FBI investigators. They question his choice to not contact family to tell them he is fine. The airline representative offers him train tickets. Max asks for airline tickets. He wants to fly home, having no fear of air travel. The airline books him on the flight. They seat him next to Dr. Bill Perlman, the airline's psychiatrist.

Dr. Perlman annoyingly tags behind Max back to his home, prodding him for information about the crash. Max is forced to snap back at the psychiatrist rudely, to be rid of him. Laura Klein, Max's wife, notices the strange behavior. Max seems different, changed somehow. Max's late business partner's wife, Nan Gordon, asks about Jeff's last moments. Max says Jeff died in the crash.

The media call Max "The Good Samaritan" in news reports. The boy Max sat next to, Byron, publicly thanks him in television interviews, for the way he comforted passengers while the plane fell out of control during the crash. Max is a hero.

Max avoids the press and becomes distant from Laura and his son Jonah. His persona is radically changed. He is preoccupied with his new perspective on life following his near-death experience. He begins drawing abstract pictures of the crash. As he survived without injury, he thinks himself invulnerable to death. Because of his confidence, Dr. Perlman encourages Max to meet with another survivor, Carla Rodrigo, whose infant was held in her lap while the plane fell. Carla struggles with survivor's guilt, and is traumatized for not holding onto him tightly enough, although she was following the flight attendant's instructions. Max and Carla develop a close friendship. He helps her to get past the trauma, to free herself from guilt, deliberately crashing his car to show that it was physically impossible for any person to hold onto anything due to the forces of the crash.

Attorney Steven Brillstein encourages Max to exaggerate testimony, to maximize the settlement offer from the airline. Max reluctantly agrees when he is confronted with Nan's financial predicament as a widow. Cognitive dissonance spurs Max to a panic attack. He runs out of the office, to the roof of the building. He climbs onto the roof's edge. As Max stands on the ledge, looking down at the streets below, his panic subsides. He rejoices in fearlessness. Laura finds Max on the ledge. He is spinning around on the ledge with his overcoat billowing across his face.

Brillstein arrives at the Klein home to celebrate the airline's settlement offer. He brings a fruit basket. Max eats one of the strawberries. This time he experiences an allergic reaction. Max is resuscitated by Laura and survives. He recovers his emotional connection to his family, to the world and to the reality of yet another chance at life.

Aesthetic elements
A book containing the painting The Ascent into the Empyrean by Hieronymus Bosch is shown, and it is said that the dying go into the light of heaven "naked and alone". Near the finale as Max lies on the ground, he relives moving from the fuselage of the aircraft and for a moment moves towards the tunnel of light that appears to be modeled on the painting.

Reception
On Rotten Tomatoes, the film has an approval rating of 84% based on reviews from 43 critics, with an average score of 7.8/10. The site's consensus states: "This underrated gem from director Peter Weir features an outstanding performance from Jeff Bridges as a man dealing with profound grief." Audiences polled by CinemaScore gave the film a grade of "B+" on an A+ to F scale.

Roger Ebert of the Chicago Sun-Times gave it three out of four stars, and wrote: "Fearless is like a short story that shines a bright light, briefly, into a corner where you usually do not look." Vincent Canby of The New York Times said: "Mr. Bridges does well with a difficult role", and Todd McCarthy of Variety called it one of Bridges best performances. McCarthy was positive about the film, calling it "beautifully made in all respects", but noted that as a mainstream film about profound issues and emotions, some audiences will appreciate it, but others may find it pretentious. Geoff Andrew of Time Out wrote: "As often with Weir, there's considerably less here than meets the eye."

Home media
With video and audio quality superseding previous home video releases, Fearless was released on Blu-ray Disc by the Warner Archive Collection in November 2013.

title: Fearless (1993 film)


text:
Talk:Fearless (1993 film)

Untitled
Isn't this a spoiler?

It was, but I changed it. Also, a note to whomever wanted to make a subpage for the plot: it's ok to have the plot on the main page, just not any unlabelled spoilers. :-) --KQ

Bias?
The last line reccomends the book series. This is biased. Remove it?

Move and Disambiguation
This page should probably be retitled, and a disambiguation page called 'Fearless' should be put in its place. Disambiguation page would contain link to this page, HMS Fearless, and USS Fearless.

--Durin 01:34, 8 Apr 2005 (UTC)

Easily done. GraemeLeggett 17:03, 11 November 2005 (UTC)

Why spoiler?
I don't think there are any spoilers in the description. It does say his business partner dies, but that is revealed early in the movie and is not really a secret and is not intregal to the plot. I think the spoiler warning should be removed. I'll do it unless someone has an objection.

Broken link
The link to the Fearless clip showing the plane crash scene is broken so I removed it. Risssa (talk) 23:11, 30 November 2012 (UTC)

Original Title
Hey guys, I've never published on wiki. But I do remember this movie because I lived where the crash was filmed. I have a fun fact but don't know how to add it.

Fun fact, Fearless' original title was "Joyride" according to posted signs where the crash was filmed. The crash was filmed in a corn field near Arvin and Bakersfield, California, just off the 99 freeway. On Bear Mountain bulevard, signs needed to be posted informing citizens that it was a movie location because locals were calling 9-1-1 to report an airplane crash. The site was not closed to the public and you could drive through the wreckage. 2603:9008:1D06:FDEF:68BD:D6DF:D5CE:587D (talk) 02:55, 5 January 2022 (UTC)

soundtrack
The soundtrack of the movie contains also Polymorphia by Krzysztof Penderecki 2A01:827:235D:6D01:8AEE:21E4:CCAA:868C (talk) 07:51, 29 March 2024 (UTC)

title: Talk:Fearless (1993 film)