Summary

Music has been a crucial aspect ofFinal Fantasy’scontinuing legacy, as industry legends like Nobuo Uematsu and countless others have contributed some absolutely incredible orchestrations to accompany these epic tales of adventure. And when it comes to the villains, that part of theFinal Fantasysoundscape has been a true highlight,as these nefarious antagonistshave some of the best themes in the entire series. As the franchise continued to change and evolve, it was the benefactor of massive hardware innovations that allowed for a marvelous variety of different types of music.

New sound chips allowed for the use of vocals and higher-quality virtual instruments, while older games made use of limited hardware in order to create menacing motifs for these outstanding villains. Some of them, like Sephiroth and Sorceress Edea, rely on signature vocal samples to create their atmosphere, while the themes for Beatrix and Seymour are built around thematic elements that tie into their characterization. The villains ofFinal Fantasyhave proven time and time again to be some of the industry’s greatest, and their musical themes have played a major part in their impact.

Influenced by the figure of the same name from Mesopotamian mythology,Gilgamesh first appeared inFinal Fantasy 5but has since gone on to be a recurring major antagonist in the series. With his first appearance inFF5, Gilgamesh’s theme was known as the Battle on the Big Bridge, which accompanied the epic clash between him and the party on the eponymous bridge.

This pulsing, driving theme became synonymous with Gilgamesh and has accompanied every appearance of the iconic villain, being remixed and upgraded for his later showdowns with other heroes ofFinal Fantasy, includingFF7 Rebirthand countless others. It is a stellar piece of music, with an intoxicating beat and thematic evolution that is still being performed and remixed at concerts to this day.

Landing on the planet Gaia as a cataclysm from the stars, Jenova eliminated the Ancients andwas crucial to the eventsthat would transpire inFinal Fantasy 7. Her theme accompanies several boss battles throughout the game but features similar elements and motifs in each one. Driven by an ascending arpeggio that sounds slightly similar to the Prelude theme from previous titles, it is backed by a memorable tune that has come to define the villain.

First appearing when the party fights Jenova-BIRTH on the cruise ship to Costa del Sol, it later appears in various forms throughout, including battles with Jenova-DEATH. In the incredibleFinal Fantasy 7 Remaketrilogy, Jenova’s theme was upgraded, and its versatility has been proven in the way that it has been woven in and out of the games.

The duplicitous Kuja is one ofFinal Fantasy’smost incredible,yet oft-forgotten villains, as he plots and schemes throughout the ninth mainline entry in order to attain ultimate power and stoke the flames of war. To convey his sinister intentions, Kuja’s theme is filled with malicious intent and features its greatest performance when he leaves the party shattered and broken in Burmecia.

Kuja’s theme features prominently throughoutFinal Fantasy 9, in some of the most stunning CG cutscenes on the PS1, as well as the battle with Trance Kuja during the events of disc four. It is still one of Nobuo Uematsu’s greatest themes, as its evolution from simple piano to a grander, far more nuanced piece of music is outstanding.

Initially presenting himself as an ally of the party, Seymour Guado is a High Priest and Maester of Yevon whose true intentions soon become clear as he becomes embroiled in an all-out war with the party. His simple, yet ominous theme is composed of three oscillating notes that can be played at various tempos in order to display its versatility.

Its greatest performances, however, lie in the various boss encounters with Seymour. The clashes with Seymour Flux and Seymour Omnis feature fully realized versions of the villainous theme and are some ofFinal Fantasy 10’sgreatest moments.

While many ofFinal Fantasy’sgreatest villains have often been the end result of tragedy or fate, Kefka Pallazo is a different breed. This deranged, nihilistic clown is one ofthe most evil and vilecharacters inFinal Fantasyhistory, and his theme articulates that perfectly.

Known as Dancing Mad, this delightfully evil theme evokes feelings of comedy mixed with horror. And in the climactic endgame ofFinal Fantasy 6, the party encounters Kefka with an enormous 17-minute track that features his theme all over it. It brilliantly reflects the character and his bombastic manor, while also being massively impressive for the sound hardware available on the SNES at the time.

3Beatrix (Roses Of May)

Conflicted Knight Of Alexandria Has A Stellar Theme

Beatrix is a loyal soldier to Alexandria inFinal Fantasy 9, as her unhealthy relationship with Queen Brahne and rivalry with Steiner drive her character. Her theme, known as Roses of May, is a soft and gentle theme that is normally played on piano and accompanies her various confrontations with the party. As time goes on, and her relationship with Garnet and the party gets more complex, the theme becomes darker and more tragic asBeatrix transitions from antagonist to hero.

An alternate version of the theme, known as The Wavering Blade, plays during the party’s battles with her in Burmecia and Cleyra. Roses of May is one ofFinal Fantasy 9’smost incredible pieces of music, as it orchestrates the conflict of a soldier fighting for her land, as well as one struggling with who she can trust. To this day, Roses of May has been performed in numerous concerts around the world and is one of the most remixed tracks in the franchise’s history.

Succession of Witches is a theme that is initially attributed to Edea Kramer, the wicked sorceress that clashes with SeeD during the first two discs ofFinal Fantasy 8. As the party comes to discover, Edea is actually possessed by the mind of Ultimecia, a massively powerful woman from the futurewho is destined to dieat the hands of SeeD.

This haunting theme is made up of a four-part vocal passage that is actually an anagram of Succession of Witches and makes up a large portion of the piece. It plays during the impressive parade sequence in Deiling City, as well as a track called Premonition, where the party battles Edea under the control of Ultimecia. This remarkable piece of music is just one of many incredible tracks heard duringFinal Fantasy 8, as it uses what Nobuo Uematsu learned during the production of One-Winged Angel to create something special.

1Sephiroth (One-Winged Angel)

Operatic Vocal Track Was A Revolution For Video Game Music

Wanting to create something different compared to previous boss battle themes he’d created, series composer Nobuo Uematsu did just that with One-Winged Angel, which plays during the party’s apocalyptic confrontation with Sephiroth in the Northern Cave. The first theme in the entire series to feature vocals, the piece was conceived by Utematsu when he combined four different passages of music into one gigantic, 7-plus minute track.

One-Winged Angel hasbecome synonymous with Sephiroth, as variations and expanded riffs of it are all over theFinal Fantasy 7 Remaketrilogy, and it has been prominently featured in spin-offs, remix CDs, and live performances. It is perhaps the most recognizable piece of music inFinal Fantasyhistory, as its impressive structure and iconic vocals have become a permanent part of the brand. Like many soundtracks on the PS1, it took full advantage of the new hardware, while also working within the limitations, and succeeded brilliantly.