Flashes of lightning illuminate an ominous, stormy sky, accompanied by the sinister strains of a church organ. The camera descends slowly into the maelstrom and the music swells ominously, revealing the game's logo wreathed in flame: FINAL FANTASY VI. It's a striking way to open a game, and every bit as powerful today as it was back in 1994.
But then the organ fades, replaced by a gentle, ethereal melody played delicately on a piano. The camera continues its descent and soon we see a town, Narshe, nestled in a snowy mountain range cowering beneath the storm. The distant pinpricks of warm light coming from the houses are your only clue that anyone lives in this cold, barren place.
This sequence is a masterclass in establishing a mood, and it's amazing what Square was able to squeeze out of the humble SNES. Longtime series composer Nobuo Uematsu often says that Final Fantasy 6 is the score he's most proud of, and rightly so. The piece he wrote for this intro, titled Omen, is up there with his most evocative and impactful work.
Then it's time for a history lesson. As the camera moves across a series of landscapes, we hear the Final Fantasy 6 main theme for the first time and learn about the state of the world. Aeons ago, the discovery and use of magic resulted in a destructive war—and now, amid a booming industrial revolution, it's on the verge of happening all over again.
Then we're introduced to Terra, one of Final Fantasy 6's large ensemble cast, and the closest thing it has to a main character. As the wind howls, three figures in mechanical, magic-infused armour observe Narshe from afar, from the top of a snow-whipped mountain peak. Terra is one of them; the others are Biggs and Wedge, Imperial soldiers.
The soldiers are searching for something called an Esper, which miners have dug up in the many mines that lie beneath Narshe. The Empire wants it, and for reasons that are unclear at this point in the game, they need Terra to help them. Even though you control her briefly, she's not herself. She's been brainwashed to serve the Empire against her will.
Then, after some expository dialogue, we're treated to the Final Fantasy series' greatest opening credits sequence. Taking full advantage of the Mode 7 sprite-scaling tech in the SNES, we see the figures trudging through the snow towards the city, the names of the development team appearing above them. The semi-3D effect still looks great today.
And the music. This is the first time we hear Terra's Theme, one of the most beautiful, stirring pieces of music Uematsu has ever composed. The iconic Western scores of Ennio Morricone are a clear inspiration, and it's a theme laced with mystery and melancholy, but a palpable sense of hope too. It fits the image of the soldiers trekking in the snow perfectly.
But the serenity doesn't last. You rampage through Narshe in your magitek armour, killing any locals who get in your way. The armour is ridiculously overpowered, letting you unleash laser beams and volleys of magic missiles. This scene boldly establishes, in a very direct way, the sheer evilness of the Empire, by making you take part in one of its atrocities.
In just a few short minutes, the game draws you into its world, sets compelling stakes, and introduces an enigmatic main character whose plight you become almost immediately invested in. Everything about this sequence is perfect, down to its tastefully moody colour palette, and it's impressive how atmospheric it still is 30 years later.