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Final Fantasy Tactics (Fainaru Fantaji Takutikusu?) is a tactical role-playing game developed and published by Square (now Square Enix) for the Sony PlayStation video game console. It is the first game of the Final Fantasy Tactics series and was released in Japan in June 1997 and in the United States in January 1998. The game combines thematic elements of the Final Fantasy video game series with a game engine and battle system unlike those previously seen in the franchise. In contrast to other 32-bit era Final Fantasy titles, Final Fantasy Tactics uses a 3D, isometric, rotatable playing field, with bitmap sprite characters.[4]
Final Fantasy Tactics is set in a fictional medieval-inspired kingdom called Ivalice created by Yasumi Matsuno. The game's story follows Ramza Beoulve, a highborn cadet who finds himself thrust into the middle of an intricate military conflict known as The Lion War, where two opposing noble factions are coveting the throne of the kingdom. As the story progresses, Ramza and his allies discover a sinister plot behind the war.
A spinoff title, Final Fantasy Tactics Advance, was released for the Nintendo Game Boy Advance in 2003 and a sequel to that title, Final Fantasy Tactics A2: Grimoire of the Rift, was released in 2007 for the Nintendo DS. Various other games have also utilized the Ivalice setting, including Vagrant Story for the Playstation and Final Fantasy XII for the Playstation 2. An enhanced port of Final Fantasy Tactics, Final Fantasy Tactics: The War of the Lions, was released in 2007 as part of Square Enix's Ivalice Alliance project.[5] Overall, the game received positive reviews from gaming magazines and websites and has become a cult classic since its release.William Morris was born on March 24, 1834, at Elm House, Walthamstow. Walthamstow in those days was a village above the Lea Valley, on the edge of Epping forest, but comfortably close to Lonmdon. He was the third of nine children (and the oldest son) of William and Emma Shelton Morris. His famile was well-to-do, and during Morris's youth became increasingly wealthy: at twenty-one, Morris (quite ironically, given his later political views) came into an annual income of £900, quite a tidy sum in those days.
Morris's childhood was a happy one. He was spoiled by everyone, and was rather tempermental, as in fact he would be for the rest of his life: he would throw his dinner out of the window if he did not approve of the manner in which it had been prepared. He was smitten at a very early age, as many young gentlemen of his day were, with a great passion for all things mediaeval: at age four he began to read Sir Walter Scott's Waverley Novels, and he had finished them all by the time he was nine. His doting father presented him with a pony and a miniature suit of armor, and, in the character of a diminutive knight-errant, he went off on long quests into the depths of Epping Forest. He was rather a solitary child, close only to his sister Emma, and even in childhood was possessed of a romantic attachment to forests and gardens and flowers and birds which, with his interest in mediaevalism, would recur in his art, his poetry, and his fiction for the rest of his life.
Morris's family belonged to the Evangelical branch of the Church of England — they practiced what he would later refer to as a "rich establishmentarian Puritanism," which, even as a boy, he found distasteful.
In 1847, Morris's father died, and the following year, aged fourteen, he entered Marlborough College, where he did not learn a great deal, but where he came under the influence of the High Church Oxford Movement which had been inaugurated during the 1830's by Newman, Keble, and Pusey. After a riot occured at Marlborough in 1851 (it was rather a boisterous place), Morris left the school to continue his education at home.
In 1853 Morris, who had vague notions of becoming a High-Church Anglican clergyman, entered Exeter College at Oxford, where he met Edward Burne-Jones, who was engaged in similar pursuits: Burne-Jones, who would become one of the greatest of the Pre-Raphaelite artists, would remain Morris's closest friend for the remainder of his life. At Oxford Morris became a member of an undergraduate aesthetic circle which was enamored of an idealized Middle Ages and heavily under the influence of Tennyson's Arthurian poems, Carlyle's Past and Present, and Ruskin's The Stones of Venice. Again, these years were formative: Morris, already possessed by the feeling that he had been "born out of his due time," fell in love with mediaeval art and architecture and with the mediaeval ideals of chivalry and of the communal life. There too Morris began to write poetry which was heavily indebted to the work of Tennyson, Keats, Browning, and, most of all, his beloved Chaucer.
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