Follow TV Tropes


Awesome Music / Final Fantasy XIV

Go To

The game was the former Guinness World Record for most original pieces of music in a video game, so naturally it has quite the massive track list. Both Nobuo Uematsu and Masayoshi Soken had their hand in the game's score, and while their styles differ, players agree that both created a much beloved soundtrack.

Something to keep in mind as you read this section, due to Square's copyright rules for the music in XIV (only being legal if played over actual game footage) it's possible that the songs linked below may have spoilers for their respective boss fights, with the especially major spoilers having warnings. You've been warned!


    open/close all folders 

  • Most of the Legacy city themes were "nice". "Navigator's Glory", the theme of Limsa Lominsa, was awesome. Its only crime is being a little too short and thus tending to get a little tiresome if you spend a real long time in the city. But when you first got off the boat? Whoa. Navigator's Glory was so awesome it was the theme song for the pre-release website for a long time. It, thankfully, wasn't lost to time, as it has been preserved in the form of an orchestrion scroll that you can use and playback on your personal orchestrion anytime.
  • "On Windy Meadows" is a pretty cool and chill guy, playing in the fields of La Noscea. A shame it's reserved for the Limsa Lominsa version of the opening cutscene.
  • "Twilight Over Thanalan" rarely goes without mention, a sweeping piano track originally for Ul'dah, repourposed into cutscene music for more somber moments.
  • "Tears for Mor Dhona", Mor Dhona's 1.0 theme, is imposing and truly awesome, later being reused for Heavensward's Palace of the Dead to capture the lingering dread as you delve deeper into the dungeon.
  • "Quicksand", Thanalan's 1.0 battle theme, goes in hard on the guitar while fighting some enemies. Eventually made its return in 3.5 as the theme of Sohm Al Hard Mode.
  • When it was announced that Uematsu would not be contributing more tracks to XIV going forward after the leadership shake-up at the start of A Realm Reborn's development, people were worried. Who was going to replace him? Some guy named Masayoshi Soken? Who's he? He's never done a Final Fantasy game before! How could his music possibly be as good as the Maestro's? And then the Garuda fight was released. And we heard Fallen Angel. Everybody stopped worrying.
  • And what did Soken follow that up with? "Good King Moggle Mog, Good King Mog! Lord of all the land!" It's "This is Halloween" combined with the Moogle Theme, and given ridiculously absurd and hilarious lyrics (which also describe the boss fight!).
  • Soken then capped off his debut period, and Legacy XIV, with "Rise of the White Raven". A perfect final boss theme for the fight against Nael Deus Darnus, with REALLY freaky lyrics to boot. It makes its glorious return in 5.2 during the second phase of the Ruby Weapon trial.
  • "Answers" is a wonderful combination of epic/awesome. Being played in the final scene of 1.0, it became one of the most memorable songs in the game's history. It comes back as the theme of the Final Boss of the Binding Coil storyline, Bahamut Prime himself. It's played in three sections for the three-phase battle, the best being the third part when he readies Teraflare. Epic.

    A Realm Reborn 
  • "Torn from the Heavens" which is heard in certain dungeon bosses and 30-minute FATEs, deserves a special mention for being an epic Boss Remix for the Prelude theme.
  • "Hard to Miss", the theme of FATE boss battles. An aurally pleasing mix of violins and electric guitars.
  • "Nemesis", the dungeon boss theme for ARR, is an intense orchestral theme highlighting the insurmountable odds the adventurers face, but also their determination to win, come what may.
  • "Penitus", the final dungeon theme in ARR, sets the stage of storming into The Praetorium to destroy the Ultima Weapon. Though intense, it heavily utilizes the instruments associated with Garlemald's music to show that you're stepping into enemy territory.
  • "The Maker's Ruin", initially the first boss theme of the Ultima Weapon, evolved and was reused in appropriate moments around heroic struggles against the odds, namely Ascian Prime and the final showdown with the Warriors of Darkness. It starts slow but kicks into the high part of the song quickly, chanting "Unitas Crystalis" as the heroic sounding music spurs the heroes on united to fight to victory.
  • "Ultima", the theme for the climactic boss of the main story arc, the Ultima Weapon. With high tempo percussion, Ominous Latin Chanting, and a rousing chorus, this theme does a fantastic job of making your final encounter with the story's Big Bad suitably memorable and epic.
  • "Thunderer" is used when you're fighting against the Ascians, and for exceptionally powerful FATEs like Behemoth, Ixion and Notorious Monsters in Eureka such as Pazuzu. Instead of feeling powerful, it's more to instil fear because of what you're fighting against.
  • "From the Ashes", an ominous and melancholy organ instrumental version of "Answers", used when fighting Louisoix Leveilleur as Phoenix in Turn 12.
  • "Thunder Rolls", Ramuh's theme, is quite unique for being very calm and eerie compared to the other primal songs.
  • Shiva's theme, which has two parts, is nothing short of amazing.
    • Phase one, "Footsteps in the Snow", slowly but surely builds up the epic confrontation against the primal, up until Shiva decides to be done with you and casts Diamond Dust.
    • Then with a stomp of the heel, "Oblivion" kicks in, and is radically different from phase one. Opinions may differ on which you prefer, but most agree that both parts are awesome.
  • "A Light in the Storm", the theme of Pharos Sirius, is wonderful with a solo female vocalist representing the Siren. Particularly notable for being extended from a 1:30 song which only played when you entered the dungeon to a 5:23 song which now loops for the entire duration of said dungeon (adding two new movements to the original and repeating a couple portions). That is how awesome that song is, and the change was really appreciated.
  • Gilgamesh is back in FFXIV. Guess what remixed song plays when you fight him in-game (on an actual bridge, no less?). Ladies and gentlemen: Battle on the Big Bridge (FFXIV). Also, Enkidu is a rooster here. For reasons.
  • The Syrcus Tower themes, both its regular ("Out of the Labyrinth") and battle themes ("Shattered"), are fantastic, especially for a remix of a song from Final Fantasy III. On a side note: yes, Soken just loves One Woman Wails.
  • For one of the most acclaimed dungeons of the game, mainly for its atmosphere and its resolution, you have "Dark Vows", the deliciously dark and haunting theme of Tam-Tara Deepcroft (Hard) which will send chills down your spine. Please note the subtle Buddhist chanting (and, once again, the One-Woman Wail).
  • "The Warrens", the theme from Snowcloak, is without a doubt the most soothing music you can hear in the game.

  • "Dragonsong", the main theme of Heavensward, is a beautiful but tragic song of a thousand-year war waging on because of the sins of humanity causing it.
  • The Heavensward cinematic trailer plays a lonely song simply titled "Heavensward". Having barely escaped the fallout of 2.55, it truly tells the struggle of our hero who only has themselves and the remaining Scions left to rely on.
  • The theme of the Heavens' Ward, "The Heavens' Ward", wouldn't feel out of place in Final Fantasy Tactics, befitting Ishgard's "holy crusade".
  • Sohm Al's Theme, "Slumber Eternal". A combination of Chanting, drums and pure awesome.
  • "Contention", the theme for Hraesvelgr's roost, the Zenith, which also plays during emotional moments in the story. A somber piano melody accompanied by a soft violin in the background that will bring a tear to the eye of even the most hardened gamer.
  • "The Mushroomery" is a remix for Heavensward, one many players probably hadn't heard in ages: Matoya's Cave. Quite soothing.
  • "Imagination", from the Aetherochemical Research Facility of Heavensward and "Unbreakable" for the Fractal Continuum.
  • "Stone and Steel" for hunts and general heroic moments in Heavensward and beyond. The march of the beginning and the trumpets later in give a sense of awe as you prepare for the big encounter with a sense of hope. This theme is notably used when you come to finally face down Nidhogg, The Warriors of Darkness and finally but by no means least Fray coming to lend you a hand against Myste in the finale of the Stormblood Dark Knight Quests.
  • Ravana, much like Shiva, has two themes to his name.
    • Phase one, "The Hand that Gives the Rose", combines a militaristic overture with a majestic waltz.
    • His second phase, "Unbending Steel", is similarly militaristic, with a Basso Profondo proclaiming the joy of endless war.
  • "Limitless Blue" and "Woe That is Madness", for Bismarck, are fitting themes for a gigantic and majestic flying whale, with the vocals giving an otherworldly feeling to the whole fight.
  • "Heroes", the Final Boss theme of Heavensward. A panic-inducing theme with an inspiring chorus. Perfect for a fight against essentially the Knights of the Round. Then it gets wonderfully remixed into "Heroes Never Die", heard in the Extreme version's phase one of the fight.
  • With the Warring Triad's debut into the game as boss fights, (Yes, THAT Warring Triad.) it's natural that they have a remastered version of their original boss theme, "Battle To the Death". That's not all they get either! They also have their own theme for phase two!
  • Sephirot the Fiend, gets an epic Industrial Metal Villain Song titled "Fiend". "Say My NAME! Sephirot!"
  • Sophia the Goddess's theme, "Equilibrium", is a mystical but haunting melody of a grieving mother pleading for the goddess' guidance.
  • The boss theme for the Alexander raid series, "Locus", is incredibly catchy with its techno vibes, giving a mechanical and futuristic feel to the whole song. That chorus will remain in your head.
  • The Manipulator's theme, "Metal", an oppressive techno death metal song with hate filled lyrics by the Illuminati leader about restoring Alexander at the cost of all life.
  • Brute Justice from Alexander Midas takes "Locus" and "Metal" and proceeds to combine and remix them into a 70's sentai style battle theme known as "Metal - Brute Justice Mode". It's every bit as amazing as this sounds.
  • For the 12th floor of the Alexander raid, we have a final boss theme dedicated to the titular primal, "Rise". Goblin hip-hop never sounded so awesome. Say it with me: SonicBOOM!
  • "Voidal Manifest", the final boss theme of the Shadow of Mhach Alliance Raid series, is an epic and sweeping piece that's pretty certain to get you pumped.
  • "Revenge Twofold", the theme for bosses from 3.4. A newer theme that does an amazing job of building up the tension and dramatic epic feel that a boss fight should contain complete with a choir of vocals, most notably the final battle with The Griffin/Ilberd on Baelsar's wall, fitting for the payback you are finally able to unleash on him.
  • "Scale and Steel" (major spoiler alert!), originally used in the fight between Omega and Shinryu, then later reused in the first phase of the final boss in Stormblood, perfectly encompasses the clash against a deadly primal.

  • "Revolutions". Unlike the mournful Dragonsong that came before, Revolutions plays more like a march to well revolt.
  • Stormblood, in its launch trailer and the game itself, gives us a little something aside from everything else: the Garlean anthem for Ala Mhigo, "The Measure of Our Reach". With a tenor choir backing it up, it sounds epic and has vibes similar to the Legend of Galactic Heroes national themes (not to mention the actual anthem of the USSR).
  • And then, at the end of the game, there's "The Measure of His Reach" A.K.A. the true, original version of the Ala Mhigan anthem. It's sung off key, by uncoordinated singers. This is why it's awesome - it's the game's cast, and all the rest of the citizens of Ala Mhigo and all the rest of the Resistance, singing it in spontaneous celebration at the city's liberation. It's one of the most genuine songs in the entire game (even if the scene itself falls victim to a bit of unfortunate Special Effects Failure).]]
  • The dungeon boss theme "Triumph", for Stormblood is pretty epic sounding, especially when you realize that the lyrics are an Ala Mhigan chant, calling on you to remember the sacrifices of all the brothers and sisters of Ala Mhigo that died fighting for liberation, before telling you to continue the fight.
  • The daytime theme of the Azim Steppe, "Drowning in the Horizon", is a gorgeous tune with tribal-inspired chanting and percussion that represents the native Xaela tribes of the region. Its nighttime version, "He Rises Above", is a more peaceful version where the tribes slumber for the night.
  • Doma Castle is the climax of the Doma arc; you've successfully rallied the Xaela tribes, you have the support of a Doman militia, and Hien's controversial but bold plan to flood the castle has gone off without a hitch. What kind of song plays? A sombre but powerful ballad? A heroic orchestral piece? Or how about its actual theme, "Gates of the Moon", which could best be described as traditional Japanese funk. A four-to-the-floor kick drum beat accompanies a rocking shamisen and an epic string rendition of the Yanxia theme.
  • Your first major trial in Stormblood is against the kojin kami Susano, who has multiple boss themes. Phase one is "Revelation" an instrumental with a fun and festive drum beat that fits Susano's revelry for combat.
  • Lakshmi, meanwhile, has the Bollywood-esque "Beauty's Wicked Wiles", her followers singing about their dreams of bliss.
  • The Final Boss theme of Stormblood "The Worm's Tail" (major spoiler alert!), kicks in for phase two after Zenos grows bored of fighting and decides to take it to the heavens above. The setting, the chorus of vocals, facing down Zenos inhabiting the primal Shinryu among the heavens. It makes you think, "this...THIS is a battle fitting the Warriors of Light".
  • From Omega Deltascape Savage, we get a new remastered version of Neo Exdeath's theme "Final, Not Final". Nothingness won't strike us down soon, Exdeath!
  • The music for the Byakko fight introduced in patch 4.2.
    • The phase 1 theme, "Answer on High" - which is re-used for the first phase of Suzaku and Seiryu's fights as well - is a slow, chugging rock song with traditional Japanese instruments that sets the stage for the fight with the great auspices.
    • The second theme, "Todoroki", plays during the transition where you are thrown up and fall through the sky. The fast shamisen arpeggios and ethereal synths emulate the feeling of being swept up in a swirling tornado.
    • The phase 3 song and Byakko's theme proper, "Amatsu Kaze", is notably the first boss theme partially sung in Masayoshi Soken's native Japanese tongue (and by Soken himself!). It's a hard rock song that again has traditional Japanese instruments accompanying it. The lyrics are about Byakko's ostracization because of his white fur, but how his friendship with Tenzen encouraged him to harness his rage and the power of the storm. Soken's vocals do an amazing job at capturing Byakko's raw fury, especially during the chorus.
  • The Unending Coil of Bahamut (Ultimate) gives us an extremely difficult boss rush of the original coils. While the raid recycles some tracks for most of the raid, the final phase with Golden Bahamut plays Beyond Redemption. Clearly taking inspiration from the Flames of Truth CGI movie, we are given quite possibly one of the greatest Orchestral Bombings in gaming history.
  • For Omega Sigmascape V.4, we get Dancing Mad, completely remastered. And the Savage version of the fight adds the fourth phase, also remastered. That familiar pipe organ builds as the arena is bathed in golden light and Kefka, now in his god form, descends from the sky with that smile glued to his face that says "Yeah... NOW you're screwed." as the theme kicks into full swing. It's like you're a kid again, playing Final Fantasy VI for the first time.
  • Patch 4.3 brings Earth, Wind, Water as the background music for The Swallow's Compass. It's a short but elegant remix of the theme played in Yanxia. Considering that The Swallow's Compass is the royal mausoleum of the founding father of geomancy, it also serves as a preliminary theme for Geomancers as well.
  • The music that plays during the third phase of the fight against Tsukuyomi, Wayward Daughter (massive spoiler alert!). An extremely tragic theme that makes sense once you consider the context behind the reasoning for the fight against the boss, making good use of having the vocals be primarily in Japanese. This track won the first place in the Fan Favorite Music Poll in mid-late 2018 for a very good reason.
  • Patch 4.4 gives us A Land Long Dead, a somber remix of Penitus from The Praetorium that highlights the aether-drained wasteland of The Burn.
  • Sunrise, Suzaku's theme. It's a beautiful song with Japanese lyrics that expresses Suzaku's emotions from meeting, loving, and losing Tenzen, allowing it to stand out from Byakko's more aggressive sounding theme, helping serve to contrast the two auspices.
  • eScape, from the Alphascape V3.0 fight. A very fast-paced battle theme with robotic-sounding vocals fitting for something out of Omega. The song takes a lot of queues from Imagination and Unbreakable from the Aetherochemical Research Facility and the Fractal Continuum, respectively.
  • Heartless and Form the Heavens, used for the Alphascape V4.0 Normal and Savage versions respectively, are combined Boss Remixes of "Torn from the Heavens" and "The Maker's Ruin". Considering the Alphascape V4.0 Savage had Omega assuming the form of Final Fantasy logo characters and a Weapon-type enemy, it is an epic theme befitting the battle.
  • A Pall Most Murderous from The Ghimlyt Dark is a reprise of three themes at once, blending together to make a an exciting fight in an all-out warzone. It opens up with "Triumph", Stormblood's Leitmotif, shifting into "The Measure of His Reach", the Ala Mhigan anthem, and then "Imperial Will", the theme of Garlemald. This song tells you that this means war.

  • Shadowbringers, which shares the name with the expansion, is a far cry from the other themes. A rough heavy metal guitar accompanies a male singer who sings not only of the endtimes but the end that awaits all life. However, the singer and chorus begin to sing of clutching onto hope despite it all, ultimately showing that the main theme of Shadowbringers is defiance even in the face of oblivion. This is notably the first FFXIV main theme not composed by Nobuo Uematsu, but by Masayoshi Soken. This also plays during the first phase of the final boss fight of Shadowbringers, Hades, and the cutscene leading up to it. Notably, the area it plays in is called the Dying Gasp, with the weather surrounding the area called Termination, perfectly setting the stage for the final showdown.
  • The Dark Which Illuminates the World, the theme of the Crystarium, underlines the magnitude and scale of Shadowbringers' hub city, being the biggest one to date. As the last bastion of hope for The First, it exudes hope and resolution for the world's redemption.
  • Then when the night returns to The Crystarium, Knowledge Never Sleeps becomes available to listen to. Starts out serene, but then swells back to the grandiose tone associated with it complete a breathtaking vocal verse.
  • "Pain in Pleasure", the Everlasting Light theme of Eulmore, is one part regal, two parts eerie. The city lives up to being an extravagant paradise, but is also telling how off it feels, with everyone living blissfully in ignorance. After the end of the main story, the track is replaced with "Indulgence", a cheerful waltz representing the city's reform.
  • Sands of Amber, the theme for Amh Araeng, is an incredibly mellow, ethereal song that suits the desolate desert landscape to a "T."
  • "Paradisaical Predicaments" is Shadowbringers' answer to "Imperial Will". Since there's no Empire to deal with throughout the First, this is used whenever dealing with enemies like Ran'jit, Emet-Selch or finally Elidibus.
  • What Angel Awakes Me, the theme of the boss fight against Titania, is a whimsical piece sung from the King of the Fae's perspective where they regale the player with how much fun they will have tormenting them. You are guaranteed to never have the lyrics "Fa la la la la!" leave your mind!
  • After finding the murals following your battle with the third Lightwarden, there's the somber and hauntingly beautiful Tears in the Rain, which accompanies Emet-Selch's tale of the end of the world that came before The Sundering. This is the moment that finally pulls back the curtain on the true motivations of the Ascians and why they're so desperate to cause the Rejoinings, and is the first moment where Emet-Selch's mask of a trollish schemer begins to slip and reveal his sorrow over the loss of his home and his people, with the greatest tragedy of it all being that no one could remember that it happened.
  • Full Fathom Five, the theme of The Tempest, manages to be mystical and melancholic at the same time. Being the place where the fallen Ascian city of Amaurot rests, it's only fitting. Even more breathtaking is Neath Dark Waters, the theme of the recreated Amaurot. A Lonely Piano Piece backed by the ticking of a clock, emphasizing the nature of a peaceful but bygone time.
  • Then comes the final story dungeon's theme, Mortal Instants. This version is filled with both absolute epicness and despair, at the horrors happening. The ancient world is ending, and there's nothing the Warrior of Light and scions can do about it.
  • Both phases of Shadowbringers' final boss fight with Hades bring awesomeness to the table. First comes a shortened alternate cut of Shadowbringers main theme, "Who Brings Shadow", and the second phase busts out "Invincible", a massive choral orchestration in a similar vein to "The Worm's Tail" but with the heroism dialed past eleven, fittingly enough since this is Zenos's great-grandfather you're fighting.
  • Tomorrow and Tomorrow (warning: footage contains spoilers for the ending of Shadowbringers), the absolutely beautiful vocal theme from the the last part of the first post-final boss cutscene. A sorrowful song befitting the scene of Emet-Selch telling the character to remember that the Ascians once lived before his death, and the following moments involving the Crystal Exarch. The lyrics carry an additional heartwarming sound to them as well.
  • Tomorrow and Tomorrow - Reprise is a beautiful piano solo version that is saved for more emotional scenes throughout the story.
  • So what happens if you mix the Syrcus Tower theme with Omega's eScape? You get the theme of The Twinning: A Long Fall.
  • The theme of Akadaemia Anyder, "Shadows Withal", is a very relaxed jazz theme that stands out from the utter chaos breaking out through the dungeon. In fact, it's a remix of the Ascians' theme "Without Shadow", though you'd certainly be forgiven for not noticing given the wildly different instrumentation.
  • Eden is basically a love letter to Final Fantasy VIII. So what do you hear when you take on the Guardian Force itself? An awesome remix of "Force Your Way", complete with an epic One-Woman Wail to remind us that we're dealing with the very first Sin Eater.
  • "YoRHa: Dark Apocalypse" features an epic reimagining of the ending theme of NieR: Automata, "Weight of the World - Prelude Edition" adding parts of Prelude to the song.
  • Lyhe Mheg, the central area for The Dreamspinners, features The Garden's Gates, a cheery, happy tune taking some leitmotifs from "What Angel Wakes Me", Titania's theme. Considering the Garden of Dreams is a dreamy Sugar Bowl, it fits the tone of the place quite nicely.
  • Insatiable serves as the boss theme for dungeons within Shadowbringers. Unlike the majority of other dungeon themes, which are heroic sounding, this one is full of gritty guitars and heavy beats with sorrowful vocals which serve as a reminder that the heroes in Shadowbringers are fighting a desperate battle for survival, and are not fighting from a position of strength.
  • Patch 5.2 introduces Anamnesis Anyder, and with "Floundering in the Depths" it is basically the jazzier version of "Riptide," the theme to Sastasha.
  • The theme of Ruby Weapon hits hard out the gate with blaring guitars, heavy drums, and ominous chanting. "Beat, the heart of Sabik!"
  • Eden Shiva gets a heartrending remix of her theme in Return to Oblivion, serving for the final boss in Eden's Verse.
  • Once players advanced Ishgard's restoration far enough in the 5.21 patch, "Hearthward" plays in the Firmament, in which several instruments (acoustic guitar, harp, piano, flute, violins, bagpipes) come together to deliver a, at first, peaceful but then bombastic, hopeful and full of positive energy reprise of the city theme song.
  • As a sendoff to your adventures in The First, The Heroes' Gauntlet plays "Where All Roads Lead" a medley of all the overworld themes in Norvrandt, which perfectly encapsulates the urgency of you fighting and scrambling to The Crystarium. The themes that play are even in order of the Gauntlet too, starting from your flight from Eulmore (Kholusia), crashing into Amh Araeng, getting teleported to Il Mheg, then making your way through Lakeland, with the Rak'Tika Greatwood capping it off.
  • Patch 5.3 introduces one of the best boss themes, "To the Edge" (massive spoiler alert!), to serve as a Triumphant Reprise of the Amaurot and Shadowbringers main themes, especially since the boss in question has shown his true form as the Warrior of Light!
  • The final boss of the Puppet's Bunker, the second tier of the YoRHa: Dark Apocalypse has "Torn from the Heavens/The Dark Colossus Destroys All (Medley)" for the final boss theme against Compound 2P, walking mass of bodies made to resemble not only 2P, but her sword as well.
  • "Freshly Glazed Porxies", the theme for Matoya's Relict, is what happens when Banjo-Kazooie meets Matoya's theme.
  • "Don't Be Afraid", the theme for Eden's Promise: Umbra, heralds the Cloud of Darkness from Dissidia.
  • The third part of Eden's Promise is "The Legendary Beast", the beast this time being Fatebreaker, a Primal made up of both Ryne's jailer Ran'jit, and her liberator Thancred.
  • Patch 5.4 gives some seriously powerful music, especially with "Promises to Keep", the theme for the final battle against Eden's Promise, since you're fighting not only to save Gaia, but also drive out the Ascian responsible for not just Eden, but the Flood of Light to begin with!
  • The Savage Version of Eden's Promise: Eternity gives the long-awaited FF14 version of "The Extreme," a fitting final battle theme against the Oracle of Darkness, Gaia.
  • "The Black Wolf Stalks Again," the second theme for the Emerald Weapon battle as the Oversoul reveals Gaius van Baelsar as the dreaded Black Wolf who conquered Werlyt. Take "Imperial Will", mix in some heavy rock guitar that shreds, and you get this.
  • Paglth'an's theme, "Seven Flames", is a hard rock remix of the amaal'jaa beast tribe theme as the Eorzean Alliance fights through not just tempered forces of all sides, but also Meracydian dragons from the Allagan era. It also helps that your ace up the sleeve is Tiamat.
  • "In the Arms of War," the only boss theme for Diamond Weapon which is a new version of "Ultima" fights the last and greatest of the Weapons to date. It also doubles as a Triumphant Reprise for the newly upgraded G-Warrior with G-Savior Mecha Expansion Pack, that just conveys the determination of those involved to end the tragedy and woe caused by the Weapon Project and would fit right into a Mecha genre anime's sound track.
  • "Kainé (Final Fantasy Main Theme Ver.). Keiichi Okabe caps off the final raid of YoHRa: Dark Apocalypse with an absolutely beautiful arrangement of both Kainé's theme and the leitmotif of the entire Final Fantasy series.

How well does it match the trope?

Example of:


Media sources: