Final Fantasy VIII: Original Soundtrack

Final Fantasy VIII: Original Soundtrack is the complete soundtrack for Final Fantasy VIII composed by Nobuo Uematsu. The soundtrack includes liner notes with a message from the composer; an interview with Uematsu called "Privately Attack Nobuo Uematsu with Questions"; lyrics to "Liberi Fatali" in Latin and Japanese (kana); lyrics to "Eyes on Me" in English and kana; and main characters' portraits and screenshots from some of the game's FMVs.

Two arranged albums, FITHOS LUSEC WECOS VINOSEC: Final Fantasy VIII and Piano Collections: Final Fantasy VIII, have also been released.

Development[]

Uematsu did not use multiple sources to find MIDI instruments, instead using a Roland SC88 synthesizer for the entire score. Uematsu wrote notes based on character designs and screenplays, creating a general picture of the songs' moods. He could not express a character's emotions solely with plot, instead using images of appearance and attire.

It's important to know when their emotions are at their height, but it usually takes until a month before release for them to finish the ending dialogue!

Nobuo Uematsu

Uematsu wrote no character themes for Final Fantasy VIII because he found them largely ineffective.^[1] The only times he decided to include a personal theme was whenever a character was highlighted. The romance between Squall and Rinoa resulted in the creation of the game's vocal theme, "Eyes on Me".

The Final Fantasy VIII soundtrack was the first for all of its tracks to bear English language titles, with minor deviations. The composition "Ami" derives from the French word ami for "friend".^[2] The song's naming was also inspired by 1986 novel by Chilean writer Enrique Barrios, entitled Ami, el niño de las estrellas.^[2]

The Black Mages have covered more themes from the Final Fantasy VIII soundtrack than from any other soundtrack in the series.

Track list[]

Disc One (62:07)[]

1. Liberi Fatali — 3:07

   The opening theme of Final Fantasy VIII. ^{[note 1]}

2. Balamb GARDEN — 3:29

   The eponymous theme of Balamb Garden. ^{[note 2]}

3. Blue Fields — 2:54

   The game's world map theme. ^{[note 2] [note 3]}

4. Don't Be Afraid — 2:52

   The game's battle theme. ^{[note 2] [note 4]}

5. The Winner — 1:07

   The Victory Fanfare. Plays after winning battles and Triple Triad games. Also plays when the party finishes rehearsal for the Garden Festival.

6. Find Your Way — 3:47

   Plays in the Fire Cavern, Tomb of the Unknown King, Trabia Canyon, Centra Ruins, and the entrance of the Shumi Village. ^{[note 3]}

7. SeeD — 4:16

   The theme for SeeD, plays during mission briefings and related scenes.

8. The Landing — 4:36

   Plays at the beginning of the Siege of Dollet, when the SeeD forces reach the shores. Also plays during the clash of the Gardens when Galbadians on motorcycles start invading Balamb Garden.
   In Final Fantasy VIII Remastered, this theme plays during the credits sequence that may be selected from the main menu.

9. Starting Up — 1:19

   Plays when the Communications Tower in Dollet begins its transmission.

10. Force Your Way — 3:53

    The game's boss battle theme. ^{[note 5]}

11. The Loser — 1:26

    The Game Over track. Incorporates the song "Final Fantasy" at a slower tempo, followed by the "Prelude" in similar fashion.

12. Never Look Back — 3:23

    Plays during suspenseful moments, such as when the party is being chased by the X-ATM092 and when Zell, Quistis, and Selphie go find Squall in the prison.

13. Dead End — 1:11

    Plays when Squall, Zell and Selphie run to the beach of Dollet. Also plays when Squall jumps down from the carousel clock in Deling City.

14. Breezy — 2:43

    Plays in Balamb Town and in the Shumi Hotel.

15. Shuffle or Boogie — 2:04

    Plays during the Triple Triad card battles. ^{[note 3]}

16. Waltz for the Moon — 3:00

    Plays during the Graduation Ball, when Squall first meets Rinoa.

17. Tell Me — 3:24

    Plays when Quistis speaks with Squall in the secret area of the Training Center.

18. Fear — 2:24

    Plays in the Training Center of Balamb Garden.

19. The Man with the Machine Gun — 2:49

    The alternate battle theme, plays whenever Laguna, Kiros, and Ward engage in a fight. ^{[note 2] [note 6]}

20. Julia — 1:23

    Julia Heartilly plays this song on piano at the Galbadia Hotel. This song also plays at the hotel in Shumi Village.
    This song follows the main melody of "Eyes On Me."

21. Roses and Wine — 2:18

    Plays when Laguna and Julia converse at the Galbadia Hotel. Also plays when Squall attempts catching Rinoa in space.

22. Junction — 1:37

    Plays during mysterious moments, most memorably at the Deep Sea Research Center.

23. Timber Owls — 2:51

    Plays during scenes with the Forest Owls.

Disc Two (62:31)[]

1. My Mind — 3:12

   Eventually comes to be a love theme for Squall and Rinoa.
   Follows the melody of "Eyes On Me".

2. The Mission — 3:36

   Plays during the Forest Owls' train mission and during the chaos in Balamb Garden.

3. Martial Law — 3:48

   Plays in Timber.

4. Cactus Jack (Galbadian Anthem) — 1:30

   Plays during Vinzer Deling's speech on live television.

5. Only a Plank Between One and Perdition — 2:24

   Plays in suspenseful scenes, such as when escaping prison and fighting Bahamut and the Ultima Weapon.

6. SUCCESSION OF WITCHES — 3:18

   The first sorceress theme, first plays when the party initially encounters Ultimecia (possessing Edea) in Timber.

7. Galbadia GARDEN — 3:37

   The eponymous theme of Galbadia Garden.

8. Unrest — 2:36

   Plays when the party is waiting at Galbadia Garden.

9. Under Her Control — 3:30

   Plays in Deling City.

10. The Stage is Set — 3:39

    Plays during the preparation to assassinate the sorceress, as well as when the party enters the MD level of Balamb Garden.

11. A Sacrifice — 3:26

    Plays when Edea gives her speech to Deling City.

12. FITHOS LUSEC WECOS VINOSEC — 4:33

    Plays during Edea's parade in Deling City. ^{[note 1] [note 3]}
    The name is an anagram of the phrases "Succession of Witches" and "Love," the two main themes of the game.

13. Intruders — 2:31

    Plays at the sewer system of Deling City, and during Galbadia's invasion in Balamb.

14. Premonition — 4:36

    Plays when the party fights a sorceress, such as Edea, the eleven Sorceresses, and Ultimecia's first form. ^{[note 7]}

15. Wounded — 0:53

    Plays when Squall is injured by Edea at the end of Disc 1 with Edea's Ice Strike Limit Break.

16. Fragments of Memories — 3:13

    Plays in Winhill during Laguna's stay, and during some flashback scenes. ^{[note 1]}

17. Jailed — 3:50

    Plays in the D-District Prison.

18. Rivals — 3:30

    A theme of sorts for Seifer, specifically his rivalry with Squall. The song also plays at Tears' Point.

19. Ami — 4:37

    A friendship theme for Squall and the party. The song first plays when Selphie's party resurfaces in Fisherman's Horizon after sabotaging the Missile Base. ^{[note 1] [note 3]}

Disc Three (63:38)[]

1. The Spy — 3:46

   Plays in the Missile Base, and while in the elevator when first arriving to Esthar.

2. Retaliation — 0:45

   Plays during a cutscene showing the missiles approaching Balamb Garden.

3. Movin' — 5:18

   Plays when Balamb Garden first flies and escapes from the missiles and when Ultimecia (possessing Rinoa) is in space to release Adel.

4. Blue Sky — 0:44

   Plays on the balcony of Balamb Garden after it takes flight if Rinoa is in the party.

5. Drifting — 2:56

   Plays in scenes with Ellone. Also plays when Rinoa is floating in space after Adel's release.

6. Heresy — 4:10

   Plays when the group meets with NORG.

7. Fisherman's Horizon — 3:35

   The eponymous theme of the Fishermans Horizon, and when the party visits Winhill. ^{[note 1] [note 3]}

8. ODEKA ke Chocobo — 1:16

   The theme of Chocobo World, also plays on a road in Winhill where the chicobo appears.
   The title is a pun on the traditional "de" used in Chocobo Theme titles, and "odekake" which means "going out" in Japanese.

9. Where I Belong — 3:40

   Plays in Trabia Garden and somewhat represents Selphie.

10. The Oath — 3:25

    Plays during scenes when Squall's leadership and heroism is highlighted, at the Sorceress Memorial, and when the party, Fujin and Raijin confront Seifer in the Lunatic Pandora. ^{[note 1] [note 3]}

11. Slide Show Part 1 — 1:23

    Plays when Laguna is acting for a movie in Trabia Canyon.

12. Slide Show Part 2 — 1:47

    Plays when Laguna faces the Ruby Dragon during the "movie". ^{[note 3]}

13. Love Grows — 4:28

    Plays during scenes between Squall and Rinoa.
    It shares the central melody of "Eyes On Me". ^{[note 1] [note 4]}

14. The Salt Flats — 3:36

    Plays in the Great Salt Lake.

15. Trust Me — 3:13

    Plays during several scenes between the friends, and also when Laguna is working with the Moomba in the Lunatic Pandora Laboratory.

16. Silence and Motion — 5:47

    Plays in the city of Esthar. ^{[note 3]}

17. Dance with the Balamb-Fish — 3:39

    Plays during the Graduation Ball, in Dollet, and at the Lunar Base. ^{[note 1]}

18. Tears of the Moon — 1:12

    Plays during the Lunar Cry.

19. Residents — 3:06

    Plays on the Ragnarok during the extermination of the Propagators.

20. Eyes On Me — 5:38

    Final Fantasy VIII's theme song. Plays when Squall and Rinoa head home on the Ragnarok.
    Lorewise, the song is sung by Julia about Laguna, and how she feels for him. ^{[note 1] [note 3]}

    • Performed by Faye Wong.

Disc Four (61:14)[]

1. Mods de Chocobo (featuring N's Telecaster) — 2:24

   Plays when Squall enters a Chocobo Forest and also when riding a chocobo.

2. Ride On — 3:03

   Plays when the party flies in the Ragnarok.

3. Truth — 3:40

   Plays at Edea's House and therefore seems to represent her.

4. Lunatic Pandora — 3:28

   The eponymous theme of the Lunatic Pandora.

5. Compression of Time — 4:34

   Plays during the brief state of time compression.

6. The Castle — 5:19

   Plays in Ultimecia Castle. ^{[note 3]}

7. The Legendary Beast — 5:50

   Plays during the fight against Griever, the second tier of the final boss, after Griever uses Shockwave Pulsar.

8. Maybe I'm a Lion — 5:35

   Plays during the battle against Ultimecia's Griever form. ^{[note 6]}

9. The Extreme — 6:44

   Plays during the final battle with Ultimecia's final form. ^{[note 7]}

10. The Successor — 3:37

    Plays during the final scene, when Ultimecia gives her powers to Edea. ^{[note 3]}

11. Ending Theme — 13:20

    The game's ending theme.
    It begins with a mysterious opening that leads into a different arrangement of "Eyes On Me", then plays the series' main theme, the central melody of "Liberi Fatali", and finally the "Prelude", played in a minor key, as opposed to its characteristic major key. ^{[note 1] [note 3]}

12. Overture — 3:36

    Plays during the opening credits.
    Placed as the final track in similar fashion to "The Prelude" on the soundtracks of Final Fantasy V and Final Fantasy VI.

Limited edition[]

A limited edition first print version of the soundtrack was also produced. The cover shows the Final Fantasy VIII logo on a beige background instead of FMV montage, but is now mostly associated with the SonMay and Ever Anime bootleg copy. The limited edition comes in a beige box measuring 10" by 5.75" which opens up like a folder. The liner notes include a "Special Interview" of Nobuo Uematsu done by Yoshitake Maeda, not included in the regular edition. The liner notes with the package are scaled to 10 inches by 5.75 inches and are sewn into the inside cover.

Final Fantasy VIII Music Collection[]

Final Fantasy VIII Music Collection: Music From The Final Fantasy VIII Video Game is the North American release of the Final Fantasy VIII: Original Soundtrack album. While the packaging differs, the tracks and names are the same and it contains the same liner notes (translated into English) as the regular Japanese version. This album was available for a limited time through Square's website.

Liner Notes (translated from the original Japanese)[]

All versions of the Final Fantasy VIII soundtrack include a message from Nobuo Uematsu; the message is in Japanese in the Japanese versions of the soundtrack and can be found in English in the Final Fantasy VIII Music Collection version. The regular Japanese version also includes a "special interview" with Nobuo Uematsu (no translation of this available), and the limited edition also includes an interview with Uematsu, by Yoshitake Maeda, which is not included in the regular edition.

Message from Nobuo Uematsu[]

I received a letter asking for me to answer a survey about me from DigiCube the other day. I was able to answer every question with ease, but I had to stop and think when I put down "I am always happy" when I had to answer the question: "When do you find yourself happy?" Looking over the past few years, I can't remember being unhappy. It may be just that I am spending my summit of my life, but it's not that I haven't had angry or distressing moments. Don't think that middle-aged men don't have any worries!

Well, if I count how many times I have been happy these couple of years, its number well exceeds the number of times I have been put down. I'm sure I am not the only one. Some of you may have no money, but enjoy spending time with your children. You may have been fired, but found some freedom instead. If you have been dumped, you have another chance to start another affair. You may have received a low grade on your test, but maybe you love playing soccer. We go through a great number of experiences. They are fall upon you, so you are the one who must interpret their meanings.

I think that those meanings that you have created become "truths." Even if there is one single event, there could be as many truths as the world's population. If you decide to interpret an event in a negative way, you can only find yourself caught inside an unhappy truth. We can't liberate ourselves from pain by looking back to our distressful past, for we are the ones who are eager to hold on to that pain. It may be a good idea to open up and say "Here I am. I'm ready for anything!", as you disconnect yourself from pain. That is why I decided to have a change of mind this time. I declared myself that I will accept any hardship, and they decided to give me all the hardship possible. (LOL) Right now, my body is like an old towel wet and soaked. ...But it was fun. Concentrating on something is my means of acquiring happiness.

Nobuo Uematsu (1/6/1999)

Limited edition interview with Uematsu[]

I don't know if he agrees, but I think I find a queer relation between me and Nobuo Uematsu. It first started when I started playing Final Fantasy on my Nintendo. The beautiful arpeggio at the title had an impact upon me that was as great as the fanfare in Dragon Quest. Since then, I have become a fan of FF music. I jumped on to the chance when I was brought up a plan about creating an arrangement of FF4 (2 U.S.) music in Ireland a few years later. Irish traditionals are one of my favorite styles of music, so Celtic Moon still is my favorite CD. I remember meeting Shannon Sharon, who is the most renowned accordion player in Ireland. Meeting Nobuo was a greater experience for me, though...!

Anyway, my ardor of Irish music increased significantly by this event. Since then, I have been going to every Irish performance in Japan, as well as Irish cafes nearby. I was surprised when I found out that Nobuo went to the same cafe. He told me that he also had begun to love Irish music, that he began to learn fiddle. At the same time I was into Irish music, I was also into Asian Pops. I even wrote a book called Encyclopedia of Asian Pops. That was why I was excited to hear that Faye Wong was going to sing in FF8. I couldn't believe that Nobuo chose her out of thousands of others. Faye was born in Peking, and started off her career in Hong Kong as a vocalist. She led another new era in Asia as the best singer in the 20th century, too. Hearing that Nobuo chose her, I started to feel that he was my buddy. Of course, I don't know if he agrees.

Where do you start when you start your job?

I read the screenplay first. I usually start with the main theme, but this is probably the hardest task.

Do you get to choose where the main theme comes in?

Yes. I usually choose between playing the main theme, like in the opening and the world map, but I don't know which song is the main theme this time.

Why is that?

At first, I was going to make the opening song the main theme, and to play it in various spots throughout the game. Still, I began to realize that I have always been playing the main theme in the world map. This time, I decided to experiment by not playing the main theme in the world map. In addition, when I created "Eyes On Me," both songs had become the main theme. I, myself, couldn't decide which one to be the main theme. That's why a main theme does not exist in FF8.

Do you get a general picture by reading the screenplay?

There is a secret page for SQUARE staff in the SQUARE home page that includes character designs, screenplays, etc. I print them out because I don't like reading on computers. Then, I start taking notes by blocking scenes by their moods. This way, I can get the general picture of what kinds of songs and how many of them I must write.

Are your song themes affected by the main characters?

Yes, yes. I won't be able to express the emotions of the heroes just by following the plot. For example, I won't be able to tell if a girl is brave and strong or kind and modest by just reading the plot. I need to see how she looks like and how she dresses to have a better idea. The dialogues aren't usually complete at first, but reading them is crucial, too. It's important to know when their emotions are at their height, but it usually takes until a month before release for them to finish the ending dialogue...! (LOL)

Why is it that there are no character themes this time?

Did you realize that? I found that the effect of character themes wasn't as great as I thought in FF6 and 7. It is reasonable to have character themes if each of the main characters has their own highlight in the game, but in FF8, the "main character" is focused in a single couple of Squall and Rinoa. Considering "Eyes On Me," I let the other characters take a step back music-wise.

It's a change of subject, but what kind of an environment do you work in?

I usually come to work on time, turn on my keyboard, and then decide to work. I don't have expensive equipment in my room. I have a hard time trying to learn new machines, so I stick to my old ones. It's a waste of time to go over the manual, search my hard drive, or go get a floppy disk just trying to find a single trumpet synth. I could be coming up with a great melody in the very moment! The only instrument I used is the "Roland SC88," which is a beginners' synth that costs about 50,000 yen (about $400). Just one. The maximum simultaneous sound is like 64 or 128, and I don't need to worry about quality unless I want to have a special traditional instrument. I can't say that its symphonic re-creation is the best, but it has most that I need. Best of all, everything costs only 50,000 yen. I hear that people say that "Nobuo is surrounded by computers these days," but the truth is that I'm really bad at computers.

What do you think of the evolution of gaming machines in music?

Everything is becoming simpler in that I can do anything I want. Because I can have sound sampling in PSX or SNES, it's even possible to surprise the audience by orchestrated hits. Still, I think everything isn't perfect yet. I don't think there is meaning to using sampling to mimic real instruments. If I were to use sampling, I would like to use it in a hip-hop kind of way. I think we're in the midst of a transition from synth game music to recorded game music right now.

What about the NES era?

The NES had only three tracks, and each of their sounds was very unique. I had to focus on the melody itself and think about how each chord will move the audience. I struggled to produce originality in the same three tones, just like any composer from that period. It's amazing to listen to how each of us -- Konami composers, Koichi Sugiyama, and Namco composers -- each had totally different creations by using the same three instruments. There was an originality in "Game Music" back then. In the future, game music will not be much different from movie soundtracks.

Why did you decide to put a vocal song?

Actually, some of us came up with a plan to use a famous vocalist in the ending of FF7. It didn't go through because the plan was too abrupt, and there were no themes or reason in the story for a vocal song to suddenly come up in the ending. On the other hand, the "song" has a meaning in the FF8 plot, and it closely relates to its main characters. That's why I wrote a ballad that I thought would suit the theme. Then, I asked everyone to bring in CDs with vocalists who would match it. We listened to countless CDs in our staff meetings, but none of them seemed to match our expectations...until one CD was played. Everyone looked around and asked, "Who is this...!?" even though it was the first track in the CD. We didn't have second thoughts. Some of you may ask why I chose Faye Wong, but I can't just say that it was my instinct. I didn't even know her when I listened to her CD, but her voice and mood seem to match my image of the song exactly. The fact that she was Chinese fits the international image of Final Fantasy, too.

What kind of a person was Faye Wong?

I wasn't the one who participated in the negotiation, so I couldn't get to know her at first. Still, I found out that she was extraordinary as I gathered her information. She accepted our offer, but the recording had to take place in Hong Kong due to her schedule. Thus, I organized an orchestra and gave her a copy of the tape before everything. Her style was to concentrate alone for a while before recording, and sing in a one-shot deal. She also liked to sing in complete darkness. I have to say she had mystic qualities.

Her mysteriousness is one of her traits.

I think we each received different impressions of her. Still, her skill as a singer is superior. Her voice is truly heavenly.

Do you think game music and regular commercial music would merge together someday?

I don't want to join the competition of pop music. "Eyes On Me" is still game music, although it will be released as a single. I'm not a pops pro, either. Also, game music still doesn't have the characteristics to compete with them. I think it's up to the composer's choice. Some makers would try to create a commercial "hit" of its music, like in the movie "Titanic." Others, like many of the European movies, totally separate from commercialism. That's why different composers will have different goals in game music, too.

Is it difficult to write music that matches the game's atmosphere?

Well, it is said that Final Fantasy is moving away from a "free game" more and more. We, as the creators, know this the best. Some criticize us for this, but we're doing this because we won't be able to find something new unless we try and go forward. If we aren't the ones who experiment, somebody else definitely would. We may stop at a dead end, or we might be able to find a new horizon. We won't know that unless we go on.

Was this idea of Final Fantasy present from the beginning?

...Maybe from about FF3j (unreleased in the U.S.). We have a lot of people who love movies, so maybe that's why we're trying to recreate a movie in a game. Still, we often discuss that we will never be able to catch up to movies just by trying to mimic them. Right now, we're in a land where no one else has stepped in. That is why we think we'll experiment as of now.

Does this "cinematic thinking" come important in song writing?

Yes, definitely. It would be strange not to have Hollywood-style music in the FF8 cinematic action CG movies. Still, I'm not a movie expert, so it's hard for me to write cinematic music.

Then, what genre are you best at writing?

I'm good at writing ballads in the '70s style. I love writing lyrical songs. Still, I try not to be too genre-specific because now is the time that we, game creators, need to find out what we really must do. My task is to make sure that I am able to express the emotions I want to, and not just brushing up on my skills. I think it will be a shame if we won't be able to cry as we play our own game. I think we had some success this time, in that meaning. What do you think?

Promotional CDs[]

A CD titled "Final Fantasy VIII Music Collection" was released as a freebie along with the Japanese PC-version release. The first print of this release has Yoshitaka Amano art on the CD, while the regular version has Quistis's character art drawn by Nomura. The CD includes "The Man With the Machine Gun" and "Mods de Chocobo" from the original soundtrack, "Love Grows" and "The Oath" from FITHOS LUSEC WECOS VINOSEC: Final Fantasy VIII and "Shuffle or Boogie" and "Ami" from the Piano Collections: Final Fantasy VIII album. The catalog number for this release is SQMW-4001.

Another promo-only Final Fantasy VIII music CD exists, called "FINAL FANTASY VIII Original Soundtrack - Special Sampler." Its catalog number is TGCS-624 and it contains a selection of tracks from the original soundtrack. Weirdly, even if the CD has 11 tracks it simply repeats the first five tracks twice, with "Eyes On Me" appearing on the CD three times.

Final Fantasy VIII Original Soundtrack Revival Disc[]

Final Fantasy VIII Original Soundtrack Revival Disc is the complete soundtrack for Final Fantasy VIII on a blu-ray disc with high-quality audio. It includes the ability to view game visuals with the music. MP3 files are also included on the disc for portable music devices.

Bonus tracks[]

This release includes 2 bonus mp3s of songs not included on the original soundtrack They are songs performed by the SELPHY band. They are not included in the blu-ray tracks with game footage.

There are also 3 extra tracks after the original 67 that play alternate video for certain songs.

1. Don't be Afraid (BONUS VER.)
2. Force Your Way - Never Look Back - The Man with the Machine Gun (BONUS VER.)
3. Only a Plank Between One and Perdition (BONUS VER.)

Music samples[]

Sheet music[]

Published by DOREMI Music Publishing, the sheet music book Final Fantasy VIII Original Soundtrack Piano Sheet Music contains Asako Niwa's piano arrangements for the music on the Final Fantasy VIII: Original Soundtrack. The difficulty level is beginner to intermediate.

Unused tracks[]

During the PlayStation demo, the track "Raid on Dollet" plays, which was replaced by "The Landing" in the final game, with "Raid on Dollet" not being included in the game's original soundtrack. Although no official reasoning has been given, it is presumed that "Raid on Dollet" was taken out due to sounding too similar to the theme of the film The Rock, composed by Nick Glennie-Smith and Hans Zimmer. There also exists an earlier version of the track, "Attacking Dollet", which received slight quality improvements.

The demo also uses slightly different versions of "Don't Be Afraid", "The Winner", "The Loser", and "Never Look Back" and does not feature "Force Your Way". A version of "Prelude" plays in the PlayStation demo's menu that isn't included in the full game.

Copies of Parasite Eve included a bonus disc containing a trailer of Final Fantasy VIII with footage of the demo, featuring a different battle UI and an unused track, "Visions of Dollet".^[3] The theme was later used in trailers for Final Fantasy X included with copies of Final Fantasy: The Spirits Within.^[4][5][6]

See also[]

• FITHOS LUSEC WECOS VINOSEC: Final Fantasy VIII
• Piano Collections: Final Fantasy VIII

Notes[]

External links[]

• Official Site - Final Fantasy VIII Original Soundtrack Revival Disc
• VGMdb - Final Fantasy VIII Original Soundtrack
• VGMdb - Final Fantasy VIII Original Soundtrack (Limited Edition)
• VGMdb - Final Fantasy VIII Original Soundtrack (re-release)
• VGMdb - Final Fantasy VIII Music Collection
• VGMdb - Final Fantasy VIII Original Soundtrack Revival Disc
• Original booklet scans

Citations[]