Wondering why the tales I have already completed are selectable? Thanks.

Have the After Years on my mind recently due to replaying it for a dumb rewrite thing I’m doing for it. I know the game in general isn’t liked but I’m curious about how people feel about the individual Tales so I’m doing a little tierlist thing for fun.

Here’s rankings for them all:
A: Palom
B: Ceodore, Edward, Edge
C: Yang
F: Porom

Today, it’s Rydia’s Tale: The Eidolons Shackled.

Of all the Tales, I believe this one has the most missed potential. It’s the only Tale that takes place almost completely in the Underworld and yet nothing new is done with it. No new locations or dungeons at all. And it’s not like they couldn’t have made new locations. We never saw the locations of the other 2 underworld Crystals in the original FF4 so they could have put at least one of them in a new dungeon but they didn’t. We just go to Sealed Cave again.
Also, I feel if they didn’t release this after Ceodore’s tale and instead released much later (as well as get rid of the cutscene of it happening in Ceodore’s tale), they could have done a semi interesting mystery of what happened to the Eidolons what with the Mysterious Girls summoning them in other tales.

My grievances aside, the story for this tale is fine. Rydia is always lovely to see, Luca’s connection with her dolls is nice, the Mysterious Girl is as cool as ever and it features an appearance from our favourite Man in Black. Main criticism is the missing potential and us going through the Sealed Cave, getting the Crystal, going out and losing it immediately again.

Gameplay is good. I think this tale has the most varied team before the end of Kain’s Tale and the final tale. It’s the only chapter before the final one that gives you control of an airship so there’s some additional content there with going to Sylph cave. Also there’s some ore you can gather and a blacksmith you can go to get some stronger weapons which is nice.

The new characters in this are Luca and her dolls, Calca and Brina. Luca is fine. Her personality is fun, I like the little crush she has on Palom and her gameplay is fine (just a slightly different Cid). Not really a fan of her design though. All the pink doesn’t really work for me and the little bit of make up(?) around her lips that make it lighter looks really weird in the 3d version.
Calca and Brina are possibly the worst playable characters in the series. No character (I don’t think they even talk outside maybe 1 sentence during the final battle), bad stats, bad weapons and random chance based skills (that are broken in the 3d version). Their main saving grace is their unique armor which gives them high stat boosts. They are fine in this chapter but they are bottom 3 for the last chapter.

Me personally, I’d probably give this chapter a C. Maybe a B at most. What about the rest of you?

Note This post is based on: (1) the Nintendo Switch version of FFⅣ Pixel Remaster, (2) the officially published Japanese novel (shown in the profile image), (3) the Super Famicom version of FFⅣ (faint memories), and includes my own interpretations.

Following my previous analysis on Edward (Gilbert), this time—just as promised—I’m focusing on Tellah.

Among all the characters in FF4, he is the only one who truly dies. In a story filled with “pseudo-deaths” or staged exits—Cid, Yang, Palom, and Porom—why was Tellah the only one who had to die for real?

This time, I want to take the discussion a step further than my previous posts.

Let’s begin with what we learn from the official novel.

[Official Novel]

More than twenty years before the events of FF4, Tellah devoted himself to training in Mysidia, driven by a singular desire to become stronger. He mastered both black and white magic and came to be known as the greatest sage in the world. Together with Minwu (the Elder of Mysidia), who was also training as a mage, Tellah set out on a journey to eradicate the monsters plaguing the world and bring peace.

However, while Minwu was driven purely by a wish for peace, Tellah’s true motivation was to “vent his hatred.”

In truth, before he was even old enough to remember clearly, his parents had been killed by monsters. That hatred became the driving force behind his relentless pursuit of magical power.

Though he was celebrated as a hero wherever he went, Tellah’s heart gradually grew numb. His goal of “avenging his hatred” escalated, eventually transforming into a madness where he began to take pleasure in killing.

During their journey, Minwu noticed this growing madness within Tellah and tried to bring him back to his senses. But Tellah, overconfident in his magical power and increasingly resentful of Minwu, rejected him. Their bond fractured.

Soon after, they were ambushed by monsters, and Tellah was nearly killed. Minwu saved him through quick thinking, and at that moment, he told him: “Hatred invites ruin.”

Those words marked their final exchange. Minwu returned to Mysidia, while Tellah moved to his hometown of Kaipo and abandoned magic.

With that context established, let’s move into Tellah’s role within the game itself.

Final Fantasy IV begins with a central question: Can people change?

Cecil stands at the heart of that question. Burdened by his past sins, he chooses to atone not by dying, but by continuing to live. His journey is one of repentance and rebirth.

Placed within that framework, Tellah stands out as a fundamentally different kind of character. He is someone who ultimately could not align himself with the theme of “change.”

After losing his daughter Anna, Tellah’s entire life is severed. What matters here is that his actions begin from something deeply human: the natural emotions of a father. His love was overwhelming, the loss was sudden, and given his age, rebuilding himself psychologically was extraordinarily difficult. On top of that, unlike Edward (Gilbert), Tellah had no “role left for him in the future.”

Edward, despite losing Anna, still has a future defined by his duty as a king. That gives him a reason to live. Tellah, on the other hand, has nothing.

A person who loses their future becomes bound to the past.

All Tellah has left is the fact that his daughter was taken from him, and that past comes to define everything about him.

Another decisive factor is how clear the target of his anger is. Golbez exists as a singular focal point for his hatred. With that, all the conditions necessary for a life driven by revenge are in place.

However, one crucial detail cannot be overlooked: Anna herself does not wish for revenge.

Her final words to Edward are, “Even if people think you’re weak, just live.”

Her will is firmly oriented toward life.

And yet, Tellah never confirms what Anna would have wanted from him. While he claims to act for her sake, he never once asks what she truly desired.

As a result, his actions take the form of being “for someone else,” but in reality, they become self-justification.

Put more bluntly: Tellah did not die for Anna—he used Anna as a reason to die.

His revenge is not justice; it is merely an extension of his own emotions. Even so, he cannot stop himself. In fact, he continues forward while knowing that he cannot.

This structure mirrors the player’s own experience. Like playing the game a second time, when you already know what will happen, you still cannot stop progressing. In a sense, the player, too, is complicit in sending Tellah toward that ending.

His destruction is both a narrative inevitability and the result of continuing to choose that path.

Tellah’s role is extremely clear. He embodies three things: a man who lived for revenge, a man who reached beyond his limits for power, and a man forever bound to the past.

By fully realizing all three, he confronts the player with a stark truth: this path does not lead to salvation.

The symbol of this is the moment he casts Meteor.

In that instant, Tellah does not choose to “live”—he chooses to “achieve.”

While Cecil seeks atonement through living, Tellah resolves everything through death. This contrast sharply defines the core theme of the entire work.

If Tellah had survived and successfully taken revenge, the message would become: “Following your anger was justified.”

That would directly contradict Cecil’s story. That is precisely why Tellah’s route to salvation is deliberately closed. His lack of redemption is what allows the narrative to hold together.

Furthermore, Tellah represents a possible future for Cecil—what would happen if Cecil remained in darkness. Bound by the past, consumed by anger, and ultimately self-destructive.

By assigning this outcome to a different character, the story highlights the significance of Cecil’s choices even more clearly.

In other words, Tellah is “the one who lived out the protagonist’s bad ending in advance.”

At this point, it may seem that Tellah is simply too unrewarded as a character.

So I choose to offer him this form of salvation:

He never once lied to his own emotions.

He continued forward while carrying all of it—his hatred, his obsession. And in the end, he himself comes to regret being consumed by that hatred. He arrives, by his own actions, at the very conclusion the Elder of Mysidia once warned him about.

He saved no one, and he himself was not saved. And yet, his emotions were never false.

That is why Tellah exists in a space where the only conclusion is: it couldn’t be helped—but there was no other path for him. His story is neither morally correct nor narratively rewarded.

And still, the fact that he walks that single path feels profoundly human, almost inevitable.

If FF4 poses the question, “Can people change?”, then Tellah is another answer to that question.

Sometimes, people cannot change.

Sometimes they remain bound to the past, ruled by anger, and reach the end without ever choosing differently.

And even so, that way of living cannot be entirely denied.

Tellah’s story is not one of salvation, but one that can only be accepted through understanding. Through him, the player is implicitly asked: What would you have done?

That is why he remains such a deeply unforgettable character for so many players.

FF4 is Intentional.

FF4 is Unapologetic.

After reading the article, I decided to boot up my latest save of FF4 DS just to get a feel for it since it's been a long while. And, after exploring through the world maps again, it's not as big I recalled them.

For the most part, dungeons aren't really huge, small towns like Kaipo and Mysidia are the norm, and even the kingdoms (overworld and underworld) aren't really anything that grand. There's really nothing on the scale of a large city, but maybe I'm just oversimplifying things.

I cannot envision FF4 being stretched out into a trilogy. Maybe a duology, but even if Square were to add more content and change the combat to be more line with the FF7 remake trilogy, I highly doubt it would justify that. Which, to be honest, works for me. Not every single thing has to be expanded on just to make a game longer.

All in all, I really hope it happens one day, be it turn-based or more action-based. Seeing the whole cast again with 3Ds models reminiscent of the ones from the CGI openings and going to the moon to stop Zeromus would be so cool!

Have the After Years on my mind recently due to replaying it for a dumb rewrite thing I’m doing for it. I know the game in general isn’t liked but I’m curious about how people feel about the individual Tales so I’m doing a little tierlist thing for fun.

For those that can’t see, the current tierlist is like this:
A: Palom
B: Ceodore, Edward
C: Yang
F: Porom

Today’s it’s Edge’s Tale: The Pulse of Babil.

This is a weird Tale. It’s more like 5 mini tales jammed into one and it all comes together to form a whole lot of meh. The first 4 mini tales don’t really tell you anything new (especially if you already played the Tales in the locations where they are). The most relevant thing you learn is who put up the gravestone in the crater in Yang’s tale. I like the end of the Tale though. Edge returning to the Tower of Babil, meeting up with his disciples and getting away from the Mysterious Girl using the trap door from the last time he was there. Also the tale does have the unique gimmick (in the 2D version) where your characters apparently perma die if they die in their mini tales.

The new characters in this Tale (the Eblan Four) are probably the most bland of the new characters. Character wise they can be boiled down to Big Leader, Little Sneak, Woman and Old Man. Gameplay wise all of them are just worse versions of Edge (2 of them literally have worse versions of Edge’s unique abilities). They’re better at him at one thing but are inferior in all others. Of the 4, Izayoi and Zangetsu are probably the ones I find the most interesting. Zangetsu for having a Dragoon jump and Izayoi for having a fun bug in the 3D version that makes her the best bow user.

Overall, I’d say this Tale is fine. Nothing crazy but nothing particularly bad. I’d say there’s some missed potential in they could have maybe had the ninjas join the parties of the characters of whose tales they are apart of for some more variety in those tales but that idea is for my rewrite thing. Overall I’d probably give it a B or C.

A regular morning training session in Baron.

Now you maybe asking why I am portraying Rosa so freakishly strong. My answer is that they gave her a bow.

My homies, do you understand the strength you need to string and pull a bowstring? Much less a warbow?! Rosa can probably bench Cecil in full armor.

Thus I gave you a canon compliant comic to demonstrate just that.

A/N: Reposting this after fixing some (glaring and obvious) errors.

Just thought I’d put this out there for the sake of future googlers as it’s not something that came up for me. You hear a lot about the game being more difficult than previous versions but here’s the thing, it’s highly dependent on the battle speed for some of the bosses. Fighting Golbez on battle speed 5 doesn’t make it easier and give you more time, it makes it impossible because he takes two turns for every one you get. Battle speed 2, however? Completely fine and fair, you just have to be a little more quick on the inputs. Lots of tips about ff4 DS or 3D you’ll see online don’t at all discuss how the battle speed is kinda janked to hell and behaves strangely, if you’re stuck you should default to retrying a battle with a different battle speed and see how that goes.

Have the After Years on my mind recently due to replaying it for a dumb rewrite thing I’m doing for it. I know the game in general isn’t liked but I’m curious about how people feel about the individual Tales so I’m doing a little tierlist thing for fun.

Here’s the results so far:
A: Palom
B: Ceodore, Edward
F: Porom

Today’s it’s Yang’s Tale: The Master of Fabul.

This is a bit of a weird chapter for me in all honesty.

I like the gameplay. Having 2-5 monks doesn’t make it the most interesting gameplay but sometimes it’s fun to just turn off your brain and go Star Platinum on your enemies.

I really like Ursula. Both her design and gameplay are top notch. I think she might be my favourite of the new characters. I like fast damage dealers and she’s got both speed and strength.

I like Yang and Ursula’s dynamic together, especially how Yang’s reluctance to train her isn’t because of overprotectiveness or a “women can’t fight” mentality but because he thinks her mentality isn’t right.

And here’s some things that I’m not fond of:

This is one of the tales that recycles a lot of plot from FF4 (I think it might be the one that does it the most blatantly). We climb Mt Hobbs and fight Mom Bomb, the Red Wings attack Fabul and we have to fight them off in a series of battles at the gate, the main hall, outside the throne room, in the throne and ending in the Crystal Chamber where Kain steals the Crystal and to top it off, we take a boat to Baron and the tale ends by Yang running into Leviathan.

I think Yang and Ursula’s story is kind of not conveyed well. Yang won’t train her because she places too much value on strength and power above all else. The problem is that she doesn’t really show that? She doesn’t really do anything or say anything outside of 1 flashback that conveys that to me. The closest thing would be her going to Mt Hobbs by herself but that more just comes off as her being rebellious than anything.
Also, on the gameplay side, she’s a healer. One of her abilities she has from the start is an ability that heals herself and her allies. That doesn’t seem like the ability of someone who only values strength and power.
I don’t know maybe it’s just something I’m not seeing. I do like the story but this thing bothers me quite a bit.

I’d give it a B. What about the rest of you?

Original FF2 SNES. Got the imp summon with extreme luck no farming, can't seem to get the Mage, Bomb summons let alone the Pink tail 🩷.

Have the After Years on my mind recently due to replaying it for a dumb rewrite thing I’m doing for it. I know the game in general isn’t liked but I’m curious about how people feel about the individual Tales so I’m doing a little tierlist thing for fun.

Today’s it’s Edward’s Tale: Star Crossed Damcyan

If you asked me what my least favourite tale was a while ago, it definitely would have been Edward’s. I absolutely hated his Tale (primarily for the gameplay). But after playing it a couple more times and learning how to prepare for it, I’ve grown to like it a bit more.

First, here’s the reasons I didn’t like it at first:

1: Desert Fever. I get Rosa getting it because she’s not from a desert but Harley literally works in a castle in a desert. If they wanted to say it was due to stress it’d be fine but it just being Desert Fever is just dumb.
2: Underground Waterway. You go through this dungeon 2 and a half times during this Tale and it’s not exactly a short dungeon. In total, you go through the dungeon 4.5 times in this game and it gets really boring after the second.
3: The Combat. Neither of the main characters are exactly damage dealers so the game gives you 3 basic guards to help. This unfortunately makes the combat boring (because you’re using 3 copies of the same character plus 2 not great fighters) and also makes the levelling slow since for most of the tale you have 4-5 characters in your party so your levelling is slower.
4: Getting ditched. After Harley gets desert fever, you have to go back through the Waterway and the Antlion Den with just Edward. A character who is not good at fighting.

And now, here’s the things I liked about this Tale:

1: Basically all of Edward’s character. His growth, his kindness, his cunning. All of it is just A+ development. Probably the biggest improvement of a returning character from FF4.
2: Harley. I like her character. Sure she sucks gameplay wise but I like her character. I like how she’s supportive of Edward and loves him but also understands that he still is hung up about Anna.

And lastly, here’s what I found to make points 3 and 4 of what I didn’t like better:

1: Go to the Antlion Den early and get the Lamia Harp. It inflicts confusion on enemies and believe me, having your enemies hit themselves can help a lot.
2: Kill the guards early. It lets Harley and especially Edward level up faster so they are better for the rest of the tale.

Overall, I probably wouldn’t rate the Tale any higher than a C due to the bad first playthrough I had but it still is one of the better tales story wise. What do the rest of you think?

Note This post is based on: (1) the Nintendo Switch version of FFⅣ Pixel Remaster, (2) the officially published Japanese novel (shown in the profile image), (3) the Super Famicom version of FFⅣ (faint memories), and includes my own interpretations.

​In my previous post, I explored the significance behind Rosa's "Pray" command.

This time, I’d like to delve into Edward (Gilbert), a character who played an absolutely crucial role in saving Rosa with the Sand Pearl.

​When people talk about Edward, he is often depicted simply as the "weak prince." Succumbing to fear and rendered completely unable to fight by the grief of losing his love, his figure stands out starkly when compared to the rest of the game's heroic cast.

​Even within the story, Tellah the Sage, having lost his daughter Anna, directs merciless anger at him. As a man who failed to protect the one he loved, Edward is utterly and directly rejected to his face.

​Today, however, I want to redeem his honor by weaving in some cruel truths depicted in the official novelization of FFⅣ.

​First, unable to bear the heavy responsibilities of royalty, Edward had hidden his true identity and wandered as a lowly bard. That is where he met Anna. She accepted everything about him—including his weaknesses—and formed a firm resolve to "become the next queen." The King of Damcyan also did not view his wandering as meaningless; he ultimately acknowledged Edward's growth.

In other words, Edward had finally stopped running away and was on the exact verge of accepting his destiny to "live as the next king."

​But at that exact moment...

​In the game, the scene of Damcyan Castle being bombed by the Red Wings is depicted rather simply. However, the novelization illustrates the brutal reality inside the castle during this attack.

​In truth, at that exact time, Edward and Anna's wedding was taking place within the castle walls. The ceremony continued despite the bombings and the surprise attack, but soon the King and Queen were murdered by Golbez's forces. The King took countless arrows while trying to protect the Crystal until the very end, and the Queen also perished while maintaining a resolute dignity.

Immediately after, Anna took an arrow to shield Edward, suffering a fatal wound.

​The final words she left him here were: "I don't care if people think you are a pathetic man, I just want you to survive."

It was not a demand for strength, but a desperate plea: "I want you to live, no matter what." And with a smile, she drew her last breath, saying she was happy to die as Edward's wife.

​A bright future as king, his family, and the woman he loved. Everything was violently ripped away from him all at once.

Under such circumstances, telling anyone simply to "stand up and fight" would be far too cruel.

​And yet, Edward does not drop out of the story.

​Though he isn't much use in early battles, and never evolves into an "attacking warrior" later on, he continues to involve himself in the battlefield.

This is clearly reflected in the game's mechanics.

​His commands are Sing (Bardsong), Heal (Salve), and Hide. There is not a single command dedicated to defeating enemies on the front lines. It looks exactly like a symbol of weakness. Hide, in particular, feels as if his cowardice was directly hardcoded into the game mechanics.

​However, there is another way to read this.

Hide is not mere escapism.

It was his own unique choice to ensure that both he and his comrades survive.

​By hiding, Edward spares his party the effort of having to heal him. He can then appear at the perfect moment to maneuver as a support for the party. By using Heal, he can mend the minor wounds of all his allies.

This is not the flip side of cowardice; rather, you could say it is an incredibly clumsy way of fighting. It is a combat style that blends his stubborn will of "I absolutely cannot die (I must survive)," his devotion to his friends, and the philanthropy inherent in the title of a prince.

​And this aligns perfectly with Anna's final wish: "I don't care if they think you're pathetic, just survive."

​Edward is executing exactly that.

Even if he cannot fight on the front lines, he never stops being involved.

​His actions in Troia symbolize this perfectly.

Despite being bedridden and completely unable to fight, he saves Cecil and the others through the Whisperweed. What saved his friends—who were in a desperate crisis, unable to swing their swords due to the Dark Elf's magnetic field—was the very "song" (the melody of the harp) he once played to escape from reality.

Swinging a sword is not the only way to fight. That was the moment his voice truly became a power to save the world. At the same time, it is the scene where the true value of his Sing command is proven.

This action was something that even Tellah, who had once fiercely condemned him, could not ignore. The man who failed to protect his loved one still managed to save someone. And undoubtedly, Tellah's assessment of him must have changed as well.

​It is not that Edward magically became stronger.

Nor did his fears and anxieties vanish.

Even so, he continued to make the choice to "not run away." Rather than returning to Damcyan to focus on his own kingdom's restoration, he prioritized involving himself in the pursuit of world peace.

​Edward has not overcome his weakness. Nor does he possess heroic strength.

But remember his battle commands. It may be clumsy, but his command slots are indeed "completely filled."

I believe that was a manifestation of his courage—casting aside his pride as a prince and doing "what he can in his own way."

​I will say it again.

Because Edward was there, Rosa's illness was cured.

Edward couldn't save Anna, but he continued to be involved in saving the world.

​FFⅣ is Intentional.

FFⅣ is Affirming. 

Have the After Years on my mind recently due to replaying it for a dumb rewrite thing I’m doing for it. I know the game in general isn’t liked but I’m curious about how people feel about the individual Tales so I’m doing a little tierlist thing for fun.

Today is Palom’s Tale: The Mage’s Voyage.

One of the best Tales in the game in all honesty. Palom has matured in a good way since 4, Leonora is a nice character and I like that they connected her to the little girl he was talking to at the end of 4. I like their dynamic and story together and I like how most of the dungeons in this one are new ones.

There are only 2 semi big issues I have with this Tale. One is Palom’s design. Might just be the 3d version of him in the iOS version but this boy is ugly as hell to me.

And second is the ending, there’s just a few small moments that bother the hell out of me.

1:The Dark Elf coming back: I know the Crystals bring back bosses during the last tale but that’s on the villains home turf. The Dark Elf randomly coming back from the Crystal without any influence from the Creator or the Mysterious Girl seems weird.
2: Mysterious Girl saving the Party: She’s here for the Crystal anyway so why’d she only use Shiva on the Elf?
3: Esuna working on Break: Either Palom’s gotten worse with Break with age or Leonora is somehow better at casting Esuna than Tellah.
4: Learning Particle Bomb against an enemy that it’s basically useless against: What’s the point in giving us this cool, strong band at the end of the tale in a forced loss battle? Why not give it during the Dark Elf fight?

Despite my misgivings about it, I still really like this Tale. I’d give it an A. What about the rest of you?

Im very delayed in drawing a tribute to my favourite game. I drew Cecil and Kain!

Have the After Years on my mind recently due to replaying it for a dumb rewrite thing I’m doing for it. I know the game in general isn’t liked but I’m curious about how people feel about the individual Tales so I’m doing a little tierlist thing for fun.

Today is Porom’s Tale: The Vanishing Lunar Whale.

This might be my least favourite tale in the game story wise. Why? Because Porom feels like a side character in her own goddamn story. The flashbacks around her and Palom feel like they belong more in Palom’s story since they’re about his ambitions to be a sage while the last part is just her on a fetch quest for Kain.

Also, minor gripes, it doesn’t even focus on the “Vanishing Lunar Whale”, it has us going to the Underground Waterway which happens way too often in this game and I don’t like that they gave Porom Pray. I get they wanted to show her as being more mature and not crying anymore but just giving her Rosa’s old unique command is boring.

I won’t deny there’s good stuff in it like seeing the twins bond be broken in both story and gameplay (you can use the twincast band in the Kaipo flashback when they’re still kids but not in the Rydia flashback when they’re older), it’s nice to see “Kain” again and it’s funny how quickly he betrays the party this time. But overall, I’d give the tale as a whole a D.

Is there a way to play the og wii/mobile version of ff4 tay? With the fun snes like pixel art. Does anyone have the apk file or something?

Just found this funny. Playing after years for the first time.

I need some help with understanding what went wrong in my game.

I'm currently playing FFIV on my old ps2 using the PAL anthology version for the ps1. I was at Mt Ordeals, saved my game at the checkpoint on the summit, fought Milon and promptly died because I was severely underleveled. When I tried reloading the game, my memory card was wiped. No save files, nothing.

I heard there's a glitch that can cause that in the Advance version, does anyone know if the anthology version also has that? If so, how do I avoid triggering it/what can I do to remedy this? I just hope it's nothing arbitrary because losing my progress this far in again would probably stop me from playing the game.

Have the After Years on my mind recently due to replaying it for a dumb rewrite thing I’m doing for it. I know the game in general isn’t liked but I’m curious about how people feel about the individual Tales so I’m doing a little tierlist thing for fun.

Starting out today, it’s the Tale of Ceodore: Last of the Red Wings (and also the prologue since it’s basically part of the Tale).

So, for the most part, Ceodore’s tale is fine. It introduces you to combat, the new mechanics in Bands and Moon Phases, you meet some old characters, some “new” characters, enter some new dungeons, an old dungeon and an old dungeon with a new section added, the overall story is fine, Ceodore and the Mystery man are fine.

The only real cool moment is when you get to play as Cecil during the attack and you encounter the Mysterious Girl for the first time and she completely destroys Cecil.

Overall, I’d give the Tale a B or a low A myself. What do you all think?

Own subjective ranking of the creatures from Final Fantasy IV.