![]() How did Disney, one of the most conservative entertainment companies in the world, end up in a crossover series so strange, and so particular? A series where Mickey Mouse, Disney's ineffable icon, is an embattled monarch leading a group of heroes while also being aloof, secretive, and unwise in a way that occasionally leads to other characters suffering serious harm. The game, a crossover RPG featuring Disney worlds alongside Final Fantasy characters and original characters, would be given to Tetsuya Nomura, notably the character designer for Final Fantasy VII, to helm.īut that history isn't really an answer to the question. That chance meeting seems to have led to conversations about a collaboration between the two companies, which birthed the original idea for Kingdom Hearts. According to the story related by Square Enix creators, Square (before the Enix) and Disney once shared an office space in Japan, and a Square creator happened to meet a Disney executive in the building's elevators. ![]() Mickey Mouse, and Disney alongside him, is grist for one of the wildest mills in the last two decades of popular fiction, pitting Mickey and his friends against magical evils and the vague existential terror of a fictional universe where friendship is a literal, metaphysical binding property. Combining Disney with the aesthetics and gameplay priorities of Final Fantasy at its most eccentric, Kingdom Hearts takes the vanguard of modern entertainment capitalism and turns it into something bizarre. In Kingdom Hearts III, Mickey Mouse is also an anime ninja with a magic sword. ![]() Mickey Mouse is, in his own way, the face of modern capitalism, exploitation and power hidden behind a plucky smile. He's the vanguard of restrictive copyright laws, limited protection for the public domain, and the vast (and growing) power of his corporate owners. Mickey Mouse, then, is a sort of symbol for the power of corporate media, and the warping influence it has on modern creativity. ![]()
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