Theatrhythm Final Fantasy allusions

A number of Field and Battle Music Sequences in Theatrhythm Final Fantasy share multiple songs and contain references to each game and the locations of where the theme is heard.

Final Fantasy series[]

Field Music Sequence[]

Songs featured in the Cave/Cavern FMS allude to locations featuring caves and/or dungeons:

The "Dungeon" and "Crystal Cave" themes references the very first dungeons the party explores in Final Fantasy II and Final Fantasy III, namely the Semitt Falls and Altar Cave. Similar dungeons resembling the FMS afterwards share these themes in their respective titles.
A special variation of the Cave FMS recolors the cave in purple and features blue flame lights for "Matoya's Cave", resembling the eponymous location in Final Fantasy.

Songs featured in the Field FMS allude to the open world or locations that the player party can have complete freedom to explore:

"Mambo de Chocobo" from Final Fantasy V alludes to the Black Chocobo, which the main party can ride to fly across the world.
The "Archylte Steppe" is the theme of the eponymous location from Final Fantasy XIII.

Songs featured in the Shrine FMS allude to dungeons the party explores, primarily the final dungeons near the end of the story or darker locations:

The "Sunken Shrine" theme plays when the Warriors of Light travel back in time 2000 years in the past to the Chaos Shrine, where they must confront and defeat Garland as he transforms into Chaos.
The "Tower of the Magi" plays in the Mysidian Tower where Firion and his party must ascend in order to unseal the Ultima Tome in Final Fantasy II.
"The Castle" is first heard when Squall and his party arrive at the doors of Ultimecia Castle, where they must explore and solve various puzzles and traps to reach and defeat the Sorceress Ultimecia in Final Fantasy VIII.

Songs featured in the Canyon FMS allude to the specific field themes heard at night in-game:

"Cosmo Canyon" is the theme of the eponymous location in Final Fantasy VII, associated with Red XIII, featuring a large green moon and starry night sky.
"March of the Dreadnoughts" from Final Fantasy XIII, referencing the Vile Peaks where Hope Estheim controls a Dreadnought to clear a path for himself and Lightning.

The following Field Music Sequence shares a location from one Final Fantasy title for multiple songs across the series, due to the resemblance shared with that specific location:

"Within the Giant" is the theme that plays upon entering the Lunar Core of the Lunar Subterrane, the final dungeon in Final Fantasy IV, with the location being featured as the FMS for two other endgame locations:
- "The Crystal Tower" is the theme of the eponymous location, alluding to the crystalline floors and primarily blue aesthetic seen in the tower in Final Fantasy III.
- "In Search of Light" is the final field theme heard in the Interdimensional Rift in Final Fantasy V, alluding to the Last Floor. Similarly to the Lunar Core, the Last Floor takes place in what appears to be space and its terrain is primarily crystalline and blue.

Battle Music Sequence[]

Songs featured in the Lake BMS allude to battlegrounds featuring wide fields of grasslands commonly seen throughout the series:

"Battle" is the very first battle theme in the Final Fantasy series, and alludes to the first areas that you can engage in battle, specifically the plains in Cornelia.
"Battle 1" from Final Fantasy V has no particular reference, as the majority of random encounters are engaged in the world map on open fields.
The "Battle Theme" from Final Fantasy X references two particular areas; the Mi'ihen Highroad and the Calm Lands, with the Lake BMS closely resembling the latter location.

Songs featured in the Cave BMS allude to locations where the party must enter a Dungeon early on their journey, with the songs harkening back to a specific point during the beginning of the story:

"Battle Theme 2" from Final Fantasy II references the top floor of the final dungeon Pandaemonium, where the Emperor is fought. The blue cave further alludes to this.
"Battle 1" from Final Fantasy III alludes to the Altar Cave, the very first explorable dungeon where the four orphaned youths of Ur accidently stumbled into and must return to their village.
"Locke's Theme", the heroic leitmotif of Locke Cole in Final Fantasy VI, alludes to the Narshe Mines in which he and the Moogles that live nearby the Moogle Cave assist him in rescuing Terra Branford from several soldiers of the Gestahlian Empire.
"Battle Theme" is the primary battle theme heard in Final Fantasy XI, albeit when enemies are encountered outside on the field.

Songs featured in the Forest BMS allude to the recurring battlegrounds taking place in forests seen throughout the series:

"Battle Theme 1" from Final Fantasy II alludes to the opening of the story in which Firion, Maria, Guy and Leon are ambushed and defeated in battle against the Black Knights of the Palamecian Empire.
"Battle 1" from Final Fantasy IV may possibly allude to the kingdom of Troia, being surrounded by a large forest.
"Battle" from Final Fantasy VI alludes to several forests, including the Phantom Forest, Bomb forest and Dinosaur forest.

Songs featured in the Cloister FMS allude to locations that resemble temples and/or ruins:

"Battle Theme A" is one of the boss battle themes in the Origins versions of Final Fantasy II, playing in more intense storyline battles in the second half of the story, with the BMS alluding to the boss encounters in the Mysidian Tower.
"Battle 1" from Final Fantasy V may allude to the ancient Ronka Ruins and/or the Barrier Tower, both locations encountered during the story.
"Assault" from Final Fantasy X is first heard when Tidus and the rest of Yuna's Pilgrimage attempt to rescue her from Seymour Guado during a forced Wedding between them in Bevelle. The BMS is likely a reference to Bevelle Temple's Cloister of Trials the party enters afterwards in order to reunite with Yuna.

Songs featured in the Void BMS reference the encounter with the Final boss in the Final Fantasy series, with the battlegrounds set in a psychedelic space zone the party is transported to before and/or during the battle:

"This is the Last Battle" from Final Fantasy III is heard in the final battle against the Cloud of Darkness within the World of Darkness; the blue tones of the Void BMS alluding to the corridors of the final dungeon.
"The Final Battle" from Final Fantasy IV alludes to the final battles against Zemus and his transformation into Zeromus, with the BMS referencing the Lunar Subterrane's final floors containing blue crystals as well as the battlegrounds when fighting Zemus.
"The Decisive Battle" and "The Final Battle" are both heard in the two final battles against Exdeath in Final Fantasy V. The BMS references the last floor of the Interdimensional Rift where Exdeath has assimilated with the Void and is fought in his true arboreal form.
"The Extreme" from Final Fantasy VIII alludes to the final battles where SeeD face off against Sorceress Ultimecia in her final form; the BMS referencing the spacelike battleground, with it being continually absorbed by Ultimecia in order to achieve her goal of Time compression.
"Challenge" from Final Fantasy X is heard in several boss battles, particularly against tough storyline battles, with the BMS referencing Yuna's pilgrimage battling against Yunalesca, after Yuna refuses to sacrifice any of her guardians upon learning the truth of the Final Aeon and the endless cycle of Sin. The BMS makes reference to the battleground where Yunalesca is fought in the Zanarkand Dome, featuring a spacelike sky in the dimension. It is heard again if the party decides to challenge the Dark Aeon, Dark Bahamut.

The following Battle Music Sequences share a location from one Final Fantasy title for multiple songs across the series, due to the resemblance shared with that specific location:

The World of Darkness from Final Fantasy III is the BMS location for two songs, both are boss battle themes and named "Battle 2". The first version is from Final Fantasy III, with the second version from Final Fantasy IV, with the latter's use in the BMS referencing the Lunar Core of the Lunar Subterrane.
The Hill of Despair is the BMS location for two songs, both are used against the final boss and contain the title "Final Battle"; the first version is from Final Fantasy IX, used when battling Necron; the area of the BMS is the same location Zidane and his allies are transported to after their battle against Trance Kuja in Memoria and where a party four must be chosen before the final battle commences. The second version is from Final Fantasy X, used when battling Yu Yevon, with the BMS referencing the dimension Yuna's pilgrimage are transported to after defeating Braska's Final Aeon; Sin's Fang, with the distorted sky primarily yellow.

Final Fantasy[]

World A is the FMS for "Main Theme" from Final Fantasy, with Cornelia and the Mirage Tower as the featured locations; it is the very first song the player hears upon entering the world after the player selects each job for the warriors of light, and is the central theme of the world map.

"Mount Gulg" is the theme for the eponymous location in Final Fantasy, in which the Warriors of Light enter the volcano to defeat one of the Four Fiends, Marilith and awaken the Fire Crystal.
The Chaos Shrine, as it appears in Dissidia Final Fantasy, is the BMS location for an arrangement of the "Chaos Shrine" original to the Theatrhythm series, first used as the theme of the mode of the same name.

Final Fantasy II[]

The unnamed world of Final Fantasy II serves as the FMS for "Main Theme of Final Fantasy II", with the locations primarily featured are the Semitt Falls and Castle Palamecia. The FMS sequence begins in a forested path, referencing the unwinnable battle in the game's opening sequence. The song is the prominent theme heard on the world map, reflecting the tragic and darker tone of the story compared to other titles in the series.

Two variations of the Castle BMS exist, with each one used exclusively for a song in one Final Fantasy title. The darker variation of the BMS is used for the "The Rebel Army", theme of the Wild Rose Rebellion that Firion, Maria and Guy join in the beginning of the story in Altair, referncing the Rebel Hideout.

Final Fantasy III[]

"Eternal Wind" is the main theme heard when exploring an overworld, with the Surface World used as the location of the FMS. Settings featured include the kingdom of Saronia, the Floating Continent in the sky, and the Crystal Tower in the distance.

Final Fantasy IV[]

Earth serves as the FMS for two songs in Final Fantasy IV, with the locations featured being the Kingdom of Baron that includes the Castle and Town, the Two Moons visible in the sky and the Tower of Babil.

The first song is the "The Red Wings" heard in the opening sequence and associated with Cecil Harvey.
The second song is the "Main Theme of FINAL FANTASY IV", the central motif that plays in the overworld and is rearranged throughout the story.
The Giant of Babil is the BMS location for "Battle With the Four Fiends", the theme associated with the four Archfiends fought throughout Final Fantasy IV. The BMS is a reference to their revival and final attempt to stop Cecil Harvey and his party from reaching Golbez within the giant.

Final Fantasy V[]

Bartz's World is the FMS for two songs, with one being a variation. The locations include the Tycoon Meteorite, Castle Tycoon and the Ronka Ruins:

"Four Hearts" is the arrangement of the main theme of Final Fantasy V and is the overworld theme of Bartz's world until the party travels to Galuf's world.
A special variation of Bartz's World is used for "Home, Sweet Home", featuring an orange sky either in dusk or dawn, the latter possibly alluding to his father Dorgann Klauser as one of the Warriors of Dawn.

The Merged World is the FMS location of "A New World", the overworld theme of said world and its true form after its separation of Bartz's and Galuf's World from the Crystals. Featured locations include Tycoon Castle with the Void floating above that leads into the Interdimensional Rift, the Pyramid of Moore containing a Tablet required to unlock a Sealed Weapon, and the Guardian Tree where key moments and the final scenes of Final Fantasy V take place in.
Two variations of the Castle BMS exist, with each one used exclusively for a song in one Final Fantasy title. the lighter variation of the BMS is used for "Battle at the Big Bridge" when playing the song outside of Dark Notes. The BMS references the castle's false appearance during the party's first visit.
The Big Bridge is the BMS location for the "Battle at the Bridge" when played on a Dark note, associated with the recurring Gilgamesh, and is first heard in the location when the party attempts to escape from Castle Exdeath after Galuf rescues the party, with Gilgamesh and his sidekick Enkidu the final encounters on the bridge.

Final Fantasy VI[]

The World of Balance serves as the FMS for "Terra's Theme". Locations featured include the town of Narshe in the mountains, the Kingdom of Figaro, the Phantom Forest and Phantom Train within. When played during a Dark Note, the sky changes to an orange, foreshadowing the change in the world after the party's visit to the Floating Continent.

The World of Ruin is the FMS location for two songs, with Narshe, the Kingdom of Figaro and the Veldt featured as the settings. "Searching for Friends" is the first song, featuring the Falcon in the sky, and "Celes's Theme" is the second song with the Falcon absent, referencing the moment when Celes Chere has lost all hope on the Solitary Island.
South Figaro is the BMS location for "The Decisive Battle", the main boss theme in Final Fantasy VI. It references the Imperial Occupation of the city; when Locke Cole infiltrates the city in order to halt the empires advances. He can choose to engage in battle with several soldiers, with the boss battle theme used instead of the regular battle theme.
The Magitek Research Facility is the BMS location for "Battle to the Death", referencing the battles with the Warring Triad within Kefka's Tower.
The top floor of Kefka's Tower, specifically the final tier where Kefka has transformed into his angelic form in the final battle against him in the bright yellow sky, is the BMS for his boss theme, "Dancing Mad". The fourth and final segment of the song is used, further alluding to the final battle.

Final Fantasy VII series[]

Gaia is the FMS location for the "Main Theme of Final Fantasy VII" , featuring two key locations in Final Fantasy VII, Midgar and the City of the Ancients. The song is associated with Cloud Strife and is the overworld theme until the party's first visit to the North Crater.

The Northern Cave is the FMS for "Judgement Day", with the location based off the various levels of descent's glowing with Mako energy.
Midgar is the BMS location for multiple songs in the Compilation of Final Fantasy VII, with two songs both from Final Fantasy VII: Advent Children, each with their own variation of the BMS:
- "Let the Battles Begin!" is the primary battle theme, with its prominent use in Midgar alluding to the party's attempt to stop Shinra from destroying Sector 7, where Cloud and Tifa Lockhart climb up the pillar in order to reach Barret Wallace and stop Reno of the Turks.
- "Fight On!" is the primary boss theme heard prominently up until the battle against the Diamond Weapon, which also makes an appearance in the BMS as a boss.
- "Beyond the Wasteland" and "Advent: One-Winged Angel" are featured in the BMS variation of Midgar, featuring a darker sky with swirling clouds in the background, referencing Cloud's final battle against Sephiroth in Advent Children.
The Lifestream is the BMS location for "JENOVA", referencing the many battles the party come across against the creature, with the BMS alluding to the party's descent into the Planet's Core before facing off against Jenova∙SYNTHESIS.
The Planet's Core within the Northern Cave is the BMS location of "One-Winged Angel", alluding to Avalanche's final battle against Safer∙Sephiroth in order to release his control over Holy and save the world from Meteor.

Final Fantasy VIII[]

The unnamed world of Final Fantasy VIII is the FMS location of three songs, with the featured locations being Balamb Garden, D-District Prison, Edea's Orphanage and Fishermans Horizon, with the walkway changing from the road leading into Balamb Town to the Horizon Bridge, the latter referencing Squall carrying a comatose Rinoa Heartilly across the bridge in order to reach Esthar and save her.

The first song is Blue Fields, the overworld theme, and is unique in the series in that it doesn't tie in with any of the central themes heard in Final Fantasy VIII, such as the "Succession of Witches" and "Eyes On Me".
- When playing the FMS during a Dark Note, the sky turns red, alluding to the Lunar Cry.
The second song is "Ride On", the main theme of the Ragnarok, first heard when Selphie Tilmitt discovers how to pilot the ship after Squall and Rinoa return from the spacebound Lunar Base.
The third song is "Fisherman's Horizon", first heard when the now mobile Balamb Garden crashes into it.

The Promised Meadow is the FMS location for "Ending Theme". The settings featured include the flower petals flying in the fields seen both in the opening and ending FMVs featuring Rinoa, in addition to the fields near Winhill where an older Laguna Loire finds Raine's tombstone and reminisces about her, with Balamb Garden flying past above him, accompanied by Ellone, Kiros and Ward, all seen in the epilogue of Final Fantasy VIII.

Esthar City is the BMS location for three songs, one of which is a variation. The first two songs, "Force Your Way" and "The Man with the Machine Gun" are featured in the normal variation, with the latter is the primary battle theme of Laguna Loire, and references his, Kiros Seagill, and Ward Zabac's visit of the city in order to rescue Laguna's foster daughter Ellone from Sorceress Adel, while the former is the primary boss theme in Final Fantasy VIII, though there is no such instance of the song used during Squall's visit of the city.
The second song is the regular battle theme "Don't Be Afraid", set during the Lunar Cry of Esthar City. This variation is also seen when playing "The Man with the Machine Gun" during a Dark Note.

Final Fantasy IX[]

Gaia is the FMS location for four songs, two of which are variations, while another is an Airship FMS. Featured locations include the Kingdom of Alexandria, the Black Mage Village and the Iifa Tree:
- "Over the Hill" is an arrangement of "Melodies of Life", the central theme of Final Fantasy IX' and the overworld theme for the majority of the story up until the party's return from Terra.
- A special variation of Gaia set during either dawn or dusk is the FMS for two songs; A Place to Call Home and "Melodies of Life ~ Final Fantasy". Coincidentally, they are the first and last songs heard in the game, respectively. In the latter's case, the sky possibly alludes to the ending in which Zidane Tribal stays behind at the Iifa tree in order to rescue Kuja.
- "Dark City Treno" in the defunct iOS version featured a special FMS variation featuring Gaia at night, referencing the aptly named city.
Pandemonium is the FMS for "Not Alone", Zidane's associated theme, which in turn is an arrangement of his own leitmotif. The area is the Hall leading into the Observatory, referencing the famous scene in which Zidane learns of his origins as an Angel of Death, attempting to brush away his friends before coming to his senses with Garnet's help.
Alexandria is the BMS location for "Something to Protect", alluding to the Battle of Alexandria in which Adelbert Steiner and Beatrix defend the kingdom from the Mistodon invasion by Kuja.
The Crystal World within Memoria is the BMS location for three songs: "Battle 1", "Battle 2" and "Darkness of Eternity". The first song is possible to hear within the location during a random encounter, while the latter two songs reference the battles against Deathguise and Trance Kuja within the location.

Final Fantasy X series[]

"To Zanarkand" plays in the FMS of the Zanarkand Ruins, taking place at dusk and referencing the opening scene In Medias Res where Tidus narrates the events of Final Fantasy X up to that point in the story. As in the opening, the weapons of Tidus, Yuna and Wakka can be seen in background as the hill overlooking the ruins from a distance where Tidus stood.
"Mi'Hen Highroad" is the theme of the eponymous location and where the FMS takes place. The various ruins can be throughout as well as Rin's Travel Agency, referencing the first time the party encounters one in Spira and when they stayed the night over.
“Movement in Green” is the theme of the Moonflow in Final Fantasy X, with the location of the FMS set in the South Bank Road area. The theme is first heard in Final Fantasy X when Yuna and her guardians leave Besaid to begin their pilgrimage to Zanarkand, where they board the S.S. Liki to reach Kilika.
"Suteki Da Ne (Isn't It Wonderful?)" plays in the FMS for the Macalania Woods. Several areas featured include the Wood Trail and the Sky Trail, as well as the infamous Macalania Springs where Tidus and Yuna shared their romantic respite before continuing on to the Calm Lands.
A night variation of the Zanarkand Ruins FMS appears for "A Fleeting Dream", alluding to Yuna's pilgrimage journeying to the Zanarkand Dome to acquire the Final Aeon, knowing full well the uncertainty of Yuna's fate. The party's weapons are absent, referencing the moment they collect them to proceed onwards.
Two areas of the final dungeon, Inside Sin, each serve as a BMS location: the first location is the Garden of Pain for "Fight With Seymour", heard when the party battles and defeats Seymour for the last time whilst in his Omnis form. The second location is the Dream's End for two songs. The first song is Otherworld, associated with Tidus's father Jecht, first heard in the opening scenes of Final Fantasy X and once more as the battle theme of his Braska's Final Aeon form. The second song is A Contest of Aeons, heard when the party is transported to Yu Yevon's dimension as he attempts to possess all of Yuna's Aeons, forcing the party to defeat them in a series of battles that are impossible to lose.

The night variation of the Zanarkand Ruins FMS appears again for "KUON: Memories of Waves and Light", the main theme of Final Fantasy X-2. It references the songs namesake through the starry night skies of Zanarkand as well as the Pyreflies seen throughout Spira.

Final Fantasy XI[]

Vana'diel is the location of all songs for Final Fantasy XI, two of which are from the expansions Rise of the Zilart and Chains of Promathia, featuring the most individual Field Music Sequences for at least one Final Fantasy title, not counting spin-offs:

Ronfaure is the FMS location for two songs:
- The first is its eponymous theme, with the setting being in the dusk skies commonly seen throughout the areas, including the gate to the Kingdom of San d'Oria, Fort Ghelsba and an unmarked Conquest outpost.
- The second song is the Vana'diel March, with Ronfaure set during the day, alluding to the title screen that features different locations of Vana'diel at different times of day.
South Gustaberg is the FMS location of "Gustaberg" and is heard in the outdoor zones of the area. Settings include the Morhen Lighthouse and the Bastore Sea.
East Sarutabaruta is the FMS location of "Sarutabaruta", also heard in the outdoor zones of the area. Settings include the Leviathan's Gate, the Lilac Tower of the Horutoto Ruins and an unmarked Conquest outpost. A Mandragora makes a cameo appearance behind one of the trees in the FMS.
The Sanctuary of Zi'Tah is the FMS for its eponymous theme, with the Li'Telor Outpost appearing amongst the woods and crystals scattered across the setting.
The Throne Room of Valdeaunia is the BMS location for two songs. The first being "Awakening", the final boss theme of the Shadow Lord and where the theme is first heard. The second is the "FFXI Opening Theme", referencing the legend of the crystals and great war featured in opening FMV cutscene.
The La'Loff Amphitheatre of Tu'lia is the BMS location for "Fighters of the Crystal", heard when facing either one or all the Crystal Warriors, with the location referencing where you can face against all of them in combat.
The Ruins of Alzadaal on the Nyzul Isle is the BMS location for "Ragnarok", specifically the battlefield during the mission "Nashmeira's Plea" where Alexander is fought the Treasures of Aht Uhrgan expansion. The BMS appears to feature the sky during the day, which is not possible when facing the Avatar.

Final Fantasy XII[]

The Dalmasca Estersand is the FMS location two songs. The first is its eponymous theme, with the area featuring the Banks of the Nebra, alluding to where Vaan, the Sky Pirates Balthier and Fran, and Basch fon Ronsenburg arrive at after escaping the Barheim Passage, making their way back to Rabanastre. The second is the "The Royal City of Rabanastre / Town Ward Upper Stratum", alluding to the capital of Dalmasca and the primary hub in Final Fantasy XII.
The Giza Plains during the Dry season appears as the FMS for its eponymous theme, with various bridges and dark crystals appearing throughout. The second song is the "Streets of Rabanastre", referencing the kingdom of the same name and the hub level of Final Fantasy XII.

The Pharos of Ridorana is the BMS location for two songs: "Flash of Steel" and "Esper Battle". Both are dual references in the Pharos; the former theme plays when exploring the Third Ascent in the original version of Final Fantasy XII, while the latter theme references the battle with the Esper Hashmal when the party ascends the elevator to reach the highest levels. The elevator where Hashmal is fought appears in the background of the BMS.

The Sky Fortress Bahamut is the BMS location of four songs: "Final Fantasy (FFXII version)", "Desperate Struggle", "Struggle for Freedom" and "Ending Theme". Each theme is an allusion to specific scenes or battles in Final Fantasy XII:
- The classic "Final Fantasy" theme plays throughout the story, first heard prominently in the title screen, then later during narrations by Marquis Halim Ondore IV throughout the story.
- "Desperate Struggle" alludes to the penultimate battle against Judge Gabranth, and in all other media is commonly associated with him.
- "Struggle for Freedom" is the final boss theme when the party fights against The Undying, fought on the Cannon Infrastructure of the Sky Fortress Bahamut, which is featured as the BMS.
- "Ending Theme", specifically the first portion that plays in the ending FMV, alludes to the party's escape after the Undying's destruction, with the clear blue sky in the BMS referencing the party's victory.

Final Fantasy XIII series[]

"The Sunleth Waterscape" is the theme of the eponymous location. The area featured in the background is The Old Growth, the first section of the location when Vanille and Sazh first arrive from the Vile Peaks in order to reach Nautilus. When playing the song through a Dark Note, the FMS changes to Lake Shayra, another area within the Waterscape.
The Hanging Edge is the BMS for two songs, all of which are heard in succession in the opening sequence of Final Fantasy XIII: "Defiers of Fate", when Lightning and Sazh Katzroy hijack the Purge train that leads into the Hanging Edge, followed by the boss theme "Saber's Edge" when they both engage battle against the Manasvin Warmech.
The final dungeon, Orphan's Cradle is the BMS for three songs in the location: "Blinded By Light" is the primary battle theme throughout Final Fantasy XIII, though it never plays within the final dungeon. "Desparate Struggle" is the battle theme for Cie'th Stone missions, and also plays against the series of bosses fought in Orphan's Cradle. "Fighting Fate" is the boss theme for Barthandelus, with "Nascent Requiem" the final boss theme of Orphan. Both are heard against them in the Narthex, the final room in the dungeon where the last battles takes place.
Valhalla is the BMS for "Etro's Champion", referencing the opening battle in Final Fantasy XIII-2 when Lightning engages battle with Chaos Bahamut, a form of Caius Ballad.

Final Fantasy XV[]

Insomnia, as it appeared in Final Fantasy Versus XIII, is the FMS location for "Somnus", alluding to the capital of Lucis as the final dungeon of Final Fantasy XV. The song was labelled under Versus XIII, only available in the 3DS version of Theatrhythm Final Fantasy.

Final Fantasy Tactics[]

Golgollada Gallows is the BMS location for "Antipyretic", alluding to Goffard Gaffgarion's attempt to lure Ramza at the execution site in order to kill him.

Final Fantasy Crystal Chronicles[]

The River Belle Path is a recurring location in the Crystal Chronicles series and the FMS location for "Sound of the Wind", the opening theme heard in Final Fantasy Crystal Chronicles, alluding to the opening movie showcasing the various locations and residences of the world.

Final Fantasy Type-0[]

A liberated town within the Militesi Territory is used as the BMS for We Have Arrived (later titled We Have Come in subsequent Theatrhythm games), referencing the opening movie where Class Zero arrive amidst the invasion of the Militesi Empire.