Reception of the mythos' use in the released games has also been mixed: while some critics called it confusing or too similar to the lore of the main series, others were impressed by its scope and use.

Fabula Nova Crystallis Final Fantasy currently consists of seven titles across multiple platforms, including sequels and spin-offs of the original three entries.

[3][6][7][8][9][10][11] The entries in the Fabula Nova Crystallis series share the same mythology, interpreted differently and referred to in varying degrees for each of the game worlds.

[46][48][49] While the mythos is still present in Final Fantasy XV, it was "disconnected" from the core framework, with specific terminology being removed and its emphasis reduced to become a background element for the world and story.

[59] The second common element is the structure of the Fabula Nova Crystallis universe, which is divided in two: the mortal world, where humans live, and the afterlife or Unseen Realm (不可視世界, Fukashi sekai, lit.

[66] Commenting on the extensive use of Latin in Final Fantasy XV prior to its public name change, Nomura said he wanted a language that was no longer used on a daily basis and that people "won't be able to understand and yet appreciate", desiring a sense of general equality.

[67] In the mythology, the god Bhunivelze (ブーニベルゼ, Būniberuze) seizes control of the mortal world by killing his mother, the creator goddess Mwynn (ムイン, Muin), who vanishes into the Unseen Realm.

In XIII, there are two possible outcomes for l'Cie: once their Focus is fulfilled, they can go into 'crystal stasis', transforming into a crystal statue, and gain eternal life, but if they fail they become mindless crystalline monsters called Cie'th (シ骸, Shi-gai).

[48][71] While not referred to as such using the original terminology, humans imbued with magic and burdened with a task exist in Final Fantasy XV, one of them being the main protagonist Noctis.

Discussing what to do once Final Fantasy XII was completed, Nomura, Shinji Hashimoto and Yoshinori Kitase decided to build upon the idea of multiple games connected by a single "central theme".

[73] Scenario writer Kazushige Nojima started writing the original mythology for the Fabula Nova Crystallis series in 2003, finishing it by February 2004.

Whereas the common link in the Compilation was VII, the team chose to use "the tale of new crystals" for the new series, with the mythos connecting the games rather than an overarching narrative.

[87] Late in its development, Final Fantasy XIII changed from being a console exclusive when an Xbox 360 version was announced, significantly delaying its release.

[90] After the release of Final Fantasy XIII, the creators wanted to expand on the game's setting and tell more stories about the characters, so XIII-2 and Lightning Returns were developed.

A high-definition port to the same platforms as Final Fantasy XV was co-developed by Square Enix and HexaDrive, and was eventually announced for a western release.

[87] As early as 2007, Square Enix considered re-branding Versus XIII as a numbered entry in the main series due to the rapidly growing scale of the project.

[106][107][108] As part of its later marketing, XV was deliberately distanced from the Fabula Nova Crystallis brand to remove the consequent limitation on their target audience, although lore and design elements were retained.

[119] Lightning Returns was also set to receive a prequel novel by Benny Matsuyama alongside the game's Japanese release in November 2013,[120] but was later canceled due to the author falling ill.[121] A three-part novella exclusive to Famitsu Weekly magazine titled Final Fantasy XIII Reminiscence: tracer of memories was released across June and July 2014.

[124][125] The manga was translated into English and released as part of the western collector's edition for Type-0 HD, available exclusively through Square Enix's online store.

[126] A second manga following one of the game's secondary characters, Final Fantasy Type-0 Side Story: Reaper of the Icy Blade,[e] began serialization in May 2012.

[136] An anime produced by Square Enix and A-1 Pictures, Brotherhood: Final Fantasy XV, details the backstories of the main cast and how they came to be journeying together.

[143] In an article concerning the 25th Anniversary event for the Final Fantasy series, Joystiq's Ben Gilbert called the Fabula Nova Crystallis mythos "occasionally bizarre and often beautiful".

[145] Kat Bailey, writing for USGamer as part of her review for Final Fantasy XV, said that series fans were ready for the subseries to come to an end with the game's release.

[146] RPG Site's Chelsi Laire called the subseries "a series of successes and failures, but mostly the latter" due to its troubled development, but hoped that the company would revisit the brand in the future.

[149] In contrast, the portrayal of the mythos in Type-0 was praised by RPG Site's Erren Van Duine in an import review of the title, with him saying that "elements such as l'Cie and fal'Cie are handled in much more interesting ways".

[151] Final Fantasy XIII was positively received in Japanese magazines, garnering exceptionally high scores from both Famitsu and Dengeki PlayStation.

[167][168] In the west, the game was praised for its graphics, battle system, and music,[169][170][171] but opinions were mixed about its story and it was criticized for its highly linear structure.

[33][196] Final Fantasy XV was positively received by many journalists; praise went to aspects of the story, the main characters, battle system and graphics, while the overarching plot, supporting cast and other technical elements such as the camera and late-game changes in gameplay were criticized.

[227] Speaking in a 2014 feature on the series, Kitase and Toriyama commented that the initial structure and goals of the project had worked against it, causing the mythos narrative to become unfocused and difficult for players to follow within a single game.

In the aftermath, Square Enix decided to move away from the complex narrative style that had accompanied the mythos, instead focusing on telling more understandable standalone stories.