EverQuest Legends, the EverQuest spinoff that remixes an old-school version of the early MMORPG into a multiclassing, froglok-murdering ARPG minmaxer's paradise, has a lot on the way. In a recent Twitch stream, developers from Daybreak Games and Game Jawn floated some pretty big ideas for the future: perhaps most notably, all-new classes that weren't in the original EverQuest at all.

"Definitely, I think, long-term we have discussed additional races, additional classes. Is it realistic to have another class by [the upcoming expansion] Kunark? I don't think so," said Daybreak executive producer David Youssefi. "But definitely would not rule it out for the longer-term vision of the game. In fact, I'm sure we would." Game Jawn CEO and technical director Eda Spause chimed in, "Yeah, absolutely."

Granted, they were careful to temper expectations. Before Youssefi said that, lead content designer Eric Wellman addressed the topic by saying it's "a matter of how much work, and is it worth the work." Spause replied, "I'm of the opinion it would be, however, that opinion is also at odds with the reality of how much we have to do." In other words, this is less a guarantee and more an optimistic plan for the future.

While, for the most part, Legends is just a casual-friendly remix of an old game, this particular long-term ambition calls to mind Old School RuneScape and the oft-rumored 'Classic+' version of World of Warcraft taking after the game's private server scene. Every class playable in even the modern version of the original EverQuest is already represented, so the addition of new classes would see Legends join the chorus of MMOs and live service games building new stuff using an old version as scaffolding.

And while Legends already has an original playable race in the catlike kerran and revamped zones here and there, I'd argue new playstyles are the bigger deal in a game all about concocting builds and farming phat loots. As for what those classes would even be, it's hard to say.

EverQuest has so many classic D&D-style fantasies represented that it started splitting hairs between wizards and magicians—pretty thematically narrow things like beastlords and berserkers made it in eventually. I'm sure EverQuest 2 can provide some inspiration, what with its coercers, defilers, and other sub-classes with oddly vague names.

In the meantime, check out PC Gamer news writer Joshua Wolens' impressions on EverQuest Legends, where he called the game "an MMO for MUD enjoyers and Morrowind perverts—no longer hard, but still authentically idiosyncratic … the Linux of MMOs."

Last month, Final Fantasy 10 turned 25 years old—a fact that has utterly shaken my perception of the passage of time, leaving me to slowly decay into a pile of dust. It remains one of my favourite JRPGs of all time, even if PC only has the significantly weirder-looking, plastic-faced HD remaster. The romance! The belts! The turn-based battling! The cutscenes! Things that all still very much hold up two-and-a-half decades later, in my humble and not at all biased opinion.

But one aspect that has endured above all others is the game's soundtrack. It's this immaculate blend of genres, something we'd see happen more in future games like Final Fantasy 13-2. From the all-out rock of Otherworld that blasts your ears during the introduction of Blitzball rockstar Tidus, to the wonderfully ethereal Besaid. Or even the game's overarching theme, To Zanarkand, which is the perfect musical embodiment of its melancholic narrative.

When I think about Final Fantasy 10, though, one song always comes to mind: Suteki Da Ne. It's the song that plays during a hugely pivotal moment in the game. Yuna has become increasingly conflicted over her role as a summoner—one which is destined to end in her death—but her desire to quit is outweighed by her commitment to her duty.

The scene culminates in her and Tidus together in the springs at Macalania Woods, a gorgeous glittering landscape painted in shades of blue, while the two descend under the water and share a kiss. It's the first display of romantic intimacy between the two, capped off by the delicate Japanese vocals and sweet orchestra of Suteki Da Ne.

It wasn't the series' first attempt at a vocal track. Final Fantasy 6 had pseudo-vocals during the famous opera scene. Final Fantasy 7, of course, had One Winged Angel, and Final Fantasy 8 was the first time I recall a vocal song in the series going more pop-focused with Eyes on Me.

But Final Fantasy 10, being the first to release on PlayStation 2, felt like a huge step up in terms of how hard composer Nobuo Uematsu could cook. It's a song that's needed little-to-no rearrangement in the years since, because it remains so dang good from its initial conception.

It's the first vocal track I remember really resonating with in a Final Fantasy game, one that brought me to tears the way no other videogame had up until that point. It feels beautiful and tragic at the same time, and it's a track I don't think a game in the series has ever come close to matching since—though Final Fantasy 14's Flow is probably the closest contender.

I'm not sure we'll ever get another soundtrack quite like Final Fantasy 10, and 25 years later I still find myself going back to its music time and time again. And while Suteki Da Ne might not be my most listened to of the bunch, I maintain it's one of the best composed pieces—a diamond in a huge stinkin' pile of gold. And one that still brings a little tear to my eye every time I listen to it.