Identity is a fascinating concept. But don’t worry. I’m not going down the rabbit hole of identity politics and grand surveys of the self. No, we cling (at least for now) to IPs that have become so enduring that they can stay with us for a lifetime and, in some cases, ignite a (slightly too) intense love-hate relationship. Initially, it’s often easy to point to some of the key characteristics that define an IP – Star Wars, for example, was originally characterized by its main characters and bombastic soundtrack. But as the universe expanded, those features became less pronounced.
It’s the same in the gaming world, where some series have been around for half a lifetime. The most enduring of these is undoubtedly Final Fantasy, which is also one of the most difficult to categorize. Because what makes Final Fantasy Final Fantasy? Chocobo and Mugel? Of course, of course. But for me, it’s also something more intangible. It sees a group forming and finding each other to stand together against a Greater Power. It’s huge emotion on the biggest stage imaginable, and even though it can get a little over the top at times, I love this series for not being afraid to get off the rails. It’s this feeling that has stuck with me as the series bounces between high fantasy and steampunk, throwing certain mechanics out the window, and new ones have taken their place.
While the series offers variety both in terms of mechanics and environments, Final Fantasy XVI may be the biggest shift yet when it comes to numbered single-player. Given the series’ recent developments, the fact that it’s now a full-fledged action game in terms of combat systems is perhaps the least surprising. Even more shocking is the brooding tone, where psychological trauma competes with impaled bodies and mass hangings to distance itself from the series’ usually more PG-13 fantasy approach.
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Fortunately, there’s still a heart of gold beating behind the dark exterior, and once you get past the many overt episodes of violence, death, and destruction, it’s clear that at least a good chunk of the series’ identity is intact. Because at the end of the day, Final Fantasy XVI is still about many of the things the series is known for. Friendship, hope and the courage to risk everything to create a better world. The development team has delivered on its vision of a stripped-down yet luxurious action game with a deep story and world in exemplary fashion, and I don’t think I’m being overly generous in calling it the series’ best entry in 20 years.
A big part of what made Final Fantasy XVI so successful was Square Enix’s Creative Business Unit 3’s simplified approach to the project. Clearly, the focus has been on the world and the story that unfolds within it, as well as the combat system, as all the excess fat has been trimmed and the remaining systems are built around one of two elements, support and augmentation. The approach is similar to Square Enix’s used in Final Fantasy XIII, but unlike that title, Creative Business Unit 3 shows a better understanding of how to tighten the grip and when to let go of the reins.
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In keeping with the series’ modus operandi, the intro is a choreographed dance of death, with a pounding orchestral score and razor-sharp visuals setting the stage for the harrowing events that plunge our protagonist, Clive, into a lifetime of chaos. The journey, first of all, is recovery, and then other more meaningful things.
Clive is the eldest son of the noble blood that rules the Principality of Rosaria, one of the five principal nations that call the two continents of Ash and Storm home. At the start of the game, we’re on the brink of a new war, and the aforementioned tragic events, including classic treason, are the catalyst for a major conflict that’s a constant backdrop throughout the story. There are countless names, events, and locations to keep track of, but thanks to the excellent Time Enabled lore system, which lets you pause any cutscene and read short paragraphs on related topics, and your base’s two lore masters, Harpocrates and Vivian, they put together By taking all the information you’ve collected and presenting it in a dynamic and educational way, I’m never afraid of being left behind. In fact, one of the most enjoyable aspects of Final Fantasy XVI is delving into the fantastic lore Square Enix has created, with many of the developers able to incorporate systems from Creative Business Unit 3 into the game’s story.
The main cause of the imperialist itch in several countries was a blight that spread across two continents, turning lush and fertile landscapes into barren wastelands. This has resulted in massive refugee flows, putting additional pressure on areas not yet affected. Acquiring new, fertile land is clearly an irresistible temptation for many, even if it means open warfare. Most intriguing is where the so-called mother crystal resides. In Final Fantasy XVI’s world of Valistea, some people are often ostracized due to their magical abilities, but the vast majority rely on crystals mined from the Great Mother Crystal to keep everything from their forges to their kitchens running. In short, they are the world‘s primary source of energy, and therefore more sought after than a pint of beer at the Glastonbury Festival.
No, you have to be very inattentive to not read the amalgam of fossil fuels and a destroyed planet as thinly veiled commentary on the climate crisis. This isn’t the first time the series has shown its climate activist face – think the remake of Final Fantasy VII – but the parallels to our world seem especially strong this time around. This also applies to tools of war, the gigantic Eikons, which can be deployed on the battlefield as weapons of mass destruction to turn the tide of battle. Eikons are Final Fantasy XVI’s version of Summons, Espers, Eidolons, and whatever else they’re called in many chapters. Historically, they’ve often served as glory spells, but here they stand out, both mechanically and narratively.
Each Eikon inhabits a flesh-and-blood human, the so-called Dominant, who can transform into huge and powerful beings on command. The Dominants are both hated and idolized – depending on which country you ask – and their role in the war and the fate of the continent is as much an actor as a tool. Because Dominants require enormous effort to transform, and Eikon has a history of escalating conflict, they’re rarely used on the battlefield, but when they do, it leads to some of Final Fantasy XVI’s most bombastic moments.
You control and fight Eikons in battles that aren’t mechanically among the game’s most complex duels, but visually blew me away. Garuda, for example, turns the entire area into a giant hurricane that tears apart buildings when you try to reach its center, while the battle with Bahamut on top of one of the aforementioned mother crystals turns into a kaleidoscopic cosmic explosion.
It’s pure monster power fantasy, but Square Enix wasn’t content with just having a fighting duel between two heavyweight boxers. Instead, they play with genres naturally. Suddenly, the game becomes an autorunner, then switches to a rail shooter. Again, this isn’t the most impressive aspect of the gameplay, but the playfulness shines through, and since Square Enix is very good at designing visually stunning scenarios, it’s a joy to play.
Overall, the combat system is a win by most parameters. Especially in big fights, where Clive faces exceptionally strong opponents, its mix of accessibility, variety, and pyrotechnics is a real joy. Success here requires timing and some forethought, and weaker opponents are more like glorified pinatas. Taking things apart is fun, but not very satisfying in the long run.
The combat system basically consists of six elements. You have a normal attack, a magic shot, a special attack similar to God of War’s runic attack, a limit break that is more God of War than classic Final Fantasy, a dodge move, and finally one tied to your activated Eikon power special power. The last one in particular needs some explanation. Clive starts out with Phoenix’s blessing because his brother Joshua is his Dominant, but over time he gains the power of multiple Eikons. You can equip him with three different Eikon abilities at once, and depending on which one you choose, it affects your shooting element, your special attack, and your special ability. If you choose Phoenix, the latter teleports to the nearest enemy, while Ramuh lets you mark enemies and then short-circuit them with electricity.
Special attacks, or Eikonic Powers as they’re called in the game, are even more interesting. Some are best for doing damage to an opponent, while others are good for a team. Some are short attacks, some are long attacks, and then there are time-based attacks where charging an attack and releasing the button in time can do extra damage. You can also learn new attacks and upgrade existing ones, as well as some common attacks, in the game’s excellent skill tree.
You can toggle the Eikon power on L2, it’s incredibly easy to switch, and the combos that are streamlined but still offer plenty of options are one of the combat system’s greatest strengths. It also helps everything feel good. There’s a sense of gravitas behind Clive’s attacks, and the way the game slows down when you dodge them at the right time is very satisfying.
But at the end of the day, it’s the Eikonic Powers, and each Eikon’s special ability, that keep the combat system fresh for 40-50 hours until the end, depending on how much side content you choose to seek out. While Final Fantasy XVI plays mostly for its main story, the sidelines are pretty extensive and thankfully much better than my first impressions would lead me to believe.
The side quests might start off slow, but as time went on I came across more and more vignettes that told stories that were fascinating in their own right and helped paint a picture of where you find yourself in Valisia. Many of them have rewards that are worth the effort—especially for those who love to ride. If you prefer pure combat, with bounties on particularly difficult enemies a fun distraction that also requires you to read the map, Arete Stones offers some of the game’s sharpest challenges in the form of wave-based combat.
And all the side content is just a good excuse to explore more of the down-to-earth and fantastical world Square Enix has created. Not that there’s anything to write home about in the game’s exploration–even in the more open areas that often contrast the game’s mostly linear structure–but not a single finger can be pointed at the appearance of the world itself. On the one hand, Final Fantasy XVI exudes a dark, Eurocentric medieval fantasy, with Thornbrac and Rosalia representing Western Europe, Iron Kingdom rhyming with the British Isles, Valord looking like the North, and Dalmekia representing Exotic Middle Eastern elements – minus the Crusades, though. It’s detailed in a very dirty way, but gems can be found in the dirt. Final Fantasy XVI also has a more classically beautiful and adventurous side, with an interesting contrast to the dark forests, villages, and fortresses. Sandbrec and Crystalline Dominion’s castles make even Neuschwanstein look pale, Valord’s Bible of King Barnabas splits the sea in two, but most adventurous is the giant Mother Crystal. One burns like a fire, while the other unfurls like a flower big enough to shade the city. I’ll never forget the images of the grueling and epic battle of three giant Eikons over this particular crystal, and the tones of the very successful music, in keeping with the history of the series, which turns thunderous and epic, Melancholy and sensitive, and whimsically playful.
Yes, there’s a lot to like in Final Fantasy XVI, but the game isn’t without its problems. Difficulty levels are a bit easy at times, which tends to ruin an otherwise excellent combat system; pacing suffers from a few dips that drag a bit frustratingly, and voice acting quality fluctuates slightly to the detriment of an otherwise mostly excellent character, even in show mode , I also experience occasional framerate drops. However, this is rare in combat and not serious, so hopefully Square Enix can fix it quickly. It should also be said that, technically, the game feels very solid, and I didn’t experience any crashes, erratic AI, or even basic clipping errors during my gameplay.
As The Legend of Zelda and God of War have done recently, Final Fantasy wins by throwing the rulebook out the window and rethinking what the series would look like in the modern day. Both XIII and XV felt trapped between two worlds, and Final Fantasy XVI definitely took the action game route. But it doesn’t lose sight of the essence of the series. Yes, the tone is dark and gloomy, and the style is more realistic, but the sense of community and epic journey is totally there. While the combat system feels very different at first glance, over time you start to notice that the cadence of switching between cheap standard attacks and more expensive special attacks is more in line with past combat systems than you might initially think. Plus, it’s amazing to play a huge AAA game in 2023 that doesn’t try to embrace everything, but bets entirely on relatively few core elements. This might not be the Final Fantasy of my childhood, but it’s the correct Final Fantasy for 2023.