From its outrageously beautiful visuals to its brilliant story, Final Fantasy XVI is compelling from start to finish. Its action combat is topped only by the incredible Kaiju-esque Eikon battles, and its story is one of the best I’ve played in the series. Final Fantasy XVI kept me entranced from the moment Phoenix and Ifrit battled in its opening stages till the credits rolled almost 65 hours later.
From the same minds that helm the critically acclaimed MMORPG Final Fantasy XIV with an expanded free trial which you can play through the entirety of A Realm Reborn and the award-winning Heavensward expansion up to level sixty for free with no restrictions on playtime, Final Fantasy XVI brings the series back to its medieval fantasy roots telling a deeply human story. Set in the dark, gritty yet still ultimately beautiful world of Valisthea, Final Fantasy XVI tells the tale of Clive Rosfield, and his struggles throughout his young life.
Playing out in multiple parts of Clive’s journey, starting in his teens and seeing time in both his twenties and thirties, the story told by Final Fantasy XVI is one that is steeped in realistic motivations and themes. Political strife and the need to harness the resources left in a world overcome with Blight motivate the great powers of Valisthea into action, all spurred on by their reliance on the blessing of the various Mothercrystals that adorn the two continents of Valisthea: Storm and Ash.
It’s a story that takes inspiration from various sources, playing on themes we’ve seen in literature - and other Final Fantasy titles - in a new and mature way. It’s a harsh world, and the people within Valisthea are more than willing to get their hands dirty if it means surviving and thriving with their way of life.
I had a fear that this grittier, darker version of Final Fantasy, one that felt too grounded in realism, yet I will say it started to feel sufficiently Final Fantasy once the first Chocobo Knight crossed the screen. Doubly so as I fought the Morbol and the highly acrobatic Dragoon in the beginning.
All the world’s a stage
The Mothercrystals and their Blessings are a central pillar to the story Square Enix’s Creative Business Unit III is telling in Final Fantasy XVI. These Mothercrystals are a source of magick for the various peoples of Valisthea, and through the use of Crystals harvested from these towering mountains of aether the world operates. Crystals are used for everything from filling a glass with something to drink to lighting a forge in order to bang out that next suit of armor in the smithy. Crystals, and the power they bring, allow for a comfortable life for those able to afford them, and as a result the societies in Valisthea have come to rely on them utterly.
The different regions of Valisthea are marked by those factions in control of them, from the Grand Duchy of Rosaria in the West, the Dhalmekian Republic in the south to the Kingdom of Waloed in far away Ash, each society has its own relationship with the Mothercrystl that supplies them with aether, and those who can wield magick without one.
Final Fantasy XVI tells a story that constantly asks the question: What does it mean to truly be free, to be able to choose how you live and die?
One part of Valisthean society that asks that question are the Bearers, slaves to the various peoples of the world because they can wield magick without the use of a crystal. These people are used as tools to sap till they are aetherless husks, as fodder in the wars each side wages for control over the Mothercrystals, and more. The various factions treat these Bearers differently as well, with the Holy Empire of Sanbreque clearly seeing them as simply a means to an end, while the Iron Kingdom despises those Bearers and the Eikon-summoning Dominants as anathema.
This tension between the various classes within Valisthean society, as well as the ever-elusive answer to that question drive much of the plot forward, but the story Final Fantasy XVI is as multilayered as the world it’s created. It’s compelling, and one that made me feel empathy for the Bearers at every turn, but also the various players within the story itself caught up in the gears of fate.
The world of Valisthea itself, though, is the stage where all of this unfolds. And it’s breathtaking.
From the sandy, windswept deserts of Dhalmekia to the rolling hills of Rosaria, I was enraptured by every new location I visited. Parts of Final Fantasy XVI transported me utterly, and multiple times during a quest or romp through one of FFXVI’s semi-open world locations I would stop and just pan the camera, taking in the scenery.
Thanks to its return to medieval fantasy roots, gone are the modern cities running on a mix of magic and technology from the most recent entries in the series, instead the world is one of medieval stonework castles, thatched roof houses, and the ruins of a long Fallen race in between.
The hills of Rosaria near the town of Martha’s Rest have to be one of my favorite places in Final Fantasy XVI, its rolling grasslands complete with wild Chocobo packs stretching into the distance, the stronghold of Rosalith sitting in the background stoically. I also loved roaming the woods near Sanbreque’s northern lands, the thick canopy of trees making me feel as though I was walking through the Ardennes.
However, the sight of the Mothercrystals themselves filled me (and my screenshot folder) with awe. Coming over the horizon and seeing Drake's Head and the Holy City of Oriflamme in the distance has become on of my favorite moments in games recently. I was just sitting there with my mouth open, just wowed by the sight.
The art team at the Creative Business Unit III has outdone themselves as every corner I explored was beautiful to behold. Even the Blight-infested northern marches of Rosaria had its own otherworldly beauty, and even though I had no real emotional attachment to the world or its characters just yet when I happened upon it, I felt a sadness for what was lost there.
It helps too that this landscape is accompanied by Masayoshi Soken’s excellent soundtrack, taking motifs and themes from Final Fantasy’s history and masterfully weaving them with his own. It’s a stunning piece of music that ranges from the classical elements of the series down to epic bass lines and stunning guitar riffs at times. Soken is a musical genius, which might we already know from his work on XIV, but here the music is taken to another level.
A Shield of Rosaria
Clive’s personal journey starts in his teens in his home of Rosaria. Sworn Shield to his younger brother Joshua Rosfield, the current Dominant of Phoenix, events unfold that see Rosaria brought low thanks to betrayal. Joshua himself caught up in the events, with tragedy striking the young heir to the Rosarian throne.
Clive’s journey becomes not one of service to his brother and the realm of Rosaria, but one of vengeance. This is his driving force and one that fully captured me in the opening hours of Final Fantasy XVI. I was mad for Clive - I wanted revenge myself, and I was instantly eager to follow the footsteps of Clive wherever the journey took me from that moment on.
It helps that Clive, and everyone else in Final Fantasy XVI for that matter, is well-written and impeccably acted. Nothing about Clive feels like the generic fantasy hero here. He’s traumatized by the events of his past, and this trauma both drives him and haunts him throughout.
Companions such as childhood friend Jill, the Outlaw Cidolfus Telamon, as well as Clive’s trusty canine friend Torgal, are also highlights. I particularly liked the well-acted and insanely funny Gav, a scout for Cid’s band of outlaws that dips in and out of the story across its runtime. In fact, pretty much every character found at Cid’s Hideout, a hub of sorts used throughout Clive’s journey, is a standout in their own right.
The hulking Goetz is what I would expect Hodor would be like if Hodor could fully talk - kind, gentle yet timid overall. The shopkeeper Charon (pronounced Karen) never needs to speak to the manager, and provides some of the sassiest comments to Clive throughout the journey. My partner as they watched me play was aggrieved that Charon didn’t have more of a role in the moment-to-moment gameplay just because they could listen to the old shopkeeper dig at Clive for hours on end and never tire of it. Tarja, the hideout’s resident healer, is kind yet stern and reminded me of every military nurse I dealt with growing up in the best way possible.
Even the characters we are clearly designed to hate are well-written and impeccably acted, such as Clive’s uptight and elitist mother Anabella Rosfield, or even the Lord Commander of the Bastards, the group of Bearers Clive fights within the opening stanza of the RPG, Tiamat. Yet it can’t be said any of these characters are just outright evil, as they all have their own motivations and nuance to them that makes them feel more rooted in the real world, not simply a character on the screen.
None of the character dialogue felt forced, which is not something you can typically say about video game dialogue nowadays.
Ben Starr’s performance as Clive is exceptional, as was Ralph Ineson’s portrayal of Cid. Seriously, Square Enix, he needs to be Cid in every game from now on until eternity. Both actors bring warmth and texture to their roles, and they elevate the cast around them. It really makes the world feel much more alive and real when the acting is of such a high quality.
Now if only they could have figured out a way to get Urianger into Final Fantasy XVI…
Clive’s role as a Shield of Rosaria sees him excel in not only swordplay but also wielding magick himself. While the Phoenix took up residence in his brother, Clive is still blessed by the Phoenix itself, meaning he can use some of the Eikon’s powers in combat.
As I mentioned in a preview last month, Final Fantasy XVI is all about spectacle. The action combat brings that spectacle to its height, with fast-paced, hard-hitting action that is both fluid and brutal.
Clive can dash into the fray using his Phoenix abilities that remind a bit of the warp ability from Final Fantasy XV Noctis uses, and each swing of the sword feels fantastically meaty thanks to the incredible DualSense implementation on PS5. It’s a combat experience that rewards both careful reactions to enemy movements while also rewarding when to press the attack.
What it amounts to is both an aggressive, yet delicate, dance of attacks, dodging and counterattacks, with magicks woven throughout. Oftentimes I’d find myself in a boss fight firing off rounds of magical bursts at range to learn a boss’ moveset before jumping into the fray in earnest.
Clive isn’t a purely offensive machine, either. While there isn’t a traditional block move (a Shield without a shield is kind of an interesting combat choice, Rosaria), Clive can parry incoming attacks, opening up enemies for extra damage. I always found it hard to time the parries as combat was oftentimes so fast and flowing that I would find myself already working on the next attack when the parry timing would be up. I was too slow to react half the time. But when I would pull off the perfect parry, it was just a brilliant feeling.
Clive himself can also do aerial attacks - my particular favorite was to pull off a quick flurry of sword strikes and then bring my sword down in a strike that sent my enemy to the earth in a heap. Clive can also be brutal, stabbing downed enemies to gut them, beat them into submission with a satisfying stomp to the face, or even pick them up and breath the fires of the Phoenix with his fist. It all perfectly matches the brutality of the world around them, and I loved every second of it.
Dance of the Eikons
Where Clive really comes into his own is through his ability to channel the different Eikons in Final Fantasy XVI. From the Wind-wielding Garuda to the more stoic Titan (which finally gives Clive a true block move), wielding these different Eikons changes up combat tremendously.
With each Eikon is a different move set and approach to combat. Garuda is fast and fluid, though her attacks don’t necessarily hit with a ton of strength, while Ramuh’s Lightning Pile Drive quickly became one of my favorite AOE attacks.
At any given time Clive can channel three of the Eikons, allowing for some incredible mix and matching. I found myself experimenting with the various Eikons to find that perfect mix for me and found myself never quite settling on just one combination.
These different Eikons make the already incredible combat system even better, as it just adds so much more depth to Clive’s moveset. Being able to port in close to an enemy with Phoenix Shift, and while Clive is porting swap to Ramuh to Pile Drive lightning into a group of enemies was always satisfying. Blocking with Titan and following it up with a devastating three-punch precision combo made me forget all about my parry timing, and crucially slowed combat down for me to allow for that kind of reaction timing.
This delicate dance of Eikons took a bit to master, but once I did combat seemed to just open up for me. No longer was I thinking about what to do next, it all became a trance, with me constantly swapping between the three Eikons, weaving skills and attacks as if they were all just an extension of Clive’s will. Late in the game, I would take out whole packs of enemies with just a quick weave of three or so AOE skills and it felt so satisfying in the end.
Visually, combat is busy, Spell attacks from not just Clive are being slung everywhere, but party members are doing their thing and so are enemies. A wave of magic, damage numbers, steaking Torgals racing across the screen to ravage a foe and more constantly kept my 4K TV full of particle effects that really felt satisfying to watch. However, sometimes this constant flurry of attacks could become a bit too busy, and I wish there was a way to tone that down in the settings.
Additionally, the camera wasn’t always the best, especially in tight spaces like a lane in the forest heading towards Lostwing, and I could literally not see the action at all. It didn’t always happen and mostly was when I was locked onto an enemy itself.
However, in these moments I greatly appreciated that there were still enemy position indicators on my screen, especially when an enemy was about to attack. Being able to quickly dodge a strike and follow up with a magic or melee counter never stopped being satisfying.
Limit Breaks can also be popped off, powering Clive up even more and healing his health over time. This powered-up form of Clive fills the screen with flame, as each sword strike brings to bear the fire of Rosaria on his foes. It’s thrilling and I would oftentimes pop the Limit Break just to watch Clive go nuclear on a pack of Orcs or Goblins.
Final Fantasy XVI also has a massive Eikon-specific skill tree that allows for the ability to unlock new Eikon skills, power them up and master them using the ability points earned for downing enemies and completing quests. This skill tree is huge, with each Eikon having their own unique set of skills to unlock, as well as the base combat skills such as Clive’s ability to send fire into his sword to unleash a devastating flame strike.
One of the largest departures from the series is the fact that you only control Clive himself, and not the full party of characters. While I never really felt like I needed to control my party, I will say I missed at times the ability to swap to other characters like you can in Final Fantasy VII Remake. That said, Clive can still command his hound, Torgal, in combat with a combination of ground and air attacks, as well as a heal to help in a pinch.
These attacks from Torgal can be mixed with attacks from Clive to create some pretty devastating combos, such as Torgal launching an enemy in the air only to have me Phoenix Shift to the enemy, do an attack combo and then send them to the ground with a flame-enhanced downward thrust.
Combos themselves on the surface might seem standard button mashing, however, it all comes down to weaving skills from Clive and his Eikons in a fluid motion. Using a skill that sends an opponent flying in daze only to pull them back with Garuda’s Deadly Embrace before they even reach the ground and then send them packing again with a well timed Rising Flames will never get old for me. I found a ton of joy mixing and matching these skills in combat to weave together combos that can take out enemies quickly. It helps too that there is an excellent and rather robust training mode at the Hideaway in the Hall of Virtue to really get a feel for the flow of combat and try out new skills and combinations.
The sheer number of skills on the tree will allow for some heavy customization, and trial and error can help to hone in on the right build for you. Thankfully too, Ability Points can be reset for free at any time, allowing for that customization to be done, which is a great touch. I also appreciate that the team included a “recommended skill” option for those who just want to fight and don’t want to get bogged down in the large skill tree.
Another part of the skill tree I love is the way mastery works. As you upgrade a skill, once it's mastered Clive just knows it. As such, where before Clive could only equip a skill if he had that specific Eikon equipped. However, mastery allows for even more depth as I was able to equip skills regardless of the Eikon specifically. As such, I could choose the skills I wanted, such as Ramuh's excellent Pile Drive AOE and match it up with an Eikon that had a more impactful focused skill, like Garuda's Deadly Embrace.
What it all amounts to is a combat system that is new to the series, yet still feels rooted in Final Fantasy. While it’s an action combat system, that tactical approach is still there with the mixing and matching of Eikon abilities. I will say as well, there are two different graphics modes, with one mode preferring graphics while locking the framerate to 30fps, and the other lowering the resolution to unlock that framerate.
I spent the vast majority of time playing in the 30fps mode simply because it was more consistent, especially in these incredibly fast and complicated fights where a framerate drop could impact skill timing. But I am happy the option is there, especially for those who will be playing this on a VRR display and can better smooth out that higher framerate experience until a patch can make it more consistent.
However, Eikons aren’t just meant to be channeled, they are meant to be primed. And the Eikon clashes are likely the grandest spectacle of them all in Final Fantasy XVI.
Cinematic Clash
These large Eikon clashes are incredibly cinematic, and not just because some of them play out with cutscenes interspersed throughout them. From the opening moments of a fight right down to the end, these clashes are a sight to behold.
They all, also, play out a little bit differently, mostly for story reasons, with the one at the very beginning playing more like a twin-stick shooter while another later on in Final Fantasy XVI feels like a much larger version of the regular action fighting.
These battles are large with multiple cutscenes and quick-time events scattered throughout to make them feel incredibly epic. I especially enjoyed one that felt like I was playing out a scene from Bayonetta, running in an on-the-rails type experience that saw me dodging attacks, countering with my own and more.
However, what each Eikon battle felt like overall was unique. While there are elements that are a part of each, the spectacle of each was unique and just plain awesome. These were some of the most invigorating moments of Final Fantasy XVI and I often wanted to go back to the Arete Stone in the hideaway to replay these moments over and over again.
The epic boss battles along the way in the main story are a particular highlight as each boss fight is distinct and challenging in their own right. I honestly felt at times I was in a raid or Duty in Final Fantasy XIV as some of the design language from there was clearly evident in FFXVI. The final boss fight was sufficiently epic, and left me gawking at my screen long after the credits rolled and I was back at the main menu. It’s just awesome and I can’t wait until the shelf life on spoilers is up so I can shout from the rooftops about that fight.
However, I will say, at times the cinematic focus worked against a battle, as an overreliance on quick-time events in a cinematic made me wish I was actually the one pulling off these stunning Eikonic feats on screen, not simply reacting to a button prompt. But that feeling didn’t sour the whole experience, and the few times I screwed up a QTE section quickly reminded me that while I wasn’t in full control, I was still responsible for the damage being dealt - either to myself or the enemy.
If you’ve played Final Fantasy XIV, you know that Naoki Yoshida and the team enjoy a good cutscene. Final Fantasy XVI has a ton of them. And while at first I thought it might be too cutscene heavy, I never quite got tired of them. What I came to realize is that the pacing of Final Fantasy XVI felt a lot like the pacing from FFXIV (which is great - we really recommend you play it!), going from gameplay to the next story beat and back to gameplay throughout the runtime.
The linear progression never felt restrictive, especially as the pacing of the action keeps the story flowing in the direction it needs to, but I did appreciate the more open segments in between major story beats.
The world of Valisthea is connected by large swathes of land in each region, unlocked as the story progresses. An incredibly generous fast travel system allows for easy traversal around the different zones, but if you feel like walking (or riding a Chocobo) you can do that too. It’s in these moments too where you can take part in the many side quests in the RPG, some of which help to progress story beats that unlock new items and upgraded gear, while others are simply side stories that reveal more of the world of Final Fantasy XVI.
Given that Game of Thrones is a major influence on the RPG, the dark and bleak world fits right in. But so does the sheer amount of characters, places, and themes that FFXVI threw at me. I was so happy to have the Active Time Lore system at my disposal. This system pauses the action and presents the various people, places, and concepts in the story at that moment, offering more insight and backstory in the moment. Cutscenes are even able to be paused and their lore actively looked upon at any given time. It’s such a nice feature that brings so much more depth to the game, it needs to be standard in every RPG moving forward.
The story of Final Fantasy XVI is one of sorrow, loss, anguish, revenge, yet even hope. These themes run as undercurrents throughout the narrative as the characters each with their own motivations, desires and wills contend with each other and world around them. It all makes for an incredibly serious narrative that touches on striking questions about freedom, free will and the divine in a way that I’m still trying to unravel after spending almost 65 hours in Valisthea myself.
There isn’t a character on screen that I didn’t feel some empathy for, even those who are clearly designed to be the villains in the story.
While I’m trying to avoid story spoilers here, I will say that while my runtime was about 65 hours, I did most of the various hunts and almost every side quest in Final Fantasy XVI. But with so much to do, unpack, and even a New Game+ mode (as well as an even more challenging Final Fantasy Mode), it’s a story I’m going to play again - which is usually rare for a game I just reviewed.
Everything just works, from its impeccable storytelling to its high-octane action combat that continually raises the bar with each passing boss fight, Final Fantasy XVI is one of the greatest RPGs I've ever played. Full Stop.
Conclusion
Final Fantasy XVI is a tale of loss, sorrow, revenge, and hope. It’s a story that feels human and down to earth, yet still retains the essence of what makes Final Fantasy so great. It’s a story that’s rooted in realism and tells a deeply human story, all while retaining the spectacle and magic that makes Final Fantasy so great.
The new action combat is a definite highlight and I cannot wait to see how future Final Fantasy games take this blueprint and refine it further. However, the Eikon battles set this Final Fantasy apart from others. Long have I wanted to take on the role of the grand summons we see in previous entries - here Final Fantasy XVI gives me the opportunity to live out that dream.
What it all amounts to is one of the most detailed and beautifully made games in the series. Final Fantasy XVI is a masterpiece. From its stellar writing, music, world-building and incredible cast, this has easily taken the mantle as my favorite Final Fantasy in the series to date.
Full Disclosure: A copy of this game was provided by PR for the purposes of this review. Reviewed on PlayStation 5.
