As in many Final Fantasies, this world’s apocalypse is entangled with a goofy rendition of systematic injustice.
Also as in many Final Fantasies, there’s a larger, metaphysical menace waiting in the wings.
His role in the drama is to clobber things very hard so that plot can happen.
It’s essentially a more forgiving Devil May Cry, carried out in the same environments as exploration.
One, thunder-themed set lets you paint targets with electric orbs that detonate and chain together when struck.
Some suites specialise in aerial warfare, others are about artillery bombardments and damage-over-time.
There’s also a Stagger system which serves as a pacing machine during longer, more overwhelming brawls.
The trouble with all this is that little word back there, “gradually”.
The game teems with playtime-padding scraps against blameless wildlife and generic soldiers.
The best compare to bullet hell shooters in having you dance a path between beams and puddles of energy.
The idea is to showboat and enjoy the fireworks.
The quest design also has its ups and downs.
FF16’s desire to worldbuild often gets the better of it, I think.
It’s all grandiose rather than helpful and thankfully, you could mostly ignore it.
Final Fantasy 16 accessibility options
Subtitles.
In-game items that automate certain actions, such as holding a button to charge spells.
It’s undeniably sumptuous, but it can feel a bit dry.
That “togetherness” is worth fighting for, but it’s characterised here by what it excludes.
That contradiction speaks to the oddly self-cancelling nature of the story as a whole.
