![]() Based on what I’ve played, I believe him. Yoshida insists that the game comes from the heart, not from a corporate mandate for change: “For us, it was about: Let’s just make what we love and get everyone excited in this series again,” he told me. It has the summons, the Chocobos and the Moogles, the crystals and the Aether, but more than those things, it has the spirit: earnest, grandiose, a little bit emo, but with a generous sprinkling of charming goofiness. But as much of a departure as Final Fantasy 16 might seem to be - and despite its self-conscious edginess - it’s undeniably a Final Fantasy game at heart. They certainly raised my eyebrows when I played through Final Fantasy 16’s opening hours at a recent London press event. These two things happen within a single scene, early in the game. Others might have qualms about Final Fantasy characters getting spattered in gore or screaming “I’ll fucking kill you!” at the top of their lungs. Some fans might be distressed to learn it has transitioned from a party-based RPG into, essentially, a single-character action game (albeit a very refined one). The risk is that, in the drive to keep Final Fantasy in the top echelon of global blockbusters, the series loses its identity. ![]() In interviews, Yoshida and the other developers love to name-drop two titans of recent, hard-bitten, mass-market fantasy: Game of Thrones and God of War. It’s produced by Naoki Yoshida - the fixer who saved Final Fantasy 14 and turned it into one of the world’s hottest massively multiplayer games - with a remit to broaden the series’ appeal and turn these venerable role-playing games into a slick, modern action-adventure. Every Final Fantasy is a reinvention, of course, but few more so than this. That Square Enix wants to shake up mainline Final Fantasy games with Final Fantasy 16 isn’t up for debate. ![]()
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