although in reflection it may seem most of the game is trapped in kinda good territory, JFA’s sincerity still shines through in every case. while the first game was a nostalgic journey set on becoming a lawyer, JFA is more concerned with the struggles that come along with being a lawyer, for better or for worse. in its stride to distinctively continue the Phoenix Wright saga, it falters and reclaims its balance many times but it does so earnestly, and eventually reaches the apex that is Farewell, My Turnabout.

“The end justifies the means, Mr. Wright. The end justifies the means.”

I was thinking, trudging joylessly over wet rocks through glacial streams, my controller making the sounds of a crying baby, that no game has ever made me feel this way before — this sad, of course, but this peculiar mix of weary and curious, of wanting to do something despite the crushing futility of it all. Kojima's bizarrely over-engineered menus and mundane mechanics are so expertly deployed to elicit exactly this paradox, it is no wonder the game is so divisive. The game-ness of the game is turned against you so as to add experiential weight to its surface thematics. And so continuing on this line of thinking no game has done this before (besides Shenmue), made its sadness manifest so physically in the body of the player. I came to realise no film or book or piece of music has either, and so maybe, just maybe this is a big deal. If we are looking to art to make sense of the moment of our own extinction event, then I can think of no better work than Death Stranding to thicken time, to underscore the heavy intensity of the world beyond the human, to remind us that a single rock could be the difference between the end of the world and another tomorrow.

Some thoughts that I had stuck in my head:
Explore the world looking for a solution, a connection. Together. Maybe not physically, not by the same routes, maybe not delivering the same

It is difficult for Death Stranding to reach you playing it alone. Its nature emerges more easily online, and it's a great gesture and a statement of intent that you don't need a subscription to ps plus.

Kojima presents a digital world that is difficult to interpret and unite in words, a fiction that shoots directly into our reality.
Cursed, heartfelt, but also emotional. embrace the connections between things, but question them. a celebration of human duality
More prophetic than MGS2 and with better observation, generalizing and at the same time specifying the difficulties of our day to day, articulating them in the total art of videogames.
From the most abstract to the most literal, collective fears, traumas and very recognizable memories materialized. Visible, audible, and even palpable in an alien America full of dualities, of people who only intuit and show themselves through holograms and numbers.
But we are here. Maybe not next door, but in the same world. And the proof is the ladder that I have used to create an improvised bridge, I have left it here, for you, for me, for everyone. And that rope on the cliff, that capsule, that package on the ground. We are here.

Where the rejection of what forces us to leave this world is manifested in a kind of allergy for those who are more akin to these fears or have experienced them to the limit.
Where people are baptized for their present, for their office and condemned for their past. Where the heroes deliver packages and letters. They come to our futuristic shacks and install an esoteric Internet.
Everything is Sam Porter Bridges, whose name makes it STRONGLY EVIDENT what Death Stranding is about, and at the same time no, you cannot perfectly encompass anything as complex as earthly and afterlife connections, the natural and the mechanical, the Software and the Hardware, the "Ka" and "ha". reality and dreams. Much of Death Stranding's recontextualized iconography seems to suggest that.

It is a work that calls for thinking in an unprecedented way about it, because it offers an unprecedented reinterpretation of the transition and relationship with our environment, especially for gaming standards, obsessed with the mechanical-narrative relationship or the challenge, the suggestion and the satisfaction as a criterion to generate interpretations that are autopsies or descriptions. That in the best case.
At worst you have Far Cry 3.
Every species has the game in different facets and areas as a form of intellectual and emotional connection.
Children play and learn/relate, animals play to understand each other. We play to replace war.

Even before having sex we played.

Homo ludens. And Kojima welcomes a lot of this.

We need to be playful without losing focus.
There is no need for subtlety, just answer honestly to human questions. Use the forms of play as a response to the bitter obstacles of reality.
The example is the "Social Strand System", a mechanical reinterpretation of social networks where the game of deliveries and recovery of packages, manufactures and constructions has an impact on likes and statistics, but also on turning the environment into something more livable and peaceful, at the same time, shows that a more altruistic and ethical form of social interaction is possible.
It sounds naive to say that the reconstruction of the collective environment in an online video game is a lesson in altruism and community, even more so when there are likes involved, but the exercise of life begins somewhere, and now that we are waking up from this techno delirium -competitive utopian in which social networks had us flooded, now that we know how important they are to connect with each other more than to raise our ego, this "Social Strand System" shines more than in 2019.
Through the textures of slow gaming, an experiment of self-knowledge and updating is proposed, there is the unprecedented, in how the game confronts us with situations without necessarily connecting their thoughts or ideas and still achieving a certain cohesion. As in life, no one knows "what it is about" and yet we walk through it with what we own and what others leave for us.
And for a game that wants to embrace these themes without giving up the nature of its medium, its foundation, it's something really admirable.
-------------------
Not a single day goes by that I don't think about Death Stranding. Perhaps because of what has been happening in the world since 2020.
On arrival at Port Knot City.
How the corpses of people who have left explode, leaving an emotional and physical void in the form of a crater. Cities with people locked up, invisible. In the networks. In their inverted rainbows. How work becomes playing with its dozens of tools to transport, how enemies are my reflection, silence, likes, photos, stories... In life, how life can be everywhere.
And I can't even put into words practically anything that this game is for me. I plan to return to it in 2023 now that a sequel has been announced that begs the question: Should we have Connected?

cannot say i am particularly enamored with the idea that we should frame this discussion in any way that pretends it is not ultimately a willful net loss for games preservation. the idea that in order to aggressively push hardware a development team was enlisted to resurrect a long forsaken ip, in the process fundamentally misunderstanding the majority of its artistic sensibilities (sometimes aggressively so) to showcase a console’s power rubs me the wrong way for several reasons. and there’s potent irony here because we must also remember that in essence sony is banking on from softwares death cult to launch a console cycle for the second time in a row now. recall the invective words of shuhei yoshida, 2009: 'This is crap. This is an unbelievably bad game.' surely what is now a valuable ace in the sleeve for sonys financial strategy in the 9th generation of consoles onwards deserves more respect than this?

as an immediate contrast in the field of remakes, i’ll put forward that at the very least, ff7 is one of the most ubiquitous games of all time - to such a degree that altering its content and expanding on its themes in a rebuild-esque scenario is not only sensible, but appreciated. the same case is difficult to make for demon’s in my opinion.

perhaps bluepoints alterations, seldom rooted in any reverence for aesthetics but instead prioritizing largely perfunctory gameplay, are to your tastes. but they are not to mine. the original demon’s souls is an intensely difficult work to assess, litigate, and reconcile with, to be sure, but whatever your stance on it, it’s difficult to deny how exquisitely it worked with its limitations to fashion something that was entirely inspired and bold, yet quintessentially from software. none of that same evocative ethos is reflected here, and for these reasons i find bluepoint’s iteration extremely difficult to respect - doubly so because im in a position now of having twice been told to give bluepoint a chance on a remake, both times to personally and deeply unsatisfactory results. i only wish more folks had a convenient way of experiencing the original so they were free to pass their own judgments

“I am Joshua’s Shield. I’m sworn to protect him… He takes too many risks. I only wish I could save him from himself.”

“Clive, you... Well, if you’re not going to pray to Metia for your safe return, I shall just have to do it for you.”

These lines are spoken in the very first hour, and detail three crucial details. His duty as Joshua’s Shield. How much he cares for his brother, and how Jill prays for his safe return. It’s simple, to the dot, and captures the player’s attention immediately. Statements are said with conviction, will, and resolve. Told during the halcyon days of their youth. Ahhh. But terrible storms gather nearby. For Clive, Jill, and Joshua their fates will change forevermore…

Final Fantasy(FF) is no stranger to taking risks. And each iteration boldly goes where the previous ones have not walked. And FFXVI is no different. We follow Clive Rosfield’s journey as a young lad into something more. For better or worse, he and others are embroiled in a political drama within Valisthea. A large continent with six nations all with their factions, agendas, and notorious individuals with nefarious goals. And Rosfield is the poor sod who has to survive, kill and go past his limits. Make no mistake, out of all the FF games I’ve ever had the pleasure of playing. Sixteen consumed my waking thoughts, and remained a constant as I went through the daily motions and as the days passed into weeks. I am astonished by how much there is to do, uncover and learn. I have gone the distance to see as much as I possibly can within two playthroughs. And here I am staring at my google docs page after an exhaustive duel, spending countless hours figuring out if it deserves to reach my top 5 FFs. And it does. I don’t say that statement lightly, since I love the series since starting with thirteen and have enjoyed over twenty-two entries. So you could say I am very familiar. Now then it is time to review the latest entry to one of Square Enix’s(SE) long-running IPs.

Combat is addicting. I couldn’t get enough of it. Experimenting with new skills and outfitting my kit. Or rushing to face numerous bosses that are both fair and hit the right spots. Tweaking the difficulty at your leisure from story or action focused. The former grants free rings at the start to aid you. The latter, you don’t acquire automatically. But you can freely switch difficulties at any time, so you won’t miss out. Equip accessible rings to make combat easier for ya. Auto dodge, auto combo, auto potion, and more are available. A nice way to make fights easier or harder depending on your preference. With the help of Kingdom Hearts developers and PlatinumGames. And signing up Ryota Suzuki. A Capcom veteran and one who has worked on the Devil May Cry franchise. A triple alliance emerges between these forces and at the helm is Creative Business Unit III(CBU3) joining to make an impressive quad squad. The titular and amazing Naoki Yoshida(Nicknamed Yoshi-P) is the producer. A man who has worked tirelessly to reform the original FFXIV launch into one of the most successful MMORPGs today. So you could say these guys are in very safe hands. Unafraid of taking risks, each FF entry strives to make combat innovative, but also familiar to entertain both veterans and sprouts(newbies). Traditional turn-based gameplay has radically shifted since its foundation, shifting into real-time action. And as someone who favors the turn-based approach, I don’t mind the change to real-time. I appreciate it. There is a fluid momentum persisting as you dodge, parry, and execute Eikon's abilities. Goblins? Move over Goblin Slayer, Dude will incinerate them to kingdom come. Phoenix shifting, with relentless fury as if the wind has blessed him with deadly claws. I didn’t find clunky movements wherever I treaded, making battles go smoothly. Transitions into these skirmishes are near instant. So don’t be afraid of a lengthy wait. Quick and nimble is the key here. And I had no problem acquiring different abilities to experiment and juggle my enemies. Didn’t find an issue with the experience. The gain was fair. Both in leveling up and upgrading my skills. I was satisfied to a degree of wanting more and the developers gave me that and extra.

The soundtrack is subtle, but full of magic. Composed by Masayoshi Soken Who has worked just as tirelessly as Yoshi-P in composing FFXIV melodies. Sixteen’s composition is distinct from the compositions of Nobuo Uematsu(FF1->10), Masashi Hamauzu(FF13 trilogy), Yoko Shimomura(FF15), and other composers. More in line with Hitoshi Sakimoto's works. Of FF Tactics and Vagrant Story fame. Subtle, in a good way. I think most if not all tracks work in favor of providing a layer I don’t find as bombastic, full of vocals, or orchestral. Going more tranquil, peaceful, and in some cases filled with tension creates a tightrope to induce fear and bravery. There is meaning and weight to these songs. Triumphant lyrics are largely missing in favor of the solemn and at times contemplative ambient sounds gracing our ears. Pleasant, soothing, and incredibly transformative. Didn’t hear the same old repetitive track again and again. Always something unfamiliar to hear, and listen to when I travel new places around the block. I could say more, but for the life of me, I cannot describe it justice enough. Just know when the epic tunes hit they hit bloody hard. There is a payoff in going subtle here. And if Uematsu could hear this, I think he would clap in joy for Soken’s work.

Gratifying gameplay loop that is cyclical, interconnected and works in tandem with the other systems in place. Get too tired with combat? That's fine. Take a breather with some side quests(SQ) that are almost perfect. Hitting the near-zenith of Witcher 3 SQ quality combined with consistently powerful worldbuilding I haven’t seen since I last played through The Legend of Heroes IP. Specifically, the Sky trilogy, Crossbell duology, and Cold Steel tetralogy. There is so much depth, I am left in wonder and awe to study more about the history of Valisthea and its denizens. More often than not you will encounter chunks of lore. To varying degrees. Religion and societal customs included. Unexpected discoveries in interpersonal relationships with folks I didn’t expect. Helping people in need at the main hub to assist strangers out in the wild. And these are not pointless to do, since the rewards can range from increasing your potions limit to rewarding items, weapons, equipment, materials, and key items. Worth it, both in the physical and knowledge aspects. Easily, the strongest SQs are the ones related to the main character(MC), his party members, and by extension those who are allied with him. Granting a decent to lengthy quest chains to learn more. Bond further and even partner up! Worthwhile to do and I encourage everyone to complete as many as they possibly can. Some of these connect with quests benefiting players and heck if you’re bored you can even undertake a hunt mission. Which are like bounties to defeat unique monsters out in the wild. Fun to do and a worthwhile conflict awaits. A solid way, building up renown to earn supplementary rewards. It's gotten to the point I couldn’t wait to finish the main story quests(MSQ) so I can complete new SQs/hunts popping up on my radar.

And Clive. Bless his soul. Doesn’t mind at all aiding those in need. Especially to offer a guiding hand to Bearers. People who are essentially slaves and can use magic. Commonfolk can’t use magic innately. Used by slave masters, nobility as a means of cheap labor. Bearers are human tools. Do you want your garden trimmed? Let the boy use wind magic to trim the bushes into a presentable state. No need to work yourself and use bladed shears. Need clothes to dry quickly rather than letting the sun do the work? Let the Bearer use wind magic again to blow air on your wet clothes becoming a human dryer. Oh, need consistent fire for your blacksmithing duties? Grab one of those filthy Bearers and order them to use their magic to cast fira. Heating the stones instead of using natural fire. I kid you not these instances I saw plenty throughout and equally jaw-dropping tales inside. In some cases, my emotional state stewed in conniptions. I was immensely saddened to see a mirror image of our world’s history of slavery. And the developers(devs) have managed to capture these horrific moments in ways I was reeling. I won’t go into the exact details, but my heart bled for each one. And I quickly without hesitation became the shield for these unfortunate souls who were suffering without end.

Worldbuilding is quality across the board. I usually have problems with worldbuilding in other Japanese Role-Playing Games(JRPGs). Some go too far. Gorging the player on unnecessary details. Others have too little and need more of the former. It’s been a long time since I was so engrossed in the lore and history. Sixteen manages to do it in such a way I am left hungry for more. Complementing this is a handy codex in the form of Active Time Lore(ATL for short). Where you can see relevant information during any part of the story. Yes, this includes cutscenes. Incredibly well-thought-out and as a lore nut. The feature is very satisfying to use when I need a refresher on what this legend is supposed to be. Why do we keep calling places ‘Storm’ and ‘Twins?’ What are Bearers? The plot, quests, and your companions will continually talk about these elements in rich detail. I could gush more but I think you see the picture. Wish other JRPGs and Non-RPGs learn from this.

An evolving world is persistent here. Each time a major or minor event has been resolved whether by SQ’s or MSQ. The state of NPC's is adjusted to reflect that. And the very essence of Valisthea wherever you travel to also shares the same evolution. Oh, a major event took place at [redacted]? Time to head back to and check for differences in the citizenry. This is just one example of how places may vary over time. Very reminiscent of my time with the Trails franchise. I eagerly looked forward to returning to the main hub and conversing with my comrades on the latest gossip, new information about the state of the realm, or the odd tip here and there you may not see coming. I cherished these NPCs and I would go so far as to call some, my dear friends. They all play a big role in shaping not just MC’s story, but their tales and stories are interwoven with his. Leaving me with an everlasting impression. The gentle giant Goetz, Sharp eyes Gav, the gentle but stern Tarja, the wise Harpocrates, and of course we can't forget the wise, venerable and slick leader. These individuals have their struggles, and quests from which we witness. Cooperate and in doing, so we are treated to a fantastic cast willing to shoulder our burdens. To care for our wounds. To sustain us with supplies and support us through thick and thin. Against all odds. We stand together.

There are however mixed feelings I have with this entry. Won’t say names. Since this is a non-spoiler review and certainly not a positive or a negative. But for the sake of transparency, I'm noting down here. One character in particular needed more fleshing out, some villains and to a lesser degree other persons. I felt I didn't grasp their entire being more than others. Which is funny because I adore my party. Sadly, I’ve already devoured the game as much as I possibly could in search of critical and related information I may have missed the first time around with no success. And I doubt a third go around would change my thoughts. Anyway, I think further context on the background and subsequent encounter with the MC needed more ‘meat’ so to speak for lack of better words to create a dynamic that would immerse me further. Extra side quests regarding ‘x’ nation concerning their status, additional scenes, and heavier amounts of banter, especially during battles to alleviate some silence. There is some banter, though I think the devs could’ve added a healthy amount to spare. Tease me with interconnected lore concerning their powers I wouldn’t expect. Past entries in the series had parties where I can comfortably say I know their personality, likes, dislikes, habits, quirks, relationships with others, etc. And while this one individual didn’t have to that extent. I enjoyed their presence, actions, and the precious moments they had in the story. Granted, including my suggestions would inflate the base content more in hours, but I think it's a small price to pay to receive more fleshed-out people. I’m not asking for five hours extra. Although I wouldn’t mind it. Just an hour or two. Be that as it may, it doesn't diminish the game all that much.

Wish we could control other party members and while this doesn’t make a lot of sense due to spoilers in the story. Conceptually I think it could’ve worked to give further spice to the combat capabilities. Adding a greater emphasis to my earlier point of fleshing out the characters. Since some member’s ability kit is not as varied as the MC’s which would perhaps make the players feel more lacking in the combat. However, internally I’m torn with the idea since I think this would’ve created somewhat a lesser emphasis on his story. And at its core, there is an extremely high plateau of which we the audience bear witness to his struggles, failures, and triumphs through his eyes. If we take out our(his) eyesight and perspective, then these incredible experiences we see perhaps may not have had a greater impact. Balance is key here and while I could sprout more suggestions I could see why the developer chose not to do so. It’s a troublesome matter. I've long since debated whether more or less should be added for games.

Style over substance is here. Should be noted, I don’t perceive this notion in a negative light. I can see the merits, demerits with shades in the middle. For Style It is simply amazing to behold the Eikon fights. But it becomes rinse and repeat as we continue to reuse a repetitive formula. Spamming our attacks amid downtimes of our cooldown abilities, interspersed with quick time events(QTE) to add a flourish making battles memorable. Sure there are moments when this evolves to keep the combat fresh amidst these epic David Vs. Goliath clashes. Tynan Sylvester goes deep into the subject of this in his article on "Style and Substance in Game Design" Here he posits:

“The designs all become too similar to each other because they're all simulations of the same things. The style is decided upon and a simulation is built before the substance gets tweaked. This means that the fundamentals of the games are all the same; they are just variations on one another.”

We see this clearly with the Eikon fights and perhaps in some respects with the combat system in the non-Eikon battles. Nevertheless, it is fitting in a narrative sense due to how the plot and sequences are constructed. I think I would’ve preferred a more tactical aspect here. Instead of having mandatory engagements like these. Include more natural surprises to the player. Raising their eyebrows. Make us fight using different aspects of an Eikon. Outwitting my opponents using subterfuge, and backstabbing, Let us use the environment to our advantage, add in human enemies to avoid clashes, and instill a sense of unpredictability by introducing our loveable party members into the equation. Give us choices or perhaps go bolder where it's not even a fight, but merely a duel of words. I could say more, but I’ll withhold myself. I can’t help but begrudgingly praise how well these Eikonic clashes were done in a cinematic sense, but also what they accomplish in the story. The substance is here too. Good lord, there are simply too many to my utter joy and I’ve already said earlier regarding the worldbuilding, sidequests, and how that wonderfully ties together into not just Clive’s struggles, but the cast alongside him. Man has conflict everywhere.

FF16 RPG elements are barely within and while I think the commentary article does have some truth. I believe for the narrative this was sacrificed necessarily to focus entirely on his journey. I am not defending Sixteen by saying this, merely trying to infer based on what I've seen. There is a clear vision from which the devs have led from beginning, middle, and end for the player to see. And I for one applaud the move to risk in their grand vision, by sacrificing some RPG elements. As a result, I am given less time managing and micromanaging my units stats and equipment, in favor of returning to action. Is this a conscious effort by the team to do so? Perhaps. Should Final Fantasy have the bare minimum of RPG elements like tweaking stats, combat, and more to make it as JRPG as other entries in the past have done? I don’t know. I for one am no developer nor am I an expert in determining the correct answer to such a question. I don’t think there is even a perfect one out there from which we can all unanimously agree. maybe Chrono Trigger? Without a pedantic fella hollering “Well actually…” Comparisons will be made of course. And in tradition, we see these constant debates online. In my opinion, as long as the elements are satisfying to the player, then I think that system serves its purpose. I don’t play FF solely for the role-playing experience. Although I don’t mind if it's in-depth like say Bravely Default or other Square Enix IPs For me, I play FF to become engrossed in the story, characters, music, themes, settings, gameplay etc. And to this end, CBU3 delivers in chests full of Mythril.

The dungeons(these are places from which we fight.) Could be improved level-wise. To allow more freedom to explore. Why can’t I search for a castle more thoroughly? Why am I stuck in yet another forced battle to clear out a room of enemies and goodness by the almighty grace of Greagor please not another forced skirmish? As a consequence, a formulaic method rises as we go through the corridor and room to fight familiar enemies before we can progress. I don’t think this is a bad design. I simply believe other avenues were available. Don’t make some fights mandatory. Allow us to free-roam, and inject some npc’s to raise an eyebrow. Drop some lore papers around ruins so I have something else to do beyond fighting enemy mobs who think they have a chance of opposing me. Be bolder and go the distance by granting loads of enemies to clash with, akin to Dynasty Warriors. Scores of deadly mobs push me to the limit. To play devil's advocate, I can see why the devs didn’t do so, since sixteen is already ambitious. And the pace of how the story beats are granted is logical to me. Overall I think aesthetically they’re great, and the mini-boss/regular boss fights are a thrill to test my mettle. The dev’s don’t miss on constructing these encounters. Using their mmo skills to bring in their expertise to a single player game is a 200 IQ move.

Final Fantasy Mode seems to be the intended difficulty. Unlocked after beating the story. Featuring better tweaks by removing button prompts during QTE's and relying on visual cues to press. Adding exclusive content(in the form of upgraded weapons and accessories), increasing enemy strength, and more enemies in areas you wouldn't expect in a 1st playthrough. I feel this mode ought to be available from the start. Granting a balanced challenge to players looking for a bitter bout. But I think I understand why the developers didn’t unlock it in the beginning. Some areas felt like padding by adding a miniboss in areas when the base game didn’t have one. Which is an interesting choice. Alternatives I was thinking to alleviate this were adding 10-25% more enemy variety and injecting these instead of more mandatory fights. Nevertheless, I am a bit eh on the FF mode. Although, It is a delightful affair for those who seek it.

That’s it for my mixed feelings. Despite the unholy amount I spouted, I don’t believe they bring the entire product down a great deal. Think of these ultimately as food for thought. The rest are minor nitpicks not worth mentioning. Two last notes before I head out and I am so sorry for writing more than I thought possible. But in the writing here. I savor every word. Very mature and filled with layers deep with rich dialogue. Considering it was spearheaded from creative director/lead writer by Kazutoyo Maehiro Who was mentored by Yasumi Matsuno(He directed FFT, Vagrant Story, FFXII among others). Therefore, the writing is beautifully well crafted. Not to the extent of flowery as the Shakespearan translation of FF Tactics: War of the Lions. But a cross between Vagrant Story & FFXIV dialogue in a modern take. Resulting in naturally organic voiced scenes. I frequently traveled back to cities, towns, and my main hub and listened to unique dialog every time. No need to hit a button to converse. Simply walk by and you can hear their chatter. The MSQ cutscenes between every important individual on-screen are handled with care and delicateness. Villains too. This attention to detail is given the same treatment as we go through the SQs and man it is so worth it. Clear amounts of nuance here where you will see neither side winning or losing. But full of shades of gray in the dialogue, and how some quests are resolved in unexpected, yet realistic outcomes.

Clive’s story from start to finish is such a breathtaking journey every FF fan needs to experience. Wonderful development, in my honest opinion. I was deeply moved by how raw Ben Starr voices the MC and how these give so much intensity to candid and countless natural conversations. Hell, even the voice actors aside from Ben deserve praise. A solid crew who tests, questions, and guides. Their counterparts, the villains, provide a powerful incentive to beat. Make no mistake. His story is not for the faint of heart. But, as much as there is darkness here, so too is light and it is without a doubt impeccably strong to behold. Cuteness and priceless moments are here to counter the stormy Valisthea political climate.

Final Fantasy has always been near and dear to my heart. I have witnessed innumerable stories that resonated so powerfully. Likable to loveable casts I reminiscence from time to time. Soundtracks never failing to capture the spirit of fantasy. Gameplay that can be a hit, miss or somewhere in between. And while some entries stagger and sputter without gas. Each one has a special place in my heart. From the foundation in one to three. Ascending to greater heights than before from four to six and taking a more bold and experimental graphical change from seven to nine. Transitioning into an advanced engine from ten to thirteen. And while I haven’t played FFXII yet. By the Founder, trust me, I’ll get there. FFXIV & FFXV still kept my faith. And now for FFXVI to grace our presence I am left in awe at the immense weight of it all. The sheer depth at stake here, when analyzed under a fine magnifying glass is a bloody tour de force. I applaud Square Enix’s Creative Business Unit III. Rarely do I become so absorbed in such a captivating narrative of Clive’s story. Seeing his growth from his younger days as he ages is such a vital aspect to soak in. For those who still doubts the series, this is a title that is simply a must-play and CANNOT be missed. For any newcomer to JRPGs, I envy you greatly if you start with one of the finest Final Fantasy games I’ve had the pleasure of playing.

Bravo Yoshi-P, Hiroshi Takai, Michael-Christopher Koji Fox, Masayoshi Soken, Kazutoyo Maehiro, Mitsutoshi Gondai, Ryota Suzuki, Yusuke Hashimoto, Hiroshi Minagawa, Kazuya Takahashi, and so many more who helped develop this raw title. And most of all thank you to anyone who read this long review. You guys are the best.

9/10

Note: If any links are not working please let me know and I'll update them accordingly. Worried about some FFXVI OST YT videos getting removed.