With the combat already sufficiently layered, I can imagine even skilled players may also opt to skip the pet micromanagement. There are utility-focused rings, too, including one that issues commands to Clive’s dog, Torgal, who can provide attack and healing assistance. The Ring of Timely Evasion, for instance, will make Clive automatically dodge most incoming attacks, while the Ring of Timely Strikes will perform elaborate combos with just one tap of the attack button. Rather than difficulty options, there’s a collection of five rings that bestow combat-easing effects. If you’re accustomed to Final Fantasy’s more relaxed days of picking attacks from a menu and find all of this somewhat intimidating, you may find solace in Square’s novel approach to accessibility. I’m interested to discover what tactics will be unlocked as Clive gains the power of even more Eikons, and I hope they feel as distinct as the three I’ve used so far.
Each Eikon ability has its own cooldown, so hot-swapping between them mid-fight and managing their wait times provides a light tactical edge to each clash. You could fire a blast of Phoenix flames, for instance, before quickly swapping to Garuda to launch your target into the air with a hurricane-like spin, and finally switch to Titan to finish them off with a charged power attack that strikes downwards with stone fists. Only one Eikon’s abilities can be channelled at a time, but a quick press of the left trigger cycles through each summon on the fly. I had access to the power of three Eikons the fiery Phoenix, the winds of Garuda, and the earth-shattering magic of Titan. The core fundamentals are pulled from Japanese action classics – dodges, parries, uppercuts, and combo attacks – but built atop this is a magic system that sees you channel the power of different Eikons to unleash powerful special attacks. Fights feel fast, layered, and incredibly flashy.
It particularly came alive in the rapidly paced battle against Benedikta, who pushed me to make use of all of my many skills.Ĭlive is a nimble fighter, and each swing of his sword reminds you that Final Fantasy 16’s combat director is Ryoto Suzuki, best known for his work on Devil May Cry 5 and Dragon’s Dogma. But, as I settled into the systems, I found the blend of action and tactical abilities rewarding. It’s all a bit overwhelming at first, and the arcade-like UI that constantly spits out damage numbers is an ugly contrast against the world’s otherwise handsome art. Magical abilities frequently coat the screen with vibrant particle effects. That’s not to say all the fantasy has been drawn out of Final Fantasy, though. Clive strikes with fury, impaling and even stomping on enemies that have fallen to the ground. Much of the demo saw me storming through a castle while cutting down a whole garrison of swordsmen in the grittiest combat of Final Fantasy’s 36-year history. That’s not to say the game’s strengths are only in these gigantic boss fights, though. There’s something inherently exciting about fights this large, and Final Fantasy 16 seems to be fully committed to going as big as it possibly can. After dealing enough damage to stun her, I could fire a magical grappling hook into her jaw and yank her head down to the ground, opening her face up for a chain of hugely damaging attacks. One such Eikon is Garuda a 20-metre tall bird-like creature, summoned by Benedikta, that wields the power of wind.Īs I dodged and weaved around Garuda’s legs and wings, deflecting blows that would kill a normal man, the battle called to mind scenes from kaiju movies and anime like Attack on Titan. In most previous games in the series, these deity-like creatures were effectively elaborate magic attacks, but in Final Fantasy 16 they are vital components of the plot and act as major boss battles across protagonist Clive’s journey. Key to this war are Eikons, colossal monsters that – if you’re a Final Fantasy fan – you may know better as ‘summons’. Final Fantasy 16 sees a number of kingdoms caught up in a war over magical crystals.
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