#oneaday Day 818: Gaming is doing everything it can to drive its oldest fans away

I've been playing video games for as long as I can remember existing. I grew up playing games on the Atari 8-bit and ST home computers, and since then, I have followed along with the explosive growth and technological advancement of the medium every step of the way. And yet today, in 2026, I feel like I'm being specifically pushed away in so many ways.

There are lots of contributing factors to this, but the things that come immediately mind today both relate to Final Fantasy VII Revelation, the upcoming third and final part of the Final Fantasy Remake project. We have a release date for it at last — April 8, 2027 — but two things came to light today which pissed me right off: firstly, the fact that not one, but two pieces of DLC and an "expansion pass" have been announced for it more than half a year before the game has been released, and secondly, the physical editions on all platforms will require you to download the bulk of the game rather than installing it from disc, thereby making said physical editions almost completely worthless.

On the first point: you have spent three games telling this story which once took one 40-hour game to tell. Just include everything in this fucking final part.

Those who have embraced an "all-digital" future will doubtless not be bothered by the second point, but I am someone who has cultivated a collection of over a thousand physical releases across a variety of platforms, and a big part of the reason I have done that is as a sort of investment in my future entertainment: for the next significant number of years, I will be able to enjoy a whole variety of different video game experiences on a bunch of different consoles. And with this looking like it may well be the last generation of consoles I have any interest in whatsoever, thanks to Sony's plans to give up physical media and the adoption of the odious "Game-Key Cards" on Switch 2, it feels increasingly important to have all that stuff ready to play.

Now, for a lot of the stuff I've bought, I can just put it in a console and play it. It's one of the big reasons why I've bought a lot of limited-print stuff — I know a lot of people don't like those companies for various reasons, but one thoroughly admirable thing that pretty much all of them have committed to is only putting out a physical version when a game is finished. That means you buy it, you put it in, you play it. No downloading updates; no DLC (there have been a few exceptions to this, but for the most part anything that was once DLC is included in these physical versions) and no requirement to be connected to the Internet. You know, like physical media always was prior to everything we own being perpetually connected to the Internet, and gradually, slowly but surely, getting increasingly fucked-up over time?

This news for Final Fantasy VII Revelation fucks with this, though. I have copies of Final Fantasy VII Remake and Rebirth that I can install from disc and play right now, even if my Internet connection isn't working — or, in the years to come, if Sony were to decide to just switch off the servers that were delivering downloadable game files to people. Were I to buy a physical copy of Revelation, though, I would not be able to do that, because the whole game isn't on the damned disc. So what happens if, in 20 or 30 years, assuming I'm still around and capable of playing video games at that point, I decide I want to replay the entire Final Fantasy VII Remake trilogy? I just… can't play the last bit if the servers are no longer online?

And you might think that's an extreme scenario, but there are games I have on my shelf that are 30+ years old that I am still pulling down and playing. And I will continue to play an original copy by choice if it is available. So it's entirely possible that multiple decades from now, I will want to play something that was released in the 2020s.

Of course, it's also possible that in the future, storage costs will continue to plummet, and it will be practical to have some form of storage device loaded up with a huge library of PS5 and Switch 2 games, just like I have a chunky SSD full of everything from Atari 2600 up to PlayStation and Saturn games hooked up to my MiSTer. At that point, physical copies may well have ceased to matter.

Couple all this with Sony's eagerness to fight the apparently mistaken assumption that we are "buying" games when we click the "buy" button in their "store", and it doesn't give one a lot of hope for the long-term preservation of what is still, at its core, an incredibly exciting creative, artistic medium.

At this rate, we're going to have everything up to about PlayStation 2 preserved perfectly, but after that things are going to start getting a lot more patchy. No pun intended, given the additional considerations that post-launch updates bring to the table.

I dunno. Maybe I shouldn't bother thinking about this stuff. It's entirely possible that by the time any of my concerns actually start to matter, I'll be long dead. I just don't like seeing something that I have cared deeply about for my whole life continually make itself worse and worse and worse, all in the name of the "perpetual growth" rot economy and the pursuit of never-ending, continually unsatisfied greed. I don't want to feel that future generations simply won't be able to enjoy gaming the way I've enjoyed it for the last 40+ years. And it's hard to flip the switch to the "I don't care, just enjoy it now" setting, after so long of actually caring!

Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

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#oneaday Day 808: Terranigma is coming back!

Now, I don't want to say that I caused this by finally getting around to playing it recently (and writing about it… and making a video about it) but it certainly is a pleasant coincidence that not long after I finished doing all these things, Clear River Games confirmed that an official modern rerelease of Quintet's hard-to-find and ludicrously expensive classic, Terranigma, is on the way.

This is excellent news, because it means I can buy a copy and not feel bad about playing it through on MiSTer. Not that I did anyway, but it will be very nice to own an actual legitimate copy and not have to pay through the nose for a cart-only SNES copy that almost certainly has a flat save battery and might not even work at all. I might even play it through again to see what improvements have been made.

For the most part, it looks as if the game is going to be kept true to its original incarnation. There's some modern-day UI fluff including bezels and an optional floating EXP window (that will be nice to have, actually) plus the promise of some new art and remastered music tracks, but we don't have many details about all that just yet. For most people, just the opportunity to own a copy of this excellent game will be enough — even if it's a modern rerelease and not the original original version.

Before anyone asks: no, I don't know if this means we'll be able to get it on Evercade. I will certainly be mentioning it to the people who make such decisions, but as I have said numerous times before, I have no control over that part of the business and thus it will simply be an emphatic suggestion. Square Enix is a company we haven't worked with as yet — although we have worked with TAITO, who are technically part of that whole conglomerate now, so I guess we sort of have. What I'd really love to see, personally, would be a cart that contains, at the very least, Soul Blazer, Illusion of Gaia and Terranigma, plus ideally Actraiser and The Granstream Saga also. Maybe one day I will be part of making that happen. We'll have to see.

But anyway! If you've never played Terranigma, you're in for a treat. If you want to know more, go check out my in-depth piece on it over on MoeGamer (linked above), but the short version is this: it's an excellent 16-bit action RPG that still looks, sounds and plays really well today. The English localisation is a little bit clunky — though nowhere near as broken as that seen in Illusion of Gaia — but it gets the incredibly ambitious storyline across, and the gameplay is absolutely wonderful.

It's nice to share some good news for once. I hope you all remember to pick up Terranigma this time, because I will not be having any mercy on you if you miss your chance this time around and then come crying to me about having to pay hundreds of quid for a copy. It's there. It's coming. You know what to do.

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#oneaday Day 708: Proper adventuring

One of the things I suspect is incredibly divisive about Final Fantasy XI is that everything takes a lot of effort.

I suspect these four know one another. Or, more likely, are one person multiboxing.

You get a quest, it will inevitably involve finding some object that is a relatively low-chance drop from a very specific monster that is deep in part of a dungeon that is exceedingly inconvenient to get to.

You reach the level cap, you have to complete one of these quests every five levels until you reach 99 — though thankfully you only have to do this once per character, not once per job.

You get your "subjob", to add abilities from a second job to your main one, you have to level that as well as your main job — though only half as much, since it caps at half the level of your main job.

There are times when all this feels a bit wearisome, particularly when compared to Final Fantasy XIV, which at times feels like it's keen to take as much "friction" out of the entire process as possible. But if you think about Final Fantasy XI in different terms — not as a "theme park"-style MMO, but simply as a more traditional RPG — it makes a lot more sense, particularly now you don't have to be dependent on other people for a lot of the "main scenario" side of things.

Dungeons in Final Fantasy XIV are spectacular affairs, but they are theme park rides — completely linear, the same every time. Dungeons in Final Fantasy XI are much more elaborate: maze-like structures filled with dead ends, hidden secrets and varied encounters with monsters. The complete lack of signposting for quest-critical items — usually this involves finding something marked "???" when you target it — means that you have to actually explore these places thoroughly… or look at a guide, of course. But the longer I play, the more interesting the prospect of just exploring becomes. And the more I feel like the game has been designed around this.

If you look at a lot of Final Fantasy XI guides online, you will inevitably see a focus on levelling as fast as possible, then steamrollering your way through all the content. But the way I've been playing, it feels a lot more natural and a lot more like it's the way it was intended to be played. I've had a couple of instances where I've had to sneak around monsters much tougher than me to find a useful item, but for the most part I've found that if I treat the game like a regular, offline RPG — that is to say, fighting my way through monsters as I proceed through a field area or dungeon rather than avoiding as many as possible — it means that progress comes naturally and without you feeling like you're having to make an inordinate amount of effort to achieve that progress. As a result, the game is fun rather than a chore.

There are still points where it feels like you are "roadblocked" in certain ways — right now I'm dealing with a particularly complicated main scenario mission that involves finding specific items in three specific dungeons, along with a level cap quest that is demanding much the same sort of thing — but only in terms of the ongoing narrative. In terms of actually playing the game and engaging with its mechanics, I feel like I'm constantly doing interesting stuff and seeing new places rather than just going through the motions.

I'm going to make it through this game! I'm excited to see where it goes! Now, if I can just find an Orcish Crest, a Quadav Crest and a Yagudo Crest, plus pieces of Magicite from their three respective bases, I should be good to go and beat up the Shadow Lord. So that's what I'm going to do today, I think.

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#oneaday Day 704: Vana'diel progress report

I am pleased to report that I have reached level 50 in Final Fantasy XI. This is not the level cap, but it is a significant milestone, as it was, I believe, the original level cap when the game first released. As time went on and various expansions released, players got the opportunity to increase their personal level cap in increments of 5 levels at a time, though each one of these milestones requires you to complete a tricky and/or time-consuming quest. I'm in the middle of one of those now, which will allow me to level up to 55 when I'm done.

I'm enjoying the game a lot, though my desire to attempt it without a guide was a foolhardy endeavour. Final Fantasy XI was always designed with "community" in mind, and built on the assumption that said community would share information with one another and help each other out, and as such there are a lot of things it just doesn't tell you. It's a lot better in this regard than it used to be, primarily thanks to the "Records of Eminence" feature, which gives you a series of objectives to accomplish that can guide your progression, but you'll still often be given a mission that tells you to go to a particular zone and find something in that zone, with absolutely no indication whatsoever of exactly whereabouts in that zone the thing is to be found. There is no minimap and no quest marker feature in Final Fantasy XI, so you're either off to find a needle in a haystack yourself, or consult the community (which now, of course, also includes comprehensive wikis) and be able to focus your efforts a bit more.

There are still one or two roadblocks that require actual interaction with a human being. One of the missions for Windurst requires that you get through a door called the "Sealed Portal", which is colloquially known by the community as "Three Mage Gate". The reason for this is that the originally intended method of opening this door was to gather a party containing a white mage, a black mage and a red mage and get them to stand on the appropriate marks on the floor, which would open the door. This was subsequently updated to only require someone with the "Portal Charm" key item — which, naturally, you get just after the mission in which you would first need it — to make things marginally easier and less dependent on wrangling an entire group.

These aspects aside, though, the game has been eminently soloable so far, thanks to the Trust system. You're given some decent Trusts right from the get-go, and more are unlockable quite easily. There are some borderline overpowered ones available without too much difficulty, too, but with the number you get to add to your arsenal very quickly, you can pretty much build a party however you like to play, and use the characters you find most appealing. My only slight beef with the system is a narrative one; many of the Trusts you get early on are characters that you probably won't have met yet, and this makes it tricky to feel a sense of attachment to them. Because, in the context of Final Fantasy XI's story, Trust magic is dependent on you having a strong bond with a particular person, this feels a bit dissonant, but you soon learn to deal with it — and after a while, you'll be able to get together a party that feels like it consists entirely of "story" characters anyway.

It's definitely a very different sort of game to Final Fantasy XIV. It's not actually turn-based, but with its pacing it might as well be. It's not a game where you attacking requires you to be constantly pressing buttons to unleash combos, unlike its follow-up; instead, it's more about equipping your character well, ensuring they have good training in the skills they need to succeed at the challenges ahead of them, and approaching combat encounters carefully and thoughtfully. Sure, you "do less" on a moment-to-moment basis, but it's a different kind of satisfying to successfully clearing difficult encounters in Final Fantasy XIV; it's less about skill with the buttons and more about traditional RPG-style number crunching. I'm not saying either way is "better" — both games are very good at what they do — but it is interesting to note quite how different they are from one another now I'm deeper into XI than I've ever been.

My next big milestones for Final Fantasy XI will be breaking a couple of level cap barriers, and then completing the base story from the original game, which culminates in a big fight against the dreaded Shadow Lord. There's still a lot to do after that, though, and most folks seem to agree that things start getting really good story-wise after you've got through the base game's material. I'm looking forward to it — and at the rate I'm going, I should be getting through it at a decent pace, too.

I'm glad I finally decided to do this. Final Fantasy XI has kind of been a "white whale" for me in terms of completion, so I knew I just had to make the time to play it and do it properly. Now that I'm doing that, I'm having a really good time. I doubt I'll get too hardcore into its "endgame" stuff — my main priority is to beat the story, and after that I will probably return to XIV — but there is plenty to do just on the journey from 1 to 99. And that's absolutely fine with me!

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#oneaday Day 695: Final Fantasy VIII was fine

I don't know what it is, but just recently there seems to have been a huge upswing in the number of people who feel the need to go off on a long, long diatribe about how much they hate Final Fantasy VIII. And those people tend to get weirdly aggressive about it. I've stopped posting on one forum completely because of one such discussion where people were getting very dickish about it, and it is, to be honest, getting a little tiresome. Particularly when it is impossible to have a reasonable discussion with someone about it if you, like me, happen to hold an opposing viewpoint.

I love Final Fantasy VIII! I played it at a particularly formative point in my life — my first year of university — and it left a significant impact on me. It's a game I played with someone who was very important to me, it's a game that I shared some good times with friends over, and it's a game that I legitimately enjoyed from start to finish.

The typical argument from the Final Fantasy VIII haters is that it's a "bad" game because "the best way to play it is not to engage with its systems". Bollocks. I beat the game, including its superbosses, precisely because I engaged with its systems. Junction up a bunch of Aura, Ultima and other high-level spells to your important stats, cast Aura on yourself to get your special attacks rolling as often as possible, and watch the damage fly. Immensely satisfying. And, as "game-breaking" as it felt to do that, it is 1) what the game is designed to allow you to do and 2) really no different to what you do in any number of other RPGs; one of the most fun things about them as a genre is that there is usually a way to "break" them beyond their usual limits and start dealing astronomical levels of damage. Certain games even design themselves around this philosophy; titles like Disgaea, Omega Quintet and Trillion: God of Destruction very much fall into this category.

But I've learned that it's not worth even attempting to have this discussion when someone has decided to start yelling about how much they hate this twenty-seven year old game. I don't know if it's a weird form of clout-chasing, algorithm baiting or what, but it just seems bizarre to me how often I've been seeing this come up, usually completely unprompted, just recently. Perhaps I'm just Baader-Meinhofing myself, but I don't think it's that; I mean, it's weird, right? That game came out twenty-seven years ago, and people have suddenly decided that they're mad about it? I really don't get it.

I especially don't get it because back when Final Fantasy VIII was current, everyone I knew loved it. We had a running joke among our friendship group that every time we went to visit the local independent computer shop, at least one of us would ask when Final Fantasy VIII was coming out. This was such a running joke that my friend Woody even incorporated it into his unfinished (barely started, really) Klik and Play project called Resident Evil EX, in which Agent Wesley Wilson infiltrated a zombie-infested mall, where one of the survivors was cheery ol' Richie, proprietor of First Compute, and, indeed, walking in there would prompt a conversation (voice acted by us) about exactly when Final Fantasy VIII would be coming out.

Final Fantasy in general seems to attract these sorts of passionate haters for some reason. People really hate the fact that the series has been constantly reinventing itself over the years — despite a stated, explicit philosophy of the creators being "if it's not new, it's not Final Fantasy". And this, in turn, leads to people just… making shit up about the various games that, for one reason or another, are perceived as unpopular. It seems that it is Final Fantasy VIII's turn right now, since Final Fantasy XIII hatred appears to have died down a lot just recently.

But I mean it! I don't remember seeing anything anywhere near this level of hatred for, just to remind you, this twenty-seven year old game, prior to this year. Perhaps it was out there. Perhaps I just didn't see it. But I find that a bit difficult to believe. It just seems to be nothing more than the fashionable thing to crack wise about right now — just another meaningless, pointless social media trend that takes away from the possibility of ever having a real, sincere, meaningful discussion with anyone online any more.

Anyway. I just felt like saying that today. This is not an invitation for you (yes, you) to come into my comments and start rabbiting on about how much you hate Final Fantasy VIII. I honestly absolutely do not care. Or, perhaps more accurately, I'm not interested. Put a bit of that energy into telling me about something you do like — perhaps something I've never heard of! That's much more fun. Believe me. I've been making that the basis of what I write about games online for quite some time now, and it's far more rewarding than just hate, hate hate.

But I guess it was forever thus. The "funny" bad reviews in games magazines were always the ones people remember the most. The bad reviews on today's websites are scientifically designed to maximise "engagement". And someone blurting out, completely unprompted, how much they hate a twenty-seven year old game that isn't even that bad? I don't know what that is, but I don't think I want to be part of it.

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#oneaday Day 493: The breakneck pace of Final Fantasy IV

As one of several games I have on the go right now — for a bit of variety, like — I decided to start up Final Fantasy IV Pixel Remaster. I've played Final Fantasy IV I think twice before — and one of those was on PlayStation, so your sympathies are gratefully received, though that version at least isn't quite as bad as PS1 Final Fantasy VI — and remembered it being quite short, though I had forgotten quite how fast it moves.

I'm two hours in and already — apologies in advance if any of this is a spoiler, but the game came out in 1991 — the main character has committed a war crime, adopted an orphan child that he was directly responsible for orphaning, become separated from his best friend (who inevitably turns traitor), rescued his loved one from a deadly bout of Desert Fever by retrieving a valuable gem from a slobbering Antlion, rescued a prince from the ruins of his devastated castle and his broken heart, and attempted (mostly unsuccessfully) to fend off an assault on another kingdom.

It moves so fast. I had forgotten how fast. I have played so many modern (relatively speaking) games that feature epic-length story sequences between the core "gameplay" sections that it almost feels rushed. I mean, hell, after two hours in a Persona game from 3 onwards, you're barely through the initial character introductions and you almost certainly haven't set foot in a dungeon yet.

This is both a strength and a weakness of Final Fantasy IV, looking at it with a 2025 pair of eyes. It's a strength because it means that there's never particularly long to wait before you're doing stuff again — exploring the world, clearing dungeons, fighting monsters, levelling up, buying new equipment — and that is quite a refreshing change from today's narrative-centric games that, while undoubtedly considerably more ambitious in their storytelling, sometimes do feel like they're getting a little bogged down. Not only that, but Final Fantasy IV is done and dusted in less than 20 hours, which makes it a veritable light novel by RPG standards.

However, it's also a weakness, because there are some sequences that were clearly intended to be quite significant narrative moments, but the way the game just whizzes through them makes them feel almost laughable.

I'll give you an example. Rydia, the girl that the protagonist, Cecil, rescues from a war crime he inadvertently committed at the behest of his king, is a Summoner in Final Fantasy Job terms. This means that not only can she summon big things to deal heavy damage, but she can also cast both white and black magic spells. When you first get her, she's an inexperienced kid at level 1, so she barely knows any spells, but a bit of levelling in the field will net her a few initial, useful spells. Except you'll notice one black magic spell is prominently missing: Fire.

Think about it for a moment and it's obvious why: because she lost her entire village, including her mother, in a fiery explosion, she is, of course, going to be hesitant to call upon the power of fire. This little bit of characterisation is initially delivered without the game drawing any attention to it whatsoever, but you can notice it early from a simple browse of the menu. Very cool. Ambitious for the time, even!

What is less cool is when the party finds their path up a mountain blocked by a big chunk of ice, and the other members, eventually getting Rydia to admit that she "hates fire", pretty much tell her to stop snivelling and get over it because they jolly well have a quest to accomplish. It's almost certainly not intended to come across that way — the other members are all "yay, you did it, I always believed in you" after she does successfully cast her first Fire spell, presumably with tears streaming down her face and the knowledge that this is probably going to need years of therapy to truly deal with — but with at least a couple of decades' worth of games that handle sensitive topics rather more delicately behind us, it does feel rather… blunt.

But, again, you have to remember that this was 1991, just a year after the SNES had come on the market, and Final Fantasy IV was on a cartridge that contained less than a megabyte of data in total. In fact, during development, the script had to be cut considerably to fit on its cartridge; lengthy exposition was something that developers simply couldn't afford to do back in these days, because every byte mattered, and text can potentially take up a lot of space if there's enough of it. As such, it's not altogether surprising that some sequences feel like they move a tad fast by modern standards — short of shipping on a larger capacity cartridge, which was presumably a decision that needed to be made relatively early in development, there were very real constraints on what Final Fantasy IV would be able to do.

Of course, Final Fantasy IV has been expanded on quite a bit in later remakes such as the polygonal 3DS version, the Game Boy Advance version and the PSP version; each of these had their own additions to the basic Final Fantasy IV formula.

But the Pixel Remaster; that's based on Final Fantasy IV as it originally existed, graphics and music aside, and thus you have the plot that speeds off over the horizon as you just think you're getting caught up on proceedings.

All this is no shade on Final Fantasy IV, of course; it's a game I like very much (though it's far from my favourite Final Fantasy) — I just found it interesting to revisit this after so many years and be reminded that at one time, RPGs moved a lot more quickly than they do now!

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2518: The Pitioss Ruins

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I finished Final Fantasy XV's main story earlier on. It was a spectacular conclusion, but that's not what I want to talk about today. Instead, I want to talk about the game's "secret" dungeon, the Pitioss Ruins.

As you have probably surmised, spoilers are ahead, albeit not story ones, since the Pitioss Ruins is a purely mechanical challenge. I am going to talk about all the different aspects of the dungeon, though, so if you want to encounter it for yourself, look away now.

Continue reading "2518: The Pitioss Ruins" →

2515: Life in Eos

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Still plugging away at Final Fantasy XV, and still having a lot of fun. I'm now up to Chapter 8, as I eventually ran into a roadblock in Chapter 3 where part of the map where several sidequests concluded was locked off and thus I had to progress further to be able to continue. Along the way I enjoyed some spectacular story sequences, but now I'm back on the sidequest train for the moment.

I've been very much enjoying the whole experience of Final Fantasy XV so far. While the sheer amount of sidequests and other distractions around the game world absolutely kill the pacing of the main story if you don't have the self-discipline to focus on that first and do all the other shit later, all that side content is enjoyable to do. As I noted in my first impressions a few days ago, the whole game feels like an inversion of the usual Final Fantasy formula, in which a wide variety of things are open to you from almost the very outset of the game, and you're simply able to immediately go and do whatever appeals to you the most.

Like Xenoblade Chronicles X, an open-world RPG that had a rather similar structure, I've been enjoying how much all the side content makes the world feel like a fleshed-out, lived-in place. Through numerous sidequests — and the conversations your party members have during these quests — you learn quite a bit about the world that you might not discover if you just focused on the main story. The town of Lestallum, for example, is one with a pretty strong gender divide that has come about naturally over time; the women (who are "built", according to Gladio, who one can infer from his enthusiasm is all about the thicc girls) work the industrial jobs such as maintaining the power plant in the city, while the men run the market stalls, restaurants and shops. You might not notice this immediately if you just pay it the flying visit you do in the main scenario quests, but Holly's series of sidequests explores this side of things a bit further.

I've enjoyed the dungeons, too. I think I've cleared them all now — with the exception of the high-level deeper levels that open up once you've completed the main story — and they've been pleasingly different from one another. Particular highlights included the Crestholme Channels, a labyrinth of sewers beneath the outskirts of the Crown City, and Costlemark Tower, a complex dungeon with a shifting layout that you have to carefully navigate your way through in order to reach the boss at the end.

(As a side note, Costlemark Tower presently has a bug in it where sometimes if you've done things in the "wrong" order, beating the boss will not trigger the final cutscene and award you with the weapon you're supposed to get for clearing the dungeon. If this happens, exit and re-enter the dungeon, work your way back to the boss room and trigger a somewhat glitchy cutscene. You then have to fight the boss again, though the bug means that you can't target it unless you're able to trigger a Summon spell. You can, however, fling magic at it; Blizzard spells are particularly effective, so stock up on those before going in for an easy victory.)

I think I'm just about coming to the limit of sidequests that are left to do before I'll be obliged to continue on with the main story. At about 57 hours deep in the game so far, I've already very much had my money's worth, but I'm keen to see how the story continues and concludes — and also very excited to explore what sounds like a considerable amount of post-game content.

2509: Still on Chapter Three

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I am still on Chapter Three of Final Fantasy XV, appropriately dubbed "The Open World" — the point at which the majority of the main map opens up to you and you're let loose to go and piss around doing whatever you want before progressing the main story.

The fact this moment occurs so early in Final Fantasy XV is a curious inversion of the usual formula for Japanese RPGs in the Final Fantasy mould. The typical format is that the game spends anywhere between 10 and 30 hours sending you on a linear quest that takes in most of the major locations around the world, conveniently introducing you to all these places and gradually providing you with increasingly unrestrictive means of transportation between them. At some point in the game — usually not long before the final confrontation and the end of it all — you are effectively given the "keys" to the world and complete freedom to explore, usually in conjunction with some particularly convenient means of getting around such as an airship.

Not so in Final Fantasy XV. Here you're given the open world almost from the very beginning of the game, and there are a hell of a lot of things to do in it. I have been finding the myriad sidequests and hunts enormously entertaining and compelling, so much so that I haven't advanced the story beyond the party's arrival in the major town of Lestallum, and yet somehow I'm 30 hours deep in the game and past level 40 on all my characters.

There's an argument that this kind of structure kills pacing somewhat, and it's often a bugbear of mine with open world games. But I sort of feel like it makes sense this way around: that "open world" bit at the end of older Final Fantasy games often felt a little peculiar, as the narrative was demanding that you fend off some sort of imminent disaster, and yet there you were breeding chocobos, investigating crashed planes underwater or collecting frogs to get through a forest. The narrative demanded urgency, in other words, but the gameplay discouraged it.

In Final Fantasy XV, meanwhile, after the dramatic opening of the game, Noctis and his companions are simply out in the world, attempting to operate incognito while developing their own skills. While the Empire's invasion of Noctis' home city of Insomnia is something that needs Sorting Out at some point, the Noctis at the beginning of the game is not ready to face up to that responsibility, nor is he skilled enough or familiar enough with his unique powers to be able to simply charge in and take on a whole empire. It makes sense, then, for him to travel around the world, coming to understand it with his friends, developing relationships with people who could prove useful to know in the future, and improving his own skills in the process. The Empire will still be in Insomnia tomorrow, after all, and retaking a capital city is not the sort of thing you want to rush.

Practically speaking, it doesn't really need all that much justification, as exploring Final Fantasy XV's world is simply fun. Today I particularly enjoyed encountering the Rock of Ravatogh, a dungeon at the far Western side of the map that is actually a landmark you can see from the far Eastern side. Yes, it's that old open-world favourite "if you can see that mountain, you can go to it" — or in this case, "if you can see that mountain with weird pointy glowy bits sticking out of it and smoke billowing out of the top, you can go to it".

The Rock of Ravatogh, despite being an outdoor location, is treated as a dungeon rather than just a hill that you have to find your way up. This makes it a much more enjoyable, spectacular experience to climb, as it's been designed and paced to feel like a real trek up a mountain, rather than simply walking in a straight line up a sloping grass texture. There are sections where you need to avoid slipping, there are sections where you need to climb cliff faces, there are sections where you need to pick your way along perilous paths with sheer drops to one side of you. And there are some amazing views of the game world along the way, plus a great reward for making it to the very top.

The Rock of Ravatogh is only the second dungeon I've encountered in Final Fantasy XV, but it's very different to the first, which was a series of dark, underground tunnels with scary noises behind closed doors. This gives me hope that other dungeons in the game will be similarly varied and interesting to explore; I'm looking forward to encountering them for the first time.

2507: Into Duscae

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(Should have been posted last night, but I forgot to hit Publish!)

A little over ten hours into Final Fantasy XV so far and I'm well and truly on board.

Pro-tip: if you're finding the opening a bit slow, make an effort to not get sidetracked by sidequests and instead push the main story on at least until you're able to get into the Duscae region. From here, the game opens up a whole lot more and you'll have had a taste of various different experiences you can expect to see a lot more of throughout the rest of its duration.

One thing I was very pleasantly surprised about was the discovery that Final Fantasy XV has proper dungeons. This isn't particularly unusual for a Final Fantasy game, but it is relatively unusual for an open-world RPG, to varying degrees. Games like The Witcher 3 have kinda-sorta dungeons dotted around the place, but these often tend to feel like "oh look, another cave" rather than an exciting place to explore and loot. Games like The Elder Scrolls series have hundreds of the bloody things everywhere, but are often designed in a somewhat copy-paste manner, meaning that few of them feel "special". And games like the Xenoblade series pretty much do away with dungeons altogether; Xenoblade Chronicles X did have some underground areas, but again, like The Witcher 3, they felt more like part of the scenery than a discrete experience in their own right.

Relatively early in Final Fantasy XV's main story, you're taken to your first dungeon, and it works in traditional Final Fantasy manner: it's self-contained, it has its own music, it has secrets and branching routes to explore, and it has its own lineup of monster encounters. It felt like a significant gameplay moment to step into this place, and it was exciting and rewarding to explore. There were some surprising and interesting scripted encounters within, and the whole thing felt authentically… well, Final Fantasy.

And I think that's part of the reason I've never really found open-world RPGs to do dungeons in a satisfactory manner for my tastes: you often end up doing exactly the same thing in them that you do out in the open world, whereas Final Fantasy XV's dungeons look set to have unique mechanics, puzzles and methods of exploration. I'm looking forward to discovering more of them.

I think that sums up Final Fantasy XV's approach quite well, actually. It knows when to use scripted sequences effectively — dramatic confrontations, boss fights, dungeons — and when to use the more freeform, unpredictable and emergent gameplay more typically found in open world games. Purely emergent games (I'm picturing the Elder Scrolls series in particular when I use this description) often end up feeling a bit sterile and characterless because nothing has had any real soul put into it — it's all driven by mechanics. Final Fantasy XV, meanwhile, will surprise you with unscripted encounters out in the wilds (its equivalent of the random battles of yore), but also knows when would be a particularly effective time to have a monster burst through a wall or a villain to make their first appearance to make a speech and attempt to defeat you with Their Infallible New Weapon.

I like Noctis and his friends a lot; their constant banter, while occasionally repetitive, adds a lot more personality to wandering the fields than Skyrim's mute protagonist, and by restricting the party to those four core members (and occasional guests) the conversations can flow naturally rather than having to work by triggering responses to one another as in something like Xenoblade. Already I'm feeling that core theme of "brotherhood" coming through very nicely indeed. The supporting characters are great, too, running the gamut from all-business badass (Cor) to the flamboyantly colourful and gorgeous (Cindy).

I'm having a blast, in other words. I'm looking forward to my next day off, when I'll be able to really get stuck in.