Pepper Grinder Review – Short And Spicy
It only takes a glance to understand Pepper Grinder’s inventive gimmick. A small girl named Pepper–a pirate by trade–wields a drill named Grinder that’s roughly the size of her entire body. The gear allows her to grind through soft surfaces with ease, complete with the ability to launch out of the surface with a leap. That might have been enough to carry the game by itself, but what’s most surprising about Pepper Grinder is its sheer variety. Though it’s short, that brevity helps to make the campaign a no-filler thrill ride that continuously pushes the boundaries of its central mechanic.
It turns out Grinder is a pretty versatile tool, even regarding its most basic function. You can burrow through the ground, which immediately feels natural and smooth. At the same time, you can’t simply turn on a dime with an instant about-face like a typical platformer–you have to handle turns by curving an arc out of your drilling path. Additionally, when you pop out of the surface of the dirt, you won’t gain much distance unless you jump just before breaking through. Those little touches give the core mechanic a sense of finesse, imitating the feeling of a playful dolphin–or at least, a dolphin video game like the classic Ecco.
Once you get the hang of it, drilling through soil and leaping out of the surface in a perfect arc, only to catch another piece of soft ground in the distance and continue your digging, feels thrilling and acrobatic. The drillable surfaces are nicely differentiated from hard environmental pieces, so you quickly learn to read a level and see the path through it, evoking a feeling similar to performing a great run in Tony Hawk. Collectibles like gems are scattered strategically throughout the stages to both subtly guide your eye along the path, while also sometimes setting traps for your greed.
Aside from being a traversal tool, Grinder is also your primary and often only weapon. It’s not enough to simply run into most enemies with a spinning drill, though–they often have their own specific approach to defeat them, like beetles with a hard upper carapace who need to be stabbed from the underside by burrowing underground. The main enemies, a breed of vicious narwhal-like creatures with horns on their head, are just as capable of hurting you with a head-on collision as you are of hurting them. None of the regular enemies are terribly tough by themselves, but they introduce new ways of approaching stages and obstacles as you need to get around them or through them to continue on your path.
A platformer with a standout hook like this one probably could have coasted on it, but Pepper Grinder doesn’t rest on its laurels. Instead, it consistently introduces new elements to master. These either integrate with your balletic burrowing or provide a change of pace from it. Grabbing a key with your drill will make it turn a lock, and you can use the kinetic energy to power machines. You’ll also shoot from cannons, drill holes into the bottoms of ships to make them take on water, carve through skyscrapers to make them collapse as you traverse through, and even pilot a giant mech. What appears at first to be a simple tool gives way to constant delightful little surprises.
A series of boss battles ramp up the difficulty nicely, taking the skills you’ve learned and putting them to the test. The first is relatively straightforward, as you dodge projectiles by moving through the soil and wait for the opportune moment to attack from the underside, while the second severely limits the amount of soft ground available and challenges you to leap high into the air to do damage. They progress from there, including one tough encounter with another human-like character that has roughly your size and agility. All this leads to a final boss encounter that is one of the most tense and difficult retro platformer bosses I’ve seen in a long time, which felt satisfying to overcome.
And on top of all this, Pepper Grinder carries itself with a cute, pixel-punk personality. Pepper’s diminutive sprite artwork has a charm to it, like how she revs up her trusty drill threateningly when coming face-to-face with a boss, or how she raises her pirate flag to declare victory in an area. The enemies can sometimes be seen doing their own pirate duties before you crash their party. And though story sequences are few and far between, they were just enough to explain what was going on with mimed, dialogue-free action. A short story sequence just before the final boss even made me laugh out loud.
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At such a breakneck pace of new ideas, Pepper Grinder doesn’t last very long, which is to its credit. I finished the campaign in roughly four hours, which is a relatively short playtime. Every stage also has a time-trial option, and there are still collectibles and cosmetics to unlock like stickers and hairstyles. The most important collectibles are Skull Coins, a limited resource–five per stage–that can be used to unlock special bonus stages in each of the four worlds. These are used to further explore gameplay concepts that had been introduced in the main stages. The first one, for example, takes the cannon mechanic to its logical conclusion with an entire stage built around ping-ponging from cannon to cannon, which felt pleasanlty reminiscent of Donkey Kong Country’s famous barrel stages.
Perhaps because of its brevity, I enjoyed every minute, and I appreciate the rare instance of a game that doesn’t overstay its welcome. Rather than slog through filler stages to pad its length, Pepper Grinder is bursting with new ideas for exactly as long as it can sustain that momentum. There’s something admirable about approaching its length with that level of confidence. I would have loved to play even more, if it could have sustained that pace, but this felt like a conscious choice to let the best ideas shine.
Pepper Grinder is here for a good time, not for a long time. Every piece, from the core drilling mechanic itself to the various ways it manifests with cannons and mechs and more, feels meticulously engineered to teach you a new concept, wring the fun out of it, and then move on to the next. That sense of propulsion makes every moment fun and engaging. It’s a great little gem of a game which, like its heroine, may be small in size but makes every bit count.
Indika Review – The Devil Makes Three
Indika is a hard game to define. It looks like a horror game, but it’s not scary–at least not in the conventional sense. It plays like a third-person puzzle game, but most of the puzzles don’t require much thought. What Indika definitely is, however, is a fascinating psychological examination of faith and doubt that’s supported by remarkable visuals and mature writing. Occasionally, its ambitions get a little unwieldy, but developer Odd Meter’s decision to take on these heady themes and confidently explore nearly all of them is an impressive feat.
You play as Indika, a nun tormented by a demonic voice in her head, as she travels across a nightmarish interpretation of 19th-century Russia to deliver a letter. Most of the game consists of traveling from point A to B, solving a few puzzles, and watching cutscenes, but within these tasks are moments of introspection and self-discovery. Along the way, she meets an escaped convict named Ilya who claims God speaks to him. What ensues is a nuanced exploration of faith and doubt, love and hate, and pleasure and suffering. Both characters believe in the same God; rather than pitting a believer against a nonbeliever, Indika explores the space that exists between two interpretations of the same faith. This specificity allows Odd Meter to delve into different shades of Christianity and examine how the same texts, rituals, and prayers can be bent to ascertain different meanings.
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These frequent philosophical exchanges could have easily come off as overwrought or self-indulgent, but all these musings are in service of the characters and their development over the course of the story. For example, Indika tells Ilya she joined the convent of her own volition, but because her decision was fueled by emotions and experiences that were out of her control, can she really say she became a nun through her own free will? Ilya challenges this notion, and declares that free will is how we rise above our biological dispositions. Reflective conversations like these are key to Indika’s character as she grapples with her faith and attempts to make sense of her life.
It helps that Indika is portrayed by the fantastic Isabella Inchbald, and Louis Boyer embodies Ilya with equal confidence. There’s a raw authenticity and conviction to their performances that bring both characters to life. You can hear the fear and doubt in Indika’s voice and the desperation and hope in Ilya’s. Meanwhile, Silas Carson’s portrayal of the devil is humorous, sadistic, and cordial in his demeanor as he deftly narrates the action. While the writing and acting are great, they are occasionally undermined by awkward animations. Sometimes the action will look a bit too robotic, or dialogue won’t quite sync up with a character’s mouth. These are minor issues overall, but sometimes it was just enough to take me out of a scene.
Nevertheless, Indika is one of the most visually arresting games I’ve ever played. Developer Odd Meter uses framing, color, and lighting to achieve a look and feel that is rarely seen in games. Wide-angle shots often distort Indika’s facial features and warp the background to give the experience a voyeuristic feel. The framing, meanwhile, consistently impresses as it accentuates the action and world. In one section, after being chased by a wolf the size of a truck, the beast takes a tumble and wedges itself in a water wheel. What follows is a subdued conversation between Indika, Ilya, and the devil in her head about whether or not a beast can be sinful, as the camera tracks the dead wolf being dragged underwater by the water wheel. It’s a macabre scene given the context alone, but the stylistic choices allow the tone to meet the moment more effectively than a standard shot/reverse shot conversation would.
Rather than pitting a believer against a nonbeliever, Indika explores the space that exists between two interpretations of the same faith.
These choices aren’t just for show, either. They are bold and sometimes jarring creative decisions that reflect Indika’s inner turmoil as she travels across Russia. There are sections where the world–at least from Indika’s perspective–is split in two. When this happens, an oppressive and discordant synth kicks in as hellish red light soaks the scene. Through prayer, Indika can reforge the world around her and suppress the chaos. To progress, you–and by extension, Indika–must rip apart and merge her world by alternating between Indika’s cacophonous hell and her quiet reality. Although rare, these moments give weight and meaning to Indika’s gameplay as they leverage Indika’s themes of faith and doubt.
The same can’t always be said for the game’s puzzles, though. Most are simple and mundane: Move some boxes around, manipulate a crane, and strategically align lifts and elevators. Puzzles like these make sense in the early hours, as the game familiarizes you with Indika and her menial life. But as her world expands, these bland puzzles start to feel tonally and narratively incongruous as Indika struggles with her faith, especially when some puzzles literally let you tear the world apart, while others have you shove a box around.
With these criticisms in mind, it may seem like this story would be better told as a film or book. What’s fascinating, though, is that Indika clearly understands the medium it inhabits. It brazenly leverages video game tropes to elevate its themes. You’ll earn points for acts of faith, such as performing the sign of the cross at crucial moments, lighting altars, and collecting religious texts. You can then use these points to unlock skills that increase the amount of points Indika can earn. The thing is, these points do nothing. The loading screens even tell you they are useless. They have no discernible value and are simply a shallow way to measure Indika’s faith.
Yet, I didn’t want to miss any of it. I lit every altar, collected every text, and mashed the sign-of-the-cross button (yes, there’s a button) at every opportunity. It’s almost silly to gamify this stuff, but putting Indika through the motions as she builds up an arbitrary “faith” score while she’s actively questioning her faith is brilliant. I grew up religious. I went to church every Sunday and attended Catholic school. There was a distinct period in my life when I was questioning my beliefs, yet I still held on to some of those ingrained rituals. There was a quiet guilt that I couldn’t expunge: a feeling that could only be alleviated by going through the motions. In a way, it feels like Indika is using the language of video games and my understanding of them to reinforce her feelings of faith and doubt. Indika is about the internal struggle of a nun who isn’t entirely sure what she believes anymore, but seeing her cling to tradition–through my actions–is powerful.
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Although Indika does an excellent job exploring its themes of faith and doubt, there’s one subject the game doesn’t handle with the care it requires. In one particular scene near the end of the game, it touches on some uncomfortable territory that–depending on your interpretation of the story and its themes–might feel unnecessary. Up until that point, the evil that exists in the world feels intangible and theoretical. Indika and Ilya talk of hell and demons, but it always feels distant, almost as if God is protecting Indika on her journey. That is, until the final moments of the game, which allude to a sexual assault. The reasoning behind this scene is to test Indika’s faith, but as it stands, the scene in question feels like a means to an end rather than something Odd Meter wanted to properly explore.
Given the Catholic Church’s long and pockmarked history of sexual abuse, it makes sense that it plays such a critical role in Indika, but it’s not examined with the care that is necessary. The scene and what follows are clearly intended to elicit a lot of different emotions and speculation, but when those knee-jerk reactions stem from something so traumatic, it feels unearned. It’s almost as if the game wants you to move on as quickly as it does, which stands out as unusual in a game that is otherwise very thorough in its interrogation of sensitive subject matter. To be clear, Odd Meter doesn’t botch this scene entirely. Atrocity is often the most difficult test of faith, and they had the good sense not to show the assault itself. However, once the scene ends, it feels like Indika is barrelling towards its conclusion, while I was still trying to make sense of what just happened.
I’m often frustrated when developers lean on religious iconography but fail to explore faith in a meaningful way. Some of the greatest works of art exist because of religion, either as an exploration of it, a testament to it, or a denouncement of it. Human history is inextricably tied to religious faith. Yet, outside of a few exceptions, games tend to avoid commenting on religion without obfuscating it behind fake dogmas and fantastical gods. Indika’s direct examination of Christianity allows it to better explore the gray areas of religion and faith that are often lost when the recognizable specifics are swapped with allegorical fiction. And while the execution occasionally falters, its willingness to grapple with these difficult themes, and the conclusions it draws, make Indika a fascinating journey.
Endless Ocean: Luminous Review – Hope You Really Like Fish
Between the advent of cozy games, farm sims, rhythm games, narrative adventures, and more, we’re in something of a golden age of non-violent games. If you want to take a break from shooting and punching and instead just relax with some chill vibes, you have myriad options available to you. Endless Ocean: Luminous is an aquatic take, letting you freely explore the ocean with no danger or violence to speak of whatsoever. It sometimes straddles the line between game and edutainment in ways that could be engaging, but achingly slow progression and a lack of realism leave it feeling washed up.
Scientists say only 5% of the ocean has been explored. The name Endless Ocean, and the unexplored nature of the ocean itself, suggests an incredible degree of possibility and adventure. In practice, though, there actually isn’t all that much to do in Endless Ocean: Luminous. You can take part in a Solo Dive, in which you explore a seemingly randomized map; a Shared Dive, which is just a Solo Dive with friends exploring the same map together online using Nintendo’s Switch Online service (complete with its usual shortcomings); and Story Mode, which gives you short missions consisting of objectives accompanied by a little dialogue.
With this dearth of options, its approach to progression gating further compounds the lack of variety. After the first handful of story missions, the others are locked behind scanning ocean creatures in Shared or Solo dives. To scan you just hold the L button in the direction of sea life until the meter fills, which then gives a detailed look at the creatures in your scan. But the progress gates are set so absurdly high that the novelty wears off quickly. One of the earliest gates is set at 500 scans, which felt high but reasonable. The next was at 1,000, so I had to get another 500. That rubbed me the wrong way. By the time I reached the next gate, set at 2,000–meaning I needed another 1,000 scans–the chill vibes were gone. I was just annoyed. It’s hard to overstate how frustrating it is to spend almost an hour roaming around a randomized map scanning fish, only to exit the map and find I’ve only gained another 200 pips toward my next story goal. Plus, judging by the creature log, there are just under 600 species of sea life total in the game. Why would you need to scan 2,000 times to see a mid-game story mission?
Not that there’s much story to tell. You’re a new diver accompanied by an AI companion, exploring phenomena of glowing fish, and sometimes you’re accompanied by a brash (but actually cowardly) fellow diver named Daniel. The story missions are short and largely uneventful. Sometimes they end so quickly that I was genuinely surprised. Other times, they feel like a glorified tutorial, which makes it that much stranger to gate it behind so much free-roaming playtime. At least one of them is just a cutscene with no actual diving gameplay whatsoever. Occasionally, the story mode will deliver something unexpected and fun, like a massive or fantastical species of fish, but those moments are few and far between. There is a meta-story involving an ancient relic with 99 slots, which you fill in by discovering certain artifacts scattered randomly throughout dives or by fulfilling achievement objectives, but it feels more like a busywork checklist than a real story-driver.
And because the scanning requirements are so excessive, small inconveniences feel more impactful than they should. It’s easy to pick up a fish you’ve already scanned while trying to register a new one. Every time you scan any fish, it zooms in on them for a moment, forcing you to hit B to back out of the detailed view. If you scan multiple species at once, they’re grouped in a listing together, which is meant to be a convenience feature–but new species aren’t prioritized in the list, so you need to scroll down to find any with a “???” designation to mark them as discovered. If you don’t, the unidentified fish remains unidentified. If you scan a large school of the same fish, they’ll all be listed separately. In Solo Dives, the map is slowly charted in segments as you explore, but keeping an eye on the map to make sure I was filling in the little squares meant I could fail to notice a fish swimming by, or I could miss a depth change that may reward me for diving deeper.
Your dives get you experience points to level up, which increases your dive capacity, which you can use to tag sea creatures to swim alongside you. At first, these only include the smallest of sea creatures, but as you build capacity, you can swim with larger ones that are used to solve riddles. A stone tablet might challenge you to come back with a particular type of turtle or a fish that “sails as it swims.” Even then, though, the solutions are too rigid. When I returned to the tablet with a “Sailfish,” nothing happened, presumably because it was not the specific solution the riddle had in mind.
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In addition to story progress and dive capacity, leveling up also opens new but severely limited tiers of customization options. Those include palette swaps for your diver or individual SCUBA suit parts, different stickers to apply to your profile, and emotes. There isn’t even a different helmet or mouthpiece, just the default in different colors.
It feels as if the goal was to create a virtual, interactive aquatic museum, and the variety of sea life does support this nicely. It actually is exciting the first time you see a new species of sea turtle or an extinct megalodon shark, even if you know that it can’t hurt you. But the mechanical underpinnings get in the way of its potential as a museum too. For example, every species of fish has a blurb with some interesting marine facts, complete with a reading of it from your AI companion. This could be a cool and educational feature, but when you’re pressed to perform thousands of scans, it’s hard to bother listening to every blurb. There also isn’t an indicator for when you’ve already heard a blurb, and since you’ll see species repeated a lot, it’s nearly impossible to remember which ones you have or haven’t heard–even if you can tell dozens of roughly similar-looking fish apart, which I can’t.
In part due to its non-violent nature, Endless Ocean does not present the depths very realistically, even to my layman’s eyes. Your oxygen is unlimited, and you don’t need to worry about temperature or depth. You’ll never freeze or get decompression sickness or drown. More aggressive species will never attack you. Species of fish seem to be scattered more or less randomly around the map, which leads to oddities like finding large-scale creatures in shallow waters, or discovering deep-sea dwellers in middle-depths instead of the deepest, almost pitch-black parts of the ocean where they actually reside. And while this is likely a limitation of the Switch hardware, the fish, coral, and ocean floor themselves aren’t rendered photorealistically enough to instill a sense of awe and majesty.
It seems Endless Ocean wants you to spend most of your time diving with friends to pass the time. The Shared Dives option is the first one on the menu, after all, and it is easier to fulfill the simple procedural objectives when you’re paired with other divers. But like most Switch games, you join friendly games using a digital code, and there isn’t built-in voice chat, so you can’t really treat it like an underwater virtual lobby. Even if you could, though, scanning fish with your friends would not sustain the group fun for anyone but the most devoted of sea-life enthusiasts.
Endless Ocean: Luminous could have been a realistic SCUBA sim with all the treacherous hazards that real underwater divers need to consider, a relaxing chill-vibes game that’s mostly about finding fish with your friends, or a story-driven game centered around discovering awesome and even extinct underwater beasts. It has pieces of all of those, but it doesn’t commit to any of them. Instead, it takes the enormity and glory of earth’s largest and most mysterious region and turns exploring it into a dull, repetitive chore.
Final Fantasy 16: The Rising Tide Review – Riding The Wave
It’s always a bit weird to go back to a game you finished for story-centric DLC, especially when the base game had a pretty definitive ending. However, those that have just a little bit more left in the tank can take the opportunity to give a game you really loved one more high note to end on. I often think of the Mass Effect 3 Citadel DLC as the best example–an oddly placed, yet near-perfect send-off. Final Fantasy XVI: The Rising Tide evokes similar feelings in that I was just happy to have an excuse to revisit that world and spend a bit more time with characters I cherished. While it does largely play out like more Final Fantasy XVI content, The Rising Tide fills in a few blanks left behind and lets you wield two new Eikons in a questline that reaches similar heights of the original game.
The Rising Tide questline is slotted into FFXVI right before the main game’s point of no return, making it feel like an impromptu diversion at a critical point in the story. That said, it is necessary, as many of the events leading up to the DLC provide the context around its story. As Clive, you and the crew are invited to visit a region called Mysidia–a quiet area tucked away in the north and cloaked under the veil of powerful magic to both conceal itself from the rest of the world and maintain a facade of bright blue skies. It’s a new area for the game that has its own interesting, isolated society and lets you explore a relatively small but vibrant region, and its stunning views remind you of how FFXVI uses its technical strengths to paint a vibrant and enticing world.
Now Playing: FINAL FANTASY XVI – The Rising Tide DLC Release Date Trailer
Much of FFXVI was visually dour given its grim nature, so Mysidia’s tropical tinge is a refreshing contrast. But this isn’t a vacation for Clive–The Rising Tide revolves around the history of Leviathan as an Eikon that, like every other Eikon, was wielded in bad faith. Through the main scenario quests and sidequests, you learn about the people of Mysidia, their way of life, and their particular relationship with Leviathan. The people are self-sustaining and treat magic quite differently from the rest of Valisthea, and their leader, Shula, embodies their ethos as she accompanies you throughout the DLC. She’s not exactly a standout character in the grand scheme of things, but she is a solid anchor for The Rising Tide and provides a good enough excuse for dragging Clive off the beaten path. It’s a twist to the typical FFXVI plot beat and comes around to be a rather sweet story about breaking generational curses in a way that lends itself more to FFXVI’s softer side.
That’s not to say The Rising Tide doesn’t go hard, because like the base game, its blend of intense boss fights woven into impressive cinematic cuts remains the foundation here. Along with the new region are an additional dungeon and another larger-than-life Eikon battles. While the dungeon itself is quite short, the boss fight that awaits at the end of it features some clever and inventive mechanics that even impressed the Final Fantasy XIV Savage raider in me. FFXVI’s base game shares a lot of similarities with the MMORPG in terms of battle mechanics, and this remains true here, but a few twists caught me off guard and left me grinning when I was able to overcome them. And even if I could see it coming from a mile away, the build-up to another climactic Eikon battle and the arduous fight itself brought back that specific feeling of hype FFXVI was so damn good at evoking. The telegraphing of certain mechanics in the EIkon battle aren’t always great, so there is some trial-and-error as you bang your head against the wall to get through it. Still, figuring out how to resolve the mechanics along with pulling off nasty, weighty attacks as Ifrit was as gratifying as ever, matching the best of what the original game had to offer.
As a chapter all about Leviathan, being able to use the power of the iconic serpent is a definite highlight. Creative Business Unit III really said, “What if we gave Clive a gun?” and that’s essentially what they did. Leviathan is a projectile-focused Eikon power that has its own unique mode that turns Clive’s arm into a shotgun capable of blasting lethal chunks of water, and boy, does it melt away enemies’ stagger meter. For cooldowns, you also get a rapid-fire bubble blast and wave-like ability that starts from the sides and crunches small enemies together, making them easy targets for shotgun blasts or any other AoE spell you have lined up. There’s a satisfying feedback to landing shots and weaving between Leviathan’s moveset, and it’s great to see that FFXVI brand of action combat still had room for creative ideas.
On top of that, you also get to wield Ultima as an Eikon power, which allows Clive to hover with wings that can also violently swipe at mobs of enemies. Many of the cooldown abilities with Ultima are heavy and dramatic displays of power that aren’t exactly conducive to swiftly weaving into an attack rotation–if you just want to disrespectfully pummel enemies, Ultima is the Eikon for you. Ultima is unlocked by starting up the new content called Kairos Gates, which is part of the DLC’s package. It’s a run-based combat challenge where you gradually build Clive with boons and enhancements to help make it through a genuinely tough gauntlet of enemy hordes and remixed bosses. The menus and sound effects between rounds are encased in an old-school Final Fantasy presentation which is a cute touch, but these fights are anything but cute. If you’ve been wanting FFXVI to up the difficulty, it’s a decent, albeit straightforward, way to get more out of its combat.
The Rising Tide contains a handful of sidequests to fill out Mysidia, which offer rewards or unlock features for the region. These range from talking to NPCs, fetching items in the world, taking out certain targets, or some combination of those things–mostly continuing the typical FFXVI quest design, which wasn’t exactly its strong suit. Not that it’s surprising, but many of the conversations in the DLC still have that odd, stiff style of conversation via a cutscene that stood out like sore thumbs in the original game. It’s another one of those FFXIV-isms that don’t quite hold up when used in a highly produced, prestige-style game.
However, the DLC does use sidequests effectively in a few key ways. For one, they tend to be more combat-focused so they’re opportunities to sharpen those new Eikon-wielding skills. But after the DLC’s main scenario is done, a new batch of sidequests pop up to let the overall story breathe, and they’re vital for giving Shula and the people of Mysidia closure. I’m a bit shocked these are marked as sidequests considering how impactful they are in contextualizing The Rising Tide. And while the reward for completing all of it isn’t necessarily a tangible one, it’s an emotional payoff that provides instead brings some much needed warmth to FFXVI’s dark world.
The wonders of Mysidia are also represented in the new music for The Rising Tide. To the surprise of absolutely no one, composer Masayoshi Soken and his team were cooking once again. The main village of Haven has a catchy yet sorrowful acoustic tune that wonderfully captures the setting, and the beautiful overworld theme struck me as an extension of the bittersweet feelings I had playing through parts of FFXIV: Endwalker. The dungeon theme incorporates light electronic elements to communicate something inexplicably magical about the environment while also calling back to the main leitmotif used throughout FFXVI, as if to wrap the whole journey together through sound. While the Eikon boss battle theme is among the explosive and impressive tracks to hype you up in the moment, it’s the more calming music, where the emotional nuances of the adventure are delivered through the notes that make up the songs.
Playing through The Rising Tide was bittersweet. For all its flaws, I have a deep fondness for Final Fantasy XVI, so I was happy to have a strong hook to bring me back to Valisthea, even if it was a rather short-lived journey that wrapped up just as I was starting to vibe with the new setting, abilities, and characters. In several ways, The Rising Tide offers something I wish the original game had a bit more of in its story: vibrance and warmth. FFXVI was outwardly grim and dark–fitting what it was going for. But having this contrast that complements the core themes of the original game was a real treat, especially with some great gameplay twists along the way. The Rising Tide is an easy recommendation for those who enjoyed the base game, and a damn fine way to send off FFXVI.
