"The world is also conspicuous for its ethnic homogeneity, which producer Naoki Yoshida has explained as a reflection of the "geographical, technological, and geopolitical constraints" of medieval Europe. Leaving aside the fact that there were Black and brown people in medieval Europe, this justification rings hollow given that several locations take open inspiration from north Africa and the Middle East, with towns that, for example, riff on Islamic architectural traditions and attire, but are predominantly or exclusively populated by anglophone white people (I hedge, here, simply because I haven't been around and talked to everybody). I find the deletion of people of colour from these spaces more sinister than the racial stereotypes of older Final Fantasies, particularly in a game that wants to talk about overcoming structural injustice and bringing people together. That "togetherness" is worth fighting for, but it's characterised here by what it excludes."
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