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BRINGING FINAL FANTASY XVI TO LIFE IN THE TOWER OF LONDON

We speak to master weapons-maker Tod Todeschini about Clive Rosfield’s Invictus
sword, and how he brought it from FINAL FANTASY XVI’s Valisthea into the real
world.
Tuesday 27 June 2023 11:00

By Duncan Heaney
Tags: Final Fantasy,FINAL FANTASY XVI



If you head over to the White Tower in the Tower of London, you’ll see a very
special sword currently on display: Invictus from FINAL FANTASY XVI!

Thanks to a partnership between Square Enix (that’s us!) and the Royal Armouries
(a world-renowned museum that houses the United Kingdom’s national collection or
arms and armours) Clive Rosfield’s impressive sword is on public display until
July 19, 2023. It’s the first time a weapon from a video game has been featured
alongside the Royal Armouries collection of weapons and armour in the Tower of
London!



As you can see, it's an extremely impressive piece. That’s thanks to master
craftsman Tod Todeschini, who created the sword. So how did he make such a
quality weapon, and how effective would it be in the real world? We spoke to him
to find out:

--------------------------------------------------------------------------------

Hi Tod. How did you get into creating weapons?

I used to work in the special effects industry. I worked in a workshop where
there was every imaginable tool available, and every imaginable skill from other
people around me.

At the same time, I was doing re-enactments and you could buy nice clothes,
shoes, stuff like that, but you couldn’t buy any nice knives. So, I just made my
own and never stopped.

Now I’m a swordsmith and medieval weapons maker. My work is very high end, so I
make a lot for collectors and re-enactors, and occasionally more fantasy weapons
for film, TV and games.

--------------------------------------------------------------------------------

How familiar with FINAL FANTASY were you before you started this project?

I’m not a game player myself but I knew of the series.

There’s another YouTuber - Matt Easton of Schola Gladiatoria - who’s a very
serious medieval weapons historian. He happened to be doing another project with
Royal Armouries, so when they approached him for recommendations for this job,
he recommended me.



How much reference material did they send you?

In my day to day work, I’m often working out of books, so I might have a single
image - and it might not even be a good one. In fact, it could be a poor quality
image of a degraded object that’s a few hundred years old, so a big part of my
job is filling in the gaps.

For this, I had six images to work from. One was a wireframe drawing with the
dimensions of the sword on it. The other five were screenshots, and quite
pixelated when blown up - so I did have interpret. But that’s generally what I
do anyway.

And the fact that’s it’s a fantasy object is not a problem, you can see what’s
going on from the shadows, the lines, the forms.

--------------------------------------------------------------------------------

How does the Invictus compare to a historical sword?

Actually, I’ve done a video with Matt Easton specifically on this subject!



So the size of it is not abnormal… well, the length is not unusual but there’s a
whole class of medieval swords that did fall exactly into that kind of length.
They’re called Montante or Zweihanders - two handed swords.

They have a particular role, which is defending bridge heads - literally a
bridge, or a doorway, or a space like that. They are about keeping everybody as
far away as possible with a very long sword. The grip length is also very true
to that… but that’s where any similarity with real world weapons ends.

For example, the FINAL FANTASY sword is not set up for cutting - the blade
sections are just too big and bulky. That’s fine, because bizarrely enough, some
swords aren’t meant for cutting. If you think of something like a rapier, for
example, that’s a stabbing weapon, not a slashing weapon.

So the fact it’s not really made for cutting is not an issue per se, but the
sheer mass of it means that a normal, ordinary human being, with normal,
ordinary earth materials, in normal, ordinary earth gravity, wouldn’t be able to
move that sword fast enough to defend themselves.

So if you asked me: would it be any good in a fight today or 500 years ago? No -
it’d be a waste of time. But then I don’t live in Valisthea (laughs).

--------------------------------------------------------------------------------

So how much longer is it than a real sword?

Well, a 15th century knight would use what's called a ‘hand and a half’ - a 34
to 36 inch blade. This thing is somewhere around 48 inches.

Those 12 inches - that foot - actually make a big difference because that means
it’s four feet away from your wrist. The leverage is just huge. That means you
need a much longer grip to accommodate it.

--------------------------------------------------------------------------------

How much heavier is it?

That’s actually a very relevant question because a normal hand a half sword
would be 3 -3.5 pounds (1.4 – 1.6 Kg). This sword comes in at around 32 pounds -
10 times the weight!

So it’s basically more of a club than a sword. Of course, the sheer weight means
that as a club it’s slow to move, and you want a weapon to move quickly, right?
So it’s definitely cool visuals over functionality (laughs).



It’s an incredibly high quality weapon. How did you make it?

The process is making it involved a little bit of prediction of what’s going to
happen in the future because that piece ended up being heavy.

The way I make swords is predominantly on machines, which are fixed, and you are
holding the sword in your hands. You can do that for a bit, but you can’t do it
for a long time with something of this weight - and it was obvious that was
going to be the case. So, I effectively had to make the sword in sections.

The other thing is that it's so long, it wouldn't fit in my workshop! My
machines are closer to the wall than that because I typically don’t make things
this big.

So, I made that lower blade, which is around 65 centimetres long, and that was
fine - I got it clean and finished. Then I welded a long peg onto it, which
effectively would go all the way to the tang, which meant the lower blade was
basically done.

But the upper blade, where it thickens over the V-shaped ridge and comes up
towards the guard, would have been a massively heavy bit of steel - 20-25
kilograms in its own right. I wasn’t going to be able to hold that!

Instead, it’s made of two shells with the help of an armourer friend. I made it
as a hollow section, welded it onto the lower section and then cleaned up the
joint. So now I had the full blade, not stupidly heavy and finished from the tip
up.

Next, I made the guard, which plugs over the peg. With this sword, the blade
encapsulates the guard, which you can’t really do in real life. It’s physically
just not a manufacturable object. So what I did was make two lugs at the top of
the blade, so the guard slips on, the caps go on and the handle just stack on
top of that. Then the whole lot is screwed together - effectively so it can be
dismantled.



A particularly cool detail is how the blade is a bit weathered. How do you
achieve that effect?

Well, I asked what condition the sword should arrive in. Because if this this is
Clive’s sword, he probably didn’t buy it from the sword shop yesterday. That
meant I needed to age it down.

Normally that involves putting each piece in some pretty aggressive chemicals,
but as this sword is so big, it was more a case of wiping chemicals on.

Of course, it’s important to do it right for it to look convincing. For example,
if you buy a wallet from a shop and want it to look 10 years old, you have to
consider that a lot of things have happened to the wallet in that decade. It’s
not just one event, it’s had 10 years of life, so you couldn’t just attack it
with a chemical and say: “there you go.”

The same is true for the sword. It’s had a life and so to reflect that, I used
different chemicals and removed them at different rates and quantities. So you
build up a pattern of layers in essence - some bits will be better cleaned than
others, so it gives the impression of an aged, used object.

--------------------------------------------------------------------------------

It sounds like it’s a tricky thing to get right!

You do see this sort of thing done quite badly sometimes. For example, something
you see a lot on film sets is when somebody wants to make a bit of timber look
old, so they just hit it with a blowtorch. But wherever two bits join, you get a
white line where the flame doesn’t go. You can see it a million miles away -
it’s just sloppy work.

You’ve got to build those layers of ‘time’ in essence. That gives it a sense of
having been used, and actually having some history to it.

So if the Invictus was sitting on a shelf 15 metres away from the public, you
could probably have gone with a very light brown aerosol mist of spray paint and
people would go: “yeah, looks old.” But as soon as you get close to it, that
kind of laziness doesn’t work anymore - you’ve really got to put the work in.



What’s the blade made out of?

A sword is generally made of spring steel, but this one is made from mild steel.

There are a few reasons for this - firstly spring steel has its problems when
you try to weld it and so on - it doesn’t like it very much. Mild steel looks
exactly the same, but the material properties are different.

If you were going to actually use it as a real weapon, you would use the spring
steel, but this thing was never going to be operational.

--------------------------------------------------------------------------------

What kinds of machines do you use to make weapons? Presumably you’re not
blacksmithing it…

I generally don't blacksmith stuff. I mean, I do a little bit, but I find other
methods faster. In the case of this, the proper name would be a knife grinding
linisher - bit like a belt grinder.

It's a long sanding belt that just goes round and round, and you just have
different wheels and flat areas that you can work on. You're literally just
holding your chunk of steel and just grinding material away - sort of like 3D
sculpting in steel.



Do you think it would be possible to make the Invictus in a more traditional
way, or is it too fantasy for that?

No, it absolutely would be possible. You could do it completely handmade, but
then you have the classic issue of time.

You’d have a massive piece of steel, which you could forge. But then all the
panel work on the front would have to be carved away, literally layer by layer
with chisels. As you can imagine, doing that and getting it smooth would be a
lot of work.

So yes, it’s possible… but it would take something like two years instead of two
months!

--------------------------------------------------------------------------------

What was the most challenging thing about creating the sword?

It sounds mundane, but honestly it was the size. That really affects everything.

There were certain days where I was absolutely shattered because you have to be
precise and ensure that the angles don’t change. You have to reprogram your body
to go through the necessary movements, but you lose finesse and control when
lifting something so heavy - your hands can start shaking, for example.

I did more hand-grinding on a bench than I’ve done in the last 15 years
(laughs)!

--------------------------------------------------------------------------------

Finally, where can people go if they want to learn more about your work and
weaponry?

You can check out my websites, which are https://todtodeschini.com/ and
https://todsworkshop.com/.

If you’d like to know more about medieval weapons, I have a very active YouTube
channel, which is both educational and entertaining. It covers history, science
and engineering and I do things like play with crossbows - I did a series about
arrows penetrating armour, for example.

You can check it out at Tod’s Workshop on YouTube:
https://www.youtube.com/user/todsstuff1/videos

--------------------------------------------------------------------------------

Many thanks to Tod for sharing his knowledge - and his work on the Invictus
sword, which looks absolutely phenomenal. If you’re in London, you can see it
for yourself located in the White Tower in the Tower of London from now until
July 19, 2023.

Otherwise, you can see the sword in FINAL FANTASY XVI - available now for PS5.
Three editions are available:


FINAL FANTASY XVI STANDARD EDITION (PHYSICAL AND DIGITAL)



This edition, as you’d expect, contains:

 * The full game

It's available now:

 * Get FINAL FANTASY XVI physical Standard Edition
 * Get FINAL FANTASY XVI digital Standard Edition

--------------------------------------------------------------------------------


FINAL FANTASY XVI DELUXE EDITION (PHYSICAL ONLY)



This version of the game includes:

 * The full game
 * A Special Clive Rosfield SteelBook Case
 * A cloth map of Valisthea - where the story unfolds

It’s available now on the Square Enix Store:

 * Get FINAL FANTASY XVI Deluxe Edition

--------------------------------------------------------------------------------


FINAL FANTASY XVI DIGITAL DELUXE EDITION (DIGITAL ONLY)



This edition includes:

 * The full game
 * A digital mini artbook that features some of the stunning illustrations from
   the game
 * A digital mini soundtrack showcasing a selection of incredible tracks from
   composer Masayoshi Soken

It’s available now from the PlayStation Store:

 * Get FINAL FANTASY XVI Digital Deluxe Edition

To stay up to date with news and information about the game follow FINAL FANTASY
XVI on social media:

 * https://www.finalfantasyxvi.com
 * http://twitter.com/finalfantasyxvi
 * http://facebook.com/finalfantasyxvi
 * http://instagram.com/finalfantasyxvi

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STRICTLY NECESSARY COOKIES

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These cookies are necessary for the website to function and cannot be switched
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or alert you about these cookies, but some parts of the site will not then work.
These cookies do not store any personally identifiable information.

FUNCTIONAL COOKIES

Functional Cookies

These cookies enable the website to provide enhanced functionality and
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PERFORMANCE COOKIES

Performance Cookies

These cookies allow us to count visits and traffic sources so we can measure and
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TARGETING COOKIES

Targeting Cookies

These cookies may be set through our site by our advertising partners. They may
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advertising.

SOCIAL MEDIA COOKIES

Social Media Cookies

These cookies are set by a range of social media services that we have added to
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