elcapitan's Final Fantasy XIII (PlayStation 3) review

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  • elcapitan has written a total of 26 reviews. The last one was for LIMBO

You've Been Cheated

 Originally posted on my blog

  

 In their last show as a band, the Sex Pistols played one song and left the stage. Before leaving the stage, Johnny Rotten quipped, “Ever get the feeling you’ve been cheated?” 


The thing is, I don’t feel this way for the reasons everyone else might think I might. I suppose we’ll go after the biggest point of contention first. 


Linearity 


“Final Fantasy XIII is  The Worst Final Fantasy Ever (TM) because all the dungeons are straight lines and there are no towns.” Guess what. The non-linearity of those Final Fantasy games you all hold so dear is an illusion. Final Fantasy XIII draws so much ire because it has the gall to tell you what you already know. 


I mean, really, you might be able to wander around the world man, but that doesn’t mean you get to pick what you do. The plot only advances when you go to specific places in a particular sequence (also known as a linear progression) and locations on the map are artificially locked from transit by story gates. 


In fact, non-linearity is a joke across almost every video game. The main fun of any GTA game may not stem from following the story, but when you do decide to start on it, you will never be able to sequence break or do anything but follow it linearly to its conclusion. You might be able to pick which order you complete mission paths, but, with the exception of GTA IV, every event has a pre-determined outcome. If that’s not linearity, I don’t know what is. 


I applaud a game that doesn’t try to conceal its story behind a veneer of faux choice. Final Fantasy games have only ever allowed choices once: The World of Ruin in FF VI. There are countless story details and sidequests to experience, but once you get Setzer, Edgar, and Sabin, you don’t have to see any of them. You’re free to grind and face Kefka at any point. 


Bonus points really should be awarded to FF XIII for having the guts to let its story carry the momentum, but they are immediately lost on their failed attempt to make anything remotely interesting happen. 


Foremost in my annoyance with the game is Hope’s subplot. In the first hour or so of gameplay, Snow, a big, earnest, stupid guy in the tradition of anime big, earnest, stupid guys, manages to get most of his ragtag squad killed, including Hope’s mother, standing up against the world’s government. Naturally, this infuriates Hope, who now desires revenge. 


Hypothetical: A man seems directly responsible for the death of your mother. Do you: 


1. Stutter and stammer every time you see him
2. Stew silently while enjoying revenge fantasies every time you see him
3. Figure out some way to confront him (in rage or otherwise) the  first chance you get. 


Maybe I’m being presumptuous here, but unless you’ve got some sort of emotional disorder, option three seems like the healthiest and most logical choice. Hope is all about the first two options because he is a gigantic pain in the ass. 


I don’t think this is the result of some kind of cultural difference. I mean, hey, I’m not the most emotionally open person. I don’t really go around sharing my feelings with everyone I know, but I’m pretty sure that if a man were responsible for killing my mom, he’d know about it ASAP. It’s got to be a contrivance (and an annoying one). Why are characters in media so unable to just open their mouths and talk? If writers think this is an effective way to build narrative tension, then I’ve got news for them. As a rule, if your characters are forced to behave like they’ve never interacted with another human being for your plot devices to work, said devices are cripplingly contrived. 


Honestly, it’s just lazy writing and it removes me from the narrative. Maybe Hope has a  Deep Dark Secret that makes him act so stupidly, but we never learn about it. The game goes out of its way to say that Hope has father issues to hand-wave away his social idiocy, but when we meet Papa Hope, we’re confronted with a loving father who seems to care very deeply about his son. Did I miss something somewhere? Someone seems to have dropped the ball. 


You know what, I think I know why this happened. Somewhere along the way the story gurus at Square Enix decided that many young men, their prime and target demographic, seem to have issues with their domineering fathers. Some of them wrote this detail on his character sheet. Somewhere else the scenario writers were coming up with how half of the player characters would unite and escape. They decided they’d meet at Hope’s mansion and Hope’s awesome dad would help them out. When you’ve got a game this massive and important, you’d think that these two teams would discuss these idiosyncrasies, right? How does such a glaring contradiction make it into the final build? 


One of my other big “WTF?” moments comes at the end of a sequence at an amusement park. Sazh struggles with whether or not to kill the traveling companion who has betrayed him. Pretty soon after that starts, the physical manifestation of his emotional conflict attacks him. For most characters, fighting their eidolons, as they are called, brings them emotional peace allowing them to understand their path. In this case in results in Sazh deciding to commit suicide. What. The. Fuck. 


Repeating this same emotional pattern six times (one for each main character!) seems like it would get old fast. It does. Suicide does not freshen the experience. It makes no sense. We all know he’s not really dead because we just unlocked his summon


It’s a shame to see so many missteps in such a promising premise. Roll with me here. In the world of FF XIII there are two primary sentient beings: Humans and Fal’Cie (ignore the stupid name of the second species (typical Squeenix pretentious nonsense)). The FC, as I will now call them, are magical creatures specializing in producing food, power, or other more advanced functions. Unfortunately, the FC are split into two warring factions, Cocoon and Pulse. FC also have the terrifying ability to brand humans, saddling them with cryptic quests. Failing to complete these quests turns the human into a mindless monster cursed to wander the earth slowly solidifying until he finally petrifies and can no longer move. If they magage to succeed in their quest, they are transformed into crystals for eternity. Those in “crystal sleep” are not dead, but they are also not alive. 


It’s the perfect deconstruction of video game protagonists. Each character has a singular purpose. Failing will result in a fate worse than death and succeeding will result in the end of the narrative, dooming the characters to non-existence. The much maligned linear nature of the game represents their inability to turn away, especially when you learn that the antagonists have been helping you the whole time. The big bad wants the characters to kill him. For once the game realizes that its point is to be defeated by the player. 


If Squeenix hadn’t gone and relied on a  deus ex machina ending like they had, the world would have ended with mankind and the FC extinct. It would have been  brilliant


Here’s another idea for the writers out there. If we have no idea (and no hint) a character can do something until you dramatically reveal it in the  penultimate cutscene, it will feel cheap when you make the ending rely on that skill. Not to mention, of course, that the physics of arresting the momentum of a giant biome falling thousands of feet through the atmosphere would probably result in the deaths of nearly every inhabitant. 


This is all stacked upon the naive and bullheaded solution that our heroes come up with to counter the manipulative FC. Get this, their plan is to just keep going along the path hoping that something will save them from dooming themselves (ok, so it does, but that’s because of narrative bullshit). It makes my brain hurt in ways I cannot fathom. It’s idiotic. 


Now we’re going to take a moment for a quick aside into my personal life that will invariably lead back into the game. 


I don’t know what university was like for non-math-type majors, but for my ECE degree I was forced to read and watch tons of mathematical proofs. Invariably (math pun! (so lonely)) we’d reach a point where the professor would skip to the end of the proof and tell us students “I’ll leave the rest of this proof as an academic exercise for you students”. When you’re the professor, you don’t have to waste your time doing the grunt work. 


That was quick, back to the game: 


Why are we forced to load the battle engine against enemies who are drastically weaker than the player’s party? What’s the point of that? The only time I’ve ever seen this problem intelligently avoided was when I played Earthbound. Once Ness is sufficiently more powerful than a given enemy, enemy encounters result in an instant KO. The battle engine isn’t loaded and XP and items are awarded as appropriate. The game surrenders a battle whose result is a foregone conclusion, saving you from wasting unnecessary time. 


Shouldn’t more games do this? Why do I have to load up the battle engine to complete a fight that lasts five to ten seconds? What does the game gain by forcing me to sit through this? It’s not like we’re strategically managing resources in this game (unlike, say, a Persona or Shin Megami Tensei game); the entire party is fully healed after every battle. So why not? Does Squeenix think that if we don’t sit through a five second battle while pushing ‘X’ once we will be livid that the game is playing itself? 


Of course, this makes even less sense when you think about the way the battle system works in FF XIII. There are two ways that you can fight: Auto-Attack and Abilities. If you select Auto, the AI will select a series of commands faster than you could based on the knowledge it has about the enemy you are facing. All you have to do is set the roles (Tank, DPS, Healer, Buffer/Debuffer) and the game will pick the most prudent course of action. It’s also streamlined to such a degree that if you die, all you’ve got to do is pick retry and you are respawned just outside the battle you just lost. It’s that easy. 


Final Fantasy XIII wants so badly to be a well-oiled machine, like a Disney ride pushing you toward the goal, that these time sinks become way more pronounced. Fighting with auto, like almost every player does, with your only responsibility being character roles can still be strategic and fun, but at a certain point I start to think, “Why do I have to select auto every single round? Why can’t I just toggle it off when I need to change my tactics?” It’s like the game asks me every turn if I still want it to play the game for me. 


Don’t get me wrong here, XIII is not a bad game...or maybe it is. Perhaps FF XIII is a better experience than it is a game. You’ve got stunning cutscenes and top-notch voice acting combined with a game that mostly plays itself along a straight line. Almost sounds like a movie to me. 


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Other reviews for Final Fantasy XIII (PlayStation 3)

    A Japanese Interpretation of a Western Game 0

    Final Fantasy XIII is an odd beast of a game. FF XIII is a game that blurs the lines between what we expect from Japanese and Western game design. It moves away from what has become staple for the series resulting in an odd mixture of action and rpg elements.  The Japanese version has better names for the classes and Paradigm shifts.   Ostensibly FF XIII looks far more watered down or simplified than it actually is. In combat you don't have control over any other character besides your leader, ...

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