Part 38: The Highroads ARE TERRIBLE!

Author's Note: I will not be held accountable for the terrible title of this blog post. If you plan on calling the "Pun Police," tell them that I'll be ready for them.

When we last met, I provided an impassioned plea defending the "Laughing Scene." Today I articulate why the highroads are incorrigible. Most would cite the cloister puzzles as the indelible black mark in Final Fantasy X, but hear me out. The temple puzzles are perplexing in their own right. Their Byzantine design rarely subjects you to narrative high points. Be that as it may, they were erected by a role-playing design team who didn't know better. The awfulness of the highroads has no excuse.

It's a shame because the idea of the Mi'ihen Highroad is sound. The frenetic action in Luca warrants a "breather" level to accompany it. A quiet puzzle level would have made perfect sense. In their grand wisdom, the design team placed a dull highway with a ridiculously high encounter rate between you and the next story set piece. They should know better than this, and up to this point, have. Final Fantasy X's quick pace is one of its glowing attributes. Mostly, Final Fantasy X avoids subjecting you to grinding, and this adds to its light-hearted nature.

I won't mince words; both of the highroads are bad. They are dull, visually drab, and no fucking fun to play. That last point is the biggest bone I have to pick. The highroads are designed as if we are playing Final Fantasy VII. You'll take a few steps in one direction and be flung into an encounter posthaste. Worse of all, the story comes to a screeching halt as you trek through these levels. There are bits of the game's lore to enjoy, but much like the levels themselves, they are dry and tiresome.

I know what the counter-argument to my belly-aching is. Having a handful of these levels guarantees your party is leveled up. Fine, I get it. The game wishes to keep me leveled appropriately so I need not grind on my own volition. I find this argument problematic. For example, why did the design team include an enemy which self-destructs?

This segues into a major mechanical issue I have with Final Fantasy X. It is impossible to grind without a design tribulation making battles more difficult than they should. The nature of the characters is another concern. Because there are no "levels," I never know if I am prepared for the next stage. I could count my activated points on the Sphere Grid, but that would be a nightmare. Am I ready to move on, or should I stop and explore my surroundings? This conundrum is a constant worry in Final Fantasy X.

Part 39: Where Did All The Pizazz Go?

It doesn't help the Mi’ihen Highroad is artistically the dullest level in the game. You vicariously move the party on a dirt road sparsely populated with people or visual "treats." Unless you enjoy shades of green and brown, I doubt you'll be enamored with the Mi’ihen Highroad. There's the occasional rusted statue, but for all intents and purposes, this is a wasteland. It is one of the game's most prominent artistic missteps.

A decrepit octogenarian is our only respite. He's a nuisance because you don't know how long you're locked into one of his discourses if you agree to listen to him. Regrettably, his contributions are frivolous and apocryphal. The game provides historical context to the Crusaders and their role in Spira, but this is tenuous. Why should I care about the Crusaders at this point in the story? It hurts this information is presented as a drab lecture. Perhaps the game is front-loading us for what occurs at Mushroom Rock. Unfortunately, the game misses the mark because I don't give a shit about what this old fart is rambling about.

Our other social interactions at the Mi’ihen Highroad fare no better. There's an acolyte of Yevon named Shelinda, and her voice acting is wretched! The only NPC interactions worth writing about are the scant ones you have with the Crusaders. Regrettably, the game doesn't reveal its cards on why they are here until after you reach the Travel Agency. The tedium grows as you trudge further down the highroad.

The highroad is a missed opportunity. When we first entered the city of Luca, Yuna pointed out it was one of two cities left in Spira. What does the game provide the moment we leave Luca? A desolate wasteland with ruins strewn in the foreground. Why doesn't the story connect these dots? Why not show a ruined city or historical example of Sin's might? Why am I here, and why should I care? The game delays answering these questions far longer than it should. The consequence is the story stops without provocation and takes its time to get back on track.

Part 40: The Boss Battle Against Belgemine Is FUCKED!

There is one moment on the Mi’ihen Highroad I want to address individually. I want to discuss the first battle against Belgemine. They become easier as the story progresses, but the first battle against Belgemine is an absolute chore! The game does not prepare you for the onslaught you are about to experience. There's a random summoner beckoning for Yuna, and then BOOM it is murder time!

Let me get this straight. You're one of the most prolific summoners in Spira. As you are on your pilgrimage, a random person comes up to you and challenges you to a duel. They promise they have "a few things to teach you" to make it worth your while. Why is this happening? Is there an agreement between Summoners they must accept a duel when presented one? Is Spira secretly set during 18th century Europe?

NO, FUCK THIS! How much more complicated can summoning get? For fuck's sake! Let me break this down for you Final Fantasy X! You wait for your summoner to get a turn and then select "Summon!" Then the monster you summoned WRECKS SHIT UP! We're done! There's NOTHING you need to add to this process! This game has too many mechanics for its own good. I don't know which is more pointless, leveling your summons or the equipment customization system. All I know is I could not give half a shit about either!

The battle against Belgemine is UNFAIR! Belgemine uses an Aeon two steps above yours. This means a blow for blow fight against her Ifrit would be fatal. Luckily for all involved, Belgemine's Ifrit alternates between "Attack" and "Meteor Strike," as well as "Hell Fire" when its Overdrive gauge is maxed out. This boils the battle down to a waiting game. You shield the more powerful attacks and strike during the less powerful ones. After offing her monster I was awarded an Echo Ring, which I already had.

I HATE how the game spoils what Belgemine is after our first encounter. She's a fucking ghost. I don't care what special term this game has for phantoms, Belgemine is a goddamned ghost. The writing could not be bothered to handle her dialogue with nuance. What is especially insulting is how the game assumes you didn't piece this together the first time around. I'll ask you a simple question to further my point. What's the point to a riddle, when everyone knows the answer?

Part 41: The Few Good Scenes On The Mi’ihen Highroad

I suspect it is obvious I hate the Mi’ihen Highroad. It is a boring slog the design team shouldn't have included. Well, mostly. There are three scenes at this location I think are unequivocal success stories. These successes are deep character moments which shed new light on our cast members. They are NOT long-winded history lectures from a senile geezer.

The first of these occurs after we encounter the Chocobo Knights. They warn us of a monster which consumes Chocobos. Tidus expresses a desire to kill this monster, but everyone looks at him with befuddlement. Auron calls Tidus on his bullshit as being unnecessary, and Tidus is left speechless. It's about time someone points out how the hero shouldn't chase after EVERY monster. The scene is also a friendly reminder of Auron's value to Tidus. Throughout the story, Auron provides Tidus with life lessons and parables about his father. These interactions add humanity to each character, especially when shit gets rough.

The second moment occurs after Yuna's clash with Belgemine. Yuna is approached by a small family bearing gifts. A child asks Yuna if she will "bring us the Calm." A flummoxed Tidus is informed, "the Calm" is a period of peace after Sin is defeated. This peace is short lived as Sin respawns after ten years. Upon Sin's return, the vicious cycle starts anew. Tidus is mystified by Spira's Catch-22, and reasonably so. He questions if going through this rigmarole is worth it and levies other poignant questions. For example, if Yevon views Sin to be a "punishment," why does it condone its perennial murder?

Yuna's rebuke sheds new light on the people of Spira, and their mental state. As we traversed the highroad, our party encounters several people. Many happily give Yuna gifts. The message is simple. The Calm is a once in a lifetime experience, and the remnants of Spira will do ANYTHING to experience it. So shattered is their spirit, they will scrounge up what little resources they have to help someone who could stop their suffering.

I enjoy how the writing uses Tidus during these moments. When Yevon is brought up, Tidus plays the role of the skeptic. More often than not, Tidus will inquire about the origins of a religious practice, and the remaining cast is unable to address his question. The entrenched nature of Yevon becomes a blaring clarion. I want to know why this doesn't happen more often. The story is begging for Tidus to reflect on his comments. Instead, it plays up his goofier side.

Part 42: Great Character Moments Galore!

After what feels like an onslaught of mediocrity, the story picks up. Our troupe of heroes inexplicably find themselves at a rest stop run by an Al Bhed merchant. Despite some consternation from Wakka, the cast rests there for the night. This is how you provide a transitional sequence in your story. Have the characters talk in a low-risk environment. HOW FUCKING DIFFICULT WAS THAT? These are the moments Final Fantasy X needs rather than laborious temple puzzles or structured grinding.

The art design does an admirable job of establishing a unique culture in the travel agency. In our first peaceful interaction with an Al Bhed since the introduction, we absorb a bit of Al Bhed culture. Our short conversations with Rin put a face on the Al Bhed, but the game pulls its punches. This is a major fault of the story. The Al Bhed are masked fiends who impede our progress, but the question of "why" isn't established until AFTER Rikku joins our party. Final Fantasy X's "start-stop" storytelling once again rears its ugly head.

I am warming up to the dynamic between Yuna and Tidus. Their interactions at the travel agency are touching and resonant. We watch Yuna extol the virtues of Yevon, and Tidus question the implications of its practices. My only nitpick is the lack of follow through on Tidus's skeptical inquiry. This time, Yuna explains how Sin is punishment for humanity's use of technology. Tidus responds by highlighting the benefits of technology, and Yuna has no counter-argument. Unfortunately, the story transitions as if this conversation never happened.

Superficially I appreciated this moment because it places a spotlight on Yevon. After a thousand years, the people of Spira are lock-step in agreement with the church's belief system. This provides spectacular foreshadowing to their more odious activities. The church has manipulated the people of Spira for YEARS. This underscores how important Tidus is to the story; he is one of the few people "untouched" by Yevon. Tidus is far from tolerable when he expresses his inquisitive side, but at least there's a reason.

The rest of the dialogue is more sentimental. Yuna reveals the end-goal of her pilgrimage is to reach Zanarkand. Tidus declares he needs to see the ruins of his former home, and his membership in our party is assured. Some might condemn this as narrative "bow-tying," but I'd call it effective storytelling. Tidus was the odd man out in our party. Auron had to drag him to Yuna before we left Luca. Now he has a raison d’être much like the rest of the party. It's "cheap" storytelling that gets the job done.

Part 43: Chocobos… Why Did It Have To Be Chocobos?

The boss battle against the Chocobo Eater happened. I didn't hate it, nor did I love it. It happened. I am tired of the game using the "HIT THE BOSS REAL HARD FOR THE NEXT TWO TURNS OR ELSE," tactic. This guarantees even the most benign boss becomes a burdensome slog. Thankfully the game has a seamless character swapping system, but a few boss battles go on far longer than they should.

For those who have followed this series since its inception, you know Chocobos are the bane of my existence. This continues to be the case. I can only imagine someone at Square slap-dashed this into the game after an executive demand. So good on the game for creating an arbitrary second half to the Mi'ihen Highroad for the sake of fanwankery. What an excellent use of my time. I consider myself "blessed."

We find ourselves at a blockade at the end of the Mi'ihen Highroad. The Crusaders plan on enacting an operation they believe will eliminate Sin once and for all. Unfortunately for us, this is an obstacle to Yuna's pilgrimage. The next temple Yuna must peruse is on the other side of the gate. Lo-and-behold, Seymour shows up with two of the most villainous looking bodyguards. I mean... just look at his entourage:

The story cannot decide on what it wants out of Seymour. I find him to be more interesting on paper than in execution. Despite excommunicating the Crusaders for using Machina, he blesses them with his praise. Despite its stunning conclusion, "Operation Mi'ihen" is a narrative mess. It doesn't help the Crusaders are underdeveloped. One lecture at the beginning of the Mi'ihen Highroad is all the context you are provided. Why are they so confident this endeavor will work? How did they bridge the gap between themselves and the Al Bhed? Why are they here? Worse of all, the beachside operation features few faces for us to grab on to.

It is worth mentioning there is a tutorial at the gate on "Key Spheres." From time to time you'll acquire "Key Spheres" which open new branches on the Sphere Grid. The concept is simple enough, but with one major pitfall. You do not understand how to acquire these spheres! The Level 1 and 2 spheres are easy to come by. I rolled the dice on Kimahri, and he can now cast "Holy." The Level 3 and 4 Spheres are a different story. You have to go out of your way to acquire these spheres, and they are few and far between.

Part 44: What's The Deal With The Crusaders?

There's no disputing that "Operation Mi’ihen" is an emotionally evocative scene which adds weight to Final Fantasy X's story. It is a remarkable tour de force of cinematics and storytelling. Our adventure has been a thoroughly enjoyable travelogue with little time set aside to meditate the necessity of our journey. The operation serves an effective "point of no return" for Tidus. Once the scene is done Tidus comes to terms with the fact he's never returning to Zanarkand. His priority evolves to "defeating Sin" with the ulterior motive of finding out what happened to his father.

There are issues worth mentioning. The game's message about the Crusaders and Yevon is a garbled mess. First, let's establish some "facts." The Crusaders are a paramilitary organization approved by the church leadership. This is an organization which has pledged fealty to the church for hundreds of years. For reasons which are never made clear, they now fight for the "greater good." I understand the background information for Lord Mi'ihen establishes an independent streak to the organization, but this still feels "convenient." Additionally, the game doesn't put a face on the Al Bhed. They join the operation, and they're JUST THERE. The monumental nature of their co-operation leads to NOTHING, and that's a damn shame.

Beyond eliciting an emotional response from the player, what is the purpose of Operation Mi’ihen? What message is the game trying to convey? Is the story trying to affirm how we are the only ones capable of stopping Sin? Was the church hierarchy trying to make a power-play in eliminating non-believers? Was the church trying to manufacture propaganda? Finally, why does the game transition the story to Seymour's subplot? After spending an hour imparting a sense of a strong hierarchy behind Yevon, the game casts this aside to make Seymour's "fall from grace" the next major focal point.

If the game wanted Operation Mi’ihen to suggest there's a nefarious streak to Seymour, it did a piss poor job. Of the people exiting the ruins, he comes across the most level-headed. He is the one who protected Yuna from an evil millipede. Likewise, he comes across as an unnecessary sidenote. This is due to the game not developing him as a character before he becomes the secondary antagonist. Once again a primary character has a fall from grace without empathy building until AFTER they turn heel.

Part 45: I Bet Operation Mi’ihen Is Going To Be A Success….

Can I ask you a quick question? WHY ARE THERE RANDOM ENCOUNTERS AT THE CRUSADER BASE? The goddamned Chocobo Knights and Crusaders ARE RIGHT THERE! Why didn't the developers turn off the random encounters at Mushroom Rock? The game is building up to an ominous battle YOU KNOW will result in failure. Why ruin the mood and tone with pointless bullshit?

After an eon of combat bullshitery, our party meets up with Gatta and Luzzu. Luzzu dismisses Gatta to guard duty as he prepares to fight Sin on the front line. It is a touching altercation which leads to an even better one. As he prepares to go to battle, Luzzu approaches Wakka and informs him he recruited his brother, Chappu, into the Crusaders. In a fit of rage, Wakka decks Luzzu.

If the game didn't spend most of its time depicting Wakka as a lovable oaf I think this scene would have improved two-fold. There was always a tragic underpinning to Wakka, but what that tragedy meant to him isn't transparent to the audience. What is unambiguous is his love for Blitzball and Yevon. When I think back on it, the last we heard about Chappu was during the bonfire at Besaid. This is a chasm the game does not effectively cross. It is too much of a burden to leave a plotline unattended to for five hours.

As superficial as it may sound, Wakka ends up salvaging the scene. Wakka's deep resentment of Machina is contextualized intelligibly. Chappu died while operating an Al Bhed contraption, and this is the source of Wakka's racism against the Al Bhed. Grief comes in many shapes and sizes. Who is to say Wakka's grief didn't make him more susceptible to the teachings of Yevon? Wakka's intolerance is a cautionary on why the teachings of Yevon aren't the solution for Spira's problems. I would argue Wakka is a case study on the dangers of Yevon. It's frame storytelling at its finest.

The game wants the viewer to notice an anachronism with Yevon's stance regarding technology. My issue stems from the game not leaning into this. As mentioned earlier, the game follows a tiresome format when pointing out Yevon's hypocrisy. Tidus questions a flaw to Yevon's teachings, and the party ignores his points. We learn nothing about how Yevon indoctrinated the people of Spira, nor does Tidus deepen his probing. These moments occur in isolation from one another and ultimately fall "flat." What could have been an interesting dynamic for Tidus, ends up serving more "fish out of water" dialogue.

I have an issue with this. You can't name drop a character and expect a reaction. That name needs to mean something. Lulu is criminally underdeveloped. She spends the entire game acting as an encyclopedia for Tidus. What is especially frustrating is how this doesn't segue to a Lulu character moment. We have to wait another TWO HOURS before Tidus has a one-on-one conversation with Lulu! While the overall story has a breezy pace, the character development is herky-jerky.

Part 46: Shit Hits The Fan!

Lo-and-behold, Final Fantasy X rises above its superficial patchwork to convey something AMAZING! The game establishes a sense of dread as Operation Mi’ihen draws near. The dark sky and downbeat music ominously scaffold the impending cataclysm. It's enchanting how the game crafts a compelling moment out of an inevitability. Our interactions along the way accentuate the tragedy we are about to witness.

Before the story fires on all cylinders, we meet the hefty Maester Kinoc. The demure Kinoc expresses his certainty the Crusader's will fail. Kinoc is more concerned about the return of Auron and begins an interrogation of him. It's nice the game showcases the leadership behind Yevon, but it doesn't go far enough in making them "characters." Kinoc mentions allowing this operation to happen because he wants the people to "dream a little longer." The story teases a darker purpose to Yevon, but nothing more. Instead, the game throws distractions at your party. As the operation begins we fight a massive millipede.

The visual design of Sinspawn Gui is far more regaling than the battle. Combating Sinspawn Gui is a long and drawn out affair. This protracted battle becomes a grind due to its design. Whoever in the Final Fantasy X design team thought it was a great idea to have five bosses with regenerating limbs should be banned from video game development. This is the most contrived way to add difficulty to a boss battle. The segmented nature of Gui's body doesn't help either. Occasionally its head will shake, and that's your sign to attack it to prevent a party leveling attack. For whatever reason, the damage you inflict on Gui's head doesn't advance you in defeating it. Between the arms and head, entire turns are WASTED, and this arbitrarily elongates the encounter.

The second battle against Sinspawn Gui is an efficacious "abilitease." Seymour leaps to Yuna's rescue, and in the brief time we control him, we see how superior his abilities are. This harkens to the Nibelheim Incident in Final Fantasy VII. The scene helps us understand why Seymour should not be taken lightly. Seymour is LOADED! But enough about Seymour's chiseled blue pecs! Let's review the stunning cutscenes which play after Gui is defeated.

Sin's destruction of Mushroom Rock is a visual pièce de résistance. After months of planning the Crusaders are defeated in minutes. In one electromagnetic-pulse Sin evaporates an entire army. It is a stark reminder of how Yuna is our only hope to free Spira from this destruction. As the Al Bhed power their weaponry, it too is left in ruins. When we regain control over Tidus he is horrified by what he sees.

Part 47: Building Empathy Through Death

Tidus has a "WHAT AM I FIGHTING FOR????!!!!" moment with Gatta, but his succeeding moments are more heartbreaking. Having finally come to terms with Jecht being Sin, Tidus feels responsible for the destruction he has witnessed. Resolved to do something about this, Tidus jumps into the water and swims towards Sin. Tidus's impulsive behavior builds our empathy for him. Tidus doesn't have a plan, but he knows he has to do something. It is the most "human" thing Tidus has done in the game.

Tidus's resolve continues to enamor me. He desperately wants to enjoy his time with Yuna peacefully. Does he know what he will do if he catches Sin? Does a dog know what to do if it catches the car it was chasing? Tidus is a teenager, and teenagers think they can solve their problems by jumping straight into them. Worrying about consequences always comes second. Shit, swimming after a giant whale might be the most "normal" thing Tidus has done in Final Fantasy X!

Yuna has an equally evocative scene. Overcome with emotion she desperately tries to stop Sin by performing the "Final Summon." She isn't ready to perform this ritual, but it's the only thing she knows which can stop Sin. It isn't until Seymour convinces her she is deluded that Yuna realizes there's nothing she can do to stop the devastation. We've spent the entire game watching Yuna help people, and now she is stuck in a situation where she can't. Her sense of helplessness is heart-wrenching.

This is one of a handful of scenes Final Fantasy X conveys with narrative consistency. Tidus's scene is complemented by Yuna's and vice versa. The game replaces its broad strokes for more accurate ones, and the difference is massive. We witness a chilling reminder every person is a blink away from destruction. When I watched Yuna perform her dance to usher the spirits of the dead, and she wouldn't stop dancing, my heart sunk. The game succeeds in convincing you that what we have witnessed is an unspeakable tragedy.

Part 48: The Story Just Gets Darker

Final Fantasy X's dark turn is appreciated. Moments ago, Yuna asked Tidus to help fill her pilgrimage with laughter. Now they will have to put this into practice. There is one more element to Mushroom Rock I would like to discuss. This involves Tidus's flashback in the ocean. Tidus loses consciousness in the ocean and is swept into a dream when he was younger.

We discover Jecht was an alcoholic and a negligent parent. I don't know how I feel about this. I would go a step further and say this revelation makes me uncomfortable. I understand what the game is attempting. I understand it perfectly. Sin is a beast like alcoholism, and Jecht carries a burden given his abuse of alcohol. Jecht can never stop being an alcoholic, or Sin, and will struggle daily with this burden. As Sin, Jecht is chasing something. Maybe his addiction, maybe his son, or maybe his salvation. Only time will tell.

I will warn you, if this devolves into a "Salvation Narrative," I will flip a table. Jecht is thoroughly irredeemable in my books. Subjecting me to repeated character reminders he "meant well," leaves me with an empty feeling. You do not employ the specter of addiction and then double back. If this devolves into the game claiming everything can be forgiven after the abuser has "seen the light," I am done. The game has made a compelling case that Tidus's ill-feelings towards his father are legitimate. Even if Jecht was able to walk away from his addiction, this does not forgive his abusive past.

I hope this blog doesn't come across as judgmental. I don't feel the need to be judgmental against a game I love. I feel many of the emotions the game wants me to feel. Sad, sometimes a bit sick, but also aware of how large a place circumstance plays in any — every — life. Encountering the damage that alcoholics do, both to their own lives and to those around them, is grim. The writing bears a great burden to make what it is attempting "work." Here's to hoping it does.

Part 49: Breathing Room

A bone I usually pick with Final Fantasy games is how they do not allow for their dramatic moments to resonate with their audience. Final Fantasy VII was the worst offender. Discovering Barret's tragic backstory is complimented with the neon-drenched wonderment of the Golden Saucer. Final Fantasy X does not repeat the mistakes of its predecessors. The characters know what happened and carry on in a quest to end further wanton cruelty.

Before Yuna continues her pilgrimage, there are several touching character moments. Auron poignantly confronts Kinoc, and Seymour speaks to Yuna. Seymour's aside to Yuna provides the first hint he has a hidden utility for Yuna. Immediately afterward, Tidus and Auron have a moment together. Auron notices the latest events have had an impression on Tidus and seeks to provide context.

Heavy stuff, eh? Jecht gravitates towards Tidus in a desperate attempt to have Tidus kill him. It gets none darker than that. This is something I can get behind. We have a clear sense of where we are going, and why our protagonist NEEDS to be on this journey. Say what you will about Tidus as a character, but what the story subjects him to is more interesting than his reactions. Interlaced in the scene is the growing sense of guilt Tidus feels as Sin causes further destruction. This sympathy building is another piece to Final Fantasy X's emotional honesty.

Then Kimahri speaks for the first time. This scene is pure bliss. Kimahri shows signs of warming up to Tidus, after hours of strife, and seeks to provide him with life advice. The two characters play off each other flawlessly. Kimahri extrapolates why Yuna works hard to keep everyone happy. Tidus then asks Kimahri to ostensibly "put up or shut up." When Kimahri obliges, you cannot help but smile. The characters are working their emotions to a breaking point, and there's no denying the animation is horrifying, but the scene works.

You would think the next level complimented the game's dower tone. NOPE! THE NEXT LEVEL IS A GODDAMNED HIGHROAD! This one has tougher enemies and an equally frustrating encounter rate. THERE IS NO GOD!

Then there are the Chocobo Knights. I wanted to punch these fuckers in the face. After witnessing countless numbers of their brethren die, their first worry is about their Chocobos. I am not joking you. Thousands of people have died, and the captain of the Chocobo Knights has the audacity to complain about not being able to ride a giant chicken. An adult wrote this and did not realize how discordant it is. I just... I don't even.

Okay... I think the bullshitery is done with. Hopefully, the game is ready to impress with another dramatic story set piece.