The Best Games on the 3DS

I wasn’t expecting this to be the post for this month, but Persona 5 has ended up taking much longer than I expected to play through and gather my notes on, so this will have to serve to tide me over until then. Despite the success of Nintendo’s most recent portable console, the Switch, I find myself still being drawn to my 3DS. This might be because of the lack of games on the Switch now that I’ve finished saving Hyrule, but it’s also because of the remarkable staying power of the 3DS, which might be the greatest portable console ever made. So, to reflect on the 3DS’ remarkable lifespan, here is a short list of my favourite exclusive games for the console, in no particular order.

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Attack of the Friday Monsters

You might never have heard of this game, and that’s a damn shame, but probably completely reasonable. Released as part of a compilation of experimental games on the e-shop by Level 5, Attack of the Friday Monsters puts you in the shoes of the young boy Sohta, who lives in a small Japanese town. There, every Friday, giant monsters battle it out while the residents look on. Or do they? The game never deigns to answer this question, because it doesn’t matter. It provides a variety of interpretations to its titular question, but never wants to distract you too much from the meat of the game. This is a day in the life of Sohta, running errands throughout the Ghibli-esque town, meeting its residents and solving their various problems. It’s a game fuelled by Sohta’s childlike imagination, which makes him a somewhat unreliable narrator, but allowing yourself to get swept into his world creates the sort of nostalgic feelings for someone else’s childhood that only a few rare games and films manage to achieve. There’s also some vague tacked on gameplay in the form of a clever little card game, but it never outstays it’s welcome. The same cannot be said for the game itself, which could really do with a bit more meat on its bones. It humbly finishes up its story within a few hours, but it needn’t. The amount of times I’ve replayed this game speaks volumes to the amount of time that we could have spent in Sohta’s world.

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Shin Megami Tensei IV

The contrast between the tone of AotFM and SMTIV couldn’t be starker. AotFM plays out in a small, idyllic Japanese suburb. SMTIV spends half of its time in the feudal land of Mikado, controlled by a strange religious leader and populated by subjugated masses who long for their slim chance to join the upper classes. The other half takes place in the somehow even more depressing post-apocalyptic Tokyo, where most of the population has moved underground in order to escape a ravenous demon horde who are only partly controlled by a faction of the Yakuza. You play as a Samurai of Mikado, a warrior trained to battle demons, but your quest to find the mysterious ‘Black Samurai’, who is corrupting the minds of the Mikado peasants leads you to some unfortunate realisations about the world you live in. Like other games in the Shin Megami Tensei series, the story splits into three routes; Law, Chaos and Neutral, and none of them here have much of an uplifting ending. But SMTIV remains engaging despite this, although the plot is only half the fun.

I’ve seen some people criticise the ‘shallow’ characters of SMTIV, but I don’t think that gives them enough credit. I wasn’t ever blown away by the writing, but it has a certain subtlety to it (at least as subtle as SMT can get), and the plot itself, while slow paced, has enough intrigue in it to carry you through. What makes SMT games really stand out, however, is the turn based battle system. SMTIII pioneered the ‘press-turn’ system, which Persona players will be familiar with, which allows you to exploit enemy weaknesses for an extra turn in battle. Of course, enemies can exploit this as well, which can turn battles into either satisfying chains of attacks that don’t allow the enemy to get a move in edgeways, or frustratingly watching as you watch your team get decimated by a threatening boss. The enemies you fight in SMT are demons, who you can collect Pokemon style through an annoyingly obtuse and random negotiation system, and fuse together to make stronger demons. SMTIV offers the best fusing method of the series, giving you helpful recommendations while still allowing customization.

I don’t think SMTIV is a perfect experience, but the benefits of it being on a handheld, combined with an engaging story and refined battle system make it my favourite SMT game that I’ve played (although Persona 5 is certainly edging closer), and I thoroughly recommend it as a starting point for the series.

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Spirit of Justice/DGS

I’m a huge fan of the Ace Attorney franchise, and while I would love to put the amazing Ace Attorney Trilogy on this list (which is better than both of these games), it’s not a 3DS exclusive, and I have standards while making these lists (I can only assume). I’ve written full reviews of both Spirit of Justice and Dai Gyakuten Saiban, so I won’t go into too much detail here, but I will provide a brief spoiler free rundown of what to expect. Ace Attorney is a series about crime solving lawyers, and Spirit of Justice is simply the sixth game in the series, this one involving the spikey haired protagonist Phoenix Wright travelling to the mysterious land of Khura’in for more crime solving adventures. I would recommend playing the previous 5 games in the series before this one, and I’m sure you’ll not regret playing four of them.

Dai Gyakuten Saiban has much less baggage to it, but at the moment is sadly only available in Japanese. This spin-off title takes place in Victorian London, and is notably written by the author of the original trilogy. Most people will have to wait for the upcoming fan translation to get a taste of this one, but for those who speak Japanese, or don’t mind watching a subtitled play through on Youtube, those options are also available.

Basically this entry was a cheat to tell you to play the Ace Attorney Trilogy on 3DS/DS, but my over-reliance on arbitrary rules that I imposed on myself prevents me from doing that.

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A Link Between Worlds

This and the next entry are the only two non-eshop exclusive titles on this list, although what this says about my taste in games you’ll have to work out for myself. Link Between Worlds is one of the best Zelda games out there, and certainly the best top down Zelda there is. Purists might argue in favour of the original Link to the Past, but those that do are clearly stuck in said past. A Link Between Worlds revisits the Hyrule of A Link to the Past, but adds an extremely clever new puzzle solving mechanic in wall merging. The way this changes up the game is staggering – it allows for so much free form exploration and puzzle solving that it’s almost comparable to the introduction of climbing in Breath of the Wild.

The other way in which this game influenced Breath of the Wild is in its non-linearity. Where A Link to the Past gave you numbered checklists of dungeons to visit, Link Between Worlds lets you rent out items to access specific dungeons and tackle them in whatever order you want, while still being able to stagger the difficulty through splitting up the dungeons into sets. It’s also a lot faster paced than any 3D Zelda, and perhaps any 2D Zelda, with item swapping on the fly thanks to the 3DS touchscreen, combat and exploration are all seamless and feels natural. Think of this as the proto-Breath of the Wild for those who want a top-down Zelda experience.

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Kid Icarus Uprising

 Remember how maligned the controls in this game were when it first released? Sakurai himself clearly had so little faith in them that he had to include a stand with boxed copies of the game. I really hope that didn’t put anyone off Kid Icarus Uprising, because it’s such a joy to play that it’d be a real shame to miss. Freed from the shackles of Smash Bros, game director Sakurai was able to create a game that’s half incredibly entertaining on-rails shooter and half slightly less entertaining but still fun 3rd Person Action Adventure game. What bolsters the game past simply entertaining is a quality story with great voice acting and writing, and a fuck ton of content.

The writing present in KI:U is surprisingly good. It has the annoying traits of being self-aware, but never reaches the actual point of annoyance by carefully treading the line. Some characters are obvious stand-outs, such as Hades, but the core cast is an enjoyable group of people to have whisper sweet one-liners into your ear while you play. Much like Smash Bros, Sakurai has stuffed the game to the brim with optional extra modes, some of which are pointless, yet amusing (such as a mode where you pay money to have a character walk slowly towards you), and some are extremely complex, such as the weapon fusing system. The game also employs one of the cleverest approaches to difficulty I’ve ever seen; asking you to gamble more currency on higher difficulties for the chance of greater rewards and treasure. One of the stand outs of the 3DS’ early library that continues to stand tall.

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Box Boy

I don’t really have much to say about BoxBoy, the small title from Hal Laboratory, creators of Kirby. It’s extremely simple; you are a Box, who can produce more boxes from his body. You then have to use those boxes to solve simple puzzles. It’s sort of like if you crossed a standard 2D platformer with Tetris, and it’s absolutely genius. It’s one of those rare games that I feel will be used to teach the basics of good game design for years to come. An extremely simple mechanic pushed to its limits during the course of the campaign, and then pushed even further in bonus levels, some of which become properly difficult to solve. Two sequels would add on a few extra boxes and mechanics, but the original remains a brilliant example of pure game design at its best.

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The Legend of Zelda: Breath of the Wild

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Medium story spoilers follow. I’d advise playing the game before reading this review, but I try to avoid spoiling anything major. 

I feel like I’ve come to Breath of the Wild a bit too late to add anything meaningful to the discussion, but this does at least mean that the inevitable backlash has already started. That doesn’t mean people are starting to think the game isn’t very good, because that would be silly, but people have at least started to reconsider what may and may not work about the gameplay. I myself (as always) will try and justify some sort of complex middle ground; my firm belief is that this game is a masterpiece, but elements of the gameplay remain very deeply flawed and need to be discussed in order to fully understand why the game has become a little bit more divisive. I think it’s also worth giving a bit of my background with Zelda; I’ve played all of the 3D titles, and my personal favourite is Majora’s Mask, something which remains true even after playing Breath of the Wild. I think that’s more because Majora’s Mask fits more nicely with what I love about Zelda games, as opposed to me thinking that it’s a better made game than Breath of the Wild.

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I think that this review should probably start with looking at the game’s starting area; the Great Plateau, and then expand outwards. The Plateau is one of the best starting areas in a video game, because it functions so perfectly as a tutorial without the player really realising it. It’s a locked off area, with set tasks to check off that give you your basic abilities you’ll use throughout, but the freedom it provides is enough that it never starts to feel like this is some chore you have to get through in order to start the game proper. Just leaving the Shrine of Resurrection teaches the player a lot. You wake up in a sci-fi looking room, and collect the Sheikah Slate. It’s the first thing the player is handed, which instantly signifies its importance. The room you’re in makes use of the Blue and Orange colour scheme that you use in the rest of the game to inform you when something has been activated. In the second room the game hands you some clothes in a chest, and by not equipping them instantly the game teaches you about inventory management, something that’ll become extremely necessary to know about throughout the adventure. When you get outside (while first having to learn how to run, jump and climb to be able to leave), the game wrests control out of your hands in order to show you a few things. The first is the sheer scope of the game world, the second an old man in the near vicinity, and the third a broken down church. Here we see three of the game’s main tenants; spectacle and freedom (which I’ll group together under the vague heading of ‘Hyrule’), story, and something we’ll call ‘atmosphere’. Two of those three things are what make the game into what I consider a ‘masterpiece’, so make a mental note of those, because we’ll be returning to them in a bit. I’ll quickly say a few more things about the Plateau before I continue, because I think it’s an extremely clever opening area. The game introduces you to so much in this small area; Shrines, Towers, enemy encampments, the four abilities, temperature variations, guardians, optional mini-bosses. The entire Mt. Hylia segment shows just how the game lets you approach challenges in a variety of different ways. I sprinted up the mountain after cooking some spicy food, unaware that a torch would heat you up, or even that you could get some warm clothing from the old man to make the challenge much easier. The Great Plateau has so much of my respect, I initially thought I could frame the entire review around this one area, and leave out talking about the others. However, that would do the main game a disservice, because there’s so much more to talk about that I’ve ended up feeling extremely overwhelmed.

Let’s use gameplay as a jumping off point for this review, because from there we can segue nicely into some of the main gameplay problems I have with Breath of the Wild (insert jumping off from the Great Plateau related joke here). I think what a lot of complaints have focused on is combat, but I think that’s the wrong area to direct complaints at. Yes, weapons break; but I feel that any focus on the negatives of that system remove an appreciation for it that I’ve gained from extensive play. You see, combat in other Zelda games was almost all sword play; the bow and arrow got some use, but it was mainly swinging around a sword. I think Skyward Sword was probably the best and most varied sword combat is going to get (even though that had its problems). Twilight Princess attempted to make sword combat more complex without motion controls, but there no enemies fully took advantage of the optional extra moves. Breath of the Wild manages to fix the staleness of combat in a few ways. Firstly; swords aren’t always the optimal way to go. Other weapon types may be more useful in a given combat scenario, from bows to shield parries to magic rods. You can also opt to not use weapons at all; upgrading the ‘stasis’ ability allows you to freeze enemies in place, while a well-timed bomb attached to an octo balloon and floated towards an enemy camp may mean you never have to get too close to the action. And I’m sure you’ve all seen the video of a Cuckoo used as a weapon. Breath of the Wild aims to emphasise freedom in all ways, and combat is no exception. When you do choose to use weapons, the game still finds a way to make combat interesting. Weapons breaking changes the flow and feel of combat; unlike in TP where no enemies took advantage of the complex moves; here all enemies take advantage of weapons breaking. They can break your weapon; you can steal theirs. The complexity and variety here comes from a frantic system of weapon exchanging. You also have to be aware of your environment. Because most of the fights in BotW take place outside, on craggy cliffs and near huge lakes, you have to be careful of falling off. Or, you could freeze your foe and blow them off the cliff with a gust of wind from a Korok leaf. Enemies are equipped with an astonishing AI that allows them to react to these different scenarios, and their designs are all filled with personality. It’s a shame that the variety of enemy is extremely lacking, and towards the end game, only a handful of enemy types pose any threat (namely, the Lynel, Stone Talus, Hinox and Silver variations of the standard enemy types.) The threat is even more reduced by the ability to duck into a menu and eat away at various healing items. I do wish the short eating animation was played during combat rather than in-menu. This would reduce time spent in menus and give eating an element of strategy. The complaints I mainly hear about combat are that good weapons break too easily and thus use of them is discouraged, limiting your freedom to use those weapons. I respectfully disagree with this notion, although I suppose if you play that way that cannot be helped. Personally I found myself never at a shortage for good weapons – and late-game combat so requires them that I was unable to ‘save my best stuff and never use it’. I would like to give a quick shout out to the problems of the Blood Moon. Cool idea – did it need an unskippable cutscene?

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I’m going to devote a separate paragraph to the Guardians, who are, in my mind, so effectively terrifying as a piece of enemy design. It isn’t a unique idea in open world games; an enemy that is extremely powerful at the beginning, but can be defeated with relative ease with the right tools, but BotW does it very well. Guardians are very creepy spider like creatures (apparently influenced by the design of the Octoroks from the first Zelda game), that can be seen from a huge distance, and target you with a deadly laser as you desperately try and run away. They’re this semi relentless force that pursues you until either you’re dead or have hidden well enough that it loses sight of you. Given that they mainly appear out in the world, the change in music they bring calls to mind the Silent Realms of Skyward Sword (which incidentally also had robots from the past named Guardians). It’s no wonder they’ve become a mascot for the game. I think, though, the Guardians are a perfect example of the problem of combat scaling in this game. The difficulty curve in this game seems to go strange ways. The game is perhaps toughest nearer the beginning. While defeating Guardians with a single arrow is satisfying as all hell, it makes other enemies (with the exception perhaps, of White Lynels), less threatening as a result. So the further you play, the more pointless combat becomes – which is a problem for progression. Luckily, before this becomes a real issue you’re in a position to face Ganon, and the weapon durability system does still add some needed excitement to post-game fights. But towards the end of the experience, it became more and more noticeable. That, I think, is why so many people love Eventide, because it strips back the player to the basics to make combat difficult again, even for those some way into the game. But I still don’t think it’s quite enough. I think this sort of weariness with the game structure is quite important, so it’s a theme I’ll revisit.

So with combat out of the way, let’s talk a bit about some of the other stuff you’ll be doing when exploring Hyrule. One thing that I noticed was a huge amount of ‘Nintendo polish’ when it came to animations. Link and other NPCs had a variety of animations for things that I wouldn’t initially think merited a separate animation (look at the number of ways you can mount your horse, or fall off a cliff etc). The world is clearly huge, and so a lot of thought has been put into how you move around it. There is, of course, quick travel for traversing large distances, but I found myself mainly shying away from that. There is more to be found by adventuring than simply warping from tower to shrine, desert to forest. Running throughout the map would be torture, however, and so there is an extremely well made system of animal transport. Horses are the main beast you will be riding, and as such it is with them you will spend most of your time. My first horse, named Aziz, (guess which stand-up comedian’s show I was watching at the time) lasted the entire journey and was an invaluable companion. The initial taming process is frustrating for a strong horse like Aziz, and they will often do their best to disobey you and run straight into the beam of a passing Guardian. However, past that initial hurdle the riding process becomes much smoother and more enjoyable. I’m not sure, however, if it’s worth the hassle of having to fully tame a horse and ‘max out your bond’ in order to ride properly. It doesn’t gain much extra realism, nor does it enamour me to my horse. I would have liked Aziz whether I had to go through his teenage phase or not. Other animals can also be ridden, just not registered; I rode deer, bears and skeletons during my time in Hyrule, and this variety was a novelty that didn’t wear off. One secret horse I found after waiting at the top of a mountain for 15 minutes on a hunch is one of many of the game’s best hidden surprises. Another movement issue I want to address is the stamina meter. This is laughably small at the start of the game, and the upgrades are simply not lucrative enough to be acceptable. Skyward Sword had a stamina meter of roughly the same size, but its world was littered with stamina fruit; its areas were much smaller in scale, and it had upgrades that could make it temporarily infinite. When climbing (a process that could have been boring, but instead becomes an oddly satisfying and relaxing endeavour), the stamina meter is a nagging concern when it shouldn’t be. Many people have also bought up the issue of rain, which is a real problem in certain areas, halting progress when it shouldn’t. It’s a shame, in a game so built around exploration, that movement is halted and frustrated by a core mechanic of the game, and something that could be so easily fixed.

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I think when we’re discussing problems, we need to talk about player motivation. I think that Super Bunnyhop’s video on this game explains a lot of this better than I can, but please, bear with me. Aside from the main objectives (that is, destroy Ganon and free the Divine Beasts), the game motivates you to travel around its map in a variety of different ways. The first of these I really like; the promise of something new and weird. Sometimes you stumble upon something that you’ve just never even heard of before; a scenic spot; a weird NPC with a story to tell; a massive dragon; a secret shop, or even a hidden mechanic (there’s a statue in Hateno village that allows you to swap stat increases, but the game just never tells you about it). This stuff is great because it all feels unique and exciting and natural. Even if the dragon will eventually become just a way to farm materials, for someone like me uninterested in that, it’s just an amazing spectacle that the game will never tell you about except in rumour. The problem is when we get to shrines, Korok seeds (and, to a certain extent, Divine Beasts.) I’m going to tackle Korok seeds first, because as you can imagine, there’s a lot more to say about shrines. There are 900 Korok seeds, all hidden around the world in small puzzles. When you see a suspicious area, there will always at least be a small Korok seed puzzle hidden there. But the rewards for this are diminishing once you reach a certain point and your inventory is big enough to be manageable. For bows and shields, I only really had to upgrade about 3 times before I was happy with my inventory size. At this point, the reward of a Korok seed becomes null. Shrines are a bit more complex, because a new shirine means an extremely clever new puzzle to discover. But there is something still a bit dull about finding a shrine past a certain point. Yes; the puzzle will be sure to be clever, and the reward inside useful. But the aesthetic of a shrine is always the same; and the same goes for the Divine Beasts, although at least they normally have some clever aesthetic gimmick (such as flying over an area, which appears to move around, or starting off shrouded in darkness). So doing a shrine quest to find a shrine may be fun, may be clever, may even be ingenious. But if a shrine is your only reward, then the focus is placed more on the discovery of the reward than the reward itself. Which, in a way, is fine. In fact, I think an emphasis on the puzzle, or the journey, rather than what’s at the end is a better solution than a dull or easy puzzle with some grand reward. But that doesn’t mean we shouldn’t strive for both. It might be much easier to create 120 identical looking Shrines, but for the player it makes the discovery stagnant. With the Divine Beasts, once again, making a smaller puzzle room rather than a sprawling dungeon may be easier, but it diminishes the excitement for the player, especially by their fourth beast. I think, then the big problem with Breath of the Wild is that there’s too much in it. Which is an odd complaint to level at an open-world game. Normally the complaint is the opposite. But here, one can’t help but feel that were the number of shrines and Korok seeds and side-quests[1] scaled down, but more focus put on making each one feel special and unique, the game wouldn’t start to stagnate as much as it does. Incredibly, the journey of travelling around to find things does remain interesting throughout, and it’s that I’ll get too next. But sadly, the feeling of discovery wears out its welcome far sooner than the game wants it to. And therein lies the fault at the heart of Breath of the Wild.

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But hang on – I introduced this review by claiming the game was still a masterpiece. So let’s turn our attention to what it gets right first. And given that we ended the negative section on shrines, let’s turn our attention to why Shrines are actually a good thing for the Zelda series. There are 120 puzzle rooms, and much like Mario levels, they often teach you a small way to solve a puzzle, then expand on that in multiple ways while increasing the challenge. The way the puzzles rely solely on your base toolkit learned in the Great Plateau means that the designers can have fun and play around with that toolkit in each shrine. What’s more, the puzzles can be solved in multiple ways. There’s often a “correct” or “intended” way, but that isn’t the way you have to complete it. Because of the way the shrines give you a situation and a goal, and aim for you to complete it in a variety of ways, they still fit within the game’s basic ethos, despite taking place in a mini basement room. The Divine Beasts are, in a way, more like giant shrines than proper dungeons, and while I complained about this earlier, I will say that they do what they aim to do incredibly well. Puzzles that allow you to manipulate the environment tend to mess with my head in the good way, and these often have very clever solutions. The structure of all of them is annoyingly similar, but I’ll take most chagrin with the bosses. Past Zelda bosses have been a mixed bag, ranging from the incredible (Koloktos) to the dull (Tentalus)[2], but the Breath of the Wild bosses tend towards the middle in terms of strategy, and towards the dull in terms of design. Their red-haired clusterfuck of a design is shared with the boss Calamity Ganon, but at least that is made up for with Dark Beast Ganon, which is a fantastic final boss. I will at least commend the Bosses for making use of the environment of the Divine Beasts, which you were forced to learn during the puzzle section.

I still haven’t quite nailed down what makes this game so good yet, however. In order to do so, we’ll have to turn to the big topic (literally) – Hyrule itself. Hyrule is huge, and yet it does maintain that balance of large open spaces and having tons of stuff to find. In the social media age, Hyrule had to be massive. The game developers knew that secrets would be easily shared across the internet, yet despite seeing some cool new Zelda detail on my Twitter feed every morning, I would find three more by myself while playing the game in the afternoon. Many people have filled their reviews with anecdotes, but I feel like that might take up a bit too much time, and really, isn’t as interesting to you as it is to me. But despite my talk of diminishing returns during end-game exploration, for those first few days (if not weeks, depending on your play-style), the magical feel of exploration is something unlike anything else in modern gaming. Exploration is aided by climbing, which transforms what would be an impassable boundary in other games, to just another route, or a shortcut, or the only path up a mountain, on the top of which lies a mini-boss that could have been left undisturbed even after months of play-time. Climbing also allows you to glide, which means that a certain amount of the flow is going up in order to move across. Forcing you up again means giving you more stuff to see and explore, and so the emphasis on vertical spaces actually expands the amount you see and find. The amount I was sidetracked because of this is laughable, even though the game almost weirdly discourages you from this with constant reminders that ‘Zelda’s power is diminishing.’, something I imagine most players will ignore.

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The open-endedness does actually contain a “proper” Zelda game within it, in the vein of modern 3D Zeldas à la Ocarina of Time. You see this during the passages to Zora’s Domain or the Goron village, where you’re slightly more boxed in that usually. Of course, there are still ways to circumvent the challenges faced along the way, but you can tell the game is more reluctant about you doing this at this point. I think I might divert a bit here to mention the story, something I was deeply unimpressed by. The characters are dull and uninteresting, the voice acting mainly awful, and during the main quest it all got a bit too repetitive. I liked the emphasis on the past, which ties in nicely with something I’m about to say, and the memory system made a good use of the player’s memories of areas to tell a story, but ultimately I felt rather unengaged. But the focus is so rarely confined to the story that for the most part it didn’t matter too much.

So what makes Hyrule in Breath of the Wild special? I don’t actually think it is that it is both large and full of stuff to do. No, I think what makes Hyrule, and to a large extent all of Breath of the Wild fantastic, is its emphasis on Romanticism. Remember at the beginning when I talked about the Great Plateau and asked for you to make a mental note of the three things that the game showed to you? Well, I think we’ve discussed two of them now; “Hyrule” and “Story”, with lots of diversions in between (see what I did there?) So that just leaves the third. In the introduction I called it vaguely ‘atmosphere’ and presented the Temple of Time as the game’s example of it. What I think it actually is, is Romanticism. Romanticism is an artistic movement from the 1800s, and a quick glance at the Wikipedia page for the topic shows a familiar image; Casper David Freidrich’s Wanderer above the Sea of Fog. The Romantic movement emphasised solitude among nature, and Freidrich’s image is a direct parallel to Link, back facing the camera, looking out towards Hyrule on top of a cliff, alone. The ruined Temple of Time is also Romantic imagery – calling to mind Turner’s Tintern Abbey or Wordsworth’s poetry tackling similar imagery. Nature is emphasised by the Ghibli-esque art style as well, with echoes of Princess Mononoke’s lush expansive fields (you can even ride a deer, and Impa looks plucked straight out of Spirited Away). Much of Breath of the Wild’s content stems from these two Romantic ideas. The player is often alone; there is no fairy or boat companion to guide you. Towns are spread far apart, and many of the main NPCs you meet are dead and forever confined to solitude. The past is clearly a huge influencer for the game; most of its important story takes place 100 years before the events of Breath of the Wild. Huge sublime man-made structures destroyed by time are scattered across Hyrule, many of them almost irrelevant to the story, but that help in creating a Romantic atmosphere. Even the technologic looking Sheikah towers; robots; shrines are actually inspired by Japanese Jōmon period designs, from around 300BCE. The idea of the past even resonates through the beautiful soundtrack, which feature broken up versions of familiar Zelda tunes.

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Note that this isn’t a concept unique to Breath of the Wild; other Zelda games have dealt with a similar theme; in fact, the Zelda series may be built around it. Ocarina of Time and Majora’s Mask are two 3D Zelda games that stand out for not taking place in a completely destroyed Hyrule, and Ocarina changes that half way through while Majora takes place on the verge of one. Wind Waker features a submerged Hyrule; in Twilight Princess, Zant has taken control, and in Skyward Sword much of the land (that which will eventually become Hyrule) is taken over by monsters. Even the first Zelda is all about a lone wanderer in a destroyed looking world. Most of the people in that game hide in caves, forcing you to find them. So Zelda has always been a series obsessed with the past, but I think Breath of the Wild takes it to a new level. If I had to overstretch my welcome, I would say that it almost gels with Romantic preoccupation with the perceived threat of the industrial revolution; in that the Guardians are technological threats that become a threat to humanity and nature (perhaps this can be seen in the first great victim of Ocarina of Time; the Deku Tree). But even without pushing that idea to its limits, the Romantic influence on Breath of the Wild is the clearest it has ever been in Zelda, and it’s that which makes this game, for me at least, really special. Because the nostalgic fantasy Romantic adventure is an extremely appealing idea that has persisted for a long time, and this game feels like the natural embodiment and apex of that idea.

I do worry that in trying to explain the success of Breath of the Wild’s atmosphere I’ve veered too much into pointless theoretical discussion, but the idea of a game’s ‘atmosphere’ is both extremely important and extremely nebulous, so I hope I’ve at least made you look at the game slightly differently. There’s so much more to talk about here that I haven’t even scratched the surface with this review. But that’s partly the beauty and partly the curse of Breath of the Wild. And yes, I do think it’s too big and, towards the end, too familiar. But I also feel that to diminish its importance because of that is foolish. Yes – we need to examine a game’s faults, but focusing too much on them negates the underlying achievement made by Breath of the Wild. I hope then, that I have managed to, through this review, justify my position; that The Legend of Zelda Breath of the Wild is a flawed game, at times deeply so, but that it is also one of the best games that I have ever got to play.


[1] Again, Bunnyhop talks about these best, and I don’t want to get too much into them, but they are mostly very fetch-questy – i.e. go find x number of items for me.

[2] Both, interestingly, from Skyward Sword. That’s a game I’d quite like to talk about some day.

The Pokemon Sun and Moon Conundrum

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It usually takes me around a few weeks before I’ve moved on to my second playthrough of a Pokemon game. It took me until the start of January before I’d even finished Pokemon Sun and Moon, and this has nothing to do with the length of the game. Instead, it was constant stopping and starting: a loss of the interest that has pulled me through Pokemon games I consider much less accomplished than this one. In this review, I want to see if I can work out why Sun and Moon have caused such a roadblock for me. So, it might be better to think of this less as a standard review, and more of a personal process for my own interest. Have I just fallen out with the Pokemon formula, or is it something that Sun and Moon have done specifically?

I think it’s important then, to start at the core of Sun and Moon and see what, if anything, has changed there. As I see it, the three main aspects of every Pokemon game are battling, exploring and to a lesser extent, the Pokemon themselves. Yes, trading and social aspects are important to the experience, but I don’t see them as core per se. Let’s start with battling, because for the casual observer this has remained pretty static throughout the series. Pokemon Sun and Moon makes a lot of quality of life adjustments to the battling system that I really liked. The effectiveness system streamlines the process for those who have yet to memorise type-effectiveness charts, and the stat chart is just helpful for those not wanting to keep track of those things in their head. It’s nice to see Pokemon embrace what was standard in Pokemon Showdown for years. The biggest and most heavily advertised change to the battling system is the Z-Moves, and these sit less easily with me. In theory, they improve significantly on Generation 6’s ‘Mega Evolution’ concept, while still keeping much of the idea behind that. A held item that makes your Pokemon stronger is a good idea, because it forces the player to sacrifice the longer term benefit of a held item like a Rocky Helmet or a berry for a shorter term large advantage of a Z Move. Unfortunately, the Z Moves themselves are let down by a few crucial things. The most glaringly obvious is their complete disruption of pacing caused by long animations. These things are 32 seconds long on average, which is much too long to go without player input, and when you’ve seen the animation happen multiple times before. What makes this doubly frustrating is that X/Y already came up with a solution to this problem; when the game first starts up you see the full transformation animation, but subsequent mega evolutions skip that animation in favour of a much shorter one. Sun/Moon could have easily employed a system like this but fails to do so, and thus discourages the player from using a significant mechanic. I was also slightly annoyed that Z Moves weren’t that powerful. One hit KO moves would be silly and overpowered, but having to sit through that animation for a move that is ultimately not that powerful is more frustrating than anticipated. Of course, this is one of the more minor quibbles with the mechanic, which I regard as a step-up from Mega Evolution. I’ve seen Z-Moves get some negative press, and besides the animation problem, I don’t see them as anything but a good idea; just inventive enough to seem like a revitalisation, just not powerful enough to seem like overkill.

The battle system, then, isn’t that much of a problem. Trainer battles, however, are. It’s worrying when I can count on one hand the number of trainers I remember having a full team of 6 Pokemon during the campaign. Even in OmegaRuby/AlphaSapphire, some of the easiest games in the franchise, there was a trainer class (the breeder) which specialised in having full teams. That isn’t to say the game is too easy – some boss battles pose a challenge, especially the Totem Pokemon battles that you face at the end of every trial. Still, what this does represent is that the standard trainer battles are quicker and less involved, as well as simply easier. When travelling the region, they become less like fun challenges and more annoying roadblocks – a decrease in difficulty means that battling loses a lot of its draw. When battling trainers becomes an annoyance, there’s something that’s gone wrong. I did like the inclusion of trainer quotas on routes as a quick fix solution to this problem. The idea of this is that defeating every trainer on a route allows you to battle a stronger trainer, often with a reward at the end. This is a basic solution – and from a theoretical design perspective it works, but practically this does nothing to stop the core problem that battling becomes rote without a challenge. Yes, this game’s difficult bosses represent a step-up in difficulty from previous games in the series, and I respect that. However, in a game that fixes many of its predecessor’s problems, this is one that annoys me when not addressed in a meaningful way. Still, I got through those games so I doubt that this is my main problem with Sun and Moon. I think to address that we should move onto exploration.

There’s a lot to unpack in this one, so this might take a while. Alola itself is the new region that Sun/Moon take place in, and for all extents and purposes, it’s one of the best region designs for quite a while. The multiple islands lead nicely into a non-standard, less linear route path, and it helps that the islands themselves have routes that are twisty and curve around landmarks and cities to create fun paths that allow for different terrain and environment to naturally flow into one another one a single pathway to your destination. It also allows for route design with branching pathways and hidden secrets. It still relies perhaps too heavily on the old trick of a choice between grass or trainer battle, but the idea I talked about earlier of the ‘route boss’, means that some trainers are almost hidden out of the way. Some routes even incorporate small gimmicks, such as finding a number of hidden Snufful in the grass. It’s also worth mentioning how lovely Alola looks – the series finally returns to what feels like truly dynamic light patterns in the sky, so that the changes in time are really marked (I played Moon version, for reference). No, the route design still doesn’t match up to the lofty heights of Sinnoh, but perhaps what I was most impressed by was how natural the routes felt to traverse. In X/Y, the designers seemed to have made routes using the grid based philosophy that worked for the top down games on the DS, where routes felt boxed in by trees, but that was a necessary limitation of the system’s hardware. On 3DS, when those routes were transplanted into a 3D landscape it felt odd and boxy. Meanwhile, Sun/Moon’s routes actually manage to feel properly free from this – maybe due to the removal of the grid from the map. So not only do islands and routes feel more natural, you can explore them more naturally as well. So far, so good.

It’s a shame, then, that the game seems determined to hamper your enjoyment of its beautifully designed region with some of the most egregious progression blocks and markers I’ve seen in a Pokemon game. Literal road blocks prevent you from moving to certain areas (getting rid of any of the creative semi-excuses from previous games.) However, these road blocks have existed for a while in previous games, if less commonly. What I was more annoyed by were the flag checkpoints on the map, which have much to do with the game’s new found emphasis on telling a compelling story. Other Pokemon games have always given you markers as to where to go next; usually in the forms of the gym battles. Literal markers, then, much like literal walls, aren’t necessarily something new, as much as they are making a pre-existing feature less subtle. Nevertheless, the flag checkpoints are symptomatic of a creeping problem that I’ve been mentioning throughout the review series that I made; the sacrificial trade off Pokemon has been making by giving preference to story over exploration. This was at its most egregious in X/Y, where the story had nothing to offer, but here the story has really taken over – it’s the subject of each and every flag, and if it’s not a boring story battle against a number of Skull/Aether grunts, then it’s a boring story cutscene that aims to provide some semblance of character development to Sun/Moon’s expansive cast of characters.

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The story of Sun/Moon has received a lot of praise from critics, but I fail to see exactly why, except in terms compared too other Pokemon games. Yes, the story in Sun/Moon is miles ahead of any other Pokemon game. However, in my opinion it doesn’t reach the heights required to affect the gameplay in the way it does. Yes, Lillie’s arc is strong, but other aspects of the story don’t quite stack up. Lusamine’s story is fun, but rob her of enough agency that it robs some of the impact from her as a villain. In that respect, Guzma and Team Skull feel like the stronger villains – their slapstick routine isn’t as threatening, but it works just enough; when they were on screen I wanted to spend time in their company, whereas the Aether Foundation were nothing more than an obvious twist. The crux of the story, then, revolves around Lillie, who’s undoubtedly a likeable protagonist, but her plot also annoys me in its follow up effects. You see, we don’t play as Lillie, we play as bland smiley boy/girl who runs around chasing Lillie, and yet still somehow fights all her fights. The game, then, struggles to maintain a weird balance between gameplay and story, trying desperately to have two cakes and eat them both. Focusing fully on Lillie’s story might have meant a named playable protagonist, or at least a situation where Lillie could solve her problems without fighting. Instead you do the grunt work for Lillie while she picks up the emotional development, which feels less earned – a compromise. I think this compromise comes as a result of Pokemon being unable to leave the core of the past behind, while being content to change the edges. What I mean by this is that Pokemon will never stop being about a nameless protagonist wandering around a region, catching and fighting wild beasts, but that doesn’t stop the directors from attempting to enforce change that runs contrary to that core idea, the best example being the one of a story focus.

Those features, then, make up the core of Pokemon Sun/Moon, but the game is pleasingly stuffed full of content. Sadly, I’m not the sort of game reviewer to pore through every little feature, but I will give a cursory glance over some of the features that stuck out to me. The new Pokemon introduced seem exceptionally well designed – they all have a simple aesthetic and a priority on the animation of the 3D models to give them character, which works surprisingly well in game. Some of the Alola forms are a little questionable and I think they could have pushed the idea much further, but some work nicely as a proof of concept. The removal of gyms was touted as a ‘major shake-up’ for the series, but I’m not sure that it is. Instead, gyms are replaced by often annoying, mostly mercifully short mini-games which end in fun boss battles against super-powered Pokemon. Totem Pokemon are a welcome addition, but I’m not sure if the removal of gyms was necessary, other than to give a refreshing face-lift to the franchise. The best change is clearly the removal of HM moves, which is the sort of common sense move that should have been done ages ago, but inexplicably wasn’t. I think the only thing left to talk about is the Rotom Pokedex, which is a forgettable kind of annoying – a clear send up of the once more popular Yokai Watch.

So then, what’s the conclusion? Why couldn’t I finish Sun/Moon quickly? Let me be clear with one thing here – these are good games. In fact, I like these games. Probably a lot, when I think about it. I’ve spent about 2000 words mostly complaining, but the core Pokemon formula topped off with a multitude of clever quality of life upgrades and a few cosmetic changes that allow that core some room to breathe will always make for an enjoyable experience. No, they aren’t perfect Pokemon games (HeartGold/SoulSilver already did that) but they are good, a marked step up from X/Y.

Annoyingly, this still fails to get to the root of my problem with the game. If you’ll excuse me from getting a bit meta, I had to rewrite this review multiple times in the vague hope that I’d reach some sort of personal conclusion as to why I wasn’t the greatest fan of the game. Each individual aspect I could work out my feeling towards, but as a sum of its parts, I was left slightly clueless. It could be, and this is something I’ve seriously considered, a result of a fatigue on my behalf towards Pokemon. Whether that’s caused by a year of replaying Pokemon games for review, or a lifetime of playing Pokemon games for fun, seeing a game like this that makes mild but insubstantial steps to improving on a well-trod path isn’t maybe enough to pull me through. Which might be unfair on the game. I do sometimes think that perhaps the way I reviewed this is completely unfair; I focused a lot on the negatives, and framed this review in a negative light. Not that anyone looks to me for a critical consensus, but that I care some about how I present my views. Clearly all reviews of this nature will be subjective, that’s in the nature of a review, but that doesn’t mean a reviewer shouldn’t strive for balance when framing his argument. This review has caused me a lot of existential grief; in case you couldn’t tell. At least it came in a lot shorter than I originally had it…

Yeah, that was… a post. I guess. I think I rambled a bit towards the end there because I was so fed up with the whole process (I think I rewrote this review maybe 3 times in total?) Anyway, my review of The Good Place should be up within a few days, so look forward to that (Spoilers – it’s good)

Pokemon 20th Reviews: The State of the Franchise

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No, I hadn’t forgotten about this series, although someone with little faith in me (like myself) might reasonably think that I might have forgotten about it until recently… Anyway, with Sun and Moon launching this month I think at least a cursory glance should be given to the trends of the Pokémon series in its most recent installments.

I think the obvious place to start is the Pokemon themselves; there are over 700 now, and after an attempt to ‘reboot’ in the main story of Black and White, the array of catchable critters had to be expanded for Black 2 and White 2. It’s a good thing they did because the Unova Pokemon have some of the worst designs in the series to date; weird ugly re-treads of familiar ideas with much of the colour stripped out of them. Unova itself is quite ugly to look at, aside from the occasional area of nice visual design that sticks in one’s mind (see Skyarrow Bridge), much of it is brown, grey and dark green; a colour palette that may replicate the country it’s aiming for but isn’t where I would want to go on an adventure. Both Black and White 2 and X and Y learned from these mistakes, but they took it in two different directions. Black 2 and White 2 revamped Unova and added in old Pokemon, which is a simpler solution, but one that works. The new areas are brighter and more distinct, such as Humilau City, and the addition of old Pokemon doesn’t add to the already bulky roster, but gives you more choice in the campaign, and means you can avoid the questionably designed Unova Pokemon. In X and Y, the roster of Pokemon is expanded, but minimally, meaning that the quality is high, but the quantity is low, a change I’m quite a fan of; especially seeing as Mega Evolutions add some new looks and functions to old Pokemon. Perhaps, though, X and Y lean too heavily on borrowed nostalgia, especially from the first generation; Professor Sycamore even gives you a Kanto starter when you meet him, meaning that you’re pushed into accepting an old Pokemon if you want to make full use of Mega Evolution. In the end, then, the new starters (save Greninja), feel a bit shafted, as do some of the newly introduced Pokemon. The region initially feels a marked improvement from Unova, but again this comes with caveats. All of the Pokemon games have felt boxed in, but the spite based aesthetic has somehow meant this felt more natural. With the 3D look of X and Y, the routes look awkward and cartoony in the way they just stop – and the fact that the game still runs on a grid based system only exacerbates the issue. Luckily, Sun and Moon already look to be improving this, although we’ll have to wait and see the full effect.

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In Black and White, one of the big innovations was the story, and in the past I’ve complained that the story in Pokemon is too weak to be interesting but present enough to disrupt the open-ended structure that was present in the first two generations. Black and White opts to improve on the first criticism, and while you’re shepherded around cities in what is probably one of the most linear regions yet both in route and map design (although shout out to the lovely Route Four),  the story is actually alright. Finally tackling the ‘isn’t Pokemon really cruel’ criticism was a bold move, and while they ducked out at the end by revealing Ghetsis didn’t care and was just your average baddie, it was nice to see them give it a shot and try something different. They also mess with the end game structure, creating an epic final showdown while also decreasing all impact Alder has as Champion. In Black 2 and White 2 the story suffers from being too complex and dull while still overbearing. I was never engaged by the plight of the two Plasmas, and everything seemed to take itself too seriously for its own good. Luckily, the ambitiously large post-game means that those wanting more freedom need only hold out until the end of the story, at which point the world opens up and reveals a multitude of post-game delights.

The story and structure of X and Y, meanwhile, are those game’s biggest weaknesses. Team Flare are pathetic villains; I’m still not 100% as to what their game plan was. Were they obsessed with beauty? Did they want to destroy the world, and if so, why? Who was Lysandre? I realise I’m exaggerating my ignorance for comic effect, but still; X and Y’s story was awful, and the addition of AZ only served to confuse it more. Kalos is twistier than Unova, all revolving around a central city and branches going off of that. However, those branches are as linear as they get –to an annoying degree. Gone are the long winding routes of Sinnoh, whose weather changed dynamically as you marched through them, replaced by bland looking single line Point A to Point B routes that add little to make you feel adventurous besides a few swoopinng camera angles. Maybe the worst offense is that when it’s over, it’s all over. In accordance with then series director Junichi Masuda’s new idea to make the series simpler for the ‘smartphone generation’, X and Y have almost no post game. For a series known for enduring gameplay, this is a disappointing change, one only partially rectified in Omega Ruby and Alpha Sapphire.

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Finally, let’s talk about gameplay mechanics because this isn’t something I normally talk about. I don’t subscribe to the idea that the Pokemon battle system never changes because I have dabbled in competitive battling and know that each new Pokemon introduced is in itself a mechanic, and the smallest changes can have a big impact in that scene. However, the competitive scene is so intricate that it’s a job for people who know their stuff to properly talk about. Instead, I like to look at the bigger changes that even the casual players will notice. For that reason, I may have to not talk about Triple and Rotation battling, which are literally hidden in an alley by the game. If Pokemon itself doesn’t care, why should they expect me to? Pokemon would, however, love me to care about Mega Evolution, the big new change to the franchise that everyone including Game Freak seems to have very clearly realised was a mistake. Mega Evolution is a gimmicky little function that looks flashy but was clearly not thought out well. What could have made battles against Mega equipped trainers harder simply made the whole game easier while also breaking the meta-game. Not to mention most of them looked ugly as sin. More of an improvement were the Gen VI online features, made easier than ever, and much less confusing than the Dream World. The PSS was simple to use, and Wonder Trade was an inspired way to get people excited about trading Pidgeys. It’s a shame, perhaps, that the DexNav will stay exclusive to the Gen Three remakes, but not surprising given Game Freak’s track record. (Also for the record; customisation is cool. kthanksbye.)

While I tried to set this up as a comparison, it was really just mini reviews of the latest three Pokemon games, so I’m not sure if I’ve gained anything from it. I guess I’ve noticed that the Pokemon series hasn’t been going on a downward trend? Maybe the only trend I can see is the simplification of the region and route design, but that’s been happening since Gen Three. Overall, I think the only conclusion I’m happy reaching is; Pokemon is good, but some games are better than others. Insightful.

Pokemon 20th Reviews: Pokemon Platinum

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I was really excited to replay Platinum – I haven’t played it in ages, but I have some fond memories of the Gen 4 games, specifically of the Sinnoh region. Luckily, my playthrough did not disappoint; aside from a few areas I found lacking, Pokemon Platinum is exactly the game I remembered it being, and that game is really damn good.

The biggest strength of the game is also what makes it unique among Pokemon games; its atmosphere. Platinum succeeds most in the quieter explorative moments, and Sinnoh as a region is built to support that. Areas in the game exist for seemingly no reason other than to offer quite respite for the weary trainer or build up the game’s extensive (for a Pokemon game) lore. The church in Heathrome city remains the prime example of this, but the Canalave city library is another, and one that’s explicitly pointed out to you as an area for quiet research. Other games have had areas like this, museums or buildings that serve little in-game function, but Sinnoh has the most memorable. It’s not just these buildings that are the nooks and crannies of the region; the routes are also designed to service Sinnoh’s greater emphasis on exploration and atmosphere.

Like in Emerald, Platinum also has a story focusing on a team of fancifully dressed but ultimately silly and annoying bad guys trying to create some kind of new world. Also like Emerald, this plot forcefully guides around Sinnoh, moving you from one location to the next without letting you decide in what order you want to explore the region. Unlike Emerald, Platinum has learned that this removes the explorative element from a Pokemon game, and so seeks to find some other way in which to recapture that spirit. It does this with its intricately designed routes; the best in the series. Route 210 has multiple sprawling paths; different weather patterns and Pokemon encounters, as well as water and bicycle areas, to give just one example. Sinnoh is also refreshingly light on water routes, which have a tendency to be bland and samey, but it keeps surfing useful and important by still having an abundance of smaller rivers and lakes on which to surf, as well as the three great lakes. For the best example of how Sinnoh uses its route design for both explorative and atmospheric effect, however, look no further than the ascent into Snowpoint City. After emerging from Mt. Coronet you find yourself in snowy Route 216, the plinky music signaling the icy path ahead without being too forceful. Here, you’re given a choice of two paths (three with Rock Climb) to reach a small cabin, a final place to heal before tackling Route 217. On this route, both the snow has become harsher and the music more adventurous. Route 217 seems initially simple, but as a small sprite trekking across it, it feels like a snowy hell, meaning that when you finally get to Acuity Lakefront, and the snow has calmed, the sense of relief is palpable. After navigating some grass, you make it to Snowpoint City, your party exhausted. Once again, the music does much of the heavy lifting, another soothing but icy track calming any remaining nerves. If that sounds over the top for a Pokemon game, you might be right, but in my opinion, it sets itself out as one of the best examples of a game working within its limitation to create a feeling of exploration and adventure using map design, music, and visual effects.

Platinum isn’t perfect, however. For one, the Pokemon designs leave a lot to be desired; the designers often go the lazy route of just creating a bulky evolution of a popular (or sometimes just random (Lickiliky)) older Pokemon. As such, Sinnoh often feels like it lacks an identity of its own, as the variety of new Pokemon to choose from is lacking. Judging by the Pokemon that Team Galactic uses, however, you’d think that there were only three Pokemon in the entire region. The frustration of being confused by yet another Golbat becomes almost unbearable when forced to traverse dungeons such as the Galactic HQ. That isn’t the only annoying frustration Platinum has, however. The reliance on HM moves reaches peak levels here, and as such your move options are limited by having to teach your Pokemon stupid moves like Rock Climb or Defog. Yes, climbing rocks adds another level of exploration, but it shouldn’t come at the expense of a move slot. The new evolutions I mentioned earlier are too often Wifi based, something that at the time seemed like less of a problem with exciting new servers up and running, but now becomes a chore.

How does Platinum stack up seven years later? Remarkably well. Yes, it has its frustrations, but I was really impressed by Platinum, and it takes the top slot so far held by Crystal on this series so far. 3 more games to go before Sun/Moon!

Sorry this was such a long time coming! While I’m not reviewing the remakes, I would like to just say that HeartGold and SoulSilver are fantastic games; improving on everything good about both Platinum and Crystal (but more on them later). As for what’s next on this blog besides Black/White… I’m not sure. Watch this space, I guess… (but first be sure to check out my review of Zero Time Dilemma!)

Pokemon 20th Reviews: Pokemon Emerald

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As I said in my introductory post to this series, I started playing Pokemon with the third gen, and as such one would be right to expect a natural bias on my part towards the games of the third generation. However, when replaying Emerald I felt that, although my feeling towards this game were strong, it didn’t click for me in the same way as Crystal did.

The start of the game sets it up nicely for Emerald to have more of a plot than any prior Pokemon game (although that’s really not saying much). The game starts with the player in the back of a moving van, and as a way for Game Freak to show off the new graphical fidelity of the GBA, the player has to walk from a dark, cramped space to the bright and colourful Littleroot Town, which now seems boring, but marks a big step up in the visuals of the mainline Pokemon series (the trick of having to go through a small boring space before getting to a point where graphics are shown off will be repeated through out the series – see the gate to Skyarrow Bridge for another good example of this). Another significant change from the previous games is that you now have a dad; Norman, and with that comes a greater emphasis on plot. Norman himself gets a bit of character development after you beat him as a Gym Leader, and the role of parents having to let go gets a nice echo in the character of Wally. The other area where this increased focus on plot becomes apparent is in the villains; Team Magma and Aqua have more distinct goals than just ‘make money’, and these goals tie into the backstory of the legendaries. Because of this, less time is spent on your rival, but Archie and Maxie fill in the holes left by the absence of a strong rival such as Blue or Silver. These plot developments are not significant in the grand scheme of things – no Pokemon game will ever have a deep enough story to rival any other major RPG. They do, however, have an adverse affect on the linearity of the game.

Emerald allows the player very little chance of independence. Despite various sections where one must backtrack to get to a gym leader or newly unlocked path, the game guides you through the whole experience, major battle to major battle. There’s no longer any time where you might feel lost and the increased role of story gives the game a solid excuse for pushing you around the new tropical region of Hoenn. Hoenn itself is only alright as regions go. I talked in my Pokemon Crystal review about visual cohesion, but Hoenn takes this concept slightly too far. The visual similarities of routes, which comes about because of the limitations of the system and the tropical theme, does not allow enough diversity when traversing Hoenn. This is exacerbated by a new aural cohesion; the oft referred to reliance of brass instruments means that routes blend into a trumpety, grassy mess in my mind. Like it or not, there is also too much water in Hoenn. Coupled with the already non-distinct ground routes, the water routes are too numerous and their failiure to leave a lasting impression is even worse. Nevertheless, Hoenn gets a pass because of the various little spots that do leave an impression; the cable car is my personal favourite, but the hot springs in Lavaridge, Route 113 and the Mirage Tower also immediately spring to mind.

Places like those mention often show off the visuals of the game, which are still nice to look at today. Pokemon battles can get a little samey, but environments are lush and colourful, and the dull backgrounds of Pokemon battles are enlivened by the Pokemon designs, which are fantastic (my favourite Pokemon, Duskull comes from this generation), and the new attack animations that are by no means revolutionary, but do their bit. More revolutionary is the introduction of double battles and abilities. Double battles, like Mega Evolution, is a flashy new battle mechanic that instantly changes the strategy of a battle and bough a whole new side to competitive battling. Abilities are less of an instantly recognizable change, but they require players to get to know each species of Pokemon better than they might have done in prior generations. Overall, these two changes are one of the few unqualified successes of the third generation.

The other new additions; a larger story; a more cohesive region – these come with their caveats, and while I wanted to be able to praise this game as fully surpassing Crystal to become the best game I’ve reviewed so far, not even my rose-tinted view of this game could convince me of that. It’s still really good, however.

Just to let you know that I will not be reviewing the remakes- so the next game to be reviewed in this series is Pokemon Platinum. 

Pokemon 20th Reviews: Pokemon Crystal

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Pokemon Crystal is everything I imagine people remember Red and Blue being. It retains the 8-bit aesthetic and the simpler Pokemon and map designs of yore, but is such a staggeringly better game that I can’t imagine why anyone would prefer to play the earlier games in favour of this. Even if you prefer the Pokemon designs of the original trio, they’re all still in there, but I find it hard to imagine anyone not falling in love with the new starters or any of the great new Pokemon designs on offer. If you love Kanto that much more than Johto, Kanto returns in a bit of post-game that delivers more after story content than any Pokemon game before or after it (with the exception of the remakes of the game I’m reviewing). Having said that, Johto is a better region than Kanto ever was. For one thing, it had a more defined aesthetic style – the Japanese influence carries itself throughout the entire game providing a nice coherent theme to the region that Kanto only had because the limited graphics and colour palette of the original Game boy forced a uniformity to the buildings and towns. Johto also brings with it the day/night cycle, which could have just been an addition that would serve only to make the world feel more alive, but it also adds a new dynamic to filling the Pokedex, with certain Pokemon only coming out at night. Pokemon themselves look amazing in this game, the sprite artists have nailed the design of each creature, new and old, and the little animations in Crystal are such a welcome addition it’s a wonder they left them out of Ruby and Sapphire. While on the subject of presentation, the music is better than it ever has been – while some of the music may not be as laced with nostalgia as with some of the tracks from Red and Blue, it’s no denying that the music here is a highlight (a particular favourite is Dark Cave, one of the few really memorable non-battle themes in the series).

As for gameplay, Gold, Silver and Crystal don’t have the huge advances in the battle system that something like the abilities bought, but the refinements made were all positive; held items in battle added an extra layer of strategy, the fact you could see experience points in battle just made it easier to train Pokemon, the new types introduced balanced the type system well enough that no new types had to be introduced until X and Y, and the vague ‘special’ stat was split into special attack and defense, which was a change that makes things slightly more complex, but in the best way – it makes Pokemon feel more unique and specialized. Breeding, shiny Pokemon and Pokerus just served to give collectors and Pokedex fillers more to do and collect, and the thrill of running across a shiny Pokemon in the wild is unlike no other.

Really, I’m finding it very hard to find anything negative to say about the second generation of Pokemon games. I could dish out the regular criticisms of the simplistic story and similarity to the previous games, but to do that would be missing the point. Pokemon Crystal (and G/S) are the best kind of sequel – refinements and new features that allow you to experience the amazing concept thought up in Red and Blue in a easier, better way. These games are the first truly brilliant Pokemon games, and they should really be remembered as such.

Next time is Pokemon Emerald, a game I’ve played so many times I could write the review without replaying it. I said I’d have more content before this point, but things have gotten in the way that I didn’t account for. I’m in the middle of planning a long Star Fox Zero review, and I would also like to look at the Ace Attorney anime a bit before it finishes. Until then, thanks for reading.