Topshelf Archive

New reviews at https://tymbal.tumblr.com/

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New tumblr!

For a few reasons I'm starting a fresh tumblr page. New revies will go here, and this one will now serve as an archive.

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Thoughts on Final Fantasy (1987) in 1000 characters exactly

Individual battles rarely pose a threat as we trudge through Final Fantasy's dungeons. Accumulatively though, they quickly whittle our party down. To outlast this death by a thousand cuts, it’s important we stretch our limited healing as far as possible.

To achieve this, we must end fights quickly and without expending resources. This pressure to be efficient and intentional in directing our party makes for an engaging challenge. However, as many moves either don’t function correctly or expend magic we need for healing, we’re usually stuck using basic attacks. This leaves us with few choices, making battles repetitive.

Upon emerging from the dungeon victorious, we get to explore new continents, towns, and shops. There, after hours of patient and restrained play, we can splurge on new gear and see our strength increase substantially. This catharsis is so powerful it may even make you feel like the monotony of the dungeon was all worth it. That is, until you’re halfway into the next one.

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Thoughts on Subnautica in 1000 characters exactly

We crash-land on the surface of a vast ocean planet. After a time surviving among the shallows, distress calls coax us into more dangerous waters. As we explore, we begin to see indications that deeper down there are secrets to be found - perhaps even the means to escape the planet.

In this moment Subnautica evolves from a novel survival game into something more. To progress, we are required to move beyond reactionary survival and undertake a proactive expedition to the depths of the planet.

As we descend into labyrinthine underwater caves, the pressure and difficulty rise in tandem. More sophisticated submersibles must be crafted, more dangerous creatures avoided, and much more time spent tediously gathering and sorting resources.

Whilst not every obstacle on the way down is enjoyable, the voyage is exceptionally rewarding because it is driven by our own action. Subnautica’s design has confidence that with a little guidance we’ll take the initiative and plunge deep down into the dark.

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Thoughts on Pokémon Blue Version in 1000 characters exactly

“Your very own Pokémon legend is about to unfold!”

Moments after this promise, players make their first choice - which monster to start their adventure with. Thanks to Pokémon’s modular design, this and every choice to follow has a tangible impact on the play experience, meaningfully individualising every player’s journey.

With 150 species, 15 types, 465 moves, choice, and chance, there is an incalculable number of ways the adventure can unfold. Perhaps a player who diligently raises an underperforming critter will grow attached as they prove their value. Another player may struggle to capture a powerful beast which immediately becomes an indispensable powerhouse.

The way Pokemon’s mechanics generate these small personal dramas is a core aspect in player’s enduring attachment to the series, and that aspect is perfectly present in these flawed first instalments. With each choice, and each dice roll, the ones and zeros are transformed into another line in each player’s “very own legend”.

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Thoughts on A Plague Tale Innocence in 1000 characters exactly

Crafting a cinematic thriller is challenging in an interactive medium, where directors are denied full control. The player is a rogue actor who hasn’t read the script, so to provide direction A Plague Tale utilises environmental ques. Haphazardly stacked furniture corrals players down intended stealth routes, and light from behind doorways illuminates safe paths.

With artifices such as this, the world elegantly aligns player behaviour to the script, and their progress to the intended pace. With its lead actor under control, A Plague Tale’s tight direction shines, effortlessly sweeping players into a thoroughly enjoyable drama.

Yet, this smooth experience introduces a disconnect between the experiences of player and protagonist, ultimately undermining the story they’re trying tell. Taking players through by the hand has facilitated an effective depiction of the protagonist’s struggles, but by holding on so tightly they also prevent players from experiencing those struggles as their own.

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Thoughts on The Gardens Between in 1000 characters exactly

The forwards or backwards movement of the analogue stick directs the flow of time. Players must use this elegant interaction to solve an impressively diverse set of puzzles, helping two childhood friends scale abstract landmasses strewn with the paraphernalia of their shared youth.

Since you don’t control them directly, the friends are free to express themselves - squatting to inspect a passing crab, impatiently tapping a foot, or joining hands as they approach the summit. These luxurious animations, alongside charming dioramas of the duo’s memories, succinctly and wordlessly portray an emotional and relatable childhood friendship.

Unfortunately, the game ends abruptly, before promising mechanics develop enough to stretch the player, and without introducing any conflict to add texture to the central relationship. It’s admirable how elegantly the journey walks players down memory lane. Had that journey only pushed a touch further it could have become a cherished memory in and of itself.

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Thoughts on The Witcher 3 in 1000 characters exactly

Once again, the Witcher’s stories offer frequent yet unforeseen narrative turns, each artfully subverting player expectations and revealing more of the world’s complexities. Players may be initially tasked with anything from hunting a monster to putting on a play, but things rarely unfold as anticipated. Despite this narrative diversity, a lacking variety in mechanics leads to most stories feeling strikingly similar to play. In such a long game repetition is expected, but the rigidity of these activities causes them to grow laborious. Glowing footprints? Follow them. Glowing objects? Interact with them. These routines are so mindless that players may well rush through in pursuit of the next story beat. Whilst this is a condemnation of the gameplay, it is also an endorsement of the storytelling’s enduring appeal. Even dozens of hours in, players will eagerly follow the umpteenth set of footprints into the forest - the twist at the end of the trail will be worth the monotony of the hunt.

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Thoughts on Metroid Prime in 1000 characters exactly

Although the shift from 2D side-scroller to 3D first-person adventure has reduced the speed and kinetic satisfaction of Metroid’s moment-to-moment gameplay, it does prove beneficial to the series’ more immersive and atmospheric aspects. Seeing through Samus’ eyes already elevates these qualities, but Prime takes things a step further by framing our view through her visor. Raindrops trail down its surface, steam fogs the glass; these aesthetic touches sell the presence of the visor while heightening the ambiance. But the true stroke of genius lies in how the interfaces are integrated into the visor’s heads-up display. This diegetic method of conveying information elegantly obscures the developers’ presence, whilst the visor’s functionalities empower players to gather data for themselves. The resulting sense of isolation on a hostile alien planet has never been more palpable or compelling - a world so remote, so abandoned, that it feels as if even the developers themselves are long gone.

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Thoughts on The Legend of Zelda: The Wind Waker in 1000 characters exactly

Having the freedom to sail anywhere, whilst also believing that significant discoveries lie over the horizon are both vital components of a captivating high-seas adventure. When it cultivates these conditions Wind Waker excels, but alas, it struggles to do so consistently.

In the first third, that freedom to explore is artificially withheld. Wind Waker's linear narrative structure and free roaming make for an unnatural pair, and so those who drift off course are swung back onto the critical path.

Once these restrictions lift, players begin to perceive the lack of quality structured content among the islands. There's not enough to sustain wanderlust throughout the amount of sailing required, and once what's there is exhausted, the player will surely follow suit.

Sadly, this choppy pacing renders Wind Waker unable to keep its high points above water for the majority of the playtime. The result is a deeply uneven experience, with curiosities spurned from the outset, and dashed by the end.

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Thoughts on The Legend of Zelda: Twilight Princess in 1000 characters exactly

Twilight Princess sets out to elevate the series to new heights of cinematic production, with theatrical elements fuelling player's sense of adventure. However, these feelings risk being extinguished as players become more aware of how carefully directed the experience is.

During overworld questing, instruction is delivered overtly through dialogue. You're doing as you're told - the antithesis of adventure. Conversely, dungeons direct players elegantly through the layout of each room. Whilst the sequence of keys and doors you're shepherded down remains linear, it weaves across interconnected spaces and evolving central hubs.

In cases such as this, where the director's hand is more subtle and aligned to player desires, an effective illusion of autonomy is curated. The spark of adventure is rekindled, and stoked into a blaze through epic cinematic quality. As you fell the dungeon boss, the orchestra rises triumphantly, urging you on. Even bound to a script, it's a thrilling role to play.

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Thoughts on Castlevania (NES) in 1000 characters exactly

Compared to contemporary action platformers, Castlevania's key actions are performed more slowly whilst also demanding a higher degree of commitment. Your standard attack has a significant delay, during which you're rooted the spot, and the arc of your jump is set in stone from the moment you leave the ground.

As a result, effective execution of these actions requires precise timing. To ascertain the correct moment to make their inputs, players will need a clear read on any given situation - and fortunately the design facilitates this well. The thoughtfully placed monsters populating Dracula's castle are visually distinct with set behavioural patterns, and attacks have set distances and trajectories.

This readability and consistency equips the player with the necessary knowledge for the experience to feel fair, whilst the slow pace and high damage values makes your actions feel consequential. The result is a engaging experience that rewards a pleasingly patient and methodical approach.

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Thoughts on The Legend of Zelda: Tears of the Kingdom in 1000 characters exactly

Whether spectacularly skydiving between floating islands or delving deep into new subterranean environments, Tears of the Kingdom opens strong with an all-out showcase of novel content types. However, once you've seen a few examples of each, their patterns and paltry rewards become predictable, and the extrinsic motivation to seek them wanes.

This was an issue in Breath of the Wild too, but at least in that game the topography was new, and thus motivation enough to engage with the process of traversing it. In Tears of the Kingdom however, the reused world is all too easy to disengage from. Sky view towers and vehicles facilitate instantly gaining and perpetually maintaining altitude, and so sailing silently through the stratosphere becomes the optimal travel method.

I spent more time this way as the game went on. Sky high, with no incentive, desire, or requirement to descend unless to reach the next quest marker. Glancing down, it's hard to believe how exciting this world used to feel.

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Thoughts on Final Fantasy XIII in 1000 characters exactly

The series' combat has always had a back and forth, sometimes you're on the back foot, and sometimes you're pressing your advantage.

By facilitating instantaneous switching of party member roles into customisable configurations, the ingenious 'paradigm shift' promotes players to be the custodian of this ebb and flow. The enemy stagger gauge intensifies this, significantly multiplying damage when filled, creating exhilarating moments of going all-in on an enemy.

Outside of combat things are more one-note, players are funnelled down lengthy linear gauntlets of encounters. Whilst XIII doesn't necessarily require staple dungeons or towns to be worthwhile, not having portioned out alternative sources of variety throughout an experience of this length results in considerable fatigue.

Sadly this obfuscates XIII's numerous merits. From nuanced characterisation of our heroes to incredible combat, there's a fantastic series entry somewhere in there, waiting to be coaxed out by a ruthless editor.

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Thoughts on Final Fantasy X-2 in 1000 characters exactly

X-2's bewildering pop concert opening sequence confidently states its intention to embrace a more playful energy than its melancholic predecessor.

Active time elements, attack chains, and interactive abilities palpably bring this fresh new energy into combat. The ability to switch character classes mid-battle magical-girl transformation style makes this one of the most dynamic battle systems in the genre.

It's such a pity that this vibrancy struggles to manifest in other aspects of the experience. New areas are woefully drab, side missions are largely arduous, and agonisingly unenjoyable mini-games are practically mandatory. Whilst cherry-picking missions can arguably result in some success avoiding these monotonies, the prominently visible story completion percent encourages a more thorough approach.

The best of X-2 has an electric energy that has drawn me back in again and again over the years. Yet somehow, I do always walk away feeling I've had my fill of its languid tedium instead.

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Thoughts on Bug Fables: The Everlasting Sapling in 1000 characters exactly

With low damage numbers and a tight combat balance the margin for victory is sometimes as narrow as a point or two, and it's satisfying to strategize well and come in just under the wire. This satisfaction ramps up as your options broaden and enemies grow stronger. However, once healing skills no longer outpace damage and more expensive attack skills are necessary, you’ll find your stock of restorative food items depleting rapidly - which begins a cycle of busywork I came to dread. Different merchants offer various ingredients which to be effective must be cooked, in some cases by specific chefs. These NPCs are scattered across the land, so replenishing your stock constitutes a logistical pilgrimage from province to province, stopping to wrangle with inventory limits and inefficient interfaces. Eventually I was skipping side quests and ducking combat to avoid repeating this process - which is a shame, because although I lost my patience along the way, Bug Fables was a charming journey.

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CrossCode

My thoughts in exactly 1000 characters

Players may imbue their actions with one of four elements, which are intuitively and instantaneously switchable using the d-pad. The variety of ways in which these elements must be employed to solve ingenious puzzles and penetrate enemy defenses are impressive. What is truly incredible though, is how by drawing from this elemental system for both a radical synergy between puzzles and combat has been cultivated.

In part due to this complexity, difficulty climbs, and whilst pitch-perfect controls empower players to rise towards that ceiling, the graphics sometimes let the side down by struggling to convey information. For instance, a lacking sense of depth leads to missed jumps, and limited enemy animation leads to damage taken.

Despite these issues, irritation was only ever brief. CrossCode has an earnest heart, an infectious fondness for MMO culture, and an endearing silent protagonist. These factors ensured that even as I bounced between wonderment and frustration, my admiration held.

★★ A truly special experience

Played on PC, including DLCs

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Final Fantasy XII: The Zodiac Age

My thoughts in exactly 1000 characters

With understated characters, a politically driven plot, and an ambient soundtrack, XII doesn't reach the same emotional heights as other entries in the series. What XII brings to the table is depth, a remarkable depth that gradually reveals itself over time in response to a player's attention and patience.

Manifestations of this depth enrich every corner of the experience, whether in discovering the complex interconnectivity between the labyrinthine areas of the world, in intuiting the unspoken motivations of characters, or in immersing yourself in gloriously realised locations. The degree of detail throughout renders all these factors credible - the cities feel lived in, the cultures authentic, the characters believable.

The breadth of content threatens to overwhelm, but the genius gambit system provides the means to code party member's behaviour, allowing creative automation of many encounters, reducing moment-to-moment cognitive load whilst simultaneously preserving player autonomy.

★★★ Personal favourite

Played on Nintendo Switch