Bergsonian Critique

How can we describes the rules and conventions of Final Fantasy Crystal Chronicles: The Crystal Bearers without stuttering at least once, not because of its breathtakingly long title, but more so from our hazy insight of its inscrutable structure? We might also wonder how could a game that has been in development for three years, in one of the industry’s most accomplished game companies no less, to arrive to its audience as a project that has seemingly been hurried due to schedule restrains? Obviously, pondering the game’s hapless state is frivolous at this point, but at least we can look back at it with a slightly approving judgment; Crystal Bearers remains audaciously original next to the contrived creations of late from Square-Enix. The regrettable reality, however, is that its novelty deteriorates just as soon we come to grasp its dubious ideas.

In an effort to make sense of the story in Crystal Bearers, I re-watched the game’s cut scenes (they are commonly available on YouTube), and read its context in several Final Fantasy online encyclopedias, except my research turns out to be nothing but an exercise in navel-gazing. Though, this is not to say that the plot is incomprehensible; it just lacks the consistency that would avert its discursion from quagmire. Characters emerge out of nowhere (they always seem to be ahead of you), and they disappear as soon their role lose purpose in the narrative. There is also a dearth of decent characterization that sets to explain the characters’ actions more persuasively; as far as I know, their comportment and social classification are often correlated to their races: Clavats are discriminately poor and unambitious, the Lilties, on the other hand, are affluent and aristocratic, whereas the Selkies are conniving crooks.

This is unfortunate because Crystal Bearer doesn’t quite recycle the usual generic tragedies of a role-playing game; the narrative just happens to be composed inexplicably, as well as lacking the merits to captivate. The fact that we cannot even converse with the wondering NPCs means it’s impossible to delve deeper besides from what is given to us. Even when the story recuperates during the second arc, the themes don’t live up to its eccentrically constructed world, as they are borrowed transparently from the common reservoir of RPG-tales. Though, it is worth mentioning that the scattered periodicals and the Moogle mail-delivery service do enliven the game with a tangible embodiment.

Still, we get increasingly confounded when we get to meet the game’s protagonist, Layle. The game introduces him so abruptly, and without a passable backstory to absorb his substance in the whole affair. We are told that he is a Crystal Bearer and, by this logic, he’s a menace to the individual and the society, and he should be shunned at all costs. But such incrimination is not efficiently buttressed with specifics; this trifling inclusion of a discrimination case (not to mention class segregation) in the plot scarcely persuades us to understand the danger of Layle’s unique powers. Yet, what aggravate the matter even worse are Layle’s own actions. He’s relatively nonchalant to everything around him, but his sudden fixation to track down the titular antagonist, Amidatelion, whom her race (the Yukes) is said to be extinct, doesn’t bode well to his likeability factor. In fact, we come to feel sorry for the latter, given that she tries to talk things over and explain her ordeals with conviction, but all Layle wants to do is to engage her in a battle of wits and fists.

Strictly speaking, however, Layle doesn’t quite use his fists whenever he’s fancying mischief or a duel. Instead, the eponymous hero harnesses the power of the infused crystal on his right cheek, which devolves him gravity-based telekinetic capabilities. It’s mechanically circumscribed (point, grab, and throw), but its true aptitude flourishes sporadically as we advance through the game’s eccentric locales. These provinces, which are connected by train rails and large fields apt for chocobos to run freely (which we will get to ride one), set off a variety of event-based mini-games upon arrival for the first time (and sometimes during departure), but they also host an optional collection preserved for us to discover. Most of them are derivative and/or ephemerally amusing, but an ample portion manages to withstand mediocrity via nifty execution. In fact, the two introductory events during the prologue are so exhilarating that the subsequent rides can only be buoyed with disappointments and vain opportunities, despite the second event is mired from clumsy controls.

This quandary reoccurs and also protracts dramatically when it comes to battles design. Early on, the game plunges us in an impressive clash with a Bahamut, one of the series most eminent dragons, tasking us ingeniously between QTE-based reflexes and telekinetic strategies to achieve victory. Unfortunately, such a heady experience is seldom repeated, and the regular battles are barely worthwhile, seeing they lack the urgency that we would expect from a Crystal Chronicles game. Indeed, it is possible to romp through the game’s main story without a wavering sense of portent, since the battle encounters are exceedingly procedural and optional; the instances we have to halt our expedition and do battle are accidental and sparse, and if we do, we must be quick about it, as enemies are only presented for a brief window of opportunity before they evaporate into oblivion.

Nonetheless, there’s a lighthearted subtleness to Crystal Bearers, usually dovetailed through exploration and interaction that contradict its inflexible veneer; thus, making the game much more interesting. This is mostly achieved by unlocking a “discovery” or a “reaction”, an in-game achievement system that catalogues different medals based on comical and often fortuitous experimentation, which most of them follow an inane level of logic. They range from simple single actions to esoteric procedures, in-battle reactions to environmental discoveries, pure fun to utter frustration. And yet, despite we don’t receive any tangible rewards for discovering them, the system works splendidly, revealing the level of depth that the developers carelessly decided to conceal away.

Crystal Bearers could also have fared better if the item creation system had been more intricate and redeemable. Hunting for materials, especially the rare ones, is a make-work to prolong the game’s short lifespan. While it is true that synthesizing and equipping accessories mitigate the difficulty of challenging powerful monsters, and curb the unreliable range of the cursor respectably, the time spent on farming them, however, hardly warrants the effort.

On the other hand, the presentation receives a favorable verdict despite the uneven direction. Jagged graphics aside, open areas and expansive meadows are pretty and colorful. The highlight is the artwork of the main characters and the classic Final Fantasy enemies, where each one of them is drawn with a deft impression, but unfortunately lacks the personality that goes along with it. The soundtrack, which is handled by Square-Enix most talented composers, disregards the expectations of what we might have for it, and unexpectedly exceeds them. From jazz serenades, Celtic jigs, to rambunctious frontier-Western strings, Crystal Bearers surprises us every time we emerge to a new corner, delighting our senses with diverse instruments and moods that hardly ever repose.

Ultimately, Crystal Bearers is a game within a game, except emphasis has been placed more on its tiny marrow than the larger peripheries. It is an artifact that could have graced wondrously if Square-Enix worked on it with tact and embellished it with depth. It may have far too many quirks to benefit from, but its penchant to astonish never falters, whether for good or worse. What severely harm Crystal Bearers are high expectations; we should never approach it as if we discovered a valuable treasure, but rather to treat it as a hidden gem that only a selective few would come to appreciate.