Considering how cacophonous the platforming genre can sometimes get, hardly do I ever see Jak and Daxter be praised for how quiet and serene it manages to be. Not just within its restrained use of a subdued soundtrack that rarely oversteps the game, but also in its ability to utilize the newly provided power and performance of Sony's new console to create what I can only describe as one of my favorite videogame Zen like experiences.

The non existence of intrusive loading times consists to this day one of Jak and Daxter's biggest selling points, which added to its accessible and leisurable difficulty allows for the traversal of the game from start to finish without much setback or frustration. The lack of challenge would in any other case be a contentious matter regarding the game's quality, but it ultimately matters little when it is done so effortlessly in Jak's shoes.

While not to discredit the game's colorful imaginative world and its set of creative challenges, it's Jak's movement that makes the collectathon venture so much fun. Complementing a generous moveset of both vertical and horizontal options are also number of animations and sound effects that give life and expression to Jak and his comraderie with Daxter, be it running down a hill to roll jump off a cliff or when stopping after a long stretch of running as Jak continues to run in place and the wind blows his hair, an effort that sadly even the sequels would eventually diminish.

It's tempting to group Jak and Daxter with its collectathon predecessors and analyze it within the context of being at the intersection of old and new gen iterating on a genre already being left behind, but the chill vibe accomplished by Naughty Dog warrants its place in the pantheon of 3D platformers, and even if my heart is with its sequel's identity crisis, I will always gladly spend an afternoon 100% it and zoning out to the tune of another obtained power cell. It leaves me in such a state of contendedness that I can't even hate on that god awful complenionist ending.

Final Fantasy X is The Room of video games.

Hands down the funniest, most honest and charming video game I have ever played, perpetuating its inseparable awkwardness in every corner, proudly displaying its clashing hits and misses everywhere while being always entertaining along the way. From some Quandale Dingle character designs, to the unfinished yet peculiar Blitzball, to the irredeemably frustrating dungeons, to the messy yet sometimes Lynchian cutscenes at every corner, it more than compensates the ride by surprisingly always finding a way to make me care about what’s happening. The amount of times in which I ended up laughing at a supposedly serious moment while still feeling invested in knowing what outcome it will take, is too much to even consider counting.

Absolutely no other title would make me waste almost 2 hours restarting a completely bullshit poorly explained optional RNG minigame just to see Wakka, a character I barely knew anything about at that point, holding a shitty Playmobil looking trophy and giving a short fiddly speech for 50 seconds. All because the way in which he told me, with the world’s straightest face, that he never actually won a single match in 10 fucking years, was simply hysterical.

When someone compared it to Tommy Wiseau’s masterpiece, it became one of those weird sentences that sounds right, so you agree first, leaving you to ponder whether or not it actually makes sense a couple of minutes later. Most of the time, Final Fantasy X portrays expressions and sentiments in a way that nearly always feels off, at one point even accidentally recreating the iconic shop scene with O’aka in a scene that was supposed to be nothing but mundane. Not only that, but also odd stylistic choices (say thank you Nomura Based God), subliminal pre-rendered interiors of houses and shops, bizarre hyper fascination with the fictional ‘soccered-up’ water polo and some mixes of postmodern economical practices in a world that by all means shouldn’t need them. To properly talk about the loveable sincerity of it all, let’s talk about what FFX’s really famous for.

Tidus laugh scene, is an absurdly famous bit in the gaming community, because of how bonkers the voice acting is, in that one specific moment. Late 00’s gamer culture fabricated the notion that Final Fantasy X was filled with uncanny valley moments that failed to understand how human beings communicate and feel, which was the standard for the amateurish voice acting present in the previous early 3D generation, in particular the english translated ones from japanese titles. The loveable yet amateurish delivery from Resident Evil and the outlandishly cartoonish cutscenes from Sonic Adventures, live rent free in our nostalgia filled hearts, just like this one continuous string of Haha’s. What fails to be stated is that unlike the previously mentioned ones, this iconic moment is legitimately a great scene despite it all.

If you watched the segment fully without playing FFX(spoilers ahead btw), everything feels weird, even if the laugh was to be a normal one. The scene kicks off with Yuna trying to impress THE BOUNCER the protagonist by whistling for whatever reason, and once she realizes he’s sad, she replies with “Wanna scream?”. Without the proper knowledge that he tried to teach her how to whistle if she got in danger (to which she failed previously), and that he screamed out of frustration after his current time travel situation finally kicked in, their relationship even before the meme properly starts feels outlandish and perhaps even childishly written. After that, Yuna does a small info dump and tells him to laugh his problems off, to which he glamorously does, only for her to reply with “You probably shouldn’t laugh anymore.” and immediately joining in with the ridiculousness of it all. But why?

Having full context of her speech and the mortal fate of those who follow the pilgrimage, the way in which she states “I want my journey to be filled with laughter” and even the reason to which she tried to mimic his horrible pattern only to repeat the same words about protecting each other by whistling, just hits different. The rest of the party is probably aware of the situation, but all they can do is stare, fully knowing that despite being marked for certain death, Yuna still tries to demonstrate companionship for someone she just met. Whether she knew that Tidus had no idea of what’s in store for her is irrelevant, as they both seem to be having a great time in the journey together, and that’s what matters in the end, right? That being said, the unnecessary camera movement, lack of context for some sentences, and the alien sounds being emitted as laughs, really add up, perhaps connecting your neurons to remind you of a certain scene that also fails in the same ways.

Some people like to refer to artistic projects as being soul or souless, usually talking about the intent of the ones behind it trying to express themselves in their own artistic ways more than to just generate profit. When I referred to FFX earlier as being the most honest, I meant that a lot of elements that the game gets it wrong come from the fact that choices were made to prioritize the title having a unique identity throughout the years, to which they completely nailed it. Early titles for a console have to be different to cause an impact for the newer generation to come, both from the console and from their developers, after all, if it’s just more of the same, why even bother? This title was a lot of people’s first Jrpg back in the day, and the overall reception being overwhelmingly positive for its impressive attention to care set the standard for what the ones born into the 6th generation of games would enjoy in the genre for the foreseeable future.

When you combine every area that wasn’t as fully realized, it’s impossible to not look back with a smile, for just like an actual ride, the only important part is being an unforgettable experience. Glancing back at the laugh scene once again, aren’t you glad it is exactly how it is? No boring back and forth camera wise, no run of the mill voice acting, no usual clarity in dialogue, just two friends that just met having an awkward talk. Exactly how it is, exactly how it should be.

Intention over execution is sometimes all that a piece of art needs. It’s the reason movies like Southland Tales or albums like Metal Machine Music, despite receiving mixed and polarizing ratings by critics and fans alike, are still discussed to this day: They have a strong and memorable identity in their remarks. Most people would rather endure through a fun mess over something whose production is decent, but not even close when regarding uniqueness. Movies like House are such a delightful unexpected journey to see even with the dated effects because of its untamed artistically wild originality, while others like Morbius will need (at least) a pirated webcam movie rip, 8 friends or enemies on vc, and a hellspawn creature that keeps making jokes about reverse morbing for the entire fucking movie like oh my god it’s been 1 hour stop already you’re accidentaly spoiling the movie c’mon.

Final Fantasy X isn’t the best at anything it does when compared to others from the series (it’s not even my favorite final fantasy to discuss), but when you combine everything that it displays, it’s hard not to just immerse yourself fully in this world, embracing the well crafted pre dystopian religious world to its limits. I wish Final Fantasy X had a way to go back to previous areas, had a better realized blitzball system, had puzzles that were less annoying, had non cheesy/grindy ways to beat the final boss, a better Al Bhed dictionary system… and the list could go on forever. But you know what I don’t wish was changed? The Second Life characters designs, the tight unilateral areas, the cutscenes that always look wet for some reason, the superfluous affection system, the wiggly dialogue angles… and the list could also go on forever.

Appreciating the title nowadays may be harder as our goblin gamer brain has less and less attention span, but it’s an effort totally worth trying. The game plays out like a 1 hour and 30 min animation that cuts 80% of the adventure in a 3 minutes bonding scenes montage, but here we are treated to it in its full narrative, with plenty of foreshadows along the way. I’m glad to have devoted myself to participating in Yuna's pilgrimage, while also closing the game glad that it was all over for them in that way. The magic of X, is managing a yin and yang of competence while making sure you never feel bored, fully embracing the early 2000’s tropical bling that the period had to offer.