Notice: Unfortunately, there wasn't time to access my SD-card saved screenshots for this review, so aside from my Miiverse archives, you may witness press screenshots of varying sizes. An error in formatting also excised most of the music links. Please excuse the inconsistency for now.
Again, the same disclaimer found within my Super Smash Bros. for 3DS review applies here: namely, any and all analysis on Super Smash Bros. for Wii U's
worth as a competitive fighter shan't be present here. This is not a
matter of passive-aggression, but merely one of disinterest, as I simply
don't approach fighting games in that manner. Truth be told, however,
the "casual" moniker is one I've soured on, as it doesn't accurately
convey my relationship with Smash Bros. in the slightest; indeed, as both these reviews prove, my Smash
intimacy demands I grant them in-depth evaluations as functioning
video games, be it how much I delight in smashing things or the quality of
alternative play provided.
And given director Masahiro
Sakurai's God-given design philosophies -- "always consider the
beginner player" and "make every game as it were your last" -- there
is certainly no shortage of that to go around.Like every Smash Bros. before it,Super Smash Bros. for Wii U is my kingdom -- one divided alongside its 3DS cousin, with which it shares the same gameplay engine and massive character roster. Common sense would entail I enjoy this version just as much -- if not more so -- but with an expanded empire such as this, its imperfections become far more prominent. As a self-proclaimed Nintendo fanboy, I am not blind to these faults -- much as I desire for Wii U to be a masterpiece, it only just misses the cut, and that wounds me just as much as I deeply adore it.
Koei-Tecmo’s brand of Warriors games – hack-and-slash spectacles wherein one character
takes on entire armies – are, to my mind, excellent stress-relievers. They are
not the most polished or ambitious on the market, but their elaborate power
fantasies are instant addictions, the thrill of smashing through endless
platoons and capturing bases instilling a bountiful catharsis. This isn’t to
say the games are doormats – the various missions and down-to-the-wire missions
engage us to the point of anxiety, but overcoming such odds is what makes them
constantly satisfying to play.
I confess my experience with Warriors is limited – while I’ve played the entire One Piece: Pirate Warriors trilogy and
extensively played both Nintendo-themed offerings (Hyrule Warriors, the game we’re reviewing today, and Fire Emblem Warriors), my experience
with series progenitor Dynasty Warriors is
limited only to the aged Dynasty Warriors
2. A mistake I aim to rectify in the future, but the point is, it is not
uncommon at all for fans to claim Hyrule
Warriors – a Nintendo and Koei-Tecmo collaboration based on The Legend of Zelda – is the best of
them all. Even putting aside the celebrated mechanical improvements, the Wii U
game is an insane labor of love and passion from developers clearly enamored
with Nintendo’s famous fantasy series, with two years’ worth of DLC culminating
with a boatload of content, a 3DS version with exclusive features (Hyrule Warriors Legends), and a Switch
version collectively including all aforementioned content (Hyrule Warriors: Definitive Edition).
In
achieving borderline perfection in gameplay, sound design and possibly
the most charming, captivating artstyle of the 16-bit generation, Yoshi's Island is easily one of the greatest games ever made, although you'd hardly know it from its successors. When considering Yoshi's Story's dubious quality and "made-for-kids" identity, the forgotten gimmicks of Yoshi Touch & Go,
and how the awfully lethargic efforts by Artoon/Arzest are best not
spoken about, it was more than a little frustrating Nintendo couldn't
figure out how to forge a proper sequel.
Note the past tense: it's been over two years since Yoshi's Woolly World first graced our Wii Us courtesy of Kirby's Epic Yarn
developer Good-Feel and I can still scarcely believe its success. Not
that I didn't think it wouldn't be a worthy spiritual successor to their
Kirby effort, of course, but that it actually achieves throwing distance within Yoshi's Island's glory is a testament to Good-Feel's talent as a developer. Yes, to say Yoshi's Woolly World is superior to Yoshi's Island would be silly, but it is the first Yoshi sequel
to understand what it means to take that step: Yoshi's saddle does not
need Baby Mario glued 24/7, but it does not need any babyish concessions
ala Yoshi's Story to stand out as an individual entry.
Ah, now there's the smile we know and love! As expected, Kirby's preciousness shines especially well through clay, and there is perhaps no better representative to bear it than Kirby and the Rainbow Curse: a claymation-based title matched only by Kirby's Epic Yarn in sheer cuteness. Even now, we must continue cherishing this pure countenance, for it is the last time Kirby bared this visage for an international audience.
Anywho, Kirby and the Rainbow Curse is not only the one Wii U Kirby game, but is a sequel to 2005's Kirby: Canvas Curse, the one series entry notable for captivating non-fans. Hailed as Nintendo's first truly original concept for Nintendo DS, Canvas Curse remains the handheld's hallmark for touchscreen play: drawing rainbow strokes for Kirby to coast along played unlike anything else in the market, and combined with a techno soundtrack and mish-mash of abstract aesthetics so alien to Kirby, it's little wonder it succeeded as it did.
Origin: Splatoon Plays In: Last minute of a Turf War match Status: Original Composition Composed By: Toru Minegishi
A new Nintendo Direct is upon us!! In less than three hours, we'll be basking in the afterglow of newly-announced Nintendo games, all contained in a 45-minute package. We'll certainly see that "multiplayer action" 3DS Kirby game, and Super Mario Odyssey is confirmed for an appearance, but that's hardly a fraction of what's to come. Will we see more of the Kirby and Yoshi Switch games? Is Retro Studios' next game finally around the corner? Is this possible mistake a hint towards Super Smash Bros. for Switch, something I should've put behind me some time ago? Oh, the suspense is too much!
Much in the same way E3 is Christmas for video game fans, we Nintendo fans feel the same about these mouth-watering Nintendo Directs. Announced out of the blue and typically with only two days to spare, our minds race at the possibilities of what's to come. Sure, there's been a disappointing Direct here and there, but how packed this holiday season and even early 2018 are, there's little reason this Direct will leave us with frowns.
Origin: Xenoblade Chronicles: X Plays In: New Los Angeles at night Status: Original Composition Composed By: Hiroyuki Sawano
I intended to begin this installment with a question, yet now that I've actually sat down to listen to our song for today, it's now that I realize the night theme for New Los Angeles -- the central hub for Wii U's Xenoblade Chronicles: X -- really is annoying. Just notice how the head-ache inducing nausea begins instantly, as an obnoxious chain of "YEAH! UH! UH YEAH! UH! UH! UH!" never ceases in their assault on our eardrums.
And yet, for over the past half-year since I began playing the game, I can't recall a single instance where such an effect happened as I strolled down the nighttime streets of New Los Angeles. In other words, hearing it in-game was perfectly fine, yet I can't stand listening to it by itself. How odd!
I feel as if I've been confessing my inexperience with certain genres a little too much recently, but regardless, I can't say I particularly care for shooters. It's not because I'm squeamish or don't even find them fun, but they feel, more than anything, absolutely tired. The assembly-line identity of Call of Duty and its ilk certainly contribute to that, but that's not even getting how many frame themselves within wars, zombies or alien invasions. The claim that they're creatively bankrupt feels a little unfair when considering recent hits like Overwatch, but it cannot be stressed enough that a) I am really goddamn sick of zombies and b) I wish that maybe shooters would step out of their comfort zone a little.
Perhaps this is why for the past two years I have been absolutely taken with Nintendo's own attempt in Splatoon, which as the game itself would say is absolutely "fresh" in every way that matters. That I'm "taken" with it probably won't last much longer, seeing as how Splatoon 2 came out just the other day, but it's not hard to see how it made such a splash: while turf war and paintball games and the like have been around for some time, none reach the inspired heights of Splatoon's
"kids who turn into squids" concept, married to a 90's-inspired dwelling in downtown Shibuya where the kids ("Inklings") splatter each other with Nickelodeon-esque ink, follow idols and dress themselves in "fresh" clothing.
Look, let's be real here: the Wii U may have been a complete, utter sales bomb, but that did not stop it from possessing the highest concentration of quality Nintendo games since Super Nintendo. Pikmin 3 and The Legend of Zelda: Breath of the Wild rank among some of the greatest Nintendo games ever created, Splatoon and Super Mario Maker debuted to worldwide acclaim, and many would argue the likes of Super Smash Bros. for Wii U, Donkey Kong Country: Tropical Freeze and Yoshi's Woolly World represent the pinnacle of their respective franchises.
Even Super Mario 3D World, my own reservations aside, isn't exempt from these accolades, what with the insane level of polish and love put into its design. However, this is the second instance in Nintendo history I can think of where a Mario spin-off surpassed mainline entries on a home console; just as how Paper Mario: The Thousand Year Door eclipsed Super Mario Sunshine way back on GameCube, Mario Kart 8 speeds past 3D World, Super Mario Maker and New Super Mario Bros. U to become what I consider to be the finest Mario experience on Nintendo's ill-fated system.
On the contrary, this is not what my previous 8/10 review for the long-deceased Gaming Grunts would imply; there, I argued that as excellent as Mario Kart 8 was, it fell just short of being a racing masterpiece due to the obvious cut corners Nintendo took with the title. Let us make no mistake: said cut corners do limit Mario Kart 8's overall potential as a complete package, but a year's worth of DLC more than made up for it in the area that matters most: the actual racing.
I mean, forget Mario Kart; has there ever been such a wondrous relationship between course design and control? I'm not by any means a racing game connoisseur, yet I imagine many such fans would be hard-pressed to cite any viable contenders. Driving alone has never felt so smooth, and when combined with the awe-inspiring heights reached by the anti-gravity feature and the mechanics re/introduced from Mario Kart 7 (gliding and collectible coins), the game proves itself beyond the visual spectacle and continues to enthrall as a compelling racer. It's the perfect hook for those previously burnt-out on the franchise: come for the dazzling new concept, stay for just how great everything feels
"Feeling," of course, is just one element of gameplay; there's a lot going on in how the game operates: for example, the way tracks curve up the wall or into the skiesis captivating, but it's just subtle enough to never distract the player and learns to fade from our concentration. Of course, the game is smart enough not to implement anti-gravity and the like in every track, lest we grow tired of visual gimmicks; after all, there's nothing wrong with a familiar, grounded test of racing skill (this is mainly the job of the Retro Cups, although as we'll discuss later, they're not afraid to reinvent the wheel).
Meanwhile, coins continue to layer a new form of strategy to preserve our top speed. Scattered across the tracks, these speed-boosting coins are enticingly placed so as to improve our racing game, be it curves instinctively requiring power-sliding or hanging just above an aerial shortcut. Mario Kart 8 not only trains us to follow the Super Mario Bros. rule in collecting coins, but builds upon it: we don't collect coins just because because they're shiny and gold, but in how they're vital to success. When losing coins upon getting smacked with a Red Shell or falling off Rainbow Road, we're driven to get them back. It turns Mario Kart's chaotic racing into a rhythmic process.
Combined with the mix-and-match nature of kart customization (karts, wheels and gliders), and it goes without saying there's quite some depth in all the frenzy. Truth be told, while I do pay attention to kart statistics and the like, I'm more of a "get in there and race!" kinda guy, so the exact specifics between, say, Sponge Tires for Light and Heavy racers is lost on me; typically, I just fashion everything with Slick/Cyber Wheels thanks to their guaranteed sweet spot in speed/handling. I also confess that just like in Mario Kart
Wii, I never quite got the hang of bikes; the inward drifting always felt off to me. Maybe when the Switch version rolls around this Friday...
But never mind that, as we still haven't discussed the courses themselves! Possibly the best Mario Kart tracks in series history, we're wowed from the get-go with how Mario Kart Stadium and Thwomp Ruins bookend the Mushroom Cup with their respective dizzying senses of height and flight. It's a thrill surpassed again and again by the likes of Toad Harbor and Cloudtop Cruise, and even well into the DLC tracks (namely Wild Woods and Dragon Driftway, although the latter focuses more on intense, close-knit loop-de-loops). As mentioned earlier, it's careful not to let anti-gravity be the only star; to my mind, this game's iteration of Bowser's Castle remains my favorite solely for the giant, lava-powered Bowser statue ready to crush anything invading its dual-track home.
Retro courses are also stunning; whereas previous entries either provided 1:1 replicas or stripped-down versions for handhelds, here they're revamped in accordance to their respective roles. For example, the familiar Super Mario World-inspired fields of Donut Plains 3 doesn't require any anti-gravity to still be interesting, as a grounded, rough-n'-tumble race retains Mario Kart's roots and provides a nice breather from all the flashy new mechanics. Meanwhile, the completely reinvented likes of Ribbon Road (Mario Kart: Super Circuit) or Toad's Turnpike (Mario Kart 64) awe in just how much new there is; Toad's Turnpike is a particular stunner thanks to flying off cars and driving on walls. Even setting the aesthetics aside, it's almost a completely different course from the sleepy Nintendo 64 highway.
Mario Kart 8 was easily the best looking game on Wii U at the time of its release, and I'd actually argue that may still be the case. There's none of the low-res leftovers from Pikmin 3 or Super Smash Bros. for Wii U, nor the intrusive slowdowns and the like from Zelda: Breath of the Wild; Mario Kart 8,however, is consistent with its own look and performance (the infamous 59 FPS glitch aside, and I'll be rather honest in saying I've never noticed it), and is always so vivid, clean and just plain delightful to look at.
Look no further than the game's visual stunner: N64 Rainbow Road. A literal explosion of colors, what was originally a nebulous, dreamy raceway decorated with neon-lights is now granted a definite setting that plays into Mario Kart 8's festive atmosphere with fireworks and soaring trains. It must, however, also channel the dreamy nostalgia of the original: the music and the firework callbacks contribute to this, but it's impossible not to be absorbed into the hypnotic nightlights of the city below.
Hailing from an era where 3D World's speck of context and Paper Mario: Sticker Star's homogenization didn't spark our imaginations, it's delightful how there's a real sense of world to everything. The aforementioned reimagination of retro tracks is great enough, but take a look at the signs hinting at world lore: did you know Yoshi Wild Sanctuaries are a thing? According to N64 Yoshi Valley, they do. I never thought of Morton Koopa as being the manager type, so I'd like to see how Morton Construction operates. Maybe he's just the mascot? Even the spectators delight: I've never entertained the thought of Gingerbread People dwelling in the world of Mario, but thanks to Sweet Sweet Canyon, I desire to see a mainline Mario game traverse through their realm. I sure hope they don't run into any, uh, "hunger" issues with what appear to be local Yoshis.
This isn't even going into the actual courses themselves; for example, did you ever stop to think about the familiar geography behind Cloudtop Cruise? And don't get distracted by the bonanza of references in Ribbon Road, as each segment follows a certain theme. Let us not forget the wondrous character animation, either; to tell the truth, I'm actually rather saddened the related memes came and went, because I engage with the highlight reels far more than I care to admit just to watch characters expressions (mainly how they slowwwwly turn their heads when they pass by each other). Angry Luigi is the oft-cited king, but I'm more fond of Donkey Kong's totem-pole expressions and Toad's gleefully murderous joy. (And let us not forget the game's greatest item: Piranha Plant, who comes equipped with its own anti-gravity wheels)
(This is, by the way, the first non-arcade Mario Kart to feature crossover content in the form of Zelda/Animal Crossing characters and courses, alongside familiar locations from F-Zero and Excitebike. Seeing Link interact with the world of Mario is certainly a delightful absurdity, although the elusive context behind Mute City/Big Blue still makes me wonder how it all works. It's certainly more cartoonish than F-Zero, but just out of reach of Mario. Truly, I am gripped in the throes of deepest lore.)
If pressed, however, I would argue Mario Kart 8's greatest asset lies not in how it plays, but in how sounds. The combination of synth and live big-band performances provides the greatest aural Mario Kart experience ever made; be it freestyle brass or track transition, it's the ultimate key to the festive, jubilant atmosphere that complementsMario Kart like never before. The live arrangements are what steal the show: Mario Kart has always lent itself to a fun score that, true to its goal, never grows old, and while Mario Kart 8 certainly represents the best of that, its the aforementioned track transitions that still awe me. Not that Mario Kart hadn't applied music dynamics for progression before, but absolutely none of the previous efforts match the stunning euphoria that is Dolphin Shoals. What starts as a subdued, synthesized underwater theme transforms into a full-blown jazz session when the racers emerge from the depths, instilling an exhilarating, climatic thrill unlike anything else. I could credit the live performers for this little slice of Nirvana, but as the composer was behind Pikmin 3, all that goes to her.
Other songs like Mario Kart Stadium and Mount Wario play well within the Mario Kart-esque archetypes, yet I'm most blown away by the orchestral tracks; Thwomp Ruins and Wild Woods are unlike anything we've heard before in Mario Kart, introducing the likes of Celtic instruments and chorus to the series. They're a touch more active than the dreamier songs we've previously in Mario Kart, and it's a perfect fit for their respective enchanted environments and the "world" they create.
Of course, the retro remixes must be up to par. Rainbow Road 64 is once again the star, the familiar flute seguing us into a new festive jazz version (alongside the aforementioned aesthetic, this is why I consider it to be the game's *real* Rainbow Road). GBA Mario Circuit and Royal Raceway (Mario Kart 64) are great fun callbacks, and I actually happen to prefer the former and its new intro to the somewhat forgettable intro. Meanwhile, SNES Donut Plains 3 and its electric piano emulates its non-amibitous nature, choosing to instead kick back with acoustic and bass guitars.
That this is the first time Zelda and Animal Crossing have been treated to big band music--in the context of video games, anyway -- is a delightful bonus; just listen to how the Animal Crossing track alternates between all four seasonal versions! Can you say, GameCube theme? And as for the F-Zero themes...well, their godly arrangements speak for themselves.
To round things off quality-wise, Mario Kart 8 is perhaps Nintendo's one of Nintendo's finer online experiences, although we must remember that Nintendo being what they are, Mario Kart 8 isn't without it's "Nintenisms" regarding online activity. The lack of friend invites is often cited as one, alongside having to exit games to switch characters and vehicles. Otherwise, the presence of friend rooms and tourneys are, like Mario Kart 7 before it, a great step above Nintendo's normally-passive online efforts; in particular, the flexibility offered in custom rules makes for even more intense races than playing solo, and I found myself turning to NeoGAF rooms rather than improving my VR score. I do imagine, however, online traffic will decrease upon Mario Kart 8 Deluxe's release.
All this would be enough to dethrone Mario Kart DS as the series masterpiece, but alas, those dang cut corners are what get in the way. Case in point: the battle mode. Whereas previous iterations offered specialized arenas for duking it out, Mario Kart 8 simply opts for reusing the racing courses. While there can still be fun mined from it, having to brake and turn around in such confined spaces quickly grows repetitive, and the alternative option (simply lapping around the courses and attacking whoever passes by) makes one feel like on autopilot. They're simply not designed at all for balloon battles, and it makes for the weakest Battle Mode since 2003's Double Dash!!.
The common defense for this is "well, Battle Mode was never good, anyway." Yes, perhaps...for you, which does not represent the Mario Kart population that disagrees. Furthermore, it's simply a shocking detriment when considering just how polished rest of the game is. Even when considering the DLC, it's what contributed to the unfortunate "bare-bones" label, as there's not much else for the game to fall back upon. It's thoroughly a rushed afterthought, and it shows.
Said rushed quality is noticeable in other areas: while the addition of the dastardly Koopalings is fantastic (Iggy fan, here!), they don't leave a lot of room for other newcomers, and Nintendo didn't exactly tap into their imaginations when it came to rounding out rest of the roster (Pink Gold Peach? Seriously?). Meanwhile, the lack of Expert Time Trials means we're stuck with the default time trials, and outside of a couple DLC outliers, hardly any put up a decent challenge.
There are other missteps it makes on its own: the Coin item continues to be a mistake, as it punishes the winning player by leaving them defenseless, especially if they've already filled their coin meter. 200cc is a delightful experiment courtesy of DLC, yet I can't help but feel certain tracks weren't designed with it in mind (*cough* Dragon Driftway *cough*). Also, obligatory "derp the gamepad only has a horn feature" complaint here, but I suppose it's best GamePad wackiness didn't end up interfering with the core game.
And despite all that, what a core game it is. Like Pikmin 3 before it, Mario Kart 8 is a delicious rush of feel-good magic akin to guzzling the finest of fruit juice. Even with my own preferences of Pikmin and Smash aside, this is perhaps the best-playing out of all of Nintendo's Wii U offerings: it's an insanely-polished feast that backs up its ambitions not only by being a pure joy to play, but what's possibly the funnest sense of atmosphere and flavor the company has ever produced.
And now, with Mario Kart 8 Deluxe for Switch ready to fix all of its flaws, we'll finally see its full potential ready to be unleashed upon the world. It's been a long three years; go take the crown, buddy.
Look at the size of it! I had no intention of making this review Leave Luck to Heaven-sized, but somehow what was originally planned to be a 1500+ word review ended up being a 2000! Wowza. And I thought I was surprised when The Wind Waker achieved 3000+! (For comparison, both my Ocarina of Time/Majora's Mask reviews reached 2500/2400, respectively).
Of course, Breath of the Wild is a game that deserves no less. Finally, after seventeen years of waiting, another masterpiece has graced the Zelda name! (A Link Between Worlds did come awful close, though!) Naturally, you can expect an actual Leave Luck to Heaven review later this year; one that will undoubtedly be even bigger.
Plays In: Knitty Knotty Windmill Hill/Wobbly Mobile Jaunt Status: Original Composition Composed By: Tomoya Tomita
It only makes sense this installment of Biweekly Music Wednesday! would feature a song by Tomita-san, right? I figured it should be a song from a series I haven't visited much.
Much of the music in Yoshi's Woolly World evokes to me an image of summer hayrides, like the ones you may've had as a child. Some songs render these rides a bit bumpier than others, but this one is certainly more gentle. I can picture it now: infants snoozing in their mothers' arms, children excitedly pointing out the sights and sounds, and parents echoing their fascination without a care in the world.
Being that they're by the same composer, it's no surprise Yoshi's Woolly World instills much of the same calm present in Kirby's Epic Yarn, yet there's undeniably more of an active feel going on in the soundtrack. That shouldn't be a surprise: Epic Yarn does not employ death or game overs, while Woolly World is more punishing as an action game thanks to Yoshi's health bar.
Not that the levels this song plays in (Knitty Knotty Windmill Hill and Wobbly Mobile Jaunt) are particularly tough--that honor goes to the game's Special Courses--but there's certainly some activity going on within. It helps that their respective set-pieces are among some of the game's best; particularly with Wobbly Mobile Jaunt's sky-bound spaceships and celestial bodies.
There's many reasons why Yoshi's Woolly World is the best Yoshi game since Yoshi's Island debuted back in 1995, and the music is probably one of the best reasons why. No longer are there homogenized scores accompanying the entire game or boring, sleepy tunes that could never dream of surpassing Koji Kondo's '95 masterpiece; it's a score that echoes the whimsicality and wonder present in each and every stage.
Knitty Knotty Windmill Hill is one of my favorites for this very reason: the likes of silky windmills and yarn rockets are nostalgic symbols in themselves, and so the song must bring that nostalgia to life. This was a quality previously stitched into the heart of Epic Yarn, and so it's no surprise Tomita-san succeeds with flying colors.
There are other songs that instill the aforementioned "hayride" quality, but I think this song is particularly representative of that theme. Is it a coincidence it's named after a structure one might spot on such ventures? Hmm. Final Thoughts: You can definitely bet this will pop up in my interview with Tomita-san!
Note: This review was originally published on September 14th, 2014 for Gaming Grunts, which went under some time ago. Having recently salvaged most of my articles on there, I've decided to give them a new home here for archival purposes. Please bear in mind they differ in structure from this blog's reviews, and be sure to join me at the end for a bonus reflection!
From the wonderful folks who brought you modern classic action games such as Viewtiful Joe and Bayonetta, Platinum Games dishes out alien-pounding combat a hundredfold with The Wonderful 101. Released last fall, The Wonderful 101’s creative twists on the action genre and costumed antics have earned it a comfortable cult-status within the gaming community. While the game’s overtly complicated learning curve is infamous for turning off players, those who take patience and effort in learning the game will be rewarded with a surprisingly deep combo system and endless replay value.
Story
The third Geathjerk invasion is upon us! Even Earth’s advanced technology is no match for the alien might…except for their secret weapon: the Centinel Suits! Costumes designed to amplify the body strength of the wielder, these suits are granted to one hundred brave souls whose faces are forever masked and whose tombs are forever unknown. They are the Wonderful 100, who combine together to Unite Morph against their alien foes! But who is the 101st Wonderful One? Ah, that’s you.
Inspired by the Japanese Super Sentai (more familiar to western audiences as the Power Rangers), The Wonderful 101’s superhero shenanigans feel right at home with the Saturday morning cartoons of old. While it’s not afraid to dip into darker themes and risqué imagery (Hi, Wonder Pink), its delightfully tongue-in-cheek nature and parody-inspired dialogue are joyously fun throughout.
Gameplay
Like many other action games of its breed, The Wonderful 101 rewards players based on the application of combos and time/dodge efficiency. Players control a crowd of Wonderful Ones under the direct leadership of any selectable Wonderful One, and through drawing a shape via GamePad can switch to any Unite Form as they feel is appropriate. Through combining a number of Wonderful Ones together (a process known as the aforementioned Unite Morph), they can form such powers including Unite Hand (a magma-colored fist that deals immense damage and is easy to combo with), Unite Sword (its broad strokes being designed for enemy crowd control), and Unite Bomb (unleashes a force-field that slows down enemy movement).
When applied properly, the numerous Unite Morphs unlock a level of depth unlike any other. So long as the Unite Gauge is not emptied through repeated use, Unite Morphs can be switched in an instant while pummeling enemies, and be utilized for all sorts of combos. As peripheral Unite Morphs can be bought at the Wonder-Mart and certain Unite Morphs being useful for situational purposes (such as Unite Whip removing dangerous spikes off of enemies), there’s virtually an endless amount of experimentation to be had.
Graphics
The Wonderful 101 looks great. True to its color-coded superhero origins, everything from the glossy character models to the jelly-esque Unite Morphs instantly pop to the eye and feels right at home with the aforementioned kids’ cartoon motif. The location aesthetics are also particularly impressive, as they bear much resemblance to the set pieces for your childhood action figures. While the actual character models are low-poly, this is understandable due to what is undoubtedly a graphically labor-intensive game. Nothing but praise here.
Sound
A bombastic music score and hilarious voice acting compose The Wonderful 101’s sound, complete with its own cheesy opening theme song (“Go, go team! Demolish those fiends! Toss ‘em in a garbage can~”). The score is appropriately invigorating within both the game’s feats-of-wonder context and pumping the player up; in particular, any song associated with the boss climaxes is absolutely guaranteed to get your adrenaline rushing (seriously, listen to the above video if you don’t believe me). While the music can successfully switch tones in a heartbeat (guest composer Norihiko Hibino–known for Metal Gear Solid 3–contributes well in this area), it’s the sounds of triumph and battle that will stick with players the most.
Huge props to Platinum Games’ localization team for the over-the-top voice casting, which perfectly captures the game’s campy nature. Anything involving accents is hilarious, none the least of which are Wonder Green’s French-laden dialogue and Wonder White’s faux Japanese-American dialect. Other highlights include the lead Wonder Red (who has a tendency to overexplain. A lot.), Wonder Blue’s “dude-bro” speak, and antagonist Prince Vorkken waxing poetics over his not-so-tragic (?) past.
Challenge and Difficulty
The one rule in approaching The Wonderful 101 is this: it takes time to learn, and the game’s one glaring flaw is that it does not give newcomers much to start with. As fun as the game’s concept is, initial playtime with the game is undeniably daunting with the mass-control of a crowd of characters and the workings of the various Unite Morphs. While action games should not hold the player’s hand in executing combos, that key concepts being left unexplained such as support morphs for dodging/blocking are left unlocked for in-game purchase or as to why the game inexplicably switches leaders in-between Unite Morph transitions is just simply baffling. Seeing as to how quick, non-intrusive tutorials were peppered about in Viewtiful Joe and Bayonetta, it’s a shame that Wonderful 101 just leaves its explanations to quick window pop-ups.
In spite of this flaw, players shouldn’t lose hope. The appeal of the game’s immense combo depth is enough of a reason to keep going, and by itself the game is appropriately challenging even after everything begins to click. While something resembling an actually helpful tutorial would’ve been much appreciated, this flaw does not bring down what is ultimately a fantastic, full-fledged action game.
Replay Value
Much in the same vein as Viewtiful Joe and Bayonetta, the first playthrough of The Wonderful 101 can be thought of as a tutorial that rewards patience, dedication and learning. You’re constantly having your head handed to you from dumb mistakes and are frequently rewarded with the lowest of performance grades (appropriately dubbed here as “consolation prize”), but you continue to persevere. By your second playthrough, you’ve figured out the inner workings of the Unite Morphs and this come prepared for what lies ahead, beaming as your terrible old scores are replaced with shiny golden trophies.
Platinum Games claims The Wonderful 101 contains two times as much content as their previous titles, and a quick skim of the secrets, galleries and challenges presented proves that claim. Collectibles such as figures, lore files, and even extra team members are hidden throughout the game’s many missions, and treats and secret missions require some extensive combing. With the Bottle Cap reward system yielding unlockable characters and morphs through numerous difficult challenges, players who find themselves enarmored enough with the game’s mechanics will undoubtedly spend countless hours perfecting their combo potential.
Pros
Utilizing Unite Morphes is incredibly satisfying.
Bright use of aesthetics.
Overtly familiar “action-show cartoon” style is refreshing and fun.
Bombastic score is a blast
The voice-acting!
Limitless replay value.
Cons
Learning curve is more complicated than it should be.
Unexplained mechanics induce frustration.
Summary
While it's a shame the overwhelming controls and concepts tend to scare away newcomers, those who stick with The Wonderful 101 will discover a game of immense depth, undeniable charm and good ol' alien bashing. There's no denying it's oddball nature, but just like any other action game, getting combos to regularly click into place induces joyous rushes of dominance like no other, and the overly tongue-in-cheek tone is a blast to watch and engage in. If you're willing to overcome some inevitable frustration, this overlooked classic is worth your time.
9/10
Reflection: I think now I'd give the score just a tad below nine. It's still a wonderful game (pun intended!), but those learning curve flub-ups are pretty bad. Everything else rocks, though.
Not much else to say except that I don't think any blog review for The Wonderful 101 will be coming in some time. I was steadily aiming for 100% last time I was playing, and I'll probably be juggling that between the two Bayonetta games. It's on the backburner, but do forget about it until the time comes.
Oh, and for those waiting for the Kirby Super Star Ultra review...it'll be coming TOMORROW!
Note: This review was originally published on July 31st, 2014 for Gaming Grunts, which went under some time ago. Having recently salvaged most of my articles on there, I've decided to give them a new home here for archival purposes. Please bear in mind they differ in structure from this blog's reviews, and be sure to join me at the end for a bonus reflection!
Following years of delays, console hopping and developmental conflicts, Pikmin 3 finally arrived on the Wii U nine years after the Gamecube’s Pikmin 2. Once again starring the adventures of adorable plant creatures under the command of interplanetary spacefarers, Pikmin 3 is a brilliant mixture of strategy and exploration that enfolds in a world with all the terror of the wild, yet holds as much intrigue as the hidden expanses of your backyard. Released almost exactly a year ago in a sea of high-quality Nintendo sequels, Pikmin 3 lives up to its potential through an endlessly flexible campaign and addictive sub-modes.
Story
Disaster has stricken the planet of Koppai. Food supplies have all been depleted, and numerous universal scans by space probes for planetary cultivation prove to be fruitless….until a ray of hope is found on a planet light years away: Planet PNF-404. Koppai sends a three-man team–the famed Captain Charlie, the botanist Brittany, and the engineer Alph—to harvest fruit seeds from PNF-404, but upon reaching the planet, their ship suffers a mysterious crash landing and the three crew members are left separated. What is their fate? What caused the crash? What are these mysterious carrot-shaped creatures that follow their every move, and who’s leaving these cryptic data files across the planet’s surface?
Graphics
Continuing to prove Pikmin is home to Nintendo’s greatest sense of visual artistry, Pikmin 3’s greatest strength lies in bringing its world to life through lush visuals and amazing creature design. The game is just straight up beautiful to look at, such as the green expanses of the Garden of Hope or the wet sleekness of rainy days. As most of the characters are just under a foot tall (the three protagonists and Pikmin not being any bigger than a quarter), much of the wildlife encounters are imposing through outstanding animation work or detail, whether they be anteater-inspired Bulborbs or the bee troop movements formed under their harp-plucking queen.
Special attention should be paid to the all-important fruit, as the rich texture work and detailed models are a feast for the eyes. They look so good, in fact, that it is not uncommon for one to get hungry after a play session. When the juice is extracted at the end of each day, I find myself wanting to drink white grape.
The only downside is the game’s Wii origins are evident throughout, as some poor land textures and low-poly models can detract from the experience. While it’s mostly only noticeable when using the in-game camera, it’s a shame to see Nintendo’s lack of experience with HD holding them back. Regardless of the occasional rough patch, Pikmin 3 is quite possibly Nintendo’s most beautiful game to date.
Gameplay
On the surface, Pikmin 3 plays identically to the first two games. The game is divided into 15-minute “days” for the player to accomplish various tasks, whether it be collecting fruit, creating bridges, or eliminating dangerous wildlife.
Under the command of the three protagonists, the Pikmin are united into an army for these tasks and are divided into the classic trio of Reds (strong fighters who are resistant to fire), Yellows (light and immune to electricity), and Blues (swimmers who can survive any body of water). Joining the gang are Rock Pikmin (strong troops who slam into wildlife and obstacles of all sorts) and Winged Pikmin (flying Pikmin who excel at aerial combat and can traverse over any terrain). While Pikmin 2’s Purple and White Pikmin are sadly relegated to the Mission Mode, these two new Pikmin are far more interesting in their environmental and puzzle interactions.
While Pikmin 3 takes inspiration from both of the first two games, it harkens back to the original in that there’s an overall time limit to the campaign. As opposed to just being set to thirty days, Pikmin 3 counts down the days depending on the amount of juice siphoned from the collectible fruit strewn around the surface (so, for example, five containers of juice equals five days left). Each day subtracts a can of juice for the team to drink, and with many of the fruits guarded by dangerous beasts, there’s an innumerable amount of ways to tackle the campaign.
And that’s where the beauty of this game’s depth lies: through a player-manipulated time limit, you can choose to play any way you please. Do you have enough juice to spend a day or two propagating more Pikmin? If you choose to do a speedrun playthrough, you’d have to do so simultaneously along the main tasks, but then what type of speedrun should you pursue? Should you see how fast you can collect all the fruit, or just see how quickly you can beat the game? If so, how do you split up the captains this time?
For those of us who want to get up close and personal with the diminutive Pikmin world, the game features an in-game camera to snap pictures. Whether it’s zoomed in or zoomed out, players can upload their snapshots up on the Miiverse social network.
Despite the issues with up-close textures and the like, the good definitely outweighs the bad here. Everything from lighting effects (check out the flame pits in caverns) to spots optimal for panoramic scenery are at their best with this POV, and there are a number of fun easter eggs to discover and share (such as mysterious wall etchings). The juxtaposition of such beautiful scenery alongside an uninhabited alien world really shines here.
Pikmin 3 offers numerous ways to play in regards to controls. Anyone familiar with the Wii ports for the first two Pikmin games should feel right at home with the Wii Remote +Nunchuck combo, although of course the game supports the Wii U Gamepad. Thanks to a recent update, you can now repeatedly flick the screen with the stylus to sling Pikmin (as per the Pikmin Adventure minigame in Nintendo Land).
While the new gesture is appreciated, the regular Gamepad interface is the optimal choice for control. Aside from being easier on the hands, having the entire map at your disposal works wonders in planning out strategies and feels completely natural. At the very least, it’s the key to getting the best scores in Mission Mode.
Music and Sound
Gentle and soft, Pikmin 3’s soundtrack is the definition of atmospheric. From the jingles of Distant Tundra to the haunting chimes of cavern sections, just about every musical piece absorbs the player into Pikmin 3’s alien world. Garden of Hope stands out as a particularly dreamy melody, perfectly complimenting the dawn of a new morning with the plucks of banjo strings.
The sound effects are no slouch, either. The Pikmin are as adorably expressive as ever, and your heart will sink at theirs upon drowning and being munched upon by hungry monsters. In particular, the Rock Pikmin display an amusing incongruity via sound: their sole purpose is for destruction, as tossing them at obstacles and enemies leads to shattered glass and terrified cries from battered creatures…yet their landing on the ground is greeted with the thud of a pebble.
Mission Mode
Think getting all the fruit in the main game is tough? Try getting Platinum Medals in the highly addictive, yet excruciatingly difficult Mission Mode, which is divided into three sub-modes consisting of 36 missions in all (including DLC): collecting treasure, defeating enemies, and boss battles. Confined to time limits, these missions grade the player with various medals (from bronze to platinum) depending on how much the player had accomplished before the whistle blows.
Clearing every one of these missions to perfection requires a serious time investment, as just like the main campaign every map is designed to be completed however the player wishes. For example,some monsters will take time to bring down, so how many Pikmin should be divided into simultaneous tasks such building bridges and collecting fruit? You can compare your score to the worldwide online leaderboard to see how far along you’ve improved, so if you’re feeling particularly competitive and are wondering why you’re some 5000 points behind, get ready for some serious planning and brainstorming.
Bingo Battle
Rounding out Pikmin 3’s features is the multiplayer Bingo Battle mode. Two players are tasked with collecting objects and felled creatures that are displayed on a bingo-esque grid, and whoever nabs four in a row becomes the winner. Each of the ten battlefields will become a battleground as the opposing armies’ Pikmin wage war to steal each other’s prizes through direct combat, summoning falling giant boulders, or fend off attacks from wildlife. It’s the sort of devilish setup that leads to hilarious co-play, and would be absolutely perfect if it had online play.
Pikmin 3 is yet another victim of Nintendo’s misguided, narrow focus on couch multiplayer for the Wii U (as opposed to just having both it and online multiplayer). While Pikmin 3 might be a tad more forgivable due to potential technical difficulties (If we’re to trust Nintendo’s word, around 200 Pikmin running around at once could strain connections), that the developers see it as no big loss is a shame. This is something I could see myself playing every weekend if I was given the option.
Pros
· Superbly flexible single-player
· Addictive mission mode
· The in-game camera opens up more of the game’s world than you think.
· Incredible atmosphere thanks to art and sound direction.
· Character design is a joy to witness.
· Bingo Battle!
Cons
· Occasional low-res graphical work
· No online multiplayer
Summary
Pikmin 3 is in almost every way worth the wait. The campaign is a perfect middle ground between time restrictions and freedom, and is just flexible enough to encourage multiple playthroughs. The sound and graphical work are some of Nintendo’s best, and Mission Mode will have you coming back again and again. Regardless of any blemishes, this is the best game you can play on the Wii U today.
10/10
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Reflection: Still the Wii U's masterpiece! Just started my fourth playthrough recently and I can't wait to see how I'll tackle it next. Perhaps I should share some of my Miiverse pic uploads?
As for the blog review, the Pikmin series is due very soon, and I can't wait to elaborate on one of my favorite Nintendo series. I like to think I'm still on the money with this review, so I wonder how I'll go forward with it...
Note: This review was originally published on July 14th, 2014 for Gaming Grunts, which went under some time ago. Having recently salvaged most of my articles on there, I've decided to give them a new home here for archival purposes. Please bear in mind they differ in structure from this blog's reviews, and be sure to join me at the end for a bonus reflection!
Mario Kart 8 races onto the Wii U with a stunningly beautiful HD presentation and creative innovations on the series gameplay. As much as gamers harp on the cheapness of the dreaded Blue Shell, they can’t resist the call of Mario and company to burn rubber and toss banana peels willy-nilly. Despite inheriting some major shortcomings that have plagued the past couple entries, Mario Kart 8 is able to stand on its own as a fantastic party game and solo racer.
Racing
In this latest iteration of Mario Kart, the Mushroom Kingdom has apparently been hard at work inventing anti-gravity technology entirely for the sole purpose of racing. The result: Mario Kart now ushers in a dynamic new form of racing. Courses new and old seamlessly transit from ground-level driving to thrilling twenty-story loops, providing stunning views regardless of whether you’re racing up waterfalls or over department store walls.
Breathing new life into the series, this new mechanic helps supply one of the best course rosters in Mario Kart history. The starting Mario Kart Stadium wows off the bat with its gigantic loop, while Mount Wario throwskarters into a three-part race down a gravity-defying snowy mountain. Meanwhile, fan favorites such as Toad’s Turnpike (Mario Kart 64) and Tick-Tock Clock (Mario Kart DS) undergo both mechanical and visual overhauls to blend in with Mario Kart 8’s gravity and flight (the former does so with flying colors, as the sleepy highway is now transformed into a flurry of aerial-based shortcuts).
Graphics
Running at a buttery-smooth 60 FPS, Mario Kart has never looked better. Mario Kart 8 is undoubtedly the best-looking game on the Wii U, with every character, kart, course, and background detail of every sort polished to an unbelievable sheen. The character animation alone is bursting with personality, with fans (including yours truly) constantly combing through replays to capture moments of characters scowling or smirking sinisterly at each other (infamously leading to the“Death-Stare Luigi”).
However, the courses and background details are ultimately the true star of Mario Kart 8’s aesthetics. The raving Koopas and Shy Guys that populate the Electrodomeprovide a hilarious backdrop to the course, and we learn from the colorful ad banners that products like the “Burnin’ DK” sports drink are popular among racegoers. However, Mario Kart 8’s art direction truly shines best in how it revives retro courses into the age of HD; in particular, the way Mario Kart 64’s Rainbow Road bursts with fireworks, floating golden trains, and the bustling city nightlife below is a nostalgic feast for the eyes.
Karts & Characters
Returning from Mario Kart 7 is the deep kart customization system, where players will continue to experiment situating characters into which combination of karts, wheels and gliders suit them best. As these are obtained through the coins littered on racetracks, the player is enticed to keep playing again and again to collect all the parts (particularly since coins gradually increase top speed by themselves). The endless amount of experimentation will continue to be a huge replay factor for those fully engrossed into the core racing system.
If only the character roster wasn’t such a mixed bag. While the playable introduction of the dastardly Koopalings is quite welcome thanks to their fun personalities (Iggy fan, here!), the inclusion of all seven leaves little room for anyone else to join alongside the usual roster. This wouldn’t really be a problem if they put some actual thought into the last few spots, yet the inclusion of Baby Rosalina and Pink Gold Peach not only come across as tepidly uninspired but render the roster as both somewhat homogenized and lazy in numerous ways (such as it being composed of 1/6 babies).
Weapons
Just like its course variety, Mario Kart 8 brings along a selection of deadly gadgets. Old favorites like the Red Shells, Lightning Bolts and Bob-ombs return alongside new weapons, none the least of which is the potted Piranha Plant. Equipped with its own set of anti-gravity wheels and an eagerness to snap up everyone and everything on the track (including the cows of Moo Moo Meadows), the feisty venus fly trap is a perfect example of Mario Kart 8’s degree of polish.
Alas, while the new Super Horn does a wonderful job of repelling Blue Shells, other items don’t contribute a good deal to proper balance. The wonky flight direction of the Boomerang makes it rather unreliable, and the defensive uselessness of the Coin leaves one to wonder if they should’ve stuck to the tracks.
Replays & Mario Kart TV
As mentioned before, replays can be analyzed, configured and saved after every race. While not unique to Mario Kart 8, the game’s attention to detail is what makes it special. Witnessing the snubbygleefulness of Toad’s smile as he speeds ahead of his opponents or Donkey Kong’s terrifying totem pole-esque expressions never gets old regardless of whether it’s on fast-forward or emphasized through slow-mo. While more options regarding camera angles and the like would be appreciated, what’s available here provides enough tools to craft hilarious replays.
And through the Mario Kart TV feature, these replays can not only be uploaded to Youtube but streamed through the online-enabled broadcast system for everyone to watch and comment (the latter via the spontaneous messages of Miiverse, which are guaranteed to add to the hilarity).
Music
Mario Kart 8is backed by an incredible big-band soundtrack, much of which was recorded live like last fall’s Super Mario 3D World. It’s all very infectious and is host to a wide range of instruments, such as the electric piano for Donut Plains 3 and the leading saxophone in N64 Rainbow Road. Almost every live piece is just as bouncy and fun as the last and you can tell the music team had a great time with the recording sessions.
In fact, the composers had so much fun with it, they even made the soundtrack coincide with the progress of certain courses! The watery Dolphins Shoals stands out as starting out with a simple synthesized track untilracers pop out of the ocean and it explodes into a jazzy saxophone session. Even if I’m losing, it never fails to relieve any and all tension.
Modes
So the racing plays and controls wonderfully, the visuals are sharp, and we’re graced with probably the best Mario Kart soundtrack yet. While these are great tools to craft the best Mario Kart yet, it’s lacking in one vital area: a sufficient amount of modes and options to keep players coming. Nintendo placed a huge emphasis on developing the core racing as opposed to broadening the game with various modes, and it shows.
Take the game’s version of the Battle Mode, where instead of duking it out in specially-made arenas, players are restricted to battling on the regular racing courses. I actually find this a rather neat novelty, yet I still ask “why not both?” Retaining both versions and expanding them in ways beyond Balloon Battle (such as Coin Runners) would have provided a meatier experience, and with many fans scorning the new mode and sticking to racing, it can leave a bare-bones impression of Mario Kart 8. Single-player modes like Mission Mode would also have been welcome, but as Mario Kart’s appeal primarily lies in multiplayer, Battle Mode is a bigger cause for concern.
Thankfully, the online mode picks up some of battle mode’s slack. While it’s not perfect—connection issues are a constant annoyance and voice chat is restricted to friend lobbies only—there’s a multitude of options to enjoy such as private user tournaments and select item matches alongside friends. Frantic Mode’s emphasis on Lightning Bolts and Blue Shells is aggravatingly crazy, just as it should be.
Summary
Do not misunderstand me: by itself, Mario Kart 8
is a great racer with some fantastic production values and exciting
spins on a twenty year old formula. While it’s a shame to see Nintendo’s
inexperience with HD forces them to continue cutting corners, the game
provides enough excitement as it is and seeing the company embrace
online play is much appreciated. Mario Kart 8 falls just short of being a racing masterpiece, but that shouldn’t stop you from picking it up.
Pros
Excellent sense of handling and speed
Course design is unmatched
The best HD Nintendo job yet
Wonderful, jazzy soundtrack
Replay feature
Polish, polish everywhere
Robust online features
Cons
Online features have connection issues
Battle mode isn’t fleshed out well enough
More modes would’ve been appreciated
Some wonky items
Questionable character roster decisions
8/10
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Reflection: Behold my first game journalism review! How does it hold up?
I think an eight was a fair score upon the game's arrival, but the DLC content would definitely bump it up to a nine. Yes, I still think how they handled Battle Mode was a shame, but the core racing's so strong that I've grown not to mind. Maybe one day we'll see an HD Mario Kart with a level of quality content matching that of Mario Kart DS; for now, I just need to play this one more!
As for a Leave Luck to Heaven review...while I've been planning to dive into the Mario Kart series, there are other series in the works that take priority. At the very least, I imagine 8 would show up first.
Good news! Not only is this my first Nintendojo article in over a month, but it's one of the Super Mario Maker posts I promised! Yay!
...unfortunately, Nintendojo has been afflicted with some sort of adware/hyperlink exploits over the past several weeks, which is why I haven't written anything on there for a while. You may've noticed certain articles were taken down since, and as my article has been infected, I don't know how long it'll stay up. Rest assured, this is not a subliminal message for viagra!
In any case, this was super fun to write! I'm not sure how soon I can whip up another Mario Maker article, as there's many other pieces that take priority. I'm trying my hardest to make sure this fall lives up to my expectations, so on that note, please look forward to my next review very soon!
Super Mario 3D World is a game that should, by all means, be considered a masterpiece in my eyes. It's a labor of love, joy and good ol' fashioned game design that follows off the heels of its 3DS predecessor. Having thoroughly enjoyed Super Mario 3D Land, common sense should entail I'd love its sequel just as much.
And why shouldn't I? It's propped up by a live big band score,which is undoubtedly the funnest Nintendo soundtrack since Rhythm Heaven first visited our American shores. It's polished to oblivion, with secret coins, mushrooms and Luigi sprites hidden everywhere from the most unsuspecting of bushes to the tiniest of bonus stages. The warm, fuzzy nostalgia of Super Mario World aesthetics returns and is just as soft as you remember, with the familiar clean artstyle popping up everywhere in the form of Miiverse stickers and familiar cast members roaming the landscape (the Chargin' Chuck football guys!).
And it sheds the spotlight on cats. Cats! My status as a hardcore cat lover is beset by how all three of my cats treat me like I'm the Anti-Christ, dashing away the moment my lumbering presence enters their personal space and daring only to stare at me from the dark reaches of the stairtop (that, and I forbid myself to watch cat videos on YouTube in fear I'll waste hours watching Scottish Fold kittens). That Mario and Co. appealed to my rejected heart by dressing up in cat costumes and meowing up a storm is the best medicine I've received yet, and I dearly wish for the Cat Suit's appearance in more games.
Super Mario 3D World holds the highestMetacritic score of any game released this console generation. It's the first 3D Mario with full-blown multiplayer, complete with Princess Peach and Toad as playable characters. Nintendo fans far and wide have gleefully proclaimed it's the funnest game they've played in decades; not only that, but to many, 3D World represents Mario's true transition of the 2D formula into 3D. And I, the biggest Nintendo nerd I know, have spent the past year and a half coming to terms with the fact that I'm not in love with it. Let there be no miscommunication here: Super Mario 3D World is quality. It plays great and oozes personality and charm in everything it does, all the result of love being poured into every line of code. And how my heart aches that I don't appreciate all that as much as I should. As should soon be evident, it's a game I still wrestle my feelings with, as while there are certainly elements of it that I love, I can't fall in love with the package as a whole. I've often wondered if the problem lies within my own high expectations for 3D Mario,a series that essentially created, defined and revolutionized 3D platforming (and gaming, in general) over the span of five previous games. Whereas Mario 64 laid the foundation and the Galaxy series crafted such imaginative heights, 3D World is mainly concerned with just having fun (and one other factor, but we'll get into that shortly).
Not that there's anything wrong with that by itself, but such a goal immediately places 3D World at odds with the Wii U's GamePad controller, a device that Nintendo completely failed to prove its worth. Much like every Wii U title that isn't Nintendo Land, 3D World establishes, at best, periphery involvement with touch-screen control and the like. When considering the heights reached in design and control from 64, Galaxy and even Sunshine, that a potential new avenue of 3D gameplay was discarded in favor of designing a HD sequel to a handheld game remains a poignant disappointment.
However, like how not every Wii game needed motion control, not every Wii U game should be decried for not having touch controls, so despite the franchise's prestige, it wouldn't be entirely fair to single out 3D World for that mistake.But alas, it's within that very mistake that 3D World's biggest flaw is made apparent, one that renders it inferior to even its own predecessor.
It wouldn't be wrong to claim Super Mario 3D World is the culmination of the seeds first sprung in the Galaxy series,
where Mario's fantastical adventures in space were guided along in a
more linear fashion. While they were still designed around the
star-collecting missions from Mario 64 and Sunshine, their more open level design was tossed in consideration of those lost in three-dimensions (that the first two New Super Mario Bros. titles, which revived the 2D gameplay of old, sold significantly more than any 3D Mario title only seemed to prove Nintendo's point). The result: 3D Land's further distillation into a pure platforming experience (one
could even perceive that the "3D" portion of the title was a rebranding
of this particular Mario genre)
Like 3D Land before it, 3D World emphasizes the nostalgic bare-context of the 2D Mario games of yore. We spot this quality in its speck of a plot, bare minimum usage of text, the timer that inexplicably kills your character, and, as seen above, the flagpole signalling the end of every level. Alone, these aren't problems, but they do contribute to 3D World's biggest flaw: in it's rush to streamline 3D gameplay via 2D tropes, the game forgets to innovate and instead produces a homogenized product.
"Homogenized" as in it borrows too much from 2D Mario, I mean. This isn't to say 3D tropes we've seen before aren't present (as seen with how it unlocks progression via collecting Green Stars), nor am I saying it doesn't possess any new ideas, but then why do I grow so tired of it, then? That 3D World is a sequel to a handheld game to streamline 3D Mario gameplay means it has to juggle between retaining and building upon its tropes within an HD context all the while pointlessly reviving elements from 2D Mario, which naturally presents some problems.
Take the level design, for example. You could argue Galaxy and 3D Land of being homogenized as well, yet they're careful enough to frame their ambitions within their respective contexts. 3D Land is particularly interesting in how the level design is built around the hardware, with levels that go down, down, down or up, up, up appearing all the more imposing and inviting on a tiny handheld screen (when factoring in the 3D, the affect is all the more powerful). It's new, it's fresh, it's uncharted waters for our portly plumber.
And yet note how 3D World borrows some of these levels wholesale without a speck of difference. As expected of a sequel, you may say, but the levels that go up, up, up or present a Zelda-inspired top-down perspective simply don't possess the same magic on an HD level. Yes, the former plays well into the wall-climbing antics of the Cat Suit, but that we've already done this before adds a dull sense of familiarity within the first world.
It's no surprise then that the best levels are the ones built around Mario's new toys. The cloning Double Cherry, in particular, is the game's one true stroke of imagination and presents an unparalleled sense of precision and wonder everywhere it appears. Losing one of your clones to enemy fire or a mistimed jump is a common risk, and it takes some skill to, say, carefully navigate a block slide that, according to their color-coded design, disappear and reappear to the music beat. Something we've already done before, mind you, but points for difficulty.
There are other gadgets for Mario and Co. to fool around with, be it potted Piranha Plants to gobble up foes with and an oversized comfy Ice Skate to ride around in. But as expected, they're sparingly used so as to not grow old. This would okay since the clever "clear" warp pipe idea commonly picks up the slack, but that it's shackled
in bringing back 3D Land tropes and coming up with new ideas brings me to my next point.
Look at how bright and colorful that is! Indeed, the colors in 3D World pop with such vividness and festivity that they're often propped by distant fireworks and the like (seriously, try bopping on the innocent Sprixie folk; they shed actual confetti). Here's some more delectable shots below.
Here's one with some modern effects. 3D World's character models and setpieces are polished to the point where reflect the shiny smoothness of toys and action figures, highlighted in the above rainy sequence. Note the rain dripping down the screen.
And then there's setpieces where the game just explodes with color. The hidden Golden Express is pure mouth-watering gold (complete with the aforementioned fireworks to highlight the game's status as a hidden level), wherea lava levels alternate between molten-hot red and delicious, tantalizing blue (often accompanied by a certain music track showcased just a ways down).
Anyone who's played 3D Land should recognize how most of the examples provided above aren't present in the handheld title. What isn't shown are not-so-new levels that while necessary within the sequel context, don't bring much new on their own. For every exciting idea found in train levels (Cat bullet bills!) and
Japanese bath houses, you shouldn't expect to see them more than once or twice. Yes, it does a gorgeous job of bringing 3D Land level setpieces into HD, but we've seen these ghost houses
before, we've traversed these
dessert-themed landscapes before, we've crossed these poisonous swamps before,
we've ridden on a sea creature down
perilous rivers before. Are they framed in new contexts? Sure, but
chances are they've probably
originated from earlier Mario adventures (hello, flip switches).
Bosses are also disproportionate in imagination. On the highest end of the spectrum lies the above Motley Bossblob; of course, that it'd use the Double Cherry as the fight's basis guarantees it's success, but look at how inventive it is! The flashy fleshiness of his giant form! The choices of either gunning for his fleeing vulnerable form or hopping on his scattered blobs to reduce his size!
...then you have this Bowser boss, where he rides a sexy giant car to lob bombs at Mario. It's host to the slowest, most boring boss fight in the game in that you have to kick back the bombs while Bowser just chugs along in the car. Within games featuring conflict, cars are generally used to run over people; as this would prove problematic in Mario, it has no option but just to sit there looking pretty. Any other platform could've not only sufficed in hosting Bowser, but to build upon it for a more exciting fight.
World themes, too, face disproportion as like 3D Land, 3D World generally places levels wherever it feels like. This wasn't a problem in 3D Land since most, if not all, of world themes weren't so explicit, but this isn't the case in 3D World. We have explicit takes on ice worlds, deserts, and skies, yet 3D World's sense of progression is totally absent barring the necessary castle level.
Just take a look at the game's biggest thematic folly: World Bowser. Just look at this opening! It's a Bowser-themed carnival hosted by the King of Koopas himself. What an awesome idea! And hey, the first level gets it right: you're infiltrating the carnival via the towers in the outskirts complete with orchestra music! And what follows up is...
A desert slide and a dessert level. Wha?
Progressing through the carnival only brings more disappointment: 3D World introduces circus levels as it's most common recurring trope, yet not a single one of these is in sight! In fact, a good chunk of that amazing shit you see in the opening shot aren't used at all. Instead of being granted rollercoasters, we're treated to the same ol' level tropes that only vaguely relate to evil circus theme.
"What's the big deal," you may ask. It's what I've been arguing all along: the game is far too comfortable with borrowing 2D Mario's sense of bare context. While Mario games shouldn't be bloated with story and dialogue (see Sunshine), that 3D World largely uses familiar world tropes as only crutch as opposed to building upon them (or, y'know, expanding on it's original themes) is a disappointment. The circus does not build upon itself, nor the sky world, or even the ice world. You know there's a problem when a) Super Mario World and even the later NES Mario games excel at this and b) I'm questioning context in a series that's the very definition of "suspension of disbelief". As it is now, 3D World in it's entirety comes across as some sort of gaudy fever dream.
You could say "Well, the desert slide is still a great piece of game design", and so it is. To deny that 3D World isn't designed well is heresy, but that it restricts itself to 2D Mario tropes is what I take issue with. What place do entire levels based around the "race against the clock"
concept belong in a 3D platformer, particularly if they're insanely short? Why bother with quick n' dirty enemy blockades? Why include a giant open area in Sprawling Savannah when the ever-present timer naturally deters exploration? Alone, these are nitpicks, but that they keep building and building only serve to prove the game's homogenized nature. That they're included only for the sake of pandering to the 2D titles associates it far too closely with the games in question, and so we lose uniqueness.
So does this mean 3D World is a complete disappointment? Well, not exactly. Yes, 3D World
comes up short as an inventive, cohesive title, but that to deny it's
status as game designed around providing the player with as many fun scenarios as possible would be, well, rather ungrateful for one and would also undersell how well-designed its stages are. I can't say I agree with how they're fully framed, but these are still Mario levels through and through.
Take the above tribute to Super Mario Kart, for instance. That it takes place in the ice world makes no sense, but the brief time we're granted with it captures Mario Kart brilliantly thanks to the pervasive placement of Boost Pads. That it's combined with bouncy mushroom pads to regain momentum and slides ripped straight out of the Playskool playsets from your youth only seals the deal.
Meanwhile, Sunshine Seaside is absolutely the best beach level in the game due to how involved it is. Echoing some of the collection missions in earlier 3D Mario games, your character of choice has to nab five key coins hidden across the coast. Be it one of the many goodies hidden inside the giant sand statues or breaking up a Chargin' Chuck huddle, there's no stone left unturned. Once complete, you're rewarded with an amazing Plessie ride. Note what's quite possibly 3D World's greatest easter egg: riding around inside Koopa shells. How I'd love to endlessly surf across the stage without the impending ticking of that pesky timer.
And no one could possibly hate the adventures of Captain Toad! These fun breathers from the main adventure take the form of isometric puzzles where the world's most adorable treasure hunter has to hunt down five green stars. It's the one area of the game where the GamePad is put to good use, as the gyroscope is utilized as the camera to help the player navigate and decipher these puzzles. These actually do grow in difficulty and even complexity as the game progresses, and I was always delighted to partake in them.
And once again, my love for the Cat Suit must be elaborated. Say what will you about the actual adventure, but the new suit is undeniably the funnest the Mario gang's had in years. Everything from how the characters prance along to the exact movement of a cat, how they scratch frantically before futilely sliding down walls (leaving loooong claw marks), let out a celebratory meow upon completing a course (or in the case of Toad, the cute little "myew! of a kitten), or even how the developers just added a sneaking maneuver (complete with it's own pounce attack) for no reason other than to be cute just highlights how much fun they had in creating it. Also, Cat Goombas. And Cat Bullet Bills. And Cat Bo...nah, I'll let you find that one out for yourself.
I can't help but resist spoiling one little surprise though. One day I asked myself, "what would happen if I climbed up a clear pipe with Cat Mario?" The picturesque shot above is the result. It's not possible with every clear pipe, of course, and it doesn't even qualify as a shortcut, but it's one of the very few instances of "create your own fun" that 3D World allows. In fact, if you try this in the very first level, you may find a tiny secret hinting the developer knew about this all along.
In that sense, it's best to enjoy 3D World as a "turn your brain off" sorta deal. It might not blow your mind and it's certainly not Mario at his most ambitious, but during the entire time I've wrestled with my feelings over this game, I always ask myself if that really matters. So long as you don't expect anything from 3D World, it works. Maybe not entirely in a way I'd want it to, but even with it's missteps it's still fun and exciting to play.
What can really ease this process is the score. My god, the score. Truth be told, I am growing a little tired of the newer Mario themes borrowing Super Mario Bros. 3's motifs again and again, so I've instead decided to kick off by sharing the game's best boss theme. 3D World apes Big Band music, and Hisstocrat is where that hits its apex. An explosion of drums, trumpets and synth all contribute to the flurry and chaos of that particular boss battle.
While Mahito Yokota takes up the bulk of the soundtrack, veteran Koji Kondo picks up the slack with his new take on the customary Athletic theme (known as Chain Link Charge). As opposed to the typical high-strung energy found in those themes, Chain Link Charge goes for a slower, jazzier tone that I'd imagine wouldn't be too out-of-place in downtown New York. It's certainly the most grounded Athletic, a unique direction that I'd love to see continued in future Mario games.
But let us not downplay the efforts of Mr. Yokota, who's more than proven himself as a master game musician at this point. Fort Fire Bros. presents some of the finest Nintendo flute work in some time, presenting an exotic air alongside the foreboding beat. It works wonders within any of the lava levels it accompanies, but comes across as particularly chilling whenever it's around the shiny new blue ones.
Of course, my favorite has to be the one I've discussed before: Double Cherry Pass utilizes a pair of violins so bouncy and alive that it perfectly taps into that animated Mario zen, rendering any level it accompanies the manifestation of pure joy. That it accompanies the best level in the game (of the same name) is no coincidence, as it heightens the wondrous discovery of the wonderful Double Cherries.
Maybe, for me, it represents a song of forgiveness. I know that Super Mario 3D World is not perfect, and I know I will continue to wrestle with my feelings over it for some time. In an era where Nintendo had to prove the worth of their shiny new GamePad, that it chooses to overly restrict itself by 2D tropes is undeniably disappointing not matter how well it plays.
But whenever I hear this song, I can channel that elusive reverie that I, myself, have been chasing for so long. This may or may not have to do with the fact that the song plays in the level where I can have up to five Cat Marios dance in tune to the music, but that it compels me to forget that and simply do that despite the impending tick-tock of a timer is no small feat.
Perhaps one day, I could simply forget the game's flaws and just play it? In a time where Nintendo is no longer a stranger to HD and downplays wacky gadgets, that may be possible, but that fear of homogenization is a tad too strong now.
Regardless, the game plays well, looks well, sounds well, and, well, manages to make me smile. It may not be my favorite Mario game, but that last factor is a hallmark quality of Mario through and through. And I guess I should be grateful for that. Meow.
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Sorry for the delay, folks! Got too caught up in polishing this before I was satisfied with it. Was I too indecisive? Please let me know!
