Isle of Dogs Review

Wes Anderson has grown into one of the more prominent film directors of the 21st century. The quirky, off-beat humor of Wes Anderson’s films have given them a style of their own. Though some find Anderson’s style unnatural (the characters of his film’s often seem to know they’re movie characters), even the director’s biggest detractors seemed won over by his debut animated feature, 2009’s The Fantastic Mr. Fox. Now, nearly a decade later, Anderson has followed up his witty animation debut with Isle of Dogs, a feature whose sharp visuals are matched by its originality.

Isle of dogs is set in a somewhat dystopian near future. In Japan, the country’s dogs have become inflicted with “dog-flu” and “snout fever,” which could potentially spread to humans. In the city of Megasaki, the conniving mayor Kobayashi decrees that every dog in the city be banished to Trash Island, despite claims from Prof. Watanabe that a cure for dog-flu is nearly complete. The first dog to be transferred to Trash Island is Spots, the guard dog of mayor Kobayashi’s orphaned ward, Atari (Koyu Rankin).

Six months later, Atari manages to pilot a small plane to Trash Island, desperate to find his dog. Unfortunately for Atari, his plane crashes on the island, lodging a piece of propeller into his head. Luckily, a gang of ragtag dogs – comprised of Chief (Bryan Cranston), Duke (Jeff Goldblum), Rex (Edward Norton), King (Bob Balaban) and Boss (Bill Murray) – find and resuscitate the boy, then proceed to join him on his quest to find Spots.

The plot is at once simple yet wildly original. The setup of a boy looking for his dog is certainly among the easiest to sympathize with, but the idea to set the adventure on a trash-covered wasteland is novel, as is the fact that most of the human dialogue is in Japanese (with only a few moments featuring translation) while all the dogs speak English.

It’s that offbeat originality, as well as the film’s deadpan humor and richly detailed animation that make Isle of Dogs one of 2018’s more standout features. This is an undeniably charming film, but perhaps not in the traditional sense of the word ‘charming.’ It may sound a little bit like a downer in concept, what with an entire city’s worth of abandoned dogs fending for themselves in a dystopian junkyard (early in the film, one dog bites off the ear of another in a scrap over some food), but the Isle of Dogs is littered with characters whose humor and wit wins us over, and its story has an almost surprising amount of heart, without ever really feeling like it’s trying to wring tears from the audience’s eyes.

That’s before we even get to mentioning the fun little quirks that compliment the film’s personality. For example, it seems like Atari often understands what the dogs are saying, despite the fact that they speak different languages and are of different species. Little things like this, which gleefully avoid explanation when a simpler movie might feel the need to spoon-feed one to its audience, make Isle of Dogs one of those movies that wins you over for its sheer insistence to play by its own rules.

Stop-motion animation is often noted for the sheer arduousness of the process, to the point that even a few moments of it is considered a hefty feat. But Isle of Dogs – like Fantastic Mr. Fox before it – is one of those stop-motion treats where it comes to life seemingly effortlessly. It’s true that stop-motion can’t make things look as ‘perfect’ as CG animation, but that’s part of what plays into its charm. While computer animation is also a taxing accomplishment, the finished product can often disguise the hard work that went into it. But with stop-motion, the craftsmanship – blemishes and all – is on full display, leaving next to nothing to be taken for granted. Laika may get most credit these days for coming the closest to giving stop-motion the same smoothness as CG or hand-drawn animation, but Wes Anderson’s style may be among the most enjoyable to look at. Anderson’s stop-motion features often bask in duller hues and less fantastic character designs than most animated films, but they have an earthly charm to them, and they eave the personalities of the story and characters to provide all the color they need.

Time will tell how well Isle of Dogs stacks up to Fantastic Mr. Fox (if you ask me right now, I don’t think it’s quite as good), but it does follow the same winning formula…which in this case means going against many formulas and just being itself. Isle of Dogs is a funny and strangely heartwarming film that will probably leave you with a big, goofy grin on your face, and an even stronger appreciation for your pets.

 

8.5

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The Boss Baby Review

Dreamworks has always been an interesting presence in the world of animation. Though they were once the only studio that could compete with Pixar in the realms of CG animation, they’ve never had the same level of quality control that Pixar has boasted. While Pixar has popped out winner after winner for most of their existence (with a few exceptions), Dreamworks seemingly gives every idea that passes through the studio the green light, leading to a miss or two for every hit. They’ve never really learned their lesson, and fittingly for 2017, a year that was largely inconsistent for movies as a whole, Dreamworks released one of their more shaky pictures in the form of The Boss Baby.

The gist of the story is that a young boy named Tim (Miles Bakshi) gets a new baby brother. But this baby isn’t any ordinary baby. With his finely-tailored suit and business savvy, Tim’s new little brother is the “Boss Baby” (Alec Baldwin). Tim quickly grows resentful of the new baby as he receives all of his parents’ attention.

Things get a little more complicated, however. It turns out, this Boss Baby is a member of Baby Corp., a giant conglomerate run entirely by babies in a sort of ‘before-life.’ Babies are losing popularity to puppies, and the company that Tim’s parents work for, Puppy Co., is planning on releasing a new breed of puppy, one that could put Baby Corp out of business. So the Boss Baby has been sent to Tim’s household (via taxi cab) to try to get info on this new puppy.

It’s a weird movie.

The concept behind the story – of a kid learning how to live with a new baby brother – simple as it is, is actually a decent one for a kids’ movie. And turning the baby into a corporate suit is a humorous twist on the idea (albeit one which is probably better suited for a short format, as opposed to an entire feature). But the small concept is stretched far too thin with the “babies vs. puppies” subplot (not to mention, who am I supposed to root for in that scenario?). And it only gets spread thinner as the movie goes on, with the introduction of an unnecessary villain midway through, and a plot that makes less sense the more you think about it.

Although the film’s marketing may have already had you rolling your eyes at the movie (those adverts really liked that “cookies are for closers” line), the fact that the movie ultimately falls apart is actually a bit of a shame. Because in its early moments, The Boss Baby shows some promise in both its story and humor.

For example, the early moments of the film tell us that Tim has a very active imagination, leaving the audience to think that the baby talking, wearing a suit, and being ‘born’ via taxi are all just Tim’s childhood imagination running wild with interpreting the situation around him. But as the film goes on and the whole corporate rivalry thing gets going, it becomes obvious that this isn’t the case. Not only does this remove a lot of the film’s early charm, but it also ends up raising a lot more questions about the plot than answers (does Puppy Co. actually manufacture dogs like a product? Why are the parents oblivious to the fact that their son arrived to them via taxi cab?) If the film were presented as being told through Tim’s imagination, such questions wouldn’t matter, and the sheer absurdity of it all would actually be made more charming. Instead, The Boss Baby will have you scratching your head asking “wait, so did that really happen to them?” numerous times. Just to hit the point home, there are a few moments where Tim’s imagination does take over, separate from the rest of the goings-on around him and the Boss Baby, confirming that, no matter how bonkers the movie gets, the characters are actually going through all of it.

I certainly don’t have any qualms with the idea of The Boss Baby being more inline with fantasy, but the way it’s structured is off-putting. It goes from possibly being about a kid’s interpretation of life with his new baby brother to something a bit more…wacky.

Along with feeling structurally confused and over-bloated, the movie also can’t help but aim for some obvious potty humor. Some of it works, but just as often you’ll be sighing that the movie didn’t even try to aim higher (we get it, babies poop. What else ya got?).

On the bright side of things, those aforementioned early moments have their charms, and when the humor strays from the obvious, it can be pretty funny (some of the film’s best gags involve Tim talking to his totally-not-Gandalf alarm clock…which goes back to how the movie is at its best when it’s in Tim’s imagination).

Another highlight is the animation, with The Boss Baby boasting some of Dreamworks’ most fluid character movements. And fittingly for a movie about babies, the character designs are cute and charming (those eyes!).

The Boss Baby isn’t a total dud, then. But its concept quickly stretches too thin, when a smaller scale story would have benefitted it greatly, and all too often it aims too low when just the little extra effort could have gone a long way.

Maybe for its target audience, it may provide a good hour and a half of entertainment. But for the older crowd who is becoming more and more accustomed to kids’ movies also appealing to them, The Boss Baby ends up being a missed opportunity.

 

5.0

Donkey Kong Country: Tropical Freeze (Switch) Review

*This review originally appeared at Miketendo64.com*

When Retro Studios revealed Donkey Kong Country: Tropical Freeze at E3 2013, it was received with a lukewarm reception. People were baffingly disappointed that the studio opted to create a second DKC title (apparently forgetting how good Donkey Kong Country Returns was), and were clamoring for the developer to return to the then-dormant Metroid franchise (apparently forgetting Retro already made three titles in that series). This immediately lead to unfair criticisms towards Tropical Freeze and, coupled with questionable marketing, a delayed launch, and the overall underperformance of the Wii U, Tropical Freeze failed to receive the mass-appreciation it truly deserved. It quickly became a cult classic for many, due to its pitch-perfect gameplay, impeccable level design, and God-tier soundtrack, but it never became the best-seller it should have been. Now, Tropical Freeze has been given a second chance on the Nintendo Switch, in hopes that it can finally find the audience it so rightfully deserves.

Although the core game is mostly unchanged from its release on the Wii U four years ago (save for some touch-ups with the graphics, and some new character animations), DKC: Tropical Freeze is more than worth another go on the Switch, as it remains one of the finest platformers ever made.

Being a follow-up to Donkey Kong Country Returns, Tropical Freeze adopts the basic blueprint of its predecessor. But while Returns was an excellent game in its own right, it often relied on falling back onto nostalgic memories of the original 1994 Donkey Kong Country on SNES. Tropical Freeze – being Retro’s second go at the series – was able to break free from the familiarity of Returns and craft an identity of its own for the series.

The story here is that a gang of vikings called the Snowmads (comprised of arctic animals like walruses and penguins) have invaded Donkey Kong Island. Doing their best Elsa impression, the Snowmads freeze the entire island and make themselves at home, banishing the Kongs in the process. But DK is not one to simply let it go, and he, along with Diddy, Dixie and good ol’ Cranky, set off on an adventure across multiple islands to take back their home from the Snowmads.

“Despite being a side-scroller, Tropical Freeze features dynamic camera angles during certain stages to change up the gameplay in unique ways.”

Of course, any semblance of plot is really just an excuse to get DK off his keister and into those platforming stages. It’s within its gameplay and level design that Donkey Kong Country: Tropical Freeze becomes a work of art.

The level design of Tropical Freeze is among the best you’ll ever find in a platformer (or any genre, for that matter). Every stage introduces new mechanics and gameplay elements, making every last level feel fresh and original. Tropical Freeze almost epitomizes a “you know what would be awesome” mentality…as in, it’s all too easy to imagine the folks at Retro Studios exclaiming “you know what would be awesome?” right before they pitched their ideas.

There are a few shared elements between stages, namely the collectible puzzle pieces and K-O-N-G letters that are hidden within them (the puzzle pieces unlocking extras such as concept art and music, while nabbing every K-O-N-G letter in every stage of a world unlocks that world’s secret temple stage). But there’s not a level in the entire game that falls back on recycling a level concept brought up earlier in the adventure. The level design of Tropical Freeze is an utter delight the whole way through.

“That is one big-ass polar bear.”

This is also true of the game’s boss fights. Though the old tradition of one boss per world means that such encounters are limited at six, each one of them provides a clever challenge that’s full of creativity.

Player’s primarily control Donkey Kong, of course. He still runs, jumps, rolls, pounds the ground, and throws barrels. This time around, he can also pluck certain objects from the ground, as well as pick up certain enemies to throw them at others. Along the way, DK can team up with the other Kongs who, in addition to granting the player two extra hit points, come with their own special abilities.

Diddy Kong, returning from DKCR, comes equipped with a jetpack, allowing DK to hover for a short time. Meanwhile, Cranky Kong makes his long-awaited debut as a playable character, and can use his cane as a pogo stick – Scrooge McDuck style – to not only jump higher, but also to allow DK to jump across surfaces and enemies he otherwise couldn’t (such as thorny brambles or enemies with spiked viking helmets). Dixie Kong, true to form, proves to be the most useful, however. With her helicopter-like hair, Dixie Kong not only gives DK a bit more air, but also increases the height of his jumps. When playing solo, the additional Kongs more or less serve as power-ups, but they are also readily available for a second player to select in the game’s co-op mode.

On the visual front, Tropical Freeze looks better than ever, which is no small feat, considering how great it already looked on the Wii U. The graphics may technically be the same, but it all looks sleeker and smoother than it did before. And perhaps best of all, the load times have been drastically reduced in this Switch release.

Then we have that epic soundtrack. The first two installments of Donkey Kong Country remain highly regarded for their music, though the third entry’s score, while still good, fell considerably short of its predecessors. Meanwhile, Returns’ soundtrack mainly relied on remixes of the first DKC’s soundtrack, which is great and all, but didn’t exactly help in giving the game an identity of its own.

With Tropical Freeze, however, Retro Studios managed to cook up a musical score that ascends to one of the all-time greats in the medium, and more than lives up to the first two installments. It should come as no surprise that the key ingredient to the soundtrack’s roaring success is the return of original series composer David Wise, who made a triumphant return with Tropical Freeze after an extended hiatus from scoring mainstream titles. Much like the first two SNES DKC titles, the score of Tropical Freeze manages to encompass a shocking amount of variety, all while building the atmosphere of the game’s world, and turning the simple story of a bunch of apes fighting walruses into something truly epic and beautiful. As far as gaming soundtracks go, Undertale might be Tropical Freeze’s only real competition for the title of best of the decade.

While Tropical Freeze served as a vast improvement over (the admittedly great) Donkey Kong Country Returns in nearly every regard – from level design to boss fights to music – there were, unfortunately, two aspects in which Tropical Freeze merely followed suit with its predecessor, as opposed to improving it.

The first are the bonus rooms scattered throughout the levels. While these bonus stages are fun in their own right, they are all simple variants of “collect all the bananas.” It’s not a major issue, but considering the variety of bonus stages housed in the DKC games back on the SNES, you kind of wish Retro Studios could have touched up on the repetition of the bonus rooms found in Returns with their second outing. The other blemish is that Rambi the Rhinoceros is once again the only Animal Buddy present in the adventure (unless we count Squawks, who can be purchased at Funky Kong’s shop and alerts players to nearby puzzle pieces). While riding on Rambi and bowling through enemies is fun, he only shows up on a handful of occasions, leaving you wanting more out of him, as well as a return of more Animal Buddies such as Enguarde or my man Squitter (or for Retro Studios to develop some Animal Buddies of their own).

“I wonder if Funky is out looking for inter-planetary visitor dudes. Wow, I just made THAT reference.”

It also has to be said that the only major addition to the Switch release of Tropical Freeze is its new “Funky Mode,” which serves as a beginner-friendly playstyle for those who find the core game too difficult. Essentially, it’s easy mode, with Funky boasting all of the abilities of the other Kongs, as well as having more hit points and unlimited oxygen when swimming. On one hand, I can appreciate the game having an easy mode. Given its often intense difficulty, providing an easier option for beginners might give Tropical Freeze a wider audience. But on the downside, it is kind of a shame that the new playable character has to be confined to it. Having Funky as a unique character with his own abilities in the core game might have been a nice twist on this modern classic, while the easy mode could have potentially given DK the extra benefits and such, thus separating it and the new character.

Donkey Kong Country: Tropical Freeze was not only my favorite game of 2014, but also one I can confidently say was my favorite in the entire Wii U library. It’s a platformer that easily ranks among the best of them, with sheer creativity and gameplay brilliance pouring out of every level. The fact that it was initially met to such a lukewarm reception was a damn shame, and played a part in Tropical Freeze becoming quite possibly the most underrated game in Nintendo’s history.

Now, Donkey Kong Country: Tropical Freeze can safely claim to be one of the very best games on the Nintendo Switch. Sure, the lack of variety in bonus stages and Animal Buddies is still a bit of a bummer, and the fact that Funky Mode is the only prominent addition to this second release can feel a little like a missed opportunity. But make no mistake about it, Donkey Kong Country: Tropical Freeze should rank among the best games Nintendo has ever made. And hopefully this time, more people will get to realize that.

 

9.5

Wario Land: Super Mario Land 3 Review

With his introduction as the antagonist of Super Mario Land 2, Wario became an immediate Nintendo mainstay. Who knows if it was the original intent when the character was created, but Wario ended up hijacking the Super Mario Land series, being the star of its third entry in 1994 before it full-on transformed into the Wario Land series. Though the Wario Land sequels would add a bit more originality to the proceedings, Wario Land: Super Mario Land 3 remains a fun and surprisingly deep platformer.

Wario Land played a bit closer to the Mario Land rulebook than its sequels would, with floating blocks containing items being scattered about, and Wario running, jumping and collecting power-ups to clear stages. But this isn’t merely Super Mario Land with a change of main character, as Wario has a few tricks of his own to justify his promotion to starring role.

The dastardly villain is – fittingly – a lot more brutish than Mario, coming equipped with a shoulder charge attack, and after jumping on enemies, he can pick them up and throw them at others. In place of Mario’s power-ups are three different helmets: The bull helmet makes Wario’s charge attack more powerful, in addition to giving him a butt stomping attack. The dragon helmet shoots a stream of fire from its nostrils. And the jet helmet grants Wario a higher jump, in addition to allowing him to use his charge attack in midair and under water.

On top of differing his core gameplay from Mario’s, Wario’s level design makes some notable changes as well. Wario isn’t out to save the day, but to scour the land for all the loot he can find (in another fun twist from the norm, while Mario often ventures to rescue Princess Peach, Wario is simply trying to steal a giant, golden statue of her). This means that simply making it to the end of a stage isn’t your main goal. Taking a page from Super Mario World, some of the stages contain alternate, secret exits, which lead to more stages and, in one instance, an entire optional world. Additionally, there are fifteen secret treasures to be found in the game, which will result in Wario becoming substantially richer at the end of the game if collected.

These alternate exits, optional levels, and hidden treasures make Wario Land a much deeper game than the Super Mario Land duology, adding to the game’s length and replay value. There are a few unfortunate downsides to how these elements are implemented, however.

While the levels with secret exits are distinctly marked on the world map, the levels that contain the secret treasures are not. That may not seem like a huge problem, but a few of these treasures must be collected by replaying earlier levels after a later stage or world is completed. So you’re basically just left guessing what stages you need to revisit.

The levels containing secret exits also disappear from the game entirely about midway through, leaving the first half of the game to feel more inspired than the second. The boss fights also lack creativity, and the music is a surprising step down from the Super Mario Land titles (thankfully, the graphics are on par with those of Super Mario Land 2).

Even with these complaints, Wario Land is still entertaining even today, which is quite the feat for a Game Boy title. It’s fun just to find more coins and treasure, and seeing if you can hold onto them by a level’s end, a concept which the game has even more fun with. Complete a stage, and you can play a mini-game where you get three 50/50 chances of doubling your coins or reducing them by half. Meanwhile, checkpoints require a small fee (10 coins) to access, but the coins you got up to that point aren’t saved if you die, giving a nice twist on checkpoints where you have the choice of using their security or keep more gold at a greater risk.

Wario Land: Super Mario Land 3 may not be one of Nintendo’s finer platformers, but it did serve as a fitting introduction for Wario as a video game star. Though it is a bit strange that Wario got his own game after just two years, while the world is still grossly absent of a game starring Bowser after over three decades…

 

7.0

Super Mario Land 2: Six Golden Coins Review

Despite Mario and friends being the most recognizable characters in gaming, the franchise has very rarely received new mainstay additions to its character roster after Super Mario Bros. Super Mario World brought the biggest addition in the form of Yoshi, while Super Mario Sunshine introduced Bowser Jr., and Galaxy brought fan favorite Rosalina into the mix (we still have yet to see if the parade of oddities introduced in Odyssey will frequently reemerge). But in between Yoshi and Bowser Jr. the series received perhaps its strangest character in the form of Wario, who was introduced as the villain of Super Mario Land 2: Six Golden Coins.

When Super Mario Land became a massive success on the Game Boy, it only made sense that a sequel would follow up eventually. And in 1992 – the same year the Game Boy introduced the world to Kirby – Super Mario Land not only got a sequel, but Nintendo received another iconic character in its bizarre, anti-Mario villain, who has gone on to star in a number of his own series.

Along with the introduction of Wario, Super Mario Land 2 is notable for feeling more like a Mario game than its predecessor. The Fire Flower is back, Goombas return, Koopa shells no longer explode, and the game as a whole just feels more inspired. If Super Mario Land’s goal was simply to bring Mario to a handheld console, than Super Mario Land 2 sought to make a handheld entry that could live up to its home console brethren. And although Mario Land 2 may not have aged quite as well as those aforementioned home console Mario adventures of yesteryear, it’s still a good deal of fun while it lasts.

The story here is a rare instance of a Mario game actually tying into the plot of its predecessor. While Mario was busy rescuing Princess Daisy from Tatanga the spaceman in Super Mario Land, Wario took control of Mario’s castle (damn, I knew plumbers charged a lot, but a whole castle?). Wario has placed a magic spell on the castle, and Mario cannot enter unless he’s received the Six Golden Coins, which are in the hands of Wario’s minions. Mario must venture to six different lands to wrest the coins away from the bosses so that he might take back his castle from Wario. It’s an interesting change of pace from the usual princess kidnapping, though the idea of Mario having a castle still seems pretty weird (and apparently Nintendo thought so as well, as any and all other Mario games ignore this and depict Mario living in a more appropriately humble home).

The level design is solid and fun. It may not be up to the platforming perfection of Super Mario Bros. 3 or World, but for a Game Boy title it’s pretty impressive that it holds up as well as it does. There are two key ingredients that set Mario Land 2’s worlds apart from other entries in the series, however.

The first is that the themes of each world differ from the usual “grass, fire, ice, etc.” motifs usually found in platformers. Instead, the worlds here range from being based around toys, Halloween, outer space, a tree, a turtle, and – in a fun twist on Super Mario Bros. 3’s Giant Land – a world where Mario shrinks, with everyday creatures like ants and grasshoppers serving as enemies. The second, and bigger twist, is that these worlds can be completed in any order. Seemingly taking inspiration from Mega Man, Mario can traverse the game’s world map and enter any of these six worlds in any order the player chooses. This gives Super Mario Land 2 a unique sense of openness that the series strangely hasn’t revisited in subsequent 2D entries.

Along with the usual Super Mushroom and the aforementioned Fire Flower, a power-up exclusive to this game shows up in the form of the Super Carrot, which grants Mario rabbit ears that allow him to hover for a prolonged period of time.

“The graphics are just a wee bit better than the first game. And by that I mean they look way better.”

Overall, the gameplay is fun, if maybe unambitious compared to other Mario titles (the open-world map being Land 2’s best innovation to the series). It should also be noted that, with the exception of Wario’s Castle, the levels are all pretty easy, with the boss fights even more so. And the whole game can be completed in a little under two hours. Given the time the game was originally released – when the convenience of gaming on the go meant sacrificing some of the depth and quality of the experience – these aspects make sense. Super Mario Land 2: Six Golden Coins was an almost ideal handheld game back in the day. And when you consider the graphics and music are a marked improvement over those of its predecessor, it felt more like a proper Mario adventure.

The downside is that, though the game is still a lot of fun in its own right, handheld gaming has come so far since 1992 that the limitations of its placement as an early handheld classic stand out all the more. While it certainly holds up a lot better than the first Super Mario Land, it’s still hard to argue why you would play Six Golden Coins over one of Mario’s more iconic retro adventures (which are readily available on pretty much every Nintendo device these days).

Super Mario Land 2: Six Golden Coins is still fun, and serves as an interesting piece of Mario’s history, but it falls considerably short of the plumber’s finest.

Still, we got Wario out of it. I guess for that alone we should all be grateful.

 

6.5

Super Mario Land Review

It may seem a bit strange today, given that it seems to have left no long-lasting impact on the Super Mario series as a whole, but 1989’s Super Mario Land remains one of the best-selling titles in the entire series. In fact, up until the Wii re-popularized Nintendo games, Super Mario Land was the third best-selling Mario game, behind only Super Mario World and the original Super Mario Bros. Though the high sales become a bit more understandable when one remembers that this was not only Mario’s first handheld entry, but also a launch title for the Game Boy. Releasing a Mario game to launch the Game Boy was a no-brainer, and with the handheld’s seldom-approached success, it only makes sense that Super Mario Land would rack up sales numbers. And for the time, Super Mario Land was a nice introduction for the series into the handheld market, though time has revealed that Mario compromised a lot in the transition to the Game Boy’s launch.

Super Mario Land, at first glance, seems to have all the trappings of Mario titles of the time. Mario still runs and jumps across different kingdoms, collects power-ups, and rescues a princess from a villain. But it won’t take long into playing to realize that things are just a little…off.

While mushrooms still make Mario bigger (thus giving him an additional hit point), flowers grant Mario with a bouncing ball, as opposed to the more accurate fireballs of Mario norm. Perhaps more bizarrely, while stars still grant Mario temporary invincibility, the usual Mario invincibility theme (AKA the most hypnotic 18 notes in gaming history) is replaced with a rendition of the Can-Can. It turns out that the princess involved isn’t Peach (or Toadstool, as she was known in the west at the time), but Princess Daisy. And the baddie isn’t Bowser, but a much more generic spaceman villain called Tatanga.

Those are something of excusable changes, considering Super Mario Land was created by a different team than the rest of the Mario titles of the time (it was the first Mario game without direct involvement from series creator Shigeru Miyamoto). But there are other changes that are a little less forgivable.

“The scrolling-shooter segments are admittedly a cool change of pace that I wouldn’t mind see make a return.”

The most noticeable is Mario’s control, which feels far more slippery and chaotic than his NES and SNES adventures. It’s not outright bad to control, but considering Mario more or less wrote the book on making fluid platform jumping, anything less than the series’ standard really sticks out. Worse still, Super Mario Land plays some dirty tricks that work against the intuition this very series created! Notably, Koopa Troopa shells explode about a second after a Koopa has been defeated. Perhaps in a home console title, where there could be a visible distinction between your standard Koopa shell and an exploding one, this might not be so bad. But with the limitations of the Game Boy, it just looks like a Koopa Troopa. And with how the series has ingrained the idea of kicking Koopa Shells into our minds, it all just comes off as a cheap stunt.

Being a Game Boy launch title, suffice to say Super Mario Land isn’t a pretty game to look at (though at the very least, the ability to play it on a 3DS – with a backlight and whatnot – means that today you can experience the game in any lighting without having to strain your eyes). Thankfully, the music is actually pretty good. Certainly not among the best Mario soundtracks, but all things considered, it’s catchy and fun.

Of course, if there’s any great limitation to Super Mario Land, it’s that it is one short game. Okay, so it shouldn’t be assumed that a Game Boy launch title would be particularly long, but Super Mario Land can be beat in a half hour…if that. At the time, Super Mario Land had the benefit of being the Mario on the go. But now, with so many other options – whether one of the meatier, contemporary Mario handheld games, or a portable re-release of one of the console classics – you don’t exactly have a lot of incentive to play Super Mario Land in their stead.

Super Mario Land is not a bad game, but retrospective has exposed it as the weakest Mario platformer. For its time, Mario on the go was an accomplishment in its own right. But despite nothing being particularly bad about it, Super Mario Land doesn’t feature any elements that weren’t considerably bettered by Mario games before and since, leaving it feeling like Mario’s most mediocre moment to contemporary eyes.

Then again, the fact that Super Mario Land unleashed Princess Daisy onto the series may just constitute an unforgivable sin.

 

5.0

Happy Star Wars Day 2018!

Okay, another May the 4th, another day I missed the opportunity to write some meaningful Star Wars content. I promise I’ll get to reviewing every Star Wars movie, writing opinion pieces on aspects of the movies, and complain about how toxic the fanbase has become.

So in the interim, I hope you just enjoy this celebratory post of all things Star Wars. But yeah, I do promise to do my best to get to all my planned Star Wars content at some point. So yeah, I hope you look forward to that, and also hope you’re a sensible Star Wars fan who can accept the franchise as the children’s science-fantasy series that it is, and don’t try to hack a new Star Wars movie’s metascore because it undoes those crappy expanded universe novels from way back when.

Let’s all raise a glass of blue milk in honor of this timeless franchise about magic, space samurai and arms/hands getting lopped off.

Happy Star Wars Day, everyone! May the fourth be with you!