Legendary Pictures “MonsterVerse” has all been building to this: Godzilla vs. Kong! Although 2014’s Godzilla seemed like a self-contained reboot, once Legendary acquired the rights to the King Kong character it became obvious where things were headed: a modernized clash of the two most famous giant monsters in all of movies.
Of course, Godzilla and Kong have done battle before, in Toho’s 1962 film King Kong vs. Godzilla. It was one of the earlier Godzilla films, and not one of the better ones in hindsight (the Kong suit looks like it was stitched together from roadkill), but it was one of my favorite movies as a very young tyke, and instilled my love of giant monsters from an early age. So with the two literal giants set to face off once again, this time in a film that could take advantage of modern technologies to give the behemoths the epic showdown they deserve, I’ve been looking forward to this Godzilla vs. Kong for quite some time now.
2017’s Kong: Skull Island introduced the Kong half to this Cinematic Universe (the only one outside of Marvel that I feel has been any kind of successful), while 2019’s Godzilla: King of the Monsters went crazy with fanservice by including Mothra, Rodan, and Godzilla’s big bad, King Ghidorah. And now, it all comes to a head in Godzilla vs. Kong, which provides fans (and my inner child) the epic showdowns they’ve been waiting for, though sadly not without its share of bumps in the road.
The first of such bumps is shown during the opening credits, no less. As is series’ tradition, the opening credits are accompanied by news clippings and the like informing the audience of the histories and current states of the monsters (or “Titans” as they’re called in the MonsterVerse). And we quickly learn that Godzilla and Kong are the only known Titans remaining on Earth’s surface. This retcons the ending of King of the Monsters, which had other Titans roaming the Earth, but bowing to Godzilla as the “Alpha Titan” after he defeated King Ghidorah, with that movie’s end credits informing us that some Titans were “converging on Skull Island,” implying that Kong may be getting his own following of monsters to do battle with Godzilla’s band. But no, let’s forget about that. It’s just Godzilla and Kong now for some reason (not even Rodan returns, which sucks double for me because he was my favorite as a kid). So that’s kind of disappointing right off the bat. Don’t promise your audience something in one movie if you can’t deliver on it in the next.
The biggest of the bumps in the road for Godzilla vs. Kong, however, is a returning flaw from many giant monster movies: too many human characters. More specifically, too many human characters who are just uninteresting.
Some might say this is a problem with American Godzilla movies (and it is), but honestly, I’ve watched some of the Japanese Godzilla films and also got bored by how long we often have to wait in between monsters. It’s just that it’s probably a more persistent issue with American films on the whole. The recent Tom & Jerry movie – to name an example outside of the giant monster genre – spent more time on its humans than it did with the melee between cartoon cat and mouse that people actually crave from that franchise.
I understand the reasoning behind this. The people and studios making these movies want to keep audiences invested, and feel that a human element is needed for viewers to have something to identify with for that investment. I get it, but I think movies have failed pretty consistently in trying to hit the balance with human characters and, say, the giant monsters fighting each other that we all came to see.
The funny thing is, the 2014 Godzilla film that kicked off the MonsterVerse actually got the human part right (at least at first), with a human character played by Bryan Cranston giving the film an emotional core that made sense… and then it killed him off before Godzilla even showed up, and the focus shifted on a bunch of other humans who weren’t nearly as interesting (that particular film didn’t even have enough monster action to make up for it). Imagine if Bryan Cranston’s character had stuck around as the recurring human character between these films, and we still got the epic Godzilla showdowns on top of it. One great human character to focus on whenever the monsters settle down. The lost potential is depressing.
Instead, these movies can’t stop adding more and more human characters, very few of which are worth the screen time given to them. Millie Bobby Brown’s character Madison Russell from King of the Monsters returns, and is the only returning human character other than her father (played by Kyle Chandler, though he’s more of a cameo this time around). To be fair to Millie Bobby Brown, she’s a great actor, and having her be the returning hero makes sense. But her character here feels like she’s on a sidequest that, frankly, feels completely unnecessary to the movie as a whole. Worse still, she’s saddled with two insufferable sidekicks this time around: One is Bernie Hayes (Brian Tyree Henry), a paranoid conspiracy theorist podcaster, and Josh Valentine (Julian Dennison), one of Madison’s friends who… is just kind of there. I mean no offense to the actors here, but Madison’s new sidekicks really just feel like unnecessary comic relief.
They aren’t the only humans though! Dr. Nathan Lind (Alexander Skarsgård) is a cartographer from Monarch (the Titan research group of previous entries) who is studying the “hollow Earth” gobbledygook introduced in the series. Dr. Ilene Andrews (Rebecca Hall) is a Monarch anthropological linguist studying Kong. Jia (Kaylee Hottle) is a young, deaf orphan from Skull Island’s Iwi tribe, Ilene’s adopted daughter and friend of Kong (and probably the human character you care most for). At the very least, this other group of humans actually feel like they push the plot forward. If Millie Bobby Brown’s character had to return, maybe the filmmakers should have found a way to fit her into this second group, and just streamline the human plotlines.
Then we also have Walter Simmons (Demián Bichir), the founder of Apex Cybernetics, a technological company trying to find a way for humans to reclaim Earth from the Titans, his daughter Maia (Eiza González), who accompanies the Monarch scientists, and Walter’s sidekick/henchman, Ren Serizawa (Shun Oguri), the son of Ken Watanabe’s character from the previous two Godzilla installments of the MonsterVerse.
Gee, do you think that’s enough characters? And all that for a plot that should be pretty straightforward: Godzilla has been at peace with humans ever since defeating King Ghidorah and becoming the alpha Titan (or King of the Monsters, if you will). As stated, the remaining Titans have either been “defeated” or have returned to their subterranean slumber, with Kong still residing on Skull Island, which is now under a “containment center” by Monarch. That is, until one day, Godzilla begins destroying human cities unprovoked by the presence of other Titans.
Godzilla’s sudden rampage has Madison trying to find answers, which leads her to seek out the aforementioned conspiracy theorist podcaster (because that’s the kind of person you want to turn to for valid, reasonable answers), with her other goofy friend in tow. Meanwhile, Apex Cybernetics, who have suffered some severe blows during Godzilla’s destruction, recruit the Monarch scientists for a voyage into the hollow Earth to find some nondescript power source that may help them fix Earth’s Titan problem. So the Monarch team extracts Kong from their containment center in hopes he can instinctively lead them into hollow Earth.
Look, it’s bonkers nonsense, which is fine (though it feels a world apart from the 2014 film that started things off). But if bonkers nonsense was what we were going for in a movie called Godzilla vs. Kong, maybe focus more of that bonkers nonsense on Godzilla and Kong, and less on the humans.
Let’s make one thing clear, when Godzilla vs. Kong hits its stride, it’s really entertaining. The visual effects are great, and most importantly, the fight scenes between its two iconic giants are tremendous fun. Like I said, my love of giant gorilla fighting nuclear dinosaur goes back to my youngest days, so it would be hard for me not to be entertained every time the two monsters clash and knock over entire cities (on that note, I also like how the film points out the cities are evacuated by the time Godzilla and Kong use them as battlefields, so it goes against the Zac Snyder method of using the idea of mass death as part of its spectacle). The movie even had me giggling and clapping with how effective its monster battles are. The first encounter is pretty unique in that Godzilla and Kong do battle at sea, with Kong standing on aircraft carriers to fight the more water-savvy Godzilla. And later – without spoiling too much – Kong even goes into battle equipped with a weapon. And if seeing Kong with weapon in hand out for Godzilla’s blood doesn’t bring a goofy grin on your face, well I don’t know what will.
The issue is that there just isn’t enough of these scenes. This is Godzilla vs. Kong, after all. I think it’s safe to say no one is here for the human characters, but that’s where too much of the runtime goes. Again, I can understand the desire to have a little bit of everything: attempting good story and characters to go with the giant monsters clashing, but we can just never seem to get the right balance. It’s also kind of a bummer how the American approach to Godzilla movies has to be either dead serious at the expense of the monster action (Godzilla 2014), or just fully embrace the sillier aspects of Godzilla to the point where you can’t care for the human characters. It’s another case of finding the right balance.
Imagine a film that could pull off both the fun spectacles of giant monsters fighting each other (like Kong: Skull Island, King of the Monsters and this film), and the human drama Bryan Cranston brought to the early parts of the 2014 film when it just has to shift its focus to the humans witnessing said epic battles and facing their consequences?
We still have to wait for such a film. In the meantime, Godzilla vs. Kong does at least deliver where it counts – with its giant ape having some fun smackdowns with its nuclear dinosaur – but it sorely needs even more of just that. If you’re going to take Godzilla vs. Kong into the realms of pure nonsense, then give us more of the nonsense we came to see, and less of the nonsense of annoying sidekicks and conspiracy theorists.
That’s right, Kevin! The big day has finally arrived! It’s Wizard Dojo’s ONE-THOUSANDTH post! Huzzah!
This has been a long time coming. Both because it took a long time to write 1,000 posts, and also because my updates have been so slow these past few months it really dragged this out. But how great to finally be here, eh?
Here’s the short film “Fresh Guacamole” by PES, the shortest film ever nominated for an Oscar!
Ah, yes. Everything about that short is satisfying.
A big thank you to everyone who reads this blog, and double thank you to the people who have been reading it for a good while and stuck with it. And an additional thank you for the people who read it in the past, forgot about it, and then came back to it. You’re like Palpatine: somehow… you returned!
To quote the great philosopher Herman Munster: “I would like to thank all the little people who helped make this possible… I would like to, but I can’t, because I did it all myself.”
Have I referenced that before? Seems like I have. Ah well, it’s a great quote, and Herman Munster was a badass. So I regret nothing.
Anyway, what are we doing spending so much time on the thank yous? Let’s get down to business (to defeat the huns)! Let’s dedicate the rest of this thousandth blog milestone to a number of things I’ve been meaning to write for a good while, presented as different ‘chapters.’ You know, like Paper Mario. Back when Paper Mario was good.
Chapter 1: My Favorite Film of 2020
Finally! It’s been a long time since I revealed my favorite film of the year before the last few months of the next year. I mean, I’m still really late in doing this, and for that, I apologize. But it’s an improvement.
Go ahead and call me repetitious, but my favorite film of 2020 was an animated film. And no, it wasn’t Pixar’s Soul.
Sure, people might say I’m biased, as every year that I’ve named my favorite film of the year ever since I launched Wizard Dojo, the winner has been animated. But I’d argue that we’re simply in a great era of animated filmmaking. You always hear people complaining that movies these days are “getting worse” or that they’re dumbed down, but I believe people who say such things are ignoring the animated side of things (which, sadly, seems likely). Sure, maybe blockbusters are getting repetitious, art films are getting too self-absorbed, and indie films ironically feel like they’re coming off a conveyor belt. But animated films have continued to shine throughout the new millennium. So fans of animation, such as myself, are witnessing a kind of golden age for the medium.
Is that enough needless justification for my stance? And is it really such a bad thing in the first place? I mean, the Oscars select the same kind of dramas year after year (and continue to lose ratings. I wonder if there could be a connection there). So is it such a crime that some random dude on the internet is won over by animated films time and again?
Anyway, let’s cut to the chase. My favorite film of 2020 is…
Director Tomm Moore and his studio “Cartoon Saloon” have provided some of the best animated features of recent memory. Although Wolfwalkers is only the studio’s fourth feature film (and Moore’s third), the artistry and craftsmanship that has gone into them ascends them near the very top of the animation totem pole. Moore’s previous film, Song of the Sea, was one of my favorite films of the 2010s full stop, and Wolfwalkers is a more than worthy follow-up, being the best film of 2020 in my book.
Moore, who has appropriately been dubbed the “Irish Miyazaki,” has made three stunningly beautiful, hand-drawn fairy tales that are among the few works that deserve that Miyazaki comparison. There is an emotional depth and sensitivity to Tomm Moore’s films that make you feel for their stories and characters right from the get-go. Here’s a filmmaker who intimately understands fantasy storytelling, and makes films aimed at children that never once talk down to their target audience. They’re equal parts fun and captivating to audiences of any age.
Wolfwalkers tells the story of two girls: Robyn Goodfellowe, a hunter’s daughter, and Mebh, one of the titular Wolfwalkers, a being who takes the form of a wolf when her human body sleeps. While the two girls’ burgeoning friendship that serves as the heart of the story will certainly entertain kids (especially Mebh), the film also has a lot to say from a societal and philosophical perspective. Robyn is continuously forced to toil in a scullery, her proud father is reduced to being the whipping boy of a fanatical general, and poor Mebh and her wolves are in constant danger simply for existing.
I love this movie. It’s deep and beautiful and fun and magical, like all the best animated fairy tales. Pixar’s Soul was a good movie (though far from Pixar’s best), it had some important things to say, but often stumbled in trying to express them. Wolfwalkers didn’t suffer those issues. It’s a film that shows how everyone wants (and deserves) their freedom, though society doesn’t always seem to want that for them. It just so happens that those issues are told within a lovely fable of profuse visual splendor.
Song of the Sea was one of my favorite films of the 2010s (hopefully I’ll make a more concrete list on the subject soon), and seeing as I think Wolfwalkers is the best film of the only finished year of the 2020s as of this writing, I guess that makes it my favorite film of this decade so far. Together with 2009’s The Secret of Kells, Tomm Moore’s output already reads like an all-time great.
Chapter 2: Some Changes
Wizard Dojo has been around a few years now, and in that time I’ve written hundreds of reviews for video games and movies. I originally used a .5-based 1-10 rating scale when this site launched in 2014. In 2018 I converted to the more streamlined 1-10 scale using only whole numbers (and altering every score accordingly). Sometimes I miss the ol’ 9.5s and 8.5s, and wonder if I made the right choice. But then I remember that any of the “.5” scores below that are insanely arbitrary, and that confirms I did indeed make the right choice. I mean, what the hell is a 3.5, anyway?
What I’m getting at here is that I’m no stranger to altering some scores when need be. And I do feel that, with this 1,000th blog milestone, I may use this as an opportunity for another soft reboot of sorts. I have been tempted to change the scoring system again (like an A to F scale or something), or even omit it entirely, but I’m not going to do anything that drastic right now. But I do think I will be reviewing some of my past reviews (review-ception!), and altering them every here and there.
Some might say that’s unprofessional to change scores. But come on, people’s opinions change, they might see things in new lights. It’s not like I’m grading algebra papers and there are definitive right answers here.
Interestingly (to me, anyway), this all mostly applies to the video game side of things, though there may be some movie review score I might adjust. I guess there’s just something about the interactivity of games that makes it all more flip-floppy.
Some video game scores I’ve already altered. Others I may have to replay a bit so I can make the proper changes to the written review itself (which is the actual review, after all. The scores are just numbers to easily sum it all up). Though keep in mind it may take some time to get around to re-writing.
Some games whose scores have been altered include:
Kirby’s Dreamland 3 (SNES) – Promoted from an 8 to a 9/10: It’s the best Kirby game, and one of the most charming games ever made. Also one of the greatest (and tragically underrated) art styles in the medium’s history. Why haven’t the Animal Friends introduced here made subsequent appearances? Nago the cat is my home skillet!
Tetris Attack (SNES) – Promoted from an 8 to a 9/10: Honestly, Panel de Pon is one of the best falling block puzzle games of all time (even if the blocks don’t actually fall, but rise). The addition of the Yoshi’s Island characters, story and music of its Tetris Attack incarnation makes it the best version of the game. If only this version could see a re-release…
Castlevania: Aria of Sorrow (GBA) – Promoted from an 8 to a 9/10: I say this as a Nintendo fan, but when it comes to Metroidvania, I actually prefer the Castlevania side of things. Though Symphony of the Night is (rightfully) hailed as the best entry in the series, Aria of Sorrow on the Game Boy Advance comes closer than you might think. For a game to reach similar heights and depths to Symphony of the Night with the limitations of a handheld console in 2003 is one hell of an achievement.
Dark Souls 2: Scholar of the First Sin (PS4) – Demoted from an 8 to a 7/10: Despite the extreme views fans of the series may have, Dark Souls 2 is not a disgrace to the series. But I will admit it is the weakest entry of the SoulsBorne series nonetheless. The limited spawns of enemies can make it difficult if you need to pick up additional souls and items, but can also be a strange combination of easy and tedious if you re-light the bonfires after the same few enemies over and over just to exhaust their spawns and clear your path. And don’t get me started on the Shrine of Armana. Beautiful to look at, but the worst area in the entire series to play. Blech!
Mario + Rabbids: Kingdom Battle (Switch) -Demoted from an 8 to a 7/10: Mario + Rabbids is a good game. The simple fact that it’s a good game involving the Rabbids is some sort of small miracle of its own. No one expected much out of it when it was released in 2017, but it ended up surprising people, myself included. While I still think it’s a good game, in retrospect I think maybe that surprise factor may have boosted our opinions of it. Yes, it’s a fun tactical RPG, but when I started replaying it some time ago, its flaws were more apparent. Primarily, its trial-and-error approach, which may work in a faster paced game. But in a turn-based, tactics RPG? It makes things a little too slow. Still a good game, I want to stress that, but not one of the best Mario spinoffs.
Battletoads (NES) – Demoted from a 5 to a 3/10: Ah, Battletoads! I seem to keep going back and lowering my score to this one. I feel kinda bad about that, since some people still swear by this game. But the sad truth is that the so called “legendary challenge” of Battletoads is more accurately described as “poor game design.” The game presents its levels as challenges that require one-hundred percent accuracy, yet the actual mechanics of the game are so stiff and clunky, that they just don’t allow the precision that the game demands. Some might say I just need to “git gud.” But if you don’t mind my bragging for a second, I get the platinum trophies in Fromsoftware games. I’m fine with a steep challenge. Battletoads is just a bad game. At least the music’s good. And I hear that newer Battletoads game is actually decent.
Some games whose scores I’ve been thinking of changing include:
Bloodborne (PS4)- Upping it from a 9 to a perfect 10/10: Honestly, Bloodborne is probably the best entry in the SoulsBorne series by Fromsoftware. And being the best in a series that has to be the most influential in the medium for at least the last decade has to amount to something. Maybe I just didn’t have enough insight the first time around to give it a perfect score?
Donkey Kong Country: Tropical Freeze (Wii U/Switch)- Upping from a 9 to a perfect 10/10: Have I bragged up any game more on this site than DKC: Tropical Freeze? It’s hands down the best 2D platformer since the genre’s heyday in the 16-bit generation, has some of the best level design I’ve ever seen. And it has an all-time great soundtrack. Sure, I still wish there were more variety in the bonus rooms, and that there were more Animal Buddies other than Rambi, like in the old DKC games. But is that really enough to deny what is otherwise one of my favorite games of all time a perfect score?
Sonic the Hedgehog 2 (Gen) – Upping from an 8 to a 9/10: The most acclaimed Sonic game of all time, and the most popular Sega Genesis game of all time. It was also my favorite entry back when I was a kid. Though as I’ve gotten older, I do think Sonic 3 and Sonic & Knuckles were improvements. And Sonic Mania probably deserves the crown as the best in the series now. So basically, the reason Sonic 2 is an 8 is because I think it has similar but superior sequels, meaning it’s not the best such game to play today. Still, considering Sonic 2 has held up as well as it has after all these years, am I wrong to not rate it higher than I did?
I have also been considering changing some scores on the movies I’ve reviewed. Namely, depending on how I want to continue with how strict I want to keep my grading, Hayao Miyazaki’s Castle in the Sky, Ponyo, and Princess Mononoke are all worthy of perfect 10/10s (Castle in the Sky, in particular, is probably the best animated action film ever made). The only reason those films sit at 9s is because I’ve currently been doing the whole “minimal perfect scores” things by means of comparing a creator’s works, and only giving their absolute best perfect scores. And since Spirited Away and My Neighbor Totoro are both at perfect 10s, the above mentioned are at 9s. But the more I think about it, that’s pretty bogus. Am I just denying deserving movies of perfect scores just so I look more strict? That’s kind of pretentious of me. Perhaps being more open with my grading is the way to go, at least with movies. Video games seem more appropriate for stricter scoring, for whatever reason.
Or maybe all this is proof that I should do away with all this scoring nonsense…
Chapter 3: 2021 Video Game Awards
Huzzah! I’m getting my video game awards done at the same time as I named my favorite movie of the year! And it only took until mid-June of the next year. I’m really catching up!
As always, my video game awards are presented in mostly-traditional categories. So without further ado… here they are!
Best Sound: Demon’s Souls (PS5)
Is it cheating to award Best Sound to a remake of a game from 2009 that used pretty much the same sounds now that it did back then? If so, well then give this award to Crash Bandicoot 4. If not, then Demon’s Souls has to win.
From Software’s “SoulsBorne” games simply have the most atmospheric sound design in video games. And it all started here with Demon’s Souls. Clanking armors, the shrieks and grunts of some horrible monster around the corner, it’s all here, crisper and clearer than ever. Even the sounds that emanate from the PS5 controller are satisfying.
Given that I’ve awarded Best Sound to Dark Souls II, Bloodborne, Dark Souls III and Sekiro in the past, it seems only fitting that the game that started the Souls lineage should triumph in this category as well.
Best Music: Hades
Supergiant Games are no strangers to memorable soundtracks, and their most recent work, Hades, is no exception. Although the music of Hades isn’t quite at the forefront of things as it were in, say, Bastion, It still provides a mix of atmosphere and heat-pumping action that is more than fitting for the game.
Best Visuals: Demon’s Souls (PS5)
I don’t care if it’s an upgrade of a game originally released on the PS3 in 2009, the Demon’s Souls remake is gorgeous! Perhaps now that we’re deep into 2021, the Playstation 5 has seen more titles that are stronger showcases of the console’s graphical power. But there’s still none that I like to look at more than the Demon’s Souls remake. The textures, the colors, the lighting, everything. New PS5 games be damned. When it comes to pleasing aesthetics, Demon’s Souls has them beat.
Best Multiplayer: Fall Guys: Ultimate Knockout
It’s such a shame so much of Fall Guys’ thunder was stolen by Among Us shortly after release. For one, Fall Guys is a much better game than Among Us (Fall Guys actually has gameplay, which is a bonus), but it’s also sad that such a cute and charming game was on its way of becoming the new biggest thing in gaming, only to be spearheaded by a two-year old game that isn’t half as good.
Still, while Fall Guys’ popularity may have taken a hit, the sheer fun of it hasn’t. I’ve heard some people complain that Fall Guys doesn’t have enough depth to it, but that’s kind of what I like about it. It’s a throwback that suggests that *gasp!* fun gameplay might be enough to have players coming back.
Taking the popular battle royal genre of today, but giving it a lighthearted, platforming twist inspired by shows like Takeshi’s Castle and Wipeout, Fall Guys is always good fun. I still pick it up from time to time and have a blast every time.
Best Remake: Demon’s Souls (PS5)
When I originally played Demon’s Souls, it was after the other Souls games. As such, Demon’s Souls felt like it was lacking in certain areas, and it was easy to see where its successors improved on the experience.
Well, for whatever reason, the PS5 remake won me over much more strongly. Granted, there are some obvious improvements (excess items automatically going to your character’s storage is a huge improvement), but not so many obvious changes that it makes the source of my newfound appreciation for the game too apparent. It’s still very much Demon’s Souls, and there are still some areas that could have used some updating to be more like the subsequent Souls games. Yet somehow, I love the game way more now.
Simply a case of right place, right time? I don’t know. Maybe. But the point is the PS5 remake of Demon’s Souls made me see the game in a whole new, more positive light. I originally thought of Demon’s Souls as the weakest entry in the Souls series by a wide margin. And while it still may not be Dark Souls or Bloodborne, I now feel like Demon’s Souls can more properly be talked about in a similar light. That’s quite the improvement. As such, Demon’s Souls gets Best Remake!
Best Remaster/Re-release: Super Mario 3D All-Stars
Yes, it’s true, Super Mario 3D All-Stars is NOT what it could have been. Nintendo missed the opportunity to really spruce up the visuals of the games, as opposed to simply giving them a coat of HD gloss (which is what they did). The fact that the game lacks any extra features for players to delve into or read up on Mario’s history is questionable. Sunshine’s countless unpolished elements are left untouched. And where the hell is Galaxy 2?
Basically, if one series deserves better, it’s Super Mario.
Even if it were something of a missed opportunity, Super Mario 3D All-Stars still includes two all-time greats in Super Mario 64 and Super Mario Galaxy, and a decent third game in Super Mario Sunshine. You simply can’t go wrong.
Yes, Super Mario 3D All-Stars should have been something more. But considering that 64 and Galaxy are already so much more than most games, maybe we’re asking too much?
Best Content: Animal Crossing: New Horizons
I know that the PS4’s “Dreams” would seem to fit the bill here, considering that people can potentially create entire games within it. But “potentially” is the key word there. As initially amazed as I was with Dreams, it quickly became apparent that the majority of content people made was unfinished at the best of times, and outright crap at its worst. Sure, people made a lot of crap with Super Mario Maker, but you’ll find a lot more excellent Mario Maker stages than you will Dreams creations.
So yeah, Dreams doesn’t win this.
Animal Crossing: New Horizons does win this, however, for the sheer number of tasks you can do at any given time. And in traditional Animal Crossing fashion, you can go about it at your own pace. Between fishing, bug collecting, crafting, digging for fossils, diving, visiting other players, having other players visit you, there’s just always something to do in Animal Crossing. No matter how big or how small.
Between lengthy play sessions and small bursts of play, my total playtime in Animal Crossing: New Horizons stands tall over any other game on the Nintendo Switch. New Horizons is simply a treasure trove of fun things to do.
Best Gameplay: Hades
Hades is a game of surprising depth. Its rogue-like setup and hack and slash gameplay make it instantly engaging, but you’ll constantly be surprised by just how much there is to pretty much every aspect of the game. The six primary weapons, as well as the acquired upgrades and items you get along the way, would already give the game great variety, but combine it with all the powers you gain (and lose) with every run through the underworld, and Hades is a game that’s always changing and evolving.
With so much variety on top of what is already smooth and fun action, Hades is one of the most addicting action games in years.
Best Indie Game: Hades
Supergiant Games are no strangers to making acclaimed independent titles, and Hades is most likely their best work to date. An engrossing, action-packed indie classic that also manages to have a pretty interesting narrative.
Best Handheld Game: Animal Crossing: New Horizons
Now that I’m including Nintendo Switch titles for the title of Best Handheld Game, this was a really tough choice between Animal Crossing: New Horizons and Hades. In the end, I went with Animal Crossing, simply because it can be easier enjoyed in short bursts as well lengthy play sessions, which seems ideal for gaming on the go, while Hades is a little more demanding of your time. Hey, I had to pick one, okay!
New Horizons may not be the first handheld Animal Crossing, and I understand the complaints some have that it’s lacking some of the features of its 3DS predecessor. But New Horizons is still a prime example of why the series works so well on handheld platforms. Its relaxing “play at your own pace” gameplay, and the hidden depth therein, make it a perfect fit for gaming on the go.
Best Platform: Nintendo Switch
Uh oh, I gave the nod to Nintendo over Sony. According to the internet, that makes me a blind fanboy. But c’mon, the PS4’s biggest game of 2020 was an overhyped sequel to 2013’s most overhyped game, and the new, state-of-the-art PS5’s best game was a remake of a PS3 game. 2020 may not have been the Switch’s best year, but Animal Crossing and Hades alone really helped propel it.
Maybe a B+ year for Switch overall, but it still managed to shine brightest.
Game of the Year 2020: Animal Crossing: New Horizons
I only played Hades more recently, and that recency bias almost forced my hand to name it Game of the Year. It certainly would be a deserving choice, to be sure. However, I started thinking about those first few months Animal Crossing: New Horizons came out, the countless hours I poured into it, and how it basically ruled the minds of all those who played it.
Importantly (and go ahead and call this cheating), those first few months coincided with the first months of the dreadful Covid-19 pandemic. In such a dark time, Animal Crossing: New Horizons was that tiny ray of light that brought some happiness and normalcy to the world. That’s something that can’t be taken for granted.
Both Animal Crossing: New Horizons and Hades are worthy for the title of best video game of 2020. But due to unprecedented circumstances, it’s the latest iteration of Animal Crossing that I feel deserves to take the honors.
Though even without said circumstances, Animal Crossing: New Horizons has so much going for it. Yes, the coffee shop and a few other features from the 3DS version are absent, but what is present represents Animal Crossing at its peak. Collecting items, building up your island, visiting friends, hording those sweet, sweet bells. Few series provide such simple enjoyment as Animal Crossing, and New Horizons provides it better than the series has before.
Now if you’ll excuse me, I have to get back to my island and pull some weeds…
Runners-up: Hades, Fall Guys: Ultimate Knockout, Crash Bandicoot 4: It’s About Time
Chapter 4: SomehowPalpatine Returned
No, I don’t care to elaborate.
Chapter 5: Where We’re Going We Don’t Need Roads
First, some apologies. I’m sorry my site has really slowed down with the updates since the last quarter of 2020. Things looked like they would improve in 2021 when I reviewed all five Oddworld titles (before SoulStorm’s release) in January. But since then, I’ve slowed right back down again. For the first time since I launched this site, May of 2021 was the first month where I didn’t post a single update. And for this slowness, I apologize.
On the plus side, as I’ve been writing this 1000th post, I’ve also written a few additional reviews, which I will make public in the days following this celebratory post.
I’m hoping that my updates will once again pick up in the coming weeks and months, though I do have to admit my actual reviews for movies and video games may not be as frequent as they once were. Simply put: I can’t keep up with them all. As much as I would like to review every game that catches my eye and every movie I see, that’s just not possible, unless this were to somehow magically become a full-time job.
By this I mean that, in the past, I would often buy games (sometimes when I really didn’t have the money to spare) just so I could get an extra review on this site. To give myself a compliment, I feel that commitment to something (in this case, creating content for a website) is admirable. But if I’m being realistic, I just can’t keep up with that pace (notice I still need to actually write my reviews of the aforementioned Animal Crossing: New Horizon and Hades). Partly because of life, and partly because (as I’ve complained about so many times) modern video games are just too damn long. And of course they’re expensive. As for movies, well, there’s just so many of them, and while I appreciate movies of all kinds, I admit there are certain types of films that I certainly enjoy writing about more than others (or, at the very least, where the writing comes to me more naturally than others).
Don’t worry, I still hope to pick up the pace and get a steady flow of content in the future. But, aside from my 400th video game review milestone (which I’m just so close to already), I won’t be rushing myself to get to the next big milestone for a while. Maybe expect a small handful of reviews every month, and maybe an additional piece of writing and (hopefully) a top 5/10 list. I’ve been meaning to catch up on making such lists, so maybe an easier flow of reviews will help me finally get to those lists.
Another reason why I may not be racing to get as many reviews done as possible is – as I’ve stated so many times in the past I’m now kind of tired of saying it and not pulling through with doing it – I would like to get started on other creative endeavors. Doing something in a video format would be interesting, and something I’ve given a lot of thought into for quite some time, so maybe it’s time I finally do it (I could always post those videos here as well). And more importantly, I really need to start delving deeper into learning video game development. I’ve never been one who could just simply enjoy things like movies and video games. I’ve always wanted to make my own creations, ever since I was a kid.
While I will continue to update this site as much as possible, suffice to say if I were given the choice between reviewing stuff made by other people, or making stuff of my own, the latter option is the one I would describe as my dream come true. So it’s about time I started taking the appropriate steps to making that dream a reality.
So don’t worry, Wizard Dojo isn’t going anywhere. I just have other things to do, and places I need to be.
Chapter 6: Top 10 Video Game Launch Titles (2021 Edition)
Here we are at the THIRD edition of my list of the best video game launch titles. The first time I did it was a simple top five (with runners-up) that I posted on the launch day of this site. The second was a proper top 10, and happened in 2018, when I did a sort of “soft reboot” for this site. Since I like to think this 1000th post constitutes another kind of new beginning for Wizard Dojo, it seemed appropriate to include a third edition here.
So here now is a (slightly) updated installment to my list of the best launch titles in video game history. The games that released right alongside their console (sometimes in the same box!) and set a high standard right out of the gate. Oh, and keep in mind these entries were all released on the same day as their consoles, so even though Super Smash Bros. Melee and Pikmin are often considered launch games for the GameCube, they were only released around the same timeframe, not the same day. So they aren’t here.
So here now – again – are my top 10 video game launch titles!
10: Demon’s Souls (Playstation 5)
The Playstation brand has produced some great consoles. But you know something, they’ve never really been too good with launch titles. Every time I think of great video game launch titles, I can’t say a whole lot of games from Sony’s consoles come to mind (and by that I mean none do). Well, it looks like the PS5 has finally given the Playstation brand it’s first truly great launch title… and all they had to do was remake a Playstation 3 game from eleven years earlier.
Okay, perhaps Demon’s Souls on PS5 is a little something of a cheat. But it’s also the first time a Playstation console has had something truly great right out of the gate, so that has to count for something, right?
Although some of Demon’s Souls’ design choices may be rough around the edges when compared to the subsequent Souls games, the PS5 remake does a great job at streamlining some of the more cumbersome elements of the original 2009 game to bring this influential title a bit more up to date.
Sony may still be waiting on that launch game that really encapsulates what its console is all about, but Demon’s Souls’ intricate combat, deep design, and unforgettable world make it the best game to launch alongside a Playstation console to date.
9: The Legend of Zelda: Twilight Princess (Wii)
In its earlier years, Nintendo would use its star franchise, Super Mario, to ring in a new console. But in more contemporary times, it’s Nintendo’s other premiere franchise, The Legend of Zelda, that simultaneously ends one console and ushers in the next. This unique trend started in 2006, when The Legend of Zelda: Twilight Princess closed the door to the GameCube and helped bring about the age of the Wii.
Like Demon’s Souls on PS5, Twilight Princess was perhaps not the best showcase of the Wii for this reason (the motion controls were kind of tacked on, but still fun), but the sheer quality of the game itself has to earn it a spot on the list. It’s certainly the ‘biggest’ of the traditional Zelda titles, featuring terrific dungeon design and some of Link’s greatest gadgets and gizmos.
With the two follow-up console titles in the series trying to change up the Zelda formula (to varying degrees of success), Twilight Princess is kind of like the last traditional Zelda game. That gives the game something of a bittersweet appeal in hindsight. But if Twilight Princess were to be the last traditional Zelda title, it was a high note to go out on.
Perhaps Twilight Princess isn’t the most “Wii” of Wii games. But its still one of the biggest and best Zelda titles, and Wii owners didn’t even have to wait to play it (unless they played a certain other launch title first).
8: SoulCalibur (Dreamcast)
Yes, SoulCalibur was originally in arcades. But its port to the Sega Dreamcast as part of that console’s launch was considered a nearly-perfect port of the weapons-based fighter. Considering even the likes of Street Fighter 2 and Mortal Kombat were considered to have sacrificed some quality in the transition to home consoles, it’s quite the achievement.
SoulCalibur was to 3D fighters what the aforementioned Street Fighter 2 and Mortal Kombat were to 2D ones. Intricate combat coupled with a varied cast of characters made for a deep fighter. And with the Dreamcast version losing nothing from its arcade counterpart, SoulCalibur was, at long last, the “arcade at home” experience fans had been looking for. It’s still one of the most acclaimed video games of all time! Also, jiggle physics!
Sonic Adventure was another memorable launch title for the Dreamcast. Though I’d be lying if I said Sonic Adventure stands the test of time, even with my nostalgia for it. SoulCalibur, on the other hand, has held up surprisingly well. Considering SoulCalibur was a pioneer in the 3D fighter genre, that timelessness is all the more impressive.
The SoulCalibur series may not be as acclaimed as it once was. But rest assured, the original’s place in video game history is well secure.
7: Halo: Combat Evolved (Xbox)
Dang, it hurts to put Halo at only number seven on this list. Honestly, it’s at this point where things got reeeally hard to rank, even this third time around. Make no mistake about it, however, Halo’s placement is no indictment of anything it did wrong as a launch title. It’s only a testament to the accomplishments of the remaining games on this list.
Without Halo, would the Xbox brand be such a prominent force in gaming today, twenty years later? I honestly don’t think it would be. Remember, the original Xbox was competing with the white hot Playstation 2 (and to a much lesser extent, industry mainstay Nintendo with the GameCube). Without something truly memorable at launch, the Xbox brand may have been doomed to have just been “that other guy” in the video game console equation.
Thankfully for Xbox, it had Halo.
Goldeneye 007 may have been the game that made first-person shooters work on home consoles, but it really has nothing on Halo.
Halo streamlined what needed fixing in the genre (only two weapons at a time, so no more endless cycling through your arsenal to find the weapon you’re looking for), and also added so much to it. The multiplayer of course speaks for itself. Anyone who owned an Xbox spent countless hours with friends and family in deathmatches and capture the flags. But for a great change of pace for the genre, Halo even included a great single-player campaign that was worth playing again and again. You could even play said campaign with a second player!
Don’t get me wrong, there were plenty of good games on the Xbox, but suffice to say Halo’s appeal transcended all of them. It wasn’t until its own sequel hit store shelves three years later – with added online functionality – that Halo: Combat Evolved was usurped as the biggest game on the console.
6: Wii Sports (Wii)
Maybe I just shouldn’t make these lists, because placing Wii Sports at number six is kind of killing me. No, it’s not the deepest game on this list, but it – perhaps more so than any other game – expresses exactly what its console is all about. Sure, Twilight Princess filled the need for a new installment in a beloved Nintendo franchise, but it was also originally conceived as a GameCube title. But Wii Sports was the Wii game.
Wii Sports is good, simple fun. Anyone, no matter their prior experience with video games, could pick it up and play. You had five sports included (tennis, golf, bowling, baseball and my personal favorite, boxing), all of which were played with motion controls. Simply move the Wii remote, and the character would move accordingly. It’s kind of weird how so few other games (on Wii and elsewhere) would end up utilizing motion controls half as well. Wii Sports came right out of the box, and got everything so right.
Oh, and you can’t forget the Miis. These simplified, player-created avatars became such a staple for Nintendo, that they continue to this day on Nintendo Switch, surviving long after the Wii name itself. Wii Sports just wouldn’t have been the same without them. Seriously, imagine the same concept of a game, but with a realistic looking baseball player. It’s just not the same, is it?
Wii Sports was just that perfect storm of components. Its simple, addictive, player-friendly gameplay combined with the innovation of the console itself made it an unforgettable experience. Even with a new Zelda ready and waiting, Wii Sports was the first place most Wii owners went to on their homepage (well, maybe after the Mii Channel).
No doubt the appeal of Wii Sports helped the Wii become the phenomenon that it was, which in turn helped gaming as a whole become more accepted as a mainstream pastime.
5: Tetris (Game Boy)
Although Tetris actually predates the Game Boy, it’s on Nintendo’s original handheld juggernaut where it became a phenomenon. It was a match made in heaven: Tetris’s simple gameplay of aligning falling blocks worked perfectly for the handheld console. Tetris was the kind of game you could play for a few minutes or for hours at a time (provided you had the batteries).
Sure, being on the Game Boy may have brought Tetris worldwide recognition, but I’d argue Game Boy was the real beneficiary for having Tetris be a part of it. No doubt the infectious, deceitfully deep gameplay of Tetris helped boost the Game Boy’s sales early on, and even throughout its lifetime.
Other titles such as Super Mario Land, Kirby’s Dream Land and The Legend of Zelda: Link’s Awakening helped the Game Boy continue to grow, and the Game Boy is one of the only consoles (maybe the only one) to get a second life when it was supposed to be at its end, due to a little game called Pokemon. But the Game Boy would have never made it to Pokemon if it weren’t for Tetris. This falling-block puzzler even went on to transcend the Game Boy and consoles themselves, being released on virtually any available electronic and digital platform in existence at this point.
To this day, Tetris remains one of the best games of all time. The Game Boy may have helped Tetris in its ascension towards world domination, but I don’t think it’s a stretch to say Nintendo’s long dominance in the handheld gaming market (which even continues today with the Nintendo Switch) owes a lot to the fact that Tetris was available on the Game Boy right from the get-go.
4: Super Mario Bros. (NES)
I have to stress this every time: if we’re going by influence alone, Super Mario Bros. would top this and every other list. Although it may seem hard to believe nowadays with how far video games have come since, but no game showcased a bigger leap from what came before than Super Mario Bros. did in 1985.
The sheer fact that Mario could start one level on land, enter a pipe, and then be submerged in water with accompanying mechanics, was unlike anything else at the time. Before Super Mario Bros., if a game was going to be underwater, then that’s what the game was in its entirety, all on a single screen.
Super Mario Bros. brought adventure to video games. Even better, it did it while also having pitch perfect gameplay. It set the standard of forward-thinking ideas and flawless execution that would come to define the series. It singlehandedly made the NES the console of the 80s and set the stage for Nintendo’s many other franchises to follow. Not to mention it did it all during something of a dark age for the video game medium. Its impact and influence can’t be overstated.
Sure, there are plenty of better Mario games now (a couple of which you’ll be seeing on this list), but the original Super Mario Bros. remains a timeless classic in its own right. Which is no small feat for an NES launch game.
3: Super Mario 64 (Nintendo 64)
If one of a launch game’s biggest jobs is to showcase what a new generation can do that its predecessors could not, than no game has ever matched Super Mario 64 in that regard, and I don’t believe one ever will.
Super Mario 64 wasn’t the first 3D video game, but it may as well have been, as it was the first to truly bring the concept to life. For the first time, a character could roam freely in a 3D environment, player’s could go about the game world as they pleased. And thankfully, the exquisite design Super Mario had been known for remained fully intact.
Just as Mario reinvented video games in 1985 with Super Mario Bros., he did it all over again with Super Mario 64, this time elevating 3D gaming from a mere novelty into being the direction the medium would traverse going forward.
It may be hard for some to appreciate these days with how far gaming has come, but the sheer act of moving Mario around the courtyard of Princess Peach’s castle was a revelation. Mario now had acrobatic moves, like a triple jump, a wall jump and a punch/kick combo. Some of his moves (like that weird crouching, breakdance-like kick) seemed to exist just because they could in Mario’s new 3D environment. Never before had the sheer act of controlling a character in a video game felt so special, and it’s seldom been approached since.
Sony’s Playstation was the new kid on the block at the time. It may have been the “cooler” console with the fresher faces. But it was one of gaming’s oldest icons who paved the way for the future.
2: The Legend of Zelda: Breath of the Wild (Nintendo Switch)
History repeated itself in 2017 when – just like Twilight Princess simultaneously ended the GameCube era and ushered in the Wii eleven years earlier – The Legend of Zelda: Breath of the Wild, after many delays, closed the book on the ill-fated Wii U and started a new chapter for Nintendo with the Switch. Though this time, instead of a hefty traditional Zelda title, we had one that reinvented its series.
At the expense of saying something controversial, Ocarina of Time had held the Zelda series back for too long. While Mario was constantly changing the rules of his series, Link’s adventures felt like they didn’t want to walk too far out of Ocarina’s shadow (itself kind of an extension of A Link to the Past’s shadow, if we’re being honest). They remained great games, to be sure. But their more conservative tendencies may have prevented them from building stronger individual legacies.
Thankfully, The Legend of Zelda: Breath of the Wild changed all that, rethinking and rewriting the rules of how Zelda games are played. Hyrule was now a vast open world, Link has a constantly changing arsenal of weapons, he learns all of his key abilities right out of the gate, you can even go straight from the beginning of the game to the final boss, if you’re brave or fool enough.
Nintendo previously seemed to think making such drastic changes to The Legend of Zelda would have been sacrilegious, but the changes Breath of the Wild brought with it should only restore faith into the Zelda series. Breath of the Wild is as fun and deep as any entry in the franchise, but is swimming in ideas and concepts that are all its own.
Yes, it was originally planned as a Wii U exclusive, and who knows how that system’s fortunes may have differed had things gone to plan. But like Twilight Princess, its late-game transition to the next console in line gave it that special feeling that only the best launch games can generate. And Breath of the Wild is so good, it should rank near the top of any list of launch titles.
But there is one greater still…
1: Super Mario World (Super NES)
On the surface, Super Mario World may seem like it’s “merely” a bigger sequel to the NES Mario games, but it shouldn’t take long to realize it’s so much more than that.
While Super Mario Bros. 3 introduced the world map into the equation, Super Mario World turned the world map into a level itself. Now stages included multiple exits, the map featured branching paths, there were secret worlds, and secret worlds inside of secret worlds! You could unlock new paths in earlier levels within the later levels of the game, and find warps to travel to different points in the world map. You could try to find the quickest route to take down Bowser, or uncover every last one of Super Mario World’s many secrets, essentially creating both speedrunning and completionism as we know them today in one fell swoop.
Levels were no longer completed simply by going left to right. Now, Mario often had to travel upward, downward, over and into the levels themselves to find every hidden exit. Metroid and Castlevania (the collective “Metroidvania”) understandably get credit for their emphasis on exploration, but Super Mario World kind of beat them to the punch.
World refined the flight mechanics introduced in Super Mario Bros. 3 through the now-iconic Super Cape power-up, which allowed Mario to travel and explore levels like never before. More importantly, Super Mario World introduced us all to Yoshi! The adorable dinosaur was a (literal) game-changer, and became so popular he starred in games of his own soon after. Has any character addition in a video game sequel ever had a bigger impact?
Something few people seem to mention about Super Mario World these days is that it was the first example of a new entry in a beloved franchise launching new hardware. Though Mario is a constant presence in gaming now, Super Mario World had to prove that to be the case. If the game failed, the Super Mario series may have faded with the NES. So Super Mario World had a hefty task at hand in proving Mario wasn’t simply a product of the 80s. Suffice to say it passed the test with flying colors.
Super Mario World showcased nex-gen capabilities in a way not dissimilar to Super Mario 64 (Yoshi simply wasn’t possible in the NES Marios), and features the same kind of franchise reinvention that would later define Zelda: Breath of the Wild. And it ensured Mario was here to stay.
30 years ago, Super Mario World showed us the best way to introduce a new console. And now, 30 years later, it hasn’t been matched. The best launch game of all time.
Honorable mentions: Sonic Adventure (Dreamcast), Luigi’s Mansion (GameCube), Nintendo Land (Wii U), New Super Mario Bros. U (Wii U)
Chapter 7: The Last One
Did I say the chapters in this post made it like Paper Mario? But I only made it to seven chapters, as opposed to eight… So I guess it’s more like Bug Fables. Still better than Sticker Star, Color Splash or Origami King. That’s for damned sure!
Yes, sadly, we come to the end of my one-thousandth post. There were some other things I wanted to include in here, but seeing as it took me so long just to get this done, they’ll have to wait for another day. I mean, I haven’t posted anything in two months! I can’t keep delaying this.
So I wasn’t able to make this 1,000th blog post everything it could be, but I hope you had some fun despite this. I’ll keep those additional ideas handy, either as their own posts (which might get them more traffic anyway, come to think of it), or as part of my Christmas Special or some other such post. Hopefully this site won’t have another draught like that between my review of Raya and the Last Dragon and this 1,000th post for quite some time.
Thankfully, I have a few movie and video game reviews that I’ve completed as I wrote this in bits and pieces. They’ve just been waiting for me to post this 1,000th post (so that it would actually be the 1,000th post). So now I can start posting those reviews in the coming days.
Now if you’ll excuse me, I must be off now. There’s more writing to be done, and all of that other stuff I mentioned earlier, too.
Once again, a very big thank you to everyone who reads this site. It’s been a fun ride, these past 1,000 blogs. Here’s to one-thousand more. And a lot more after that. It’s not like I plan to stop at 2,000 or anything. Why am I explaining this to you? You knew that “here’s to one-thousand more” doesn’t mean “and that’s it.”
Thanks for stopping by! Keep on keepin’ on! And have a nice day!
Secret Bonus Chapter: Chapter 8: Ranking the Paper Mario Games!
Wait? You mean there are eight chapters here? Well then, I need to think of something to write…
I got it! With the above mention of Paper Mario, here is my “unofficial” ranking of the Paper Mario games (unofficial in that I haven’t played some of the entries in many a year, and am mostly going by memory). Hopefully I can get around to replaying the entries I haven’t reviewed (including slogging my way to the end of Origami King), as I would like to properly review them all some day.
Anyway, here’s my ranking of the Paper Mario series.
7: Paper Mario: Sticker Star
Tragically, Sticker Star kind of marked the end of Mario RPGs. The Mario & Luigi series would continue with two more entries afterwards, but both Dream Team and Paper Jam (the latter of which served as a crossover between Mario & Luigi and Paper Mario) were watered down disappointments of what came before (Dream Team at least still had some original characters, but Paper Jam went all in with the bizarre “No more originality allowed!” mentality that Sticker Start started). This isn’t about Mario & Luigi, though, it’s about Paper Mario.
That’s the sad thing about it though, Sticker Star effectively killed everything people loved about Paper Mario. No more RPG elements, no more partners, no more original characters, no more strategy, no more…anything really.
But at least it had that sticker gimmick! Guh-hyuk! Let me see if I can make any sense of Paper Mario: Sticker Star’s Sticker mechanic: Instead of Mario and a partner having their own moves for battle, all of Mario’s actions used consumable stickers. Because this game hates RPGs (while still using a turn-based battle system), you didn’t gain experience points and level up to get stronger. Instead, your rewards for winning battles were either A) more stickers or B) coins…for buying more stickers. So you use these consumable items in battle, so that you can get more of these consumable items for battle… There’s absolutely no point to the battle system.
Worse still, boss fights could only be won by using very specific stickers (I think they were referred to as “Things.” The creativity is just astounding). Without those “Things” the boss fights were literally unbeatable. So again, no strategy, just use the boss-specific “Thing” and that’s it, you win!
Honestly, I think Sticker Star is up there with the likes of Metroid: Other M as one of the worst games Nintendo has ever made. It killed the Mario RPGs. That right there is heartbreaking.
6: Paper Mario: The Origami King
It was tough deciding which game was worse between Color Splash and Origami King. While Color Splash continued with Sticker Star’s nonsensical formula, it at least improved it somewhat. But Origami King tried to (needlessly) change up the Paper Mario formula once again, and created something that was every bit as pointless as Sticker Star (though with maybe some added charm). So I decided Origami King is the worse of the two.
The thing that really irks me about Origami King is how it pretends like it’s trying to reach out to fans of the original Paper Mario games. It acts like partner characters are back, except these partners are controlled by AI, have literally one attack (which usually misses anyway), and are characters like a generic Bob-omb named Bob-omb! The Bob-omb named Bob-omb even mentions that he used to have a friend, a fellow Bob-omb who was also named Bob-omb! Isn’t that totally funny? It’s not like it’s an example of the many drawbacks that come with the series’ bizarre enforced limitations to not introduce original characters or anything.
Then there are the battles. Origami King would have you believe proper turn-based battles made a comeback, but again, it’s just a huge gimmick where you have to line up enemies in a set amount of time, and though the items aren’t one-time consumables anymore, they still wear out eventually and you have to replace them. Naturally, you don’t gain experience points or level up for battling, you just get coins to buy more items for battling that wear out during battle. Again, what’s the point?!
And don’t get me started on boss battles, where you have to move to a certain space on the board in order to attack the boss, but the bosses can often change the board around as you’re moving, rendering your strategy pointless.
All the more baffling is that these changes were made to supposedly make the game more kid-friendly. But it’s so convoluted I can’t imagine very many kids would have much fun with it. Kids seem to like the RPG elements of Pokemon, so what was so bad about Paper Mario being an RPG again?
5: Paper Mario: Color Splash
The Wii U edition of Paper Mario was revealed to little fanfare. Probably because it decided to go the same route as Sticker Star, and Nintendo knew people wouldn’t be happy about it. It’s one of the most obnoxiously stubborn video games ever made.
At the very least, Color Splash is an improvement over Sticker Star, even if it shares many of its poor design choices (consumable items for battle, no partners, bosses that require the use of a specific item). Though at least this time around, there was some semblance of character progression, since Mario needed to paint the environment with his hammer, and battling could result in Mario levelling up his hammer to have more paint. Hey, any improvement over Sticker Star is something.
I suppose at the very least, Color Splash’s insistence in following suit with Sticker Star meant it didn’t pretend like it was trying to bring back old fans as well, like Origami King would eventually do. Stubborn though it may be, at least this entry was honest.
4: Super Paper Mario
I’m going to be a little controversial here, because some people absolutely love this game to death. But I feel like Super Paper Mario is where things started to go wrong for the series. Now, it’s not a bad game like Sticker Star, but it did start the trend of Nintendo and Intelligent Systems way overthinking what changes needed to be made to Paper Mario.
Change can be a good thing, of course. The mainline Mario series is always changing, and it’s a big reason why I think it deserves its praise as gaming’s best series. But did Paper Mario really need to change so drastically by its third entry?
To be fair, at the time, Super Paper Mario’s changes were a one-off experiment. That’s fine, but it’s a shame Nintendo decided from then on out, Paper Mario needed to be completely revamped.
I have fond memories of Super Paper Mario. It was fun, funny, and contained some original ideas. It abandoned the turn-based nature of the previous two Paper Marios in favor of a platformer with RPG elements. It’s not a terrible idea, though the fact that the mainline Mario games are already platformers does make the change a bit questionable. Maybe a more Symphony of the Night-style Mario action game would have justified the change more? But I digress.
The issue with Super Paper Mario, though, is that despite the change to a much faster paced genre, it has even more story and dialogue than the previous Paper Mario games. One reason why stories, cutscenes and dialogue boxes work for turn-based RPGs is because they’re already a slower paced genre. But turning an RPG into a platformer, while doubling down on the RPG storytelling seems conflicting with itself. I’m not saying platformers can’t have stories, but when Super Paper Mario has more story than the RPG Paper Mario games, it brings the platformer side of thing down to a crawl.
I remember enjoying Super Paper Mario, and hopefully I’ll revisit it in the near future. But it was the game that made the cracks in the foundation of the series.
3: Bug Fables: The Everlasting Sapling
And now the quality ramps up considerably.
Nintendo fans have made it no secret that they crave the return of the original Paper Mario formula. And for some unknowable reason, Nintendo continues to ignore them. So a small independent studio who were fellow fans of classic Paper Mario decided if Nintendo isn’t going to listen, they’ll just make their own Paper Mario instead.
Bug Fables: The Everlasting Sapling really is classic Paper Mario in all but the names and faces. A wonderful (kind of) return to form for something fans have been starved of for far too long. It should also rank alongside games like Undertale, Shovel Knight and Hades as one of the best indie games around (and Bloodstained: Ritual of the Night. Does that count as indie?).
Turn-based battle system with action commands? Check. Paper-thin characters but no overbearing paper gimmicks? Check. Character progression? Check. The only thing missing are partner characters, but that’s because Bug Fables has a set team of three characters right out the gate. That’s fine. It had to do something different to stand out.
I think my only real issue with Bug Fables is that the difficulty can be a little inconsistent. I actually found some earlier segments to be more challenging than some later stages of the game. It’s not a big deal, but I guess you’d ideally want a game’s difficulty to gradually increase as you go (though it’s not an RPG, Donkey Kong Country 2 is probably the best example of a game increasing in difficulty piece by piece. So look to that for inspiration).
Somewhat hilariously, Bug Fables made its way to the Switch mere months before Origami King. While the latter may have boasted the Paper Mario name, Bug Fables was the Paper Mario you’d been looking for.
Oh, how wonderful it was (and is) to play a game like this again. Why oh why can’t Nintendo see why people love this so much?
2: Paper Mario: The Thousand-Year Door
The second entry in the Paper Mario series seems to be the fan-favorite: Partly because it was a fantastic game, and partly because it was the last time Paper Mario was the Paper Mario we knew and loved. Like many great sequels, The Thousand-Year Door is bigger than the original in almost every way: the story is darker and more serious, the writing is more colorful and witty, there’s more sidequests. Overall, a great sequel.
With that said, I do find some of the partners to be a little bit of a downgrade from the first game (the first few partners even come across as the B-team counterparts to those of the N64 original), and while there’s nothing wrong with the battle system, there’s nothing wrong with it because it was basically just carried over from the first game. My point being that The Thousand-Year Door is bigger than the first game in pretty much every way, but maybe not as innovative in the little details. But now I’m being nitpicky.
If it ain’t broke don’t fix it, I suppose. It certainly beats the “we know fans love the original, but we’re choosing to ignore that and strip away everything they loved from the series” mentality of later entries.
It’s easy to see why The Thousand-Year Door remains so beloved. It took the foundation of the original Paper Mario, and made it into as grand and epic of a journey as any Mario has ever seen. It should rank highly among any list of Nintendo RPGs (a category which I feel doesn’t get the credit it really deserves).
Of course, I think I’ve made it obvious what my number one pick is…
1: Paper Mario
Sometimes, you just can’t beat the original. Though I guess in this case, Nintendo stopped trying to do that long ago. But again, I digress.
What makes the original Paper Mario still stand out twenty years on is the purity of it all. This is the most “Mario” of the Mario RPGs. But I mean that in a meaningful sense, not in the “it can only have characters from the main series and nothing original” sense of the newer entries. It’s the most “Mario” in that it feels like a mainline entry turned into an RPG: Bowser is the villain, but there’s a twist in that he now possesses the wish granting Star Rod to make himself invincible. Peach still needs rescuing, but there are moments between Mario’s adventure where the player takes control of her which prove her resourcefulness. Classic Mario enemies return, but often as friendly NPCs and even Mario’s party members. And while its battle system is turn-based, the action commands make it still feel like a traditional Mario game.
Granted, Super Mario RPG: Legend of the Seven Stars beat Paper Mario to the punch on the whole (and at the expense of undermining this whole ranking, I think Super Mario RPG is the superior game. But it’s also like my favorite game of all time so no harm there, I suppose). Though Super Mario RPG kind of feels like its own thing (one that Nintendo and company really should revisit someday, mind you), whereas Paper Mario feels like it could be part of the mainline Mario series, despite its change in genre.
Paper Mario may have been the only noteworthy RPG on the Nintendo 64. But if the console could only have one, it was lucky to have this one. It’s probably my favorite Nintendo 64 title (though Super Mario 64 and Banjo-Tooie need to be mentioned), one of the system’s few truly timeless games, and one of my favorite RPGs.
The Thousand-Year Door may have added to it. Bug Fables may have paid homage to it. And subsequent Paper Mario games have done… whatever the hell they’ve done to it. But whenever I think of Paper Mario at its best, I always go back to the N64 original.
Chapter 9: The Actual Last One
Well, that last chapter certainly was totally planned from the start and not hastily written at the eleventh hour. Okay, so actually it had been planned for this 1,000th post, then it was one of the ideas I dropped from this celebratory post so I could get it done. But then, like the madman I am, I decided to add the Paper Mario ranking in here after all at the last minute.
There are, however, still those few extra ideas I had that will have to wait for another day. I actually mean that this time. They’ll have to wait. Hopefully you like them in the not-too-distant future.
So yes, now I’ll leave you with a big, fat T H A N K Y O U ! Thanks for your readership, whether it be continued or first time readership. And also thanks to movies and video games for being so great and giving me something I want to write about.
It took a while to get to this 1,000th blog, but I enjoyed every minute of it (well, except maybe when I reviewed CrazyBus and Super Man 64. Those were hard times). Here’s to many, many more!
Raya and the Last Dragon is the fifty-ninth film from Walt Disney Animation Studios. In recent years, Disney has seemingly reclaimed their crown from sister studio Pixar as the leading force in animated blockbusters, reaching new critical and commercial heights with the likes of Zootopia, Moana and, of course, Frozen. Disney Animation has never been as creatively robust and varied as they are now, and that remains true of Raya and the Last Dragon, which sees Disney try their hand at an action-adventure film with greatly entertaining success.
Disney has admittedly attempted some action-oriented animated features in the past, most notably in the early 2000s with Atlantis: The Lost Empire and Treasure Planet. Though it’s safe to say neither of those films are remembered as Disney classics. But with Raya and the Last Dragon, Disney seems to have found the right balance of making a satisfying action film with all the making of a Disney classic.
Perhaps I should say “most” of the makings of a Disney classic, as Raya and the Last Dragon isn’t a musical, like most of Disney’s best works. But as far as Disney’s animated non-musicals go, Raya and the Last Dragon is among the best, maybe even the best of the lot.
Set in the Southeast Asian-inspired world of Kumandra, the story of Raya and the Last Dragon begins five-hundred years before Raya herself enters the picture: Kumandra was once a unified continent in which humans lived in harmony with magical dragons. This all changed when evil spirits called “Druun” appeared, and turned every living thing they touched to stone. The Druun spread like wildfire, engulfing human and dragon alike. Eventually, only one dragon remained, Sisu (Akwafina), who concentrated all her magic into a gem that cleansed the world of the Druun and revived all the humans, though the dragons remained stone, and Sisu herself disappeared. The people of Kumandra then had a power struggle for the “Dragon Gem” and split into five tribes, each named after part of a dragon: Heart, Fang, Spine, Talon and Tail. Heart, being the epicenter of Sisu’s last stand, is where the gem remains.
Fast-forward five-hundred years, and the other tribes still envy Heart over its possession of the Dragon Gem. Benja (Daniel Dae Kim), the leader of Heart and protector of the gem, still believes in a unified Kumandra, and hopes to make peace with the other tribes. Benja invites the leaders of the other tribes to Heart for a feast as a sign of goodwill. All seems to be going well, with Benja’s daughter, a young Princess Raya (Kelly Marie Tran) becoming fast friends with the princess of Fang, Namaari (Gemma Chan). But after Namaari wins Raya’s trust, Raya – who is training to be the Dragon Gem’s next guardian – shows Namaari the location of the gem. Namaari alerts the other members of Fang, and when Benja goes to defend the gem, the other tribe leaders follow him. A struggle ensues between the tribes for the gem, which results in Benja being injured, and the gem being broken into five pieces. Each tribe takes a piece, but the damage has been done, and the gem’s fracturing has reawakened the Druun, who once again begin turning humans to stone, including chief Benja himself.
The remaining members of each tribe use their gem pieces to repel the Druun, and find refuge around water (which the Druun also hate), but the majority of people have already been turned to stone. Fast forward six years, and Raya, now a young woman, has been on a quest to track down Sisu, who is rumored to still be alive, in hopes that the dragon can fuse the gem back together and heal the world.
Given that the name of the movie is Raya and the Last Dragon, I don’t think I’m spoiling anything by revealing that Raya does manage to find the resting spot of Sisu, and summons the dragon. After filling Sisu in on the situation (the dragon still thinks it’s the same day from five-hundred years prior upon awakening), Raya and Sisu set out to claim the other pieces of the Dragon Gem so they can set the world right. All the while, Namaari, hearing of Raya’s quest, hopes to stop Raya and claim the Dragon Gem for Fang.
That may seem like a lot of backstory for a Disney movie, but I kind of like that about Raya and the Last Dragon. Between Raya and Frozen II, Disney seems to be giving their films legitimate worldbuilding and lore (while not letting such things get in the way of the story at hand, which is crucial). We’ve certainly come a long way from the days when everything in a Disney movie was built around the moment when two hot people would make-out.
The story of Raya and the Last Dragon from this point has a simple adventure structure, but there’s nothing wrong with that when things are executed this well. And in typical Disney fashion, the film introduces us to a number of memorable characters, and has a nice message about trust to boot (having been betrayed by Namaari, resulting in the world’s ruin, Raya has a hard time believing in her father’s more positive outlook on the world, which clashes with Sisu’s childlike optimism).
Along their adventure, Raya and Sisu are joined by different colorful characters from the different tribes: Boun (Izaac Wang) is a ten-year old boy from Tail who captains the group’s boat, which also doubles as a restaurant. Noi (Thalia Tran) is a baby from Talon who, along with her three monkey-like companions, is a con artist. And Tong (Benedict Wong) is a warrior with a heart of gold from Spine with a peculiar manner of speech. And of course Raya has her own animal sidekick in the form of Tuk Tuk, a kind of giant armadillo/chipmunk hybrid whose sounds are provided by Alan Tudyk (because who else would it be in a modern Disney movie?).
This may seem like a lot of characters to juggle, and while some of them could do with a little more screen time, Raya and the Last Dragon actually does a nice job at giving this diverse group of ragtag heroes their own distinct personalities.
The characters are a lot of fun, and so is the adventure they find themselves on. Disney has long-since showcased that animation is the ideal medium for the film musical, but Raya and the Last Dragon is among the rare animated films – like Castle in the Sky or even the Kung Fu Panda movies – that shows that action sequences may also be best suited for animation. The real world has its limitations, and special effects can get distracting, but animation creates a reality of its own, allowing for the action to only be limited by the filmmakers’ imaginations.
Whether it’s one-on-one fight scenes or chase sequences, Raya and the Last Dragon provides some exhilarating set pieces. And it’s all perfectly suitable action for younger audiences too. More cynical people might balk that such things would dumb the action down, but that isn’t the case. Children deserve a variety of movies as much as anyone, so it’s great that something like Raya and the Last Dragon can produce these elaborate, creative set pieces and still present them in an accessible way for its target audience. Atlantis and Treasure Planet could feel like they were “trying to be cool” through their action, which might explain why they don’t exactly feel timeless. But Raya and the Last Dragon feels like it has the heart of a Disney classic, but presented in an action-adventure film, as opposed to the musical we’re accustomed to. Raya should prove to be an exciting movie for audiences of all ages.
The animation is similarly captivating. The visuals of a lot of big budget animation studios can kind of blur together these days, but Disney has found a way to still make its character designs stand out. And with the Southeast Asian-inspired setting, the world of Raya has a distinct beauty from other Disney fare. It’s a beautiful movie to look at, especially when Sisu is performing one of her feats of magic.
Raya and the Last Dragon continues Disney’s current hot streak of modern animated classics, and does so in a way that makes it stand out from the pack. It may not be the best film Disney has put out in recent times, but Raya and the Last Dragon is that rare, satisfying action film that still manages to have a beating heart. That in itself is worth celebrating.
Tom & Jerry are arguably the most prolific of the classic cartoon stars. Sure, Mickey Mouse and Bugs Bunny may be more widely known, but in terms of the short films themselves, I think it isn’t too far of a stretch to say Tom & Jerry boast the most acclaimed resumes (at least in the days of their MGM shorts. We could all do animation history a great service by forgetting the era when Tom and Jerry were thrown into those poorly-animated Czech shorts). While Mickey may have had a role in Fantasia, and Bugs Bunny has starred in a movie or two (including 1990s fever dream Space Jam), Tom & Jerry have never had a feature film deserving of their names. Though that isn’t for a lack of trying.
1992 saw the release of the aptly-named Tom & Jerry: The Movie, an animated feature so misguided that it gave its titular cat and mouse duo cutesy cartoon voices! The less said of that disaster, the better. During the late 2000s and throughout the 2010s, Tom and Jerry were thrown into cash-grab straight-to-video movies that featured gimmicks like pirates, wizards and even Willy Wonka and the Chocolate Factory thrown into the mix. 2021 finally saw Tom & Jerry return to the big screen (which was given a simultaneous streaming release on HBO Max) with a film simply named after the franchise itself. Could this finally be the Tom & Jerry movie that does justice to its two iconic cartoon stars?
In short, no. It isn’t. Though this live-action/animated hybrid film is an improvement over Tom & Jerry’s previous feature-length efforts, it will surely be a disappointment for anyone hoping to see the slapstick royalty of Tom & Jerry stretched into a 90 minute film.
Some might say that Tom & Jerry, the tale as old as time of a cat and mouse wanting each other dead, wouldn’t work as a feature film. But how could we know, since no one has ever actually attempted that simple transition? Studios always feel the need to include human characters or some big plot that Tom and Jerry somehow find themselves entangled in. Yes, movies are a storytelling medium, but storytelling doesn’t necessarily have to mean plot. The classic Tom & Jerry shorts could provide top notch entertainment by the situations the cat and mouse’s rivalry would take them to. We can’t know if their schtick can carry a feature film if no one tries.
Shaun the Sheep is a series of fifteen minute animated shorts about a sheep and a dog doing human-y things behind the farmer’s back, with no dialogue outside of some animal noises and mumbles. I bring this up because Shaun the Sheep has now had two feature length films that utilize the same formula as the show, and they’ve been some of the best TV-to-movie transitions I’ve seen. If Shaun the Sheep can carry two movies, why has no one had enough faith in Tom and Jerry to carry a single movie by themselves? Why do there always need to be humans and their troubles and bigger stories thrown into the mix?
The primary human here is Kayla (Chloë Grace Moretz), a resourceful young woman who manages to fudge her way to a job at the Royal Gates Hotel after passing someone else’s resume off as her own. A big problem with the film is that it spends far too much time on Kayla’s work life in the hotel and her trying to avoid the suspicious event manager, Terence (Michael Peña), and not nearly enough time on the chaotic battles of Tom and Jerry. Though credit where it’s due, Chloë Grace Moretz is always charming, and she does a good job at making the audience care about Kayla.
Things get more complicated for Kayla, when Jerry moves into the upper-class hotel. The Royal Gates Hotel is set to host a major celebrity wedding, and the hotel staff worries a mouse living in the hotel could ruin their image before the big event. Kayla attempts to catch Jerry herself, but when the mouse proves craftier than she expected, she ends up getting Tom a job at the hotel as well, so that he might help catch Jerry.
Honestly, that’s a fair setup for a Tom & Jerry movie. Take their usual antics, but put it in a big, fancy location as a means to distinguish it as a “bigger” motion picture makes sense. The issue is, again, that Tom and Jerry’s actions are often in the background, and the film dedicates too much time to its subplot of the celebrity wedding. I can accept a human character like Kayla being added to the proceedings, but the film should have stuck with her, Tom and Jerry. Instead, the celebrity couple and the rest of the hotel staff members become players in the plot. It’s just so unnecessary.
Now, Tom and Jerry do get a few moments of slapstick battles and chase sequences, but they are too few, too brief, and too spread out. The movie even teases a big, chaotic finale on the day of the wedding, but when it occurs, it’s over with as quickly as it begins.
I don’t want to sound completely doom and gloom in regards to Tom & Jerry’s 2021 outing though. I admit there were some bits that made me laugh (though I could live without the bathroom humor centered around Spike, who here is the pet dog of the celebrity couple). I also liked the look of the film. Though it would have been nice see Tom and Jerry hand-drawn as they were back in the day, the film does the next best thing by giving the CG characters a cel shading that makes them look like their painted past-selves. In fact, all the animal characters in the film are cartoon characters, which is a nice little touch. With all the big budget sci-fi and super hero movies we have these days, live-action and animation have never coexisted as regularly as they do now. Usually, however, the animation is used as a special effect to enhance the visual look of a live-action world. So a movie like this, where the animated characters are blatantly animated characters interacting with real humans, has become something of a rarity. And call me a sucker, but I appreciate some of the film’s sentiment and the little lessons it has to say to younger audiences (even if some of these lessons feel a bit shoehorned in). Maybe I’ve grown a bit soft, or maybe the rough times the world is currently living in has just made me appreciate these things more in movies, even when they have shaky execution.
Though I may be going a little easy on this 2021 Tom & Jerry (young audiences might really like it), I can’t deny that the film misses the point of Tom & Jerry. Just because something is family entertainment doesn’t mean it has to be sentimental. And if any cartoon duo should be allowed to go the Godzilla route and simply have their movie “let them fight,” surely it’s Tom and Jerry.
Rango is something of an animated anomaly. Released in 2011 by Nickelodeon Pictures (if you can believe it), directed by a usually live-action filmmaker (Gore Verbinski, of Pirates of the Caribbean fame), with animation by visual effects studio Industrial Lights and Magic. Rango is an American animated film aimed more at the adult movie buff, but is still kid-friendly enough to not be completely niche. Even watching it today, a decade after its release, Rango still feels like a delightfully surreal experience. One that, sadly, the movie world hasn’t really seen since.
Rango tells the story of a pet chameleon (voiced by Johnny Depp), who prides himself as something of a thespian, though that might be a cover for his ongoing identity crises. The chameleon’s life gets thrown into chaos when his terrarium flies out of his owner’s car during an accident, stranding him in the desert. He meets the cause of the accident, a sagely armadillo named Roadkill (Alfred Molina), who points the chameleon in the right direction to survive the brutal heat of the desert.
The chameleon eventually finds himself in the old west-style town of Dirt, populated by various desert animals. Realizing being a stranger in a new place is the opportunity to “be anyone” that he’s been looking for, the chameleon takes on the name ‘Rango,’ and concocts an elaborate backstory as a badass gunslinger who can take on anyone and anything, which the town humorously accepts with very little question.
The newly-named Rango is quickly put to the test when a hawk invades the town. Due to sheer luck, Rango survives the encounter with the hawk, with the townsfolk comically interpreting his bumbling and lucky circumstances as some kind of ingenious strategy. So the people of dirt arrange for Rango to meet the mayor (a tortoise voiced by Ned Beatty), who appoints Rango as the new sheriff of Dirt.
But all is not well in Dirt, as the town has been suffering a severe draught, to the point that the townsfolk have resorted to using water as currency (even depositing water into their local bank). The water used to flow into the town every Wednesday, but it has suddenly stopped. A local woman – a desert iguana named Beans (Isla Fisher) – has noticed water being dumped in the desert, and suspects a conspiracy. She and Rango then set out to investigate the cause of the missing water. Meanwhile, an additional threat looms over Dirt. With his natural predator the hawk dead, notorious outlaw Rattlesnake Jake (Bill Nighy) might return to Dirt.
Honestly, any synopsis I give can’t do Rango justice. It’s a Blazing Saddles-style western spoof while simultaneously being a genuine western in the vein of Sergio Leone. It’s an animated film with talking animals in which none of the animals are ever made to be cute (in fact, they’re wonderfully ugly). And it’s filled with enough movie references to make Quentin Tarantino blush.
Even ten years later, the animation of Rango is something to behold. The film finds the perfect balance of making things look both realistic and caricatured. Take, for example, Rango himself. His finer details (such as his scales) evoke a real chameleon, but his eyes are comically asymmetrical, and his crooked pencil neck should not be able to carry that bulbous head of his. There’s a lot of imagination at work in the character designs in making them weird, gross and interesting. It’s just a fascinating film to look at, and the results are still captivating a decade on.
The biggest joys of Rango, however, are the characters and writing. The voice acting is top notch (with Bill Nighy being a particular highlight, making Rattlesnake Jake a truly memorable villain despite relatively little screen time). Rango is a funny film, but in a much different way than most animated fare. There’s no particular comic sidekick designed to be the fan favorite, instead, the film manages to squeeze humor out of all of its characters (sans the villains, who are dead serious), no matter how small and inconsequential their part may be in the story. While there is some slapstick at play, most of the humor in Rango stems from the characters themselves. Whether it’s their eccentric personalities (Rango’s dimwittedness being mistaken for heroism is another highlight) or just the strange things they say (“It’s like a puzzle! Like a big mammogram!”), Rango’s is an off-beat sense of humor that still stands out.
That’s one of the best things about Rango: It’s intrinsically funny because of its weirdness. Sure, there’s still some bathroom humor and the occasional wink to the adult crowd, but it never feels reliant on such things in the same way a lot of modern animated comedy does. The film could bring out a smile or laugh out of someone simply by the way it and its characters go about things (such as Dirt’s weekly ritual of celebrating the arrival of water, which includes the townsfolk dancing and slapping each other, because why not). It’s funny by being itself, which is always a rare treat for any movie.
Despite garnering critical acclaim, Rango never quite caught on. It seems to have fallen a bit into obscurity these past ten years, being remembered for winning the Oscar for Best Animated Feature (and not being a Pixar movie) but rarely being brought up outside of that piece of trivia. That’s a real shame, because Rango was certainly one of the more original animated films to come out of the early 2010s (scratch that, one of the more original films of that timeframe, period). Studios and filmmakers would have done themselves well to take a page or two from its book.
I like that Rango exists in this weird space where it’s like the adult version of a kids’ movie. It’s aimed at the older crowd but isn’t really inappropriate for kids, either (maybe a bit scary for younger children at certain points). It’s an animated film that respects its audience, young and old, and doesn’t feel like it needs to dumb itself down for the former or lazily fall back on sexual innuendo for the latter. I honestly don’t know why such a concept is as hard to find in western animation as it is.
Rango may not quite be an animated masterpiece (the more dramatic aspects of Rango’s journey of self-discovery can get a little lost in the silliness), but it is a consistently fun and funny motion picture that deserves far more attention than it gets. It’s stunningly animated (its craftsmanship making its ugly characters somehow beautiful to see in motion), complete with some great action sequences. And its personality is entirely its own.
Rango isn’t really a kids’ movie, but it isn’t exclusively for adults. It’s just a movie. And a pretty great one. How about that?
Soul is the twenty-third feature film from Pixar Animation Studios, a studio that needs no introduction by this point. Though Pixar hit their first rough patches during the 2010s (Cars 2, The Good Dinosaur), for the most part, they’ve had a nearly-unprecedented streak of classics. As such, the release of a new Pixar film usually serves as one of Disney’s tentpole releases of any given year. That was to be the case for Soul as well, with Disney heavily promoting it alongside the likes of Frozen 2 a year before its planned 2020 release. Of course, like so many 2020 films, Soul saw a number of setbacks and delays, before finally being made available as a streaming exclusive to Disney+ on Christmas Day.
Soul is directed by Pixar’s new head honcho Pete Docter, who previously directed Monsters, Inc., Up and Inside Out, effectively making him Pixar’s most imaginative and whimsical filmmaker. While most of Pixar’s films are easily identifiable by a specific theme (toys, cars, fish, bugs, etc.), Docter’s films tend to be more abstract or ethereal (Monsters, Inc. probably fit in more with Pixar’s usual “themed” films, though even then the concept of closet monsters makes for more imaginatively fertile ground than the others). This was made most apparent with Inside Out, a film that presented the inner emotions of a little girl as its leading characters, as they ventured through different avenues of the human mind. In a sense, Soul is like a spiritual follow-up to Inside Out, using a similarly existential idea as the basis of its story. While Inside Out took audiences into the world of thoughts and emotion, Soul takes things a step further by exploring the human soul itself.
Soul tells the story of Joe Gardner (Jamie Foxx), a middle school music teacher who has always dreamed of becoming a jazz musician. He doesn’t hate his job as a teacher, but does feel stuck and held back by it. His seamstress mother Libba (Phylicia Rashad) objects to his musical aspirations, further dampening his attitude towards his life’s situation.
Things start looking up for Joe, however, when a former student – who now plays for jazz legend Dorothea Williams (Angela Bassett) – informs Joe that there’s been an opening in Dorothea’s band. Joe makes an impression in his audition, and he’s personally asked by Dorothea to perform with her band later that night.
Ecstatic that his dreams could finally be coming true, Joe is a bit careless on his way home to prepare for the gig, and ends up falling down an open manhole. Joe now finds himself as a blobby, blue soul, riding a kind of escalator to transport him to “the Great Beyond.” Refusing to accept death on the day his life finally started to turn around, Joe stumbles off the escalator and finds himself in “the Great Before,” the place where souls gain their personalities before they go to Earth.
Here, the unborn souls are watched over by cosmic beings who all go by the name “Jerry” (abstract creatures who are simultaneously two-dimensional and three-dimensional). The various Jerrys mistake Joe for a “mentor,” an experienced soul who takes an unborn soul under their wing before the former ascends to the Great Beyond and the latter makes their journey to Earth. Joe decides to play along until he can find a way back to his body on Earth, and winds up as the mentor to a troublesome soul named “22” (Tina Fey), who has spent millennia in the Great Before as countless mentors (including Abraham Lincoln and Mother Teresa) have failed to instill 22 with the inspiration she needs to find her ‘spark,’ which is required before she can go to Earth.
I feel like I can’t divulge any more of the plot without spoiling the specifics, but suffice to say that Joe has his work cut out for him as he tries to figure out how to reconnect with his body and help 22 find a reason to live. Their adventure will span both this incorporeal realm as well as a few trips back to Earth (in unexpected ways), and takes a number of twists and turns.
Visually speaking, Soul is among Pixar’s most beautiful films. The human world looks more realistic than the usual Pixar fare (with the humans still having a cartoonish and exaggerated look), while the afterlife (or ‘betweenlife’ or whatever you want to call it) is a serene, visually arresting animated world, the kind you know will long stay in the memory. The aforementioned “Jerrys” as well as the “lost souls” should rank near the top of Pixar’s best character designs.
Like Inside Out, Soul seems to be having a ball exploring its concept. Not just for the visual splendor of it, but also for the creativity of its story and humor. We learn that passionate artists in the living world enter an ethereal plain simply called “The Zone” when they get lost in their art, but that the Zone can also transform souls into their “lost” selves, should obsessions and anxiety take hold. There’s a sign twirling guru named Moonwind (Graham Norton) who is willingly able to travel to the Zone through meditation. And the Jerrys question why they send so many souls into the pavilions that teach self-absorbtion. I don’t think Soul quite reaches Inside Out in making the most out of its concept, but like any of the Pixar greats, it certainly does bring a lot of charm and creativity out of it.
I feel like I’m referencing Inside Out a lot, but I feel the comparison is close to unavoidable, given that Soul is Docter’s follow-up feature to Inside Out, and that its concept makes it feel more inline with Inside Out than any other previous Pixar picture. And I’m afraid it’s in that sense that I feel Soul falls a bit short. For all the merit Soul does have, I don’t feel like it ever reaches the same heights as Docter’s previous masterpiece, whether through emotion or story.
Perhaps I set my expectations too high in regards to Soul. After all, I consider Inside Out to be Pixar’s greatest film full-stop. But again, it’s hard not to make the comparison, given the similarities between the two in both narrative DNA and as the works from the same filmmaker.
I suppose it’s not too critical of a complaint to say Soul falls short of what I believe is Pixar’s best effort, but there is that extra something missing from Soul that prevents it from sitting alongside Pixar’s very best. It’s hard to say what it is exactly, since I don’t think that Soul does anything particularly wrong, so much as it just doesn’t quite reach the heights it could have.
Inside Out used its concept to strip Pixar films to their bare essence, exposing their heart and soul (ironically enough). Pixar films have often been noted for bringing audiences to tears, and Inside Out basically expressed what every Pixar film aimed to achieve emotionally. I feel like Soul has similarly deep and meaningful things to say about life and why our passions may not necessarily be our purpose, but I feel like it doesn’t always know how to express these themes. I admit it actually took two viewings for me to appreciate what Soul was trying to say, though even now I don’t feel it in the same way I did for Inside Out.
Soul is a great movie on its own merits, don’t get me wrong. It tells a great, imaginative story with some of the best visuals Pixar has created. It has terrific vocal performances, a strong musical score and – like Ratatouille and Coco before it – has an infectious love of music and the arts. And yes, I even think the message of the film is potentially as profound as any Pixar has done. It’s just in the way that Soul often stumbles in conveying that message that holds it back from reaching the same staggering heights of some of its Pixar predecessors. With that said, even with its flaws, Pixar’s Soul is, much like Pete Docter’s previous work, a beautiful movie, inside and out.
One of Disney’s more polarized recent trends has been their stream of live-action remakes to their catalogue of animated classics. At first it wasn’t so bad (even if the movies themselves were), with 2010’s Alice in Wonderland and 2014’s Maleficent being spaced by four calendar years, and both adaptations attempting to put their own spin on the material. But after a while, the sheer amount of these live-action remakes became excessive, and one has to wonder what exactly the point is of remaking movies that are largely considered timeless as is (other than capitalizing on today’s obsession with nostalgia, that is). Is remaking an animated film as a live-action one supposed to make it more legitimate? If that’s the mindset, that not only furthers the unwarranted and ignorant stigma that animated films are somehow not as good as their live-action counterparts, but also would seem self-defeatist on Disney’s part, given that their entire empire is built on their legacy of animated features. When 2019 saw no less than four such live-action remakes (well, the Lion King remake wasn’t actually live-action, but don’t tell that to Disney), suffice to say the live-action Disney remake well seemed drained.
Now, to be fair, not all of these remakes have been bad (I quite enjoyed 2016’s The Jungle Book and 2019’s Aladdin), and I’ll take them over those horrible, straight-to-video sequels that tainted the legacies of Disney’s 90’s and early 2000’s output. Still, it can be hard to get too excited for these live-action remakes, no matter how hard Disney might try. And they’ve probably never tried harder with this strange sub-genre than with their 2020 adaptation of Mulan, based on Disney’s 1998 animated film (which, in tern, is based on “The Ballad of Mulan” from Chinese folklore).
From the get-go, Disney seemed to be going the extra mile and putting the extra effort into this particular adaptation, which was a pretty transparent means of trying to win over the Chinese box office, as China has become a major player in worldwide box office numbers over the last decade. Not only did the film encounter its share of controversies ahead of release, but due to the global pandemic of 2020, the film’s theatrical release – originally planned as one of Disney’s tentpole releases of the year – kept getting delayed, with it eventually skipping US theaters outright and heading straight to Disney+ (infamously costing an additional thirty dollars to watch during its first few months on the service). And when Mulan was finally released in China, it not only failed to be the international hit Disney was hoping for, but outright failed in the market Disney was banking on it to succeed in.
But is 2020’s Mulan really as bad as its lackluster performance suggests? Eh, not really. But it’s also not nearly as good as I’m sure Disney was hoping it’d be, either, given how much effort they put into its marketing. 2020’s Mulan is a resoundingly okay-ish film. That of course makes it inferior to the animated film it’s adapting, as that remains one of Disney’s best, but that’s probably expected by this point (I’d argue that only the Jungle Book remake is as good as the original full-stop, though my favorite song from Aladdin admittedly comes from the 2019 remake). But it also isn’t the worst live-action remake Disney has released in recent times.
The film, of course, tells the story of Mulan (Liu Yifei), a young woman in ancient China, who disguises herself as a man to enlist in the Chinese army in order to spare her ailing father (Tzi Ma), who was initially recruited after the Emperor decrees that one male of proper age from every available family must enlist. Mulan, now going under the name “Jun” in her guise as a man, is risking her life both on and off the battlefield. If her true identity is revealed, she will be killed by her own army.
Though the premise remains the same as its 1998 animated predecessor, Mulan makes more notable changes from the original than many of the other Disney remakes. On the plus side, I suppose differentiating itself from the animated film justifies its existence a bit more. On the downside, I think few fans of the original film will appreciate these changes.
Notably, there has been a major change to Mulan herself. Not in her personality or ambitions, but in her abilities, as this Mulan is capable of channeling her “Qi” to perform feats of superhuman agility! Basically, she’s been turned into a Jedi (and not even original trilogy Jedi, which at least would have made sense with its Eastern influence). This change is, well, it’s something…I guess. I don’t exactly understand the reason for the whole Qi aspect to Mulan, except for that it allows her to run up walls, momentarily float, and be able to kick a spear as if it were a bullet firing from a gun, which I guess is the kind of thing you might see in a Chinese action movie. It’s more pandering to the Chinese market, is what I’m getting at.
It just comes off as a bit cheesy, really. The supernatural elements of 2020’s Mulan just feels kind of shoehorned in, and it’s kind of weird how the animated Mulan was more bound by the laws of physics than her live-action counterpart. Also, Mulan has a younger sister in this adaptation named Xiu (Xana Tang), though she doesn’t really play a role in the story, so I’m not sure what the point of the addition is.
Fans of the ’98 film may also be disappointed to learn that Li Shang, Mulan’s commanding officer who became her love interest by the end of the original film, is not present. His role is taken over by two new characters: the stern Commander Tung (Donnie Yen), and Chen (Yoson An), an ambitious soldier who fills the romantic interest role. The filmmakers claim the change was made because the idea of a commanding officer falling for one of his soldiers seemed “inappropriate,” but I have to wonder if they remembered the animated film very well, seeing as it was Mulan who was always crushing on Li Shang, and the latter didn’t fall for Mulan until the end of the movie and the war was over. Maybe I’m being too technical. Or maybe the filmmakers of the 2020 film are. Or maybe everyone is.
At least this remake still includes Ling, Yao and Chien-Po (Jimmy Wong, Chen Tang and Doua Moua), so there is some direct adaptation from the animated film here. It’s perhaps appropriate that this loudmouth trio also provide the most overt references to the 1998 film (“It doesn’t matter what she wears or what she looks like. It only matters what she cooks like!”). Though for reasons I don’t understand, the cute little cricket from the original movie has been changed into a human character named Cricket (Jun yu). So that’s a thing.
Even the villains have received an overhaul. Instead of an army of Huns, we have the Rouran. In place of the hulking Shan Yu from the animated film, we have a duo of primary villains: Bori Khan (Jason Scott Lee), the leader of the Rouran army, and Xianniang (Gong Li), a witch whose powerful Qi enables her to shapeshift. As much as I love the animated film, I don’t think anything is really lost with this change in villains. Shan Yu looked intimidating, but as a character he was pretty interchangeable with any of his high-ranking henchmen.
Now for the question most fans of the animated film had during the lead-up to the 2020 film: Is Mushu in the live-action Mulan?
The answer to that is, quite simply, no.
I understand this is a deal-breaker for a lot of fans, though I’m going to break a few hearts and say I can live with or without Mushu. I don’t dislike the Eddie Murphy-voiced dragon from the original, but he was another transparent attempt at Disney trying to replicate the magic they concocted with Aladdin’s Genie. I think Mushu was a better attempt than some of his predecessors – such as Timon and Pumbaa or the gargoyles from The Hunchback of Notre Dame – but after a while it kind of got tiring how the sidekick characters in Disney movies were purposefully designed to be more popular than the main characters.
Still, I suppose I can see where people are coming from with their longing for comic relief. While I detest the internet generation’s dismissal of anything that “takes themselves too seriously” (God forbid a movie cares about the story it’s trying to tell), I also understand that taking one’s self seriously doesn’t mean you can’t also be funny and joyous. The Disney animated films understand this. But this live-action Mulan seems so hellbent on being taken seriously (again, being a means to try and win over the Chinese market by removing an “American element” like Mushu), that it seems to shun the concepts of humor and joy. Even the trio of Ling, Yao and Chien-Po get limited screen time.
So Mushu isn’t in the movie, but he has something of a quasi-replacement in the form of a phoenix, Mulan’s family’s guardian. But the phoenix doesn’t talk or anything, so it’s not really a worthy character replacement and more like a visual element that vaguely plays the same role. Also, on a side note, this is the second time one of these live-action Disney remakes has replaced a dragon with a phoenix, with the first being 2019’s Maleficent: Mistress of Evil. Maleficent no longer turns into a dragon, she turns into a phoenix. Mushu isn’t allowed in the new Mulan, but a phoenix is. I don’t know what that’s about. Is a flaming bird that resurrects itself somehow more realistic than a fire-breathing lizard or serpentine spirit? But I digress.
Another issue with this Mulan is that, much like The Lion King remake, the film is a whole half-hour longer than the animated feature that inspired it, yet somehow its story feels more rushed. It’s perhaps a credit to the storytelling abilities of Disney’s animators that they can create 90 minute movies that still feel like they take their time to establish story and character. These live-action remakes feel like so many key elements just zoom on by, that by the end of things I’m left wondering how they made it to the two hour mark.
I’m sounding largely dismissive. But 2020’s Mulan isn’t a total bust: the acting is strong, and helps give the film the proper emotional weight. Visually speaking, 2020’s Mulan is also very pleasant to look at, with great costumes and sets (though I could do without some of the obvious green screen bits). This Mulan remake retains just enough Disney charm to keep it afloat. But “just enough” might be the key words here, and for these live-action remakes on the whole.
I fully admit I had some good fun watching this version of Mulan. But you know what’s considerably more fun? Watching the animated original. But hey, it still beats the straight-to-video Mulan II. Let us speak no more of that.
I am the most timely of people. What better time to name one’s favorite movies and TV shows of a year than November of the following year? Such timelines.
In all seriousness, sorry it’s taken me so long to get around to this. Between my early flip-flopping of making this list to getting distracted with other posts to, well, 2020 being what it is, a lot of the stuff I had planned for this site this year fell by the wayside (I plan to pick up the pieces, but the past several months have definitely done a number on my mental health, so apologies that it may take a little longer still).
Because I’ve delayed this list for so incredibly long, I’ve decided to do things a little differently this time around. Instead of writing an article about why one movie was my favorite of the year, or doing a proper top 10 list, I’m just going to list the movies and TV shows of 2019 that won me over the most, and write some explanation as to why they managed to do just that.
So without further ado, in no particular order, here – finally – is my list of favorite movies and TV shows from 2019.
*Caution: This article contains spoilers for both the novel and film adaptation of Howl’s Moving Castle*
Let’s get one thing straight: I love Howl’s Moving Castle, in its own way. I don’t think it’s a bad movie by any stretch, and in fact, I would argue that Hayao Miyazaki is one of the few film directors who doesn’t have a single bad movie under his belt (and probably the only one who’s directed a considerable number of films, having helmed eleven himself, with a twelfth on the way some time in the future). The only movie to come out of Miyazaki’s Studio Ghibli that I would say is an outright bad movie is Tales from Earthsea, which was directed by Hayao’s son, Goro.
Point being, before it sounds like the contrary, I like Howl’s Moving Castle (my review of it stands at a 7/10 on my current grading system), but it is undoubtedly the most flawed of Miyazaki’s eleven features. A point that’s magnified by the fact that it was Miyazaki’s directorial follow-up to Spirited Away, which is a flawless masterpiece in animated storytelling. If you want to delve even deeper, Howl’s Moving Castle was really the only notable dip in quality in Miyazaki’s films. Again, that’s not to say it was a bad movie by any means, but when a movie follows up an unparalleled string of animated classics featuring The Castle of Cagliostro, Nausicaa of the Valley of the Wind, Castle in the Sky, My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, Princess Mononoke and, of course, Spirited Away, the shortcomings it does have are going to appear all the more prominent.
This is even more unfortunate because, having recently read the original novel of Howl’s Moving Castle (by Diana Wynne Jones) again, the book almost seems like it was tailor-made to be adapted into a Miyazaki film. It has the same strong character personalities, magical goings-on, whimsy and humor you find in a Studio Ghibli feature, albeit with a notably more British tone (which makes absolute sense, given that Jones was English). But even the British-ness of the novel could have been seen in a Miyazaki movie, considering that Studio Ghibli is one of the few anime studios that is willing to represent people and cultures outside of Japan itself.
While most of Miyazaki’s films are his own creations, Howl’s Moving Castle is in a minority of the director’s films which was based on an existing work (The Castle of Cagliostro was part of the existing Lupin III franchise, and Kiki’s Delivery Service was based on the novel by Eiko Kadono). Some anime fans (namely hipster podcasters) try to claim that Studio Ghibli doesn’t have the best track record when it comes to adapting other people’s work, though as evidenced by the fact that Kiki’s Delivery Service is one of the studio’s most beloved features, and films like The Secret World of Arrietty and other Ghibli adaptations were among the most acclaimed films of their respective years, Ghibli certainly hasn’t had any persistent issues when adapting other people’s works. Even Howl’s Moving Castle has a large fanbase, and Diana Wynne Jones herself loved the movie (we once again go to Tales from Earthsea for the one instance where the original author wasn’t happy with Ghibli’s adaptation).
But Howl’s Moving Castle slipped-up more so than Miyazaki’s other adaptations. While he still very much made Lupin III and Kiki his own with his takes on the material, Howl’s Moving Castle seemed like it needed very few changes to become a Miyazaki feature: It’s main character is a strong young woman named Sophie, who is transformed into an old crone by an evil witch (with the spell also preventing her from telling people about the situation, so she can’t simply ask a wizard like Howl to remove the curse). Howl himself seemed impossibly easy to translate to Japanese audiences, his description in the book fits the anime pretty boy archetype so clearly you’d think the novel were adapted from the movie. He’s a vain, perfume-wearing, effeminate wizard who obsesses over his looks to impress the ladies. The tritagonist is Calcifer, a fire demon who created and powers Howl’s castle, but he and Howl are in a similar situation to Sophie, suffering from a magical plight and being unable to tell anyone about it.
In terms of looks, Howl is the most accurately depicted in the movie, while Calcifer has seen the most change. In the book, Calcifer’s physical description is a little more detailed, being a face made out of blue fire, with green fire for hair and eyebrows, purple fire for a mouth, and small orange flames for eyes. In contrast, the film’s version of Calcifer is simply a traditional orange and red fireball with big eyes and a mouth. I don’t mind this change at all though. The multi-colored flaming appearance described in the book is interesting (and we get something of a glimpse of it in the film in one scene where Calcifer is performing magic), but the simpler design of the movie makes for a more iconic character. And it’s always fun when a fantasy story’s most powerful character has such a simple appearance.
Sophie’s appearance (as a young woman) is changed slightly, with her hair being brown in the film, as opposed to red from the book. Again, this change is fine and doesn’t affect anything story-wise. What isn’t so fine, however, is the changes made to Sophie’s character. Miyazaki has always excelled at making strong heroines, which is what makes it so baffling that his depiction of Sophie is Miyazaki’s most uninteresting main character, when her description in the book seemed as though Jones was aware of Miyazaki’s work at the time, and purposefully wrote the character for Miyazaki to adapt.
While Miyazaki’s interpretations of Howl and Calcifer are accurate (Howl being a whiny coward, and Calcifer always grumbling about how a powerful fire demon like himself deserves better), Sophie’s character seems barely touched upon. Granted, in the book she’s transformed into a 90-year old woman in the second chapter, but in the film, we know even less about her before she gets cursed.
In the book, we learn that in the story’s fantasy country of Ingary (which goes unnamed in the movie), Sophie is the eldest of three sisters. But in Ingary the eldest child is “doomed” to a simple life of inheritance, while the younger members of a family are told to seek their own fortune in life. Thus Sophie feels doomed to work at her late father’s hat shop her whole life, without being allowed to break away on her own.
While that’s a major factor of Sophie’s character in the book, the film shortens Sophie’s plight as the eldest child to a passing reference (“It’s what father would have wanted. I’m the eldest, I don’t mind.”). But this ends up affecting Sophie’s story arc. By downplaying Sophie’s position in life, and the fate her culture has seemingly decided for her, it also downplays her growth as a character when she seeks out her own destiny while under her spell (a spell which literally brings to life her fears of growing old in the same place she’s always been).
Also in the film, Sophie only has one younger sister, but the concept of the eldest child being doomed to a life of mediocrity could still work, so that’s alright. A movie has to omit some characters to account for running time, and the sister who was left out of the movie is also the one who didn’t return for the book’s sequel, Castle in the Air (which funnily enough has nothing to do with Miyazaki’s Castle in the Sky), so it’s not a major character omission.
The issue is that the film fails to properly show Sophie’s disappointment with her position in life. She looks sullen, but we never get the full extent of how trapped she feels in the film. So when she does become an old crone and shows some signs of change (“I seem to have become quite cunning in my old age!“), they don’t have the same effect as they do in the book.
With Howl and Calcifer being so beautifully realized, it magnifies how Sophie fails to connect as the driving force in the story. In fact, she rarely ever feels like its driving force in the movie, more like someone who happens to be witnessing its events (a concept which could make for a unique movie of its own, if that were the idea going in).
Compare this to Chihiro, the protagonist from Spirited Away. Within the film’s opening moments – which depicts her family’s drive to their new house – we learn who Chihiro is. We see that she’s a bit spoiled, more than a little apathetic, lazy, clumsy, and looking for reasons to complain. Within the span of a short family drive, we learn who this character is at the start of their journey, which makes the growth Chihiro sees throughout the film feel so profound. Sophie, sadly, doesn’t have that same effect. Whatever growth she has feels considerably less substantial.
Again, I don’t want to sound all doom and gloom in regards to Howl’s Moving Castle. It’s not like Miyazaki’s Sophie is unlikable, but for a filmmaker who’s known for making memorable heroines, Sophie is decidedly bland.
Miyazaki made some additional changes from the book, and while that may not sit well with purists, a movie making changes from its source material in some ways isn’t an inherently bad thing (in fact, Jones herself acknowledged ahead of time that she expected the movie to be different, because books and movies are different mediums).
These changes are mostly for the best in bringing Howl’s Moving Castle to the silver screen, as they trim down some sub-plots that may have worked in the book, but would have probably felt like detours in a two-hour movie. For example, in the book, Howl’s apprentice Michael is a little younger than Sophie (her actual age, not her transformed self), and there’s a sub-plot about him dating one of Sophie’s sisters (of course, with Sophie unable to reveal details that would expose her actual age, Michael is blissfully unaware of the relation). First of all, in the movie, the character has been renamed “Markl.” This was done out of necessity, given how the name Michael would be pronounced in Japanese. But the folks at Disney wisely kept the change for the film’s English version as well, which I very much appreciate, as Markl just sounds more like a wizard’s apprentice than a name as common as Michael.
Anyway, in the movie, Markl is just a young boy, which means the storyline with him and Sophie’s sister is dropped. Frankly, I like this change. I just think it suits this story better to have a kid accompanying Howl and Calcifer as the third member of the moving castle crew, as opposed to a young man.
A noteworthy-yet-inconsequential change from the book comes in regards to Howl himself. Despite the brunt of the story taking place in a fantasy world in the country of Ingary, the Howl from the book actually comes from the planet Earth. More specifically, he comes from Wales, with one of the four destinations of the magic portal of a door within the moving castle leading to his home in Wales.
In the book, we get to meet Howl’s sister, niece and nephew, and it gives us more insight into Howl’s history. It may seem like a major change for the movie to leave out this detail, but in all honesty, aside from adding a little something to Howl’s character, the concept of Howl hailing from Wales doesn’t really play into the main plot. It’s an interesting bit in the book, but it’s understandable why Miyazaki would leave it out.
Despite these changes, the earlier portions of the movie are actually pretty faithful to the book. The elderly Sophie becoming Howl’s cleaning lady. Calcifer’s meeting with Sophie leading to the two striking a deal to break each other’s curses (Calcifer, being a fire demon, is powerful enough to see through Sophie’s curse without needing explanation). Even the scene where Howl throws a tantrum over his hair color by summoning dark spirits and emitting green slime from his skin, all more or less play out as they did in the book.
Things play faithfully to the book at first, but then, the film version of Howl’s Moving Castle adds an element that ends up changing the second half almost entirely.
In the book, the land of Ingary is on the brink of war with a neighboring kingdom (Strangia, which also goes unnamed in the film), and Ingary’s prince – the king’s younger brother, Justin – has gone missing, which is a double problem because not only is he a missing prince, but he’s also the country’s best general. Additionally in the book, there is another wizard of comparable reputation to Howl named Suliman, though he too, has gone missing.
By the end of the book, we learn that the Witch of the Waste (the full title of the witch who cursed Sophie) is responsible for both missing persons, having magically rearranged their bodies – one’s head on the other’s body – and subsequently transformed both chimeras into other forms (one into a scarecrow, and the other into a dog who can briefly return to human form before turning into a different type of dog. Yeah, the book can get wonderfully weird). There’s also a character who appears briefly in a chapter or two named Mrs. Penstemmon, a royal wizard who trained Howl in magic, who ends up murdered by the Witch of the Waste.
These elements are changed from the book, and ultimately cumulate as the film’s most misguided element.
The war doesn’t take place during the events of the book, instead happening between the book and its sequel. It’s a looming threat, but it only gets a few passing references. In the movie, however, the war becomes the focal point of the whole thing.
In the movie, the war is happening because the prince of a neighboring kingdom has gone missing, and that kingdom blames the unnamed Ingary for the disappearance. In the film, the prince is still revealed as the true identity of the scarecrow (though in the movie, the prince wasn’t transformed by the Witch, and instead simply claims he stumbled upon the curse while traveling).
The change in the prince and his disappearance being the cause of the war aren’t too drastic of changes, but things get more complicated. In the film, the characters of wizard Suliman and Mrs. Penstemmon are merged into one character. This character uses the name of Suliman, but is an elderly woman, Howl’s former teacher, and wizard to the king, like Mrs. Penstemmon.
Miyazaki’s Suliman becomes the main antagonist of the film. As we find out, she has influenced the king into going into war, as a roundabout way of recruiting Howl back into her services as a soldier under the king. I actually like the film’s Suliman as a character, but her sudden ascension to the role of primary antagonist creates problems of its own.
The Witch of the Waste is the book’s villain. Simple as that. Well, the Witch and her own fire demon (who, unlike Calcifer, has the appearance of a human woman). In the film, Suliman briefly mentions that the Witch had a demon at some point, but that’s the only reference of it. In the film, the Witch falls for a trap laid by Suliman, and is robbed of her magical powers. She becomes an afterthought. And that’s an important change because it reflects the differences between the book and film as a whole.
From that point on, the film seldom resembles the book. Again, that in itself isn’t a bad thing (Who Framed Roger Rabbit, one of my favorite films, is vastly different than the book it’s based on, and is all the better for it). But the change ends up robbing the film of its magic and wonder.
As soon as the film’s version of Suliman is introduced and the Witch’s role in the story is demoted, the film becomes all about the war at hand. Howl reluctantly fights battles at night (despite never officially joining the king’s army), we see towns going up in flames from bombings, and we are repeatedly told over and over again about the horrors of war, and how unnecessary the war in the film is.
Now, any Miyazaki fan knows what the acclaimed director was going for with this change. Miyazaki is a noted pacifist, it was really only a matter a time before he made a movie whose main theme was an anti-war one, and he made no secret of his disdain for the Iraq War (he famously skipped the Oscar ceremony where Spirited Away won for Best Animated Feature out of protest). I certainly can’t blame Miyazaki for incorporating something he feels so strongly about into one of his movies. But there’s a time and place for things, and while the film’s 2004 release may have seemed like the time, Howl’s Moving Castle just wasn’t the place for such an anti-war theme.
It just makes the film feel disjointed. This is a fairy tale that’s supposed to be about a girl being transformed into an old hag, and how she ends up changing a self-centered wizard for the better. But then it pulls a 180 and becomes all about the travesties of war. Again, I don’t fault Miyazaki for making an anti-war movie (in fact I’m inclined to agree with him), but everything that makes Howl’s Moving Castle feel special is dashed by its sudden tonal shift. The film even seems to forget about its original premise, with Sophie inexplicably becoming young again by the end, before she even frees Howl and Calcifer from their contract. The story becomes so engrossed in the war aspect that the main plot fades into the background, before it’s abruptly resolved out of seemingly nowhere.
One of Miyazaki’s previous films, Porco Rosso, was set between both World Wars, and has a much subtler yet far more affective anti-war stance. And Miyazaki’s later film, The Wind Rises, a biopic about Jiro Horikoshi – an actual, real-life designer of warplanes during WWII – isn’t as focused on war as Howl’s Moving Castle, and that film had a much more appropriate opportunity to be. Yet it’s Howl’s Moving Castle, a wondrous fairy tale set in a fantasy world filled with eccentric character likes Calcifer and Howl himself, that Miyazaki saw fit to turn into his most overt ant-war picture. And it just doesn’t mesh.
Now, the book isn’t perfect, either. It’s a wonderful read, filled with unforgettable characters and humor (in fact, the book was my introduction to the idea of comical fantasy in literature outside of parody). But the book does keep too many loose plot threads up until the very last chapter, which resolves so much in such quick succession I wonder if Diana Wynne Jones had reached the eleventh hour of a deadline (it’s not that the events of the final chapter are bad, just that they should have been more spread out, but instead feel rushed. Basically it’s like the final episode of Samurai Jack). And the Witch’s aforementioned plot of making chimeras of people has a motivation that kind of comes out of nowhere, as she wants to use the different pieces of Suliman and Prince Justin (and plans on topping off her golem with Howl’s head) in order to create what she perceives as a “perfect being” and to appoint him the new king of Ingary, with herself as the queen. Up until the final chapter, the Witch of the Waste seems like a powerful and feared sorceress who doesn’t have any greater agenda, she just uses her power for petty vengeance on people she thinks have wronged her one way or another. So the reveal of the motivation for her plot feels kind of random.
Still, while it may have its flaws, the book at least feels like a concise vision. And Jones excels at explaining the elements of her fantasy world with little exposition, something which Miyazaki usually has down pat as well. But when adapting the book into a film, Miyazaki seemed heavily distracted by the outside world, and it ended up hampering his vision for the film.
Okay, I know I’m sounding incredibly negative here. I repeat that I think Howl’s Moving Castle is an enjoyable movie: it’s fun and imaginative, filled with stunning visuals and a fantastic musical score (courtesy, of course, by Joe Hisaishi, whose work alongside Miyazaki probably makes them the only director/composer duo more wonderful than Spielberg and John Williams). For those who love imaginative worlds, stories and characters, Howl’s Moving Castle provides a unique experience. The problem is that its imagination may be wondrous, but its execution is only adequate, whereas most of Miyazaki’s films tell stories that are as excellent as their ideations. Howl’s Moving Castle could have lived up to Miyazaki’s unrivaled resume of animated classics, had Miyazaki set his thoughts on war to the side and saved them for another day, and instead focused on Sophie and her story.
Now, it’s also no secret that Studio Ghibli’s adaptation of Howl’s Moving Castle was originally going to be director Mamoru Hosada’s debut outing for the studio, before he dropped out and Miyazaki stepped out of retirement (again) to take the reigns. Some might argue about the “what if?” scenario had Hosoda directed the film instead. While Hosoda is one of the better anime directors of today, I don’t think he would have done a better job with Howl’s Moving Castle. I’ve enjoyed Hosada’s films, but his movies have a more – for lack of a better word – “anime feel” about them, which I don’t think would have meshed with Howl’s Moving Castle, whereas Miyazaki’s films have a more ethereal fantasy aspect about them, which feels more in tune with literary fantasy like Howl’s Moving Castle (or even the works of Tolkien, of which Miyazaki is a big fan), and less like an “anime movie.”
But that’s why the shortcomings of Howl’s Moving Castle speak so loudly. Reading the novel again, the story of Howl’s Moving Castle may as well have been gift wrapped, topped with a bow, and hand delivered to Miyazaki. It just made so much sense. So for it to be Miyazaki’s weakest film by a wide margin is kind of disheartening.
I love Howl’s Moving Castle, in its own way. But it’s the one Miyazaki feature that, when reflected upon, I can’t help but imagine what could have been had he approached it with the same imaginative purity that made Spirited Away and Princess Mononoke such treasures. Oh, what if?
The 1970s were not one of the high points for Walt Disney Animation Studios. This “Bronze Age” came about after the death of Walt Disney, and during a dark age for animation as a whole. That’s not to say that every Disney film released during this time was a total dud, but it might be saying something that the studio’s best film in this timeframe was a compilation of previously released shorts.
Yes, Disney was in such a state that they dipped back into the package film well in 1977, though they went even further with the concept this time around by stringing together short films that had already seen prior releases (the package films of the 1940s were at least all new shorts at the time).
On the plus side, these short films were those featuring the characters of the Winnie the Pooh universe, and is there a cast of Disney characters more charming than the studio’s adaptations of A.A. Milne’s creations? As a bonus, Disney did provide new animation in between the shorts in order to more properly mesh them together. Thus The Many Adventures of Winnie the Pooh, the 22nd Walt Disney Animation Studios film, was born. Although its Frankenstein’s monster approach of merging previously-released material may not exactly make it the most original Disney flick, I’d have to have a heart of stone to say anything too harsh about Winnie the Pooh.
Yes, even if its production may have been tying together tried-and-true past successes and calling them new, there’s a charm, innocence and whimsy of the Winnie the Pooh universe that makes it all too likable, and impossible to resist.
Like many of the classic Disney films, The Many Adventures of Winnie the Pooh begins by opening up a storybook (this time, however, the characters are well aware that they exist in a book, even interacting with the written-down words on the pages). The book tells different stories by Christopher Robin, the young boy who brought Winnie the Pooh and his friends to life with his imagination.
We’re introduced to characters like Owl and Rabbit and Piglet and Kanga and Roo, as well as Gopher (the only character not from A.A. Milne’s original books, which the film points out on a few occasions), Eeyore, Tigger and, of course, Winnie the Pooh, the bear of very little brain himself.
These characters are just so likable and endearing. Because within the context of the story, they’re all part of a kid’s imagination, they all have a childlike simplicity about them (even Owl, the oldest and wisest of the lot, isn’t as knowledgable as everyone – including himself – thinks he is). Pooh’s primary concern is when and where he’ll get his next “smackeral” of honey, while Tigger just wants to bounce everywhere he goes, and Rabbit, being something of a less jaded and cynical precursor to Squidward, just wants a neat and tidy house, and to prevent Pooh from eating all of his honey.
As you may have guessed from the title The Many Adventures of Winnie the Pooh, or from the fact that the film is comprised of previously released shorts, there’s not really an overarching plot here. The film plays out like a series of episodes that each contain their own little plot or two. This episodic nature may not be ideal for a movie with a more traditional narrative structure, but for something like this – in which these characters exist in a world void of any real conflict – it plays to the film’s benefit.
We have storylines like Pooh trying to get to a beehive high in a tree to get to its honey, Pooh eating all of Rabbit’s honey and getting stuck in the rabbit hole of his house, Tigger bouncing so high he gets stuck in a tree, and Eeyore trying to find a new house for Owl, after the latter’s treehouse is blown away on a windy day.
Not every movie needs to be a grand epic, and not even every Disney movie needs to be an adventurous fairy tale. Sometimes a little slice of lighthearted entertainment is all you need. And The Many Adventures of Winnie the Pooh provides just that. It’s an enjoyable, relaxing, charming series of (relative) adventures by an endearing cast of characters.
Winnie the Pooh would become one of Disney’s bigger franchises, with a television series in the 1990s, a series of straight-to-video movies, and even some that made their way to the big screen (one of which, 2011’s oddly titled Winnie the Pooh, being something of the “official sequel,” as it is counted as one of Walt Disney Animation Studio’s proper films, as opposed to a subsidiary). While that may seem like overexposure for some franchises, the simple charms of Winnie the Pooh make it easy to want to revisit its world again and again. The Many Adventures of Winnie the Pooh epitomizes this infectious charm.