Wario Land 4 Review

*Review based on Wario Land 4’s Wii U Virtual Console release*

Here’s an unpopular opinion: The original Game Boy hasn’t aged well. Sure, there are a few games from the original Game Boy that hold up decently (namely Game Boy Color exclusives), but for the most part, its games represent a time when the convenience of gaming on the go came at the expense of quality. The Game Boy Advance, however, marked a time when handheld games began to capture a more timeless quality. The GBA was the SNES to the Game Boy’s NES, with its predecessor feeling archaic (save for a  handful of titles) while it itself holds up so well, it doesn’t feel like a retro console at all.

Case in point: Wario Land. Wario Lands 2 and 3 on the original Game Boy were once hailed as some of the best handheld games of all time, and while they’re still decent to play, they’re getting on a bit. Wario Land 4, on Game Boy Advance, however, is still a worthwhile platformer today. Perhaps not an all-time great, but it’s certainly not disappointing to revisit.

Like its predecessors, Wario Land 4 is all about the greedy anti-Mario’s quest for treasure. This time, Wario is pillaging an ancient pyramid in the middle of a jungle, but gets trapped inside and has to find a way to escape, all while collecting as much treasure as possible, of course.

Wario retains his brutish strength from the past games, with his charging attack, ground pound and ability to pick up and throw enemies intact. Additionally, by holding the R button, Wario can run at such a great speed, that with enough momentum, his hard noggin can break through blocks that even his charge attack can’t budge. Similarly, if he ground pounds from a great enough height, he can also destroy these stronger blocks (there’s even one puzzle in the game that cleverly combines this with a teleporter, meaning that Wario was thinking with portals even before Portal).

The structure of the game takes a different approach from its predecessors, however. There’s a quick tutorial that shows you the ropes of the game (it’s actually one of the better tutorial levels I’ve seen, effectively condensing all the game’s elements to their bare basics, thus giving you insight to the entire adventure ahead). After that, the game features four worlds, which you can play in any order you see fit (and if you get stuck in one world, you can leave it and do another for the time being). The worlds themselves follow a more linear structure, however, with each featuring four stages and a boss fight at the end.

Stages work a bit differently here than they did in past Wario games (and most platformers in general, for that matter): Wario searches through the levels collecting treasures, but instead of a traditional goal found at the end of a stage, each level features a statue of a blue frog (why not?) that, when jumped on, activates a timer. With the time ticking down, Wario has to make his way back to the beginning of the stage, where a portal now waits to take Wario back to the hub. Naturally, Wario gets to keep every treasure he collects if he makes it back before time runs out.

While most of the jewels and coins scattered about add to Wario’s score, each level also contains three unique treasures: One is a bird with a key for a beak (again, why not?) which is needed to unlock the next level in that given world. Another treasure is a tablet separated in four pieces found in golden treasure chests, with all four pieces in all four stages needing to be found in order to open the boss door. Finally, a well-hidden music CD can be found and subsequently played in the sound room of the pyramid’s overworld.

While these items add some extra depth to the stages, it’s kind of a shame that – aside from the CDs – they’re required to complete the game. Had there been more non-story items, Wario Land 4 would have a fun staying power for completionists, instead of most return visits to levels being out of necessity for having missed a key or one of the four tablet pieces the first time around.

The levels themselves are well designed and creative. It’s fun to search through them for treasures, and they never feel so labyrinthian as to be confusing. The stages are also less bland than in the past few Wario Lands, with fun gimmicks added into the mix. One of my favorite stages is built around knocking over stacks of dominoes, then racing to the end of a room before the final domino falls and hits a switch that closes off a treasure.

Level design is always a make or break factor for platformers, and the clever structure and gimmicks of the stages of Wario Land 4 ascend it above its predecessors. There are, however, two notable elements that prevent Wario Land 4 from reaching its full potential.

The first such issue is that, while Wario retains his ability to gain special powers after being struck by certain enemy attacks (swelling up and floating like a balloon when stung by a bee, sliding across surfaces when frozen by an enemy, etc.), Wario is no longer invincible as he was in Wario Lands 2 and 3. In the past games Wario would gain such abilities from almost every foe (with the exceptions merely robbing Wario of coins), here you rarely know when an enemy attack will give Wario a power, and when it will just take health away. It unfortunately gives the game a gambling element that wasn’t present in the past.

The other issue is the process of fighting the bosses of each world. Not only do you have to find all of the aforementioned tablet pieces in each level just to face them, but every boss also features a time limit. If you take too long to defeat a boss, you’ll miss out on the opportunities to claim all of their treasure chests. That’s not so bad on its own, as before every boss fight, Wario has the opportunity to purchase special items (from what looks like Mr. Game & Watch), which are then used to damage the upcoming boss before the fight begins. Some items will do marginal damage, while others will nearly take out the boss on their own. That may sound like a cheat, but considering this is a Wario game, it’s actually a fitting element that compliments Wario’s character and humor.

None of that is a problem on its own. The whole boss process becomes an issue, however, by the simple fact that you can’t just purchase the boss items with the treasure Wario collects along his adventure. Instead, you purchase the items with special tokens. You get these tokens by spending your points/treasure to play one of three mini-games located before the boss fight of each world. You are then awarded tokens based on your performance in these mini-games. The problem is that acquiring these tokens can take a fair amount of time, and with how slowly Wario chips away at the bosses’ health on his own, you’re going to want to spend the extra tokens for the more powerful items to beat the bosses as quickly as possible. So if you want to claim every boss treasure and complete the game at one-hundred percent, you have to repeat the process all over again if you can’t beat the boss fast enough the first time around. Some might say that’s a fair price to pay since the game essentially gives you the ability to cheat, but buying these items is optional anyway. So why not just use your points to buy the tokens and skip the mini-games? It’s just a tedious process that seems counterproductive.

Aside from those elements though, Wario Land 4 remains a winner in most respects. Wario himself controls better than ever, with his every action feeling far smoother than in past games. The level design finds some fun and creative ways to mix up the formula. The game still looks great with its colorful graphics and vibrant animations, and the soundtrack stands tall above its predecessors, meaning that collecting those CDs is worth the effort.

It may not be among the best games on the Game Boy Advance, but Wario Land 4 is another testament that the GBA is when handheld gaming truly made it.

 

7

Advertisements

Sonic R Review

*Review based on Sonic R’s release as part of Sonic Gems Collection on Nintendo GameCube*

Despite being the “fastest thing alive,” Sonic has always been playing a game of catch up with Super Mario since day one. Despite Sonic’s early titles and a handful of the blue blur’s other adventures over the years achieving their own sense of timelessness, Sonic never did catch up with Mario. If there is one genre that seemed like Sonic would, by default, have the upper hand on Mario, it would be the racing genre. Sonic is a character built around his speed. Taking the series and adapting it into a racing game seems like it should have had minimal bumps in the translation.

Which is why it’s both dumbfounding and hilarious that Sonic R – the first Sonic racing game on a home console – is an utter disaster, and one of the worst games Sonic has ever appeared in (and boy, is that saying something).

Depressingly, Sonic R was the only exclusive Sonic game released on the Sega Saturn, with the two other Saturn Sonics, Sonic 3D Blast and Sonic Jam, being a port and a compilation of the Genesis Sonic titles, respectively. Although the Saturn was otherwise a stellar and underrated console (possibly my personal favorite from Sega), the fact that Sega’s biggest franchise only managed to pop out this turd of a game on the Saturn may have had something to do with the console’s short lifespan in the midst of the Sony Playstation and Nintendo 64.

“My eyes! The goggles do nothing!”

As stated, Sonic R was a racing game starring characters from the Sonic the Hedgehog series. Unlike other Sonic racing games that would follow, most of the characters run on foot. That may sound like it makes sense, since Sonic can run at the speed of light, and Knuckles and Tails are inexplicably just as fast (and, bizarrely, Dr. Robotnik has continuously outrun the blue hedgehog). But it ends up having disastrous results, as developer Traveller’s Tales apparently had no idea how to implement the traction and physics of running characters.

As soon as a race begins, it’s an absolute mess of game design. Your character reaches top speed instantly, while turning your character feels like a herculean feat of strength. As you can imagine, this makes Sonic R’s sense of control nothing short of abysmal. Amy Rose (who drives a car) and the unlockable Dr. Robotnik (who pilots his hovercraft…again, despite outrunning Sonic on numerous occasions) control marginally better, but that’s not saying much.

To make matters worse, the game as a whole just feels unfinished. You’ll often run through objects, get stuck in the scenery, or get magnetized to walls. The entire game feels like one big glitch. Combine that with the hellish controls, and Sonic R is downright agonizing to play.

Even the graphics are a drizzling mess. Okay, so most early 3D games aren’t exactly pretty to look at these days, but other Saturn titles – such as Nights Into Dreams or the 3D overworld of Sonic Jam – still have a lively look about them. Sonic R, by contrast, often looks like one massive blur of colors. It’s all too easy to go off track during a race because you can’t tell where you are and aren’t supposed to go.

It’s not just technical and graphical sins that Sonic R is guilty of, but even on a creative level, the game falls utterly flat. Sonic R boasts a grand total of five courses to race on, none of which are memorable. And the only modes to speak of are Grand Prix (which is a single race) and Time Trials (with Versus races just being two-player Grand Prix).

Compare that to Super Mario Kart on Super Nintendo. Released five year earlier on less advanced hardware, Super Mario Kart boasted twenty racetracks, five races in one or two player Grand Prix, one-on-one Versus races, and its iconic Battle Mode which featured four maps of its own. And while Sonic R may have more characters available than Super Mario Kart did  – along with Sonic, Tails, Knuckles, Amy and Robotnik, you can also unlock robot versions of each character (sans Amy) as well as Super Sonic – each race here can only have five participants at a time, as opposed to Super Mario Kart’s eight. And while the characters in Mario Kart had differences in things like weight and acceleration, the characters of Sonic R often have unfair advantages over others (Robotnik can simply hover over bodies of water, which are entirely detrimental to Sonic and friends). In both concepts and execution, Sonic R feels greatly underdeveloped.

If I had to give credit to any of Sonic R’s ideas, it’s that it had an interesting attempt at adding an exploration element into the mix. As in the classic Sonic games, rings are scattered about everywhere, with their purpose this time around being unlocking doors that lead to shortcuts and hidden items. Each of the four starting stages houses one or two Chaos Emeralds, and five Sonic Coins.

“It should more appropriately say “We’re sorry you played.””

If you nab the Chaos Emeralds and claim first place, you get to keep the emeralds (which is much easier than it sounds, as the AI is so slow you can take your time hunting down these items and still end up lapping them). Collect every Chaos Emerald to unlock Super Sonic. Meanwhile, if you can collect all five coins on a stage in a single race, and get in at least third place, you’ll race one of the robot doppelgängers. Beat the metallic lookalike in their race and you unlock them. And for the curious, the fifth stage is unlocked simply by claiming first place in the four starting stages, with Robotnik being unlock upon victory in said secret stage.

But Diddy Kong Racing this is not. While these hidden goodies sound enticing in theory, the utterly chaotic, unfinished nature of the game itself makes their addition mean nothing. It’s like having sprinkles without the ice cream. And the implementation of these items is so half-assed anyway that you can unlock everything in about a half hour.

Some variety in the racetracks is attempted by means of having different aesthetic settings for the courses (such as nighttime or winter, the latter of which freezing water), but they ultimately have a minimal effect on the gameplay, and only serve as an outdated showcase of the Saturn’s graphical capabilities. Apparently there wasn’t enough time to design more levels or polish the gameplay, but at least the developers found time to add rain effects to the courses.

The one element of Sonic R that I will admit is enjoyable is the music. Now, it isn’t genuinely awesome music as in the Genesis Sonic games. Rather, Sonic R’s soundtrack is when the music of the series began to enter “so bad it’s good” territories. Each race track comes equipped with a cheesy theme song with surprisingly high production values (a la the early seasons of the Pokemon dub) that may give you a bit of earworm.

“You’re winner!”

Sonic R was a bad game in its day, and its lack of quality has only been magnified in the years since its 1997 release. To say Sonic R failed at being a Mario Kart killer is a gross understatement. At the very least, Sonic can take solace knowing that he eventually found himself in one of the better Mario Kart clones in Sonic and Sega All-Stars Racing and its sequel. But the damage done by Sonic R was so great that it took Sonic and friends a good, long while before they reached that point (and even when they did, they were still ultimately not Mario Kart).

It’s hard to imagine how a Sonic racing game could go wrong, let alone this wrong. But Sonic R is indeed one of the worst racing games of all time.

 

2

Tails’ Adventure Review

*Review based on Tails’ Adventure’s release as part of Sonic Gems Collection on Nintendo GameCube*

The Sega Game Gear may not be the most remembered handheld of its day -being in the shadow of the wild success of Nintendo’s Game Boy – but it did have its moments. One of the more fun ideas to come out of the Game Gear was giving Sonic’s two-tailed fox sidekick Tails some games of his own. A duo of titles starring Tails were released on the Game Gear. One of those titles, Tails’ Skypatrol, was a bit of a disaster. The other, Tails’ Adventure, however, displays some fun ideas. And though the passage of time has worn Tails’ Adventure down a bit, its ambitions are still quite admirable.

While Skypatrol was an auto-scrolling flight game whose ideas never seemed to mesh together, Tails’ Adventure has a much clearer focus on what it wants to be.

Tails’ Adventure is a side scrolling platformer, but greatly deviates from the norms of Sonic games at the time. While Sonic’s platformers were focused on action and speed, Tails’ Adventure is much slower and built around exploration. To be more precise, Tails’ Adventure follows the Metroidvania route, with Tails progressively improving his abilities, and finding new items so he can access previously unaccessible areas.

At the start of the game, Tails’ only means of attack is throwing an endless supply of bombs at enemies (the game takes place before Tails met Sonic, and thus hasn’t yet learned the speed or spinning attacks from the blue blur). But you’ll quickly start finding more weapons and items hidden throughout the game’s stages. You’ll find ‘Super Gloves’ to lift heavy object, additional bomb types, a hammer for melee attacks, and a remote-controlled robot dog who can crawl in small spaces.

Once you gain new items and weapons, you’ll often have to revisit a previous level to see if there are any new paths you can find with the tools you’ve gained. Tails can only hold four of these items at a time, however, and in between stages, players have to return to Tails’ lab to choose which four items they want to bring with them.

Additionally, Tails can find the Chaos Emeralds, which essentially level up our two-tailed hero, RPG style. Rings still serve as health as they do in the Sonic games. But here the rings aren’t gathered and lost in bulk, but are more like hit points. At the start of the game, Tails has a maximum of ten hit points, with each Chaos Emerald claimed adding ten more to that maximum. Similarly, Tails retains his ability to fly by using his tails like a propellor, but can only do so as long as he has stamina. As you may have guessed, the Chaos Emeralds also add to Tails’ stamina bar.

It’s actually a pretty fun progression system. It adds a bit of depth to the experience and while simultaneously differentiating it from Sonic’s games, and still being simple enough to feel at home in a handheld game in the mid-90s. The concept may not be as refined as it is in Metroid or as it would be in Castlevania (being released in 1995, Tails’ Adventure predates Symphony of the Night by two years), but it’s fun and creative.

Sadly, as enticing as the game is in concept, much of its execution has felt the effects of aging.

As stated, the game is slower than Sonic’s outings, but Tails perhaps moves a bit too slowly, to the point that it makes the platforming a bit annoying (yes, you can usually fly from one platform to the next, but the game will often throw a wrench in that plan, like a strong gust of wind, to leave Tails reliant on traditional platforming). One item you get during the game are shoes to make you run faster. It sounds like the shoes would solve this issue, except they have to be equipped in the lab like the other items (thus taking up a spot for an item better suited for exploration), and still need to be selected to be used (meaning you can’t attack with them in use). Additionally, using the shoes has an awkward feel to it. Instead of just holding the action button to run while moving, you have to hit the action button at the same time you move for a quick burst of speed, but Tails won’t keep the momentum if he changes direction. It has a very clunky start-stop feel to it.

Other issues are typical design pitfalls: spikes or lava being placed just out of view, leading to some “leap of faith” moments. The boss fights are repetitious and uneventful. And it would be nice if the game gave some description of the items once you’ve claimed them (it took me a while to realize what the Super Glove did, as it does nothing unless there’s a liftable object right in front of you, with not even an audial or visual cue to let you know you’re pressing the action button in vain).

Perhaps the most unfortunate drawback of the game are the submarine stages. While most levels are played as Tails on foot (or in the air, as it were), others are played underwater as Tails pilots the “Sea-Fox.” Similar to the general gameplay, you get new weapons and enhancements for the submarine, but the constant stopping and switching between items feels out of place with the faster paced submarine sections. And to be blunt, the Sea-Fox levels just don’t seem as well thought out on the whole.

So many of its gameplay elements haven’t aged gracefully in execution, but that doesn’t mean they were inherently bad. Considering Tails’ Adventure was a handheld title in 1995, its emphasis on exploration and character progression are admirable. And given its hardware limitations, the game looks and sounds great. The visuals are on par with the Genesis Sonic titles, and while the soundtrack may not match Sonic’s ventures, it’s fun and catchy in its own right. Sure, it may stink that Tails still isn’t allowed to fight the same level of villains as Sonic, at least the antagonists this time around have a consistent theme (robot ducks!) and aren’t a random hodgepodge like in Skypatrol.

If you’re comparing it with many of the platformers and Metroidvanias that have been released in the two and a half decades since, it’s hard to say Tails’ Adventure stacks up. But its ambitions and ideas make it easy to respect and appreciate. Tails’ Adventure may not boast the timeless appeal of the Genesis Sonic games, but it’s a game that still deserves some applause in its own right. It’s actually a shame this was the end of the road for Tails, and he’d soon be relegated back to being Sonic’s player two forever more. If only  sequels were allowed to build on Tails’ Adventure’s foundation, Tails may be flying high right now.

 

5

Tails’ Skypatrol Review

*Review based on Tails’ Skypatrol’s release as part of Sonic Gems Collection for Nintendo GameCube*

There are plenty of bad games out there, but it takes a special kind of bad game to make me think “what the hell am I even doing?” while playing it. Tails’ Skypatrol is one such game. One of only two Sonic spinoff’s to star the blue blur’s sidekick, Tails (both of which were released on the Game Gear handheld), Skypatrol takes the two-tailed fox in a unique direction for the series. One that really didn’t pay off in any way, shape, or form.

On paper, Tails’ Skypatrol is a simple auto-scrolling flying game, in which Tails is constantly on the move, and players having to avoid obstacles in order to get to the end of the stage. It sounds simple enough, but actually playing the game proves to be a whole other beast entirely.

Seeing as Tails is now constantly in the air, he can no longer use his usual rolling attacks from the Sonic the Hedgehog games. Instead, Tails comes equipped with a ring which he can throw at enemies like a boomerang. Okay, so things still don’t sound too bad, but here’s where things get completely batty.

The stages are filled with items and obstacles which can help or hinder Tails, but he can only grab these items and obstacles while the ring is in his hand. If the ring is currently flung at an enemy, Tails can’t pick anything up or interact with objects around him.

There are more than a few issues with this approach, not least of which being that the game seems inconsistent in acknowledging when the ring is and isn’t in Tails’ hands. It seems like after the ring returns to Tails, there’s oftentimes an awkward window of time where Tails still can’t interact with things, but sometimes there isn’t. The game’s core mechanics are finicky and indecisive, which naturally makes for an aggravating experience.

This is made all the worse by the fact that if Tails makes contact with any wall or floor, he dies. It’s very reminiscent of Silver Surfer on NES in this regard, and every bit as annoying. The one thing that’s less frustrating here than in Silver Surfer is that enemy fire doesn’t immediately kill Tails (robot lasers aren’t as deadly as lightly bumping into a wall, apparently). Instead, when struck by an enemy, Tails will tumble to the floor. If he makes contact with the floor, he dies, but you can get your altitude back simply by pressing any button. Have you ever heard of a video game where you can prevent death simply by pressing a button?

Another price for getting hit by an enemy is that it takes away from Tails’ flight meter. If the flight meter runs out, Tails will crash to the floor and no amount of pressing a button will save him. What’s even worse, however, is that throwing the ring at enemies also uses some of the flight meter. And yes, the meter even depletes on its own over time.

You can refill the flight meter by grabbing candy. But guess what? The candy is found on the floor! So you’ll often die trying to get the candy because you bump into the floor while getting it. Do you think maybe, in a game in which the character is constantly flying and dies if they touch the ground, the healing items should have been floating in the air?!

I can at least respect what the developers were attempting with some of the game’s obstacles, but suffice to say the execution leaves a lot to be desired. Having Tails grab a heavy weight to fall fast before hitting a wall, or grabbing a balloon to slow his ascent, and things of that nature seem like they’d add to the auto-scrolling gameplay. But the atrocious level design completely takes away any positives these elements may have otherwise provided.

The level design is simply the final nail in the coffin of Tails’ Skypatrol. The game has a sadistic trial-and-error approach, and requires the player to lose repeatedly and simply memorize what’s ahead in order to make any progress. There are downright cheap tactics deployed at every turn, like flight refilling candy placed at a dead end, which you can’t tell is a dead end until it’s too late. There are objects to latch onto that sometimes help, and sometimes hinder Tails’ progress, so attempting them is a total gamble (even more so when you remember that Tails doesn’t always grab objects as he’s supposed to). And it’s often difficult to tell when a background or foreground object is there for decoration, or if Tails can crash into it and die. It’s all just one leap of faith after another until you have the brutality memorized.

“Seriously? That guy wouldn’t even be a good villain in a breakfast cereal commercial!”

Admittedly, the visuals were decent at the time, though the music is entirely forgettable. To add a cherry on top of it all, Tails isn’t even allowed to fight Dr. Robotnik’s forces. Instead, the villain is some generic witch and a trio of google-eyed animals. It’s like the developers went out of their way to make Tails look bad.

Poor Tails. Always in Sonic’s shadow, and when he finally gets the chance to shine, this is what he gets? Then again, perhaps Tails’ problems are his own doing. I mean, if simply bumping into a wall while flying can kill him, maybe Tails should just stop flying. And if that ring he’s holding can latch onto things to hinder him, maybe he should just drop the damn ring! Is he stupid or something?

 

2

Sonic the Hedgehog: Triple Trouble Review

*Review based on Sonic the Hedgehog: Triple Trouble’s release as part of the Sonic Gems Collection on Nintendo GameCube*

Sonic the Hedgehog: Triple Trouble was the first Sonic platformer released exclusively on the Sega Game Gear handheld system. Prior handheld Sonic titles were based on the Genesis games, like the Game Gear versions of Sonic the Hedgehog 1 and 2, or were simultaneously developed for the Sega Master System, like Triple Trouble’s own predecessor, Sonic Chaos. While those games all felt like “Sonic Lite,” Triple Trouble actually made a decently successful attempt at replicating the look and feel of the Genesis titles. While there are moments of fun to be had with Sonic the Hedgehog: Triple Trouble, it ultimately suffers the same fate as many early translations of classic franchises onto handheld systems, with the limitations of the hardware holding it back, and ensuring that the experience has aged poorly.

Triple Trouble gets its name from the fact that it boasts three antagonists: the big bad of course being Dr. Ivo Robotnik, who is joined once again by Knuckles the Echidna (who is being mind controlled by the good doctor this time around, as opposed to manipulated by him). The third villain in this triumvirate is Nack the Weasel, a treasure hunter who is after the Chaos Emeralds for his own desires. Admittedly, Nack is one of the better “not Robotnik” villains of the series, so it’s a shame that after his debut outing, he made sporadic appearances for a couple of years before being dropped from the series.

The game is a platformer very much in line with the Genesis Sonic games. Players can play as either Sonic or Tails as they collect rings, zoom through stages, and try to track down the Chaos Emeralds in the game’s bonus areas. Though Sonic is the star of the show, Tails is the more ideal character, as his ability to fly for a brief time makes it much easier for him to scour the stages for all their hidden goodies. Especially since the hardware limitations rob Sonic (and Tails) of some momentum when on foot, making the series’ trademark sense of speed feeling clunky. Going through loops becomes a pain pretty quickly because of it.

The level design is nothing special, but isn’t necessarily bad, either. Again, Triple Trouble did a pretty decent job at translating the Sonic gameplay to a handheld for the time. But this was the time in which the convenience of handheld gaming came with the price of sacrificing some quality, and the limitations do begin to show up pretty quickly through the repetitious stages and the lack of new elements for the series.

Their are five worlds total (strangely, only one of which boasts the series usual moniker of “zone”), with each consisting of two stages and a boss level. The stages themselves are pretty straightforward, though gaining all of the Chaos Emeralds (of which there are only five this time) is a bit more difficult, perhaps more so than it needs to be.

As usual, you have to hold onto fifty rings before you can enter a bonus area. While the Genesis titles had Sonic enter the bonus areas through the convenience of checkpoints or giant rings, here the bonus areas are found by breaking hidden monitors with a picture of an emerald on them (much like the monitors that hold the series’ power-ups). Not only are these small monitors easy to miss, but if you accidentally break one while holding less than fifty rings, it won’t do anything, thus wasting an opportunity to get an emerald.

If you do have fifty or more rings and break the monitor, however, you can enter one of two different bonus zones: the odd-numbered emeralds take Sonic and Tails to labyrinths they have to navigate to find the emerald, and sometimes end with a fight against Nack. The even-numbered emeralds see our heroes pilot a plane in a 3D environment where, similar to the bonus stages of Sonic 2, they must collect a set number of rings that fly from the background to the foreground while avoiding bombs.

The former category just end up being too confusing, which may not be a problem if you had more chances to claim the emeralds. Meanwhile, the latter category feel like sloppy versions of Sonic 2’s bonus games, with the rings and bombs not being visible until you’re pretty much right on top of them.

Graphically, the game actually looks pretty impressive. Triple Trouble doesn’t quite capture the timeless look of the Genesis Sonic games, but it comes closer than it has any right to. Unfortunately, the same cannot be said for the music, which comes nowhere near the memorable tunes of the Genesis titles.

Released in 1994, Sonic the Hedgehog: Triple Trouble was decent for what it was at the time. If you were on the go, but still wanted to play a Sonic the Hedgehog title, Triple Trouble came as close to possible to providing the classic Sonic experience on the go. But like Super Mario Land, Triple Trouble just hasn’t aged well. The awkward momentum of the characters, combined with the tedious nature of finding the Chaos Emeralds, and the general lack of newness or challenge for the series makes the already short adventure that much less noteworthy.

Sonic the Hedgehog: Triple Trouble wasn’t bad per se. It’s just very much a product of its time, and not a particularly memorable one at that.

 

4

Sonic the Fighters Review

*Review based on Sonic the Fighters’ release as part of Sonic Gems Collection for the Nintendo GameCube*

Because of the wild popularity of the series in its early years, Sonic the Hedgehog still gets frequent comparisons to Super Mario. But it’s an unfair comparison, really. While Mario has had an unrivaled longevity, still releasing “best games ever” thirty years on, Sonic went the path of The Simpsons. That is to say, it sticks around because of its early quality and appeal, but it’s overstayed its welcome, and has been bad far longer than it was ever good.

But Sonic’s issues didn’t happen all at once, and even in the franchise’s heyday in the 90s, the series made some notable missteps. Among the biggest of these missteps was Sonic the Fighters, which was not only the first Sonic fighting game, but also the first 3D title starring the blue hedgehog.

Released in arcades in 1996, the concept of Sonic the Fighters wasn’t doomed from the start. The series has plenty of colorful, distinct characters that could be translated into the fighter genre. But Sonic the Fighters fails the concept at every turn. Elsewhere, Mario spent his ’96 revolutionizing 3D gaming with Super Mario 64 and starring in one of the best Role-Playing games of all time in Super Mario RPG. Suffice to say, even back then, it was easy to see where the war between Mario and Sonic was going.

The biggest issue with Sonic the Fighters is how insanely rudimentary it is. This is as bare bones as a 3D fighting game gets. Moves consist of basic punches and kicks, which can be combined with directional inputs and pressed repeatedly for simplistic combos. But these aren’t the refined combos of Street Fighter, not even close. There is no depth to the combat of Sonic the Fighters, and the game ends up feeling like little more than chaotic button-mashing. There is no thinking to the gameplay whatsoever.

The one novelty the game tries to bring to the genre is that, in place of standard blocking, characters have barriers. Barriers can’t withstand too many hits, and if all of your barriers break, you are defenseless, and need to get a few hits on your opponent in order to build your barriers back up. It’s a decent idea in theory, but because the execution of the game is so utterly mindless, you can basically just mash the punching button ad nauseam to wear out your opponent’s barriers and continue doing the same until you get a knockout. This is a fighter as thoughtless as it is basic.

“You might know everything I’m going to do, but that’s not going to help you, since I know everything you’re going to do! Strange, isn’t it?!”

Sonic the Fighters even lacks depth in its gameplay modes, with only the standard single player arcade mode and two-player versus being available. The arcade mode sees players go through the eight characters on the playable roster, before facing off against Metal Sonic and Dr. Eggman (the former being ridiculously cheap and can take you out in three hits, while the latter is hilariously easy). Aside from the unfair Metal Sonic, the enemy AI is as mindless as the game itself. And you should really only subject a friend to the two-player versus mode if you both have a great sense of humor about these things.

The character selection includes the obvious choices of Sonic, Tails, Knuckles and Amy, but also throws in more obscure Sonic characters in Espio the Chameleon from Knuckles Chaotix, and Knack the Weasel (here called ‘Fang the Sniper’) from Sonic Triple Trouble. Meanwhile, two new characters were introduced in Bark the Polar Bear and Bean the Dynamite (who is in fact a bird. No, I don’t understand the name, either). Humorously, the two characters introduced here who were never seen again feel more in line with the look and feel of the Sonic franchise than the countless goofy animals who were introduced to the series later on and stuck around to this day.

“I have to applaud the fun animations. But not much else.”

If there’s any plus side to Sonic the Fighters, it’s in the visuals. Obviously, the game isn’t pretty by today’s standards, but the ‘early 3D fighter’ look here is complimented by the cartoony characters of the Sonic universe, giving Sonic the Fighters a visual charm that similar 3D fighters of the time like Virtual Fighter simply don’t have. This is hit home by the fun visual gags of characters getting squished and stretched like Looney Tunes characters when struck.

That’s about all the positives I can give Sonic the Fighters though. The game itself is just too thoughtless in both the bare minimum nature of its ideas, and their sloppy and chaotic execution. I wish I were exaggerating when I say Sonic the Fighters is so bad, it makes Street Fighter the Movie (the Game) look like Super Smash Bros. Ultimate by comparison.

Sonic the Fighters was an early example of Sonic lacking in the adaptability and timeless appeal of Mario. But there is a silver lining in this dark cloud. Sonic would eventually find himself in a stellar fighting game… once he joined Mario and company in the Super Smash Bros. series.

 

2

Wario World Review

On paper, Wario World sounds like some kind of dream come true: a beat-em-up starring Wario created by Treasure, the developer behind such outrageous action games as Gunstar Heroes and Dynamite Heady? Sign me up! Unfortunately, in execution, the 2003 GameCube title falls well below expectations. And what should have been an easy winner for Treasure and Nintendo instead feels like a tedious time-waster, and a missed opportunity.

Of all Nintendo’s iconic characters, Wario seems to be the most fitting to star in a beat-em-up. The burly anti-Mario is a greedy, selfish brute. It just makes sense for him to be the one to pummel enemies to a pulp over pretty much any other Nintendo character. And Wario World gets off to a decent start in that regard.

“Bang! Zoom! Right in the kisser!”

Wario can punch enemies, perform his signature charge attack from the Wario Land games, and perform a ground pound (as platforming heroes wont to do). But this time around, Wario can also pick up KO’ed foes and proceed to throw them, swing them around, or pile drive them like a pro wrestler.

Similarly, the enemies at first seem to show some promise: You have tiny foes who are taken out with a single punch. Slightly bigger foes get knocked out after a few hits, thus allowing you to perform the aforementioned throwing, swinging and pile driving. And some large and flying enemies show up and require a little more clever uses of Wario’s abilities.

At first glance, you might think Wario World is heading in the right direction. But then it quickly becomes apparent that you’re just doing the same thing over and over again. There’s not enough variety (or polish) in the combat to make Wario World feel like a memorable beat-em-up. And much like Wario’s moveset, the enemies also rapidly reveal their limitations, with each of the game’s stages simply putting different skins on the same few enemy types.

The only thing preventing the game from reaching absolute monotony is if you’re gunning for 100% completion. Each level houses eight bonus stages, with red rubies waiting at the goal of each. The bonus rounds range from single room puzzles to platforming challenges that bring to mind the bonus stages of Super Mario Sunshine. You only need some of the rubies to complete a stage (three in World 1, four in 2, five in 3, and six in 4), but for completionists, there are more to get your hands on.

Other collectibles include eight fragments of a gold Wario statue on every level, with completion of a stage’s statue increasing Wario’s health by half a heart. There are also eight unique treasures to be found on every level, which appear on a certain colored pad on the ground if you’ve found and pressed the button of the same color. Finally, there are five captive ‘Spritelings’ to be rescued on every level. The more Spritelings you rescue, the better the game’s ending will be for Wario.

It may sound like Treasure added a good amount of content to the stages via these collectibles, but unfortunately, there are more than a few elements that make you not really care about what Treasure crammed into their levels.

“I don’t know what they were thinking with some of these bosses…”

Along with the repetitious combat and bland enemies, the camera controls are exceedingly clunky (which makes the Sunshine-esque bonus stages way more difficult than they’d otherwise be), and the level design leaves a whole lot to be desired. Without good gameplay and level design, the collectibles come across more like an arduous chore than an engaging side quest.

If on the off-chance you actually manage to get into Wario World, you won’t be into it very long. The game features four worlds plus a final boss, with each world housing only two stages and a boss fight of their own. The whole game can be completed in a couple of hours, which wouldn’t be a bad thing if what the game did boast were memorable. Sadly, it isn’t. This makes Wario World feeling completely absent of depth and creativity, leaving the game feeling shallow and pointless.

It’s hard to recommend Wario World to anyone but the most diehard of GameCube nostalgics. While the concept shows some promise (especially when paired with its developer), Wario World fails to fulfill that promise. Though it looked decent in its day, Wario’s sense of control felt more like something from the early years of the Nintendo 64, as opposed to the GameCube title it actually was.

Somehow, what should have been a wonderful joint venture between Nintendo and Treasure ended up being a disappointment to both parties involved, let alone the player.

 

4